![]() Putting Vic in this new, and frankly vulnerable, frame of reference, gives the character a whole new lease of life that I don’t think has really been touched in many of his adapted portrayals up to this point, including timely references to the value of law enforcement and his role in enforcing justice. He decides to leave the team and begins attending a support group, where he meets a wounded Iraq War veteran and sparks off a brand new relationship with her. This season, finally free of the seemingly never-ending emotional struggle with his father, the character is given a bit of a new lease on life. Last season, Cyborg never really found his place among the traditional teammates, feeling more like a studio-mandated add-on given his proximity to the Justice League film. ![]() Cyborg 2.0 – You’ll note I didn’t mention what’s going on with Vic, and that’s because he deserved his own bullet-point altogether.Still, it’s impressive how well Carver and the rest of the writing staff have been able to give everyone something to do that effectively furthers their characters, even if its mired in the miserable off the bat. Each of these stories vacillate some quality-wise, with Cliff’s particularly angling itself on the season’s main conflict, while Jane’s possibly threatens to veer into the often-sticky area of addiction that’s stopped many genre series cold. Everyone is generally pretty sad about something: Cliff is upset about the daughter that he never got to raise, Larry is in mourning the recent loss of his son (who he also never got to see grow up), Rita is struggling to find her place on the team and coming to greater grips with her abilities, and Jane is struggling to maintain control over her multitude of personalities and doing so with chemical enhancement. Mope Fest – This one makes it sound more negative than it really is, but the focus of this second season thus far is centered on the individual traumas of the teammates.So, with the next few days you have, take the time to watch that finale again and you won’t spend the first hour feeling like you’re racing to catch up to the show. And unlike its CW brethren, or even something like Titans, the show makes zero effort to hold your hand. I know this to be true because I have not watched the first season since it initially went up on DC Universe, and both I and my partner were completely flummoxed as to what was going on. Bone Up – More than anything, I can’t stress enough how important it is that you at least watch last season’s finale before you kick off this new season.But for those who want a little more detail, let me provide just a few more thoughts on the matter: Bottom line is exactly what’s on the tin, if you liked the first season, you will love this new one. Forgive my vagaries here, as I think it’s best to experience this new season of Doom Patrol yourself without my spoiling everything. But even that holds its own nugget of promise by the third episode. To be fair, it’s not all “party time on Danny the Street” here, as there’s at least one new subplot that threatens to slow things to a halt. ![]() ![]() In some ways it significantly improves a few of the short comings of the last season, taking a step beyond its own source material, honing a key element of the Morrison-Case run, and turning it into something altogether more fascinating and tragic. Before I get into some key takeaways, let me just assure you that Doom Patrol is still as good as ever. And lucky you, The Beat had the opportunity to take in the first three episodes already (which are all dropping at the same time this coming week, with subsequent individual episodes to follow on a weekly basis). Doom Patrol was the only DC Universe show to make the jump to their shiny new HBO Max service, giving this family of outcasts a whole new audience to work their magic on.Īnd just in time too, because in less than 7 days, the second season of Doom Patrol will be upon us. But for Jeremy Carver and his team to create what turned out to be the perfect tribute to his era of the title… well, to say it’s a dream come true would be understating things. For the longest time, I had been aghast at how practically none of Morrison’s prodigious work had been adapted into live action. The first season of Doom Patrol played as a perfect meld of the Arnold Drake/ Bruno Premiani original concept and the ground-breaking Grant Morrison/ Richard Case run in the late 80’s and early 90’s. After a slightly strained start, Doom Patrol, the second of DC Universe’s original series, quickly established itself not only as the best of the DC Universe crop, but arguably one of the best comic book-based series, period.
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