Ballad of the Doom Patrol
I never thought I would be writing an article about anything superhero-related. The discourse around comic book adaptations has been reduced to love or hate. Vocal detractors are upset at the oversaturation and defenders act like any critique is the critical equivalent of murdering their family. These opposing voices are amplified by social media and news coverage. Clickbait headlines blare righteous outrage at great filmmakers expressing their dislike of these films. This antagonizes the hardcore fans who grab their spears and rise en masse to, in their mind, be the heroes they idolize and fight against evil.
Like most social media outrage, the reality lies between the extremes. Superhero films are popular for a reason. They cater to the law of supply and demand. In an era of perpetual upheaval and turmoil, there is a comfort to be found in watching identifiable heroes defeat evil. There is nothing inherently wrong with that on any level. Some of my favorite films align with that approach. In that respect, I sympathize with the defenders. When something resonates with you, there is a profound connection that brings warmth to the spirit.
When the stakes are world-ending and catastrophic without emotional resonance and soul, I often disconnect. Even the most auteur-driven MCU projects like Guardians of the Galaxy and Thor: Ragnarok are still filtered through a corporate lens. The passion of the filmmakers can peek through, but it is in service of a grand interconnected assembly-line world. The stories are at their best for me when they are independent of that grand interwoven universe. Even though I don’t entirely agree with Martin Scorsese, Ridley Scott, and the others who have criticized these films, I understand their frustration. It’s difficult for a non-franchise film to stand out when it’s released in a crowded field of blockbusters, especially when it is not marketed and supported properly. These films are frequently shot in the kneecaps and studios express befuddlement as to why they are crawling to an early grave.
With all that in mind, I was not expecting to love Doom Patrol as much as I do. I had no idea what the show was before I watched it. All I knew was it had Brendan Fraser, who I have been a fan of since I was a kid. I grew up watching his films. The Mummy is still one of my favorites. I lost count of how many times I’ve rewatched that film. It’s wonderful to see him back in high-profile work. I will not delve too much into plot details beyond the basics. Mostly because trying to explain the utter insanity of Doom Patrol is a herculean task. I’ll just jump into an overall character setup, starting with Fraser’s character Cliff Steele. He is a Nascar driver who gets in a supposed accident and wakes up as a robot, fittingly named Robotman.
Fraser is perfect for the role. Even when Cliff is being insensitive and selfish, his frustrations and intense yearning to better himself offer a profound resonance. His metallic suit was built by Dr. Niles Caulder, played with buckets of class by Timothy Dalton, who transferred Cliff’s brain into this robot. Then we have Rita Farr, played with magnificent elegance and gravitas by April Bowlby. After being exposed to a toxic gas when she was at the peak of her stardom, her body now has the ability to stretch and melt. Often becoming a giant oozing mass when she is stressed and anxious. This is a power she struggles to control throughout the series.
Jane is the most difficult to describe. She is a part of 64 distinct personalities, aka “alters,” created by a child, Kay Challis, to deal with her past trauma. Each alter has their own power. It can be anything from teleportation, turning into a towering figure with a sun for a head that can throw fireballs, and my personal favorite, “Silver Tongue,” who can manifest words in reality that turn into razor-sharp projectiles. Jane is the primary personality for most of the series so far, but others sometimes take over depending on the circumstance and her state of mind. Diane Guerrero plays Jane and a few other alters and she is fantastic in the role. Jane is a difficult character to get right, the fluctuations in delivery and tone could easily be portrayed in an overly goofy way, but she brings the character to life and makes her feel real.
Then there is Larry Trainor, aka Negative Man, a former military pilot whose body is now home to a strange cosmic entity. As Trainor, Matt Bomer manages to convey so much pathos and emotion whilst rarely showing his face. Finally, there is Cyborg. His character is the most conventional of the main ensemble, but he is essential to creating a balance. He is not just a straight man reacting to the madness; Joivan Wade manages to create in Cyborg a sympathetic and layered character, who is dealing with astronomical levels of trauma and guilt after accidentally causing the death of his mother. I know this is a lot of setups, but there are a few more people I want to single out. Fraser is the voice of Robotman and appears a few times outside his metal confines, but Riley Shanahan plays the robot. We don’t hear his voice, but his mannerisms and physicality bring the character to life, much like what Matthew Zuk does with Negative Man.
There are many more elements to single out, but I want to get to the reasons why I love the show. The always delightful Alan Tudyk is brilliant as the villain Mr. Nobody. I’ve been a fan of his for years. He is one of those actors who makes any project better. Michelle Gomez is also wonderful as Madame Rouge in season 3. Many know Gomez because of her role in Dr. Who, but I must admit I have never seen that series. Shocking I know, being a Brit usually means I am legally obligated to watch Dr. Who. I remember her from the fantastic medical comedy series Green Wing. She brings brilliant eccentric energy to her performance.
Comic book adaptations rarely fully embrace the absurdity and weirdness of their stories. Doom Patrol dives headfirst into the loony joy of the comics. The show certainly has the potential to create character spin-offs; one is in development currently, but Doom feels like a self-contained narrative not restricted to being one of the many building blocks of an entire universe. There are certainly references to other DC properties, but they are never a crutch and are more like Easter eggs for the fans.
Doom Patrol manages to strike a balance between utterly bonkers and heartfelt. In a single episode, there can be moments that make me laugh aloud, followed by an emotional gut punch. That tone could easily go awry with fractured delivery, but here the ridiculous parts seamlessly flow into the poignant moments. There are multiple scenes in the series that have made me cry. One in particular towards the end of episode 2 of season 3 on the surface could be seen as over the top and cheesy, but it was so sincere that it kicked me right in the heart. I stayed up all night binge-watching most of season 3. I can’t recall the last time I did that.
What makes the show special is how it is not about superheroes punching their way out of every situation. There are entertaining fight scenes, but they are not the focus of the show. The show is really about broken people living with trauma. The action scenes are entertaining as hell, but it is these grounded character moments that make the show stand out. There are multiple instances in the series where a conflict is solved by the characters delving into their inner turmoil. So many superhero stories are resolved by external action, but here the issues are often internal. No matter how outlandish the powers and circumstances may be, this is a story of working through your pain. Some push it aside and try to ignore it.
Eventually, they learn to cope with their torment and move forward in their lives as stronger people. That is the true soul of the show, broken people putting the pieces back together as best they can. I could try to play armchair psychologist with myself to try and analyze why the show resonates with me. I do not have the same issues these characters have, although I certainly have my own. I have not managed to utilize those issues as superpowers yet unless you count occasionally getting out of social engagement by pretending I left my pills at home. Perhaps that is why I can relate to a zombie Robot punching man-eating butts with teeth.
