The reasoning of “Doom Patrol” resides in what is the more bearable path, what life allows and what it takes to keep motion and emotion alive. While the texture of last season has not yet built this season, the eccentric nature of the comics is allowing itself to be seen. Each individual character knows that they are on a teetering path with one specifically trying to find the right way to evolve while the others look in the rear-view mirror about what holds them back and propels them. After the texture of Mr. Nobody which provided a wrap around shield , this season seems to lose itself in the insular when there are much bigger questions to ask. Hopefully those ideas are building. Vic is finding his way but it is undeniably not the most engaging conversation. Cliff’s problems are a little more variant but is restricted whether the story exists in the real world or his imagination. Rita too has her own issues. What is interesting is that that story crossing with Dorothy and her nature is the most interesting diametric of the season. In this episode “Sex Patrol” the story is more about trying to rescue a friend…and a rather esoteric one at that. Crazy Jane has some of the best bits in the episode but the reasoning is tricky. A small scene inside a tech platform with one of her personalities is one of the most dynamic in the episode because it paints what is going on in her head. A new personality not seen before comes out for a moment and it is a siren. The reality is that the adventure inside Jane’s head is the most interesting one. The battle for the primary is of course an overlay from Season 1.
The antagonist of the episode is interesting enough but almost seems like an abstract proponent that one would see in an “American Dad” episode. It is not that it is bad…it is simply very much out of left field. As the episode culminates, the reason for the actual tempest of sorts is two fold but they definitely react against each other. Another highlight is a small song that in context is the best idea of the episode if it pays off in a later episode which seems a possibility. There is some imagery that speaks to it especially with the hanging of a disco ball. What is missing in a certain way is a little bit more of the heartstrings or strife. Dorothy commands the compelling moments but the family really needs to work around her. “Sex Patrol” is an allusion to an almost tangent story line that no doubt was inspired by “Poltergeist”. Now whether the comic story was pre-80s is a matter of discourse. That said, hopefully the story that the season wants to tell reflects back with a more encompassing idea that takes advantage of its strengths. All the characters have more to explore but they need to be focused in an undeniable way. Most of last season’s story was existential without the characters actually realizing the path until it was right upon them. Dorothy needs to find her fate and the road can diverge into many paths.
With the continuing build of consequence, the motivations of “Marvel Agents Of S.H.I.EL.D.” are distinctly becoming more plot driven rather than character driven as the episodes go on but that doesn’t less the consequence of what is being shown. When the last episode left off, the decisions that the team and specifically Mac needed to make they all believe were done for the greater good, but as this episode (“Adapt Of Die”) continues it all starts to unravel. There are some tender moments but also some revelatory moments. Like in the previous episode, Patrick Warburton plays a S.H.I.E.L.D chief in the 1970s and he plays it to a t with a bit of tongue in cheek styling. Some of the best moments though are still small character ones including some in between Daisy and a SH.I.E.L.D. agent from the 50s we have seen in the previous couple episodes. It captures almost old school romanticism with the modern storyline. The progress continues but any other spoilers would give it away though Coulson is quite enlightened in many ways throughout the episode. As with the continuing ideas of the season, it is about choice in different situations and what path it leads the Marvel Universe towards in the future.
The rabbit hole that “Dirty John: The Betty Broderick Story” continues to go down is a slippery slope. With Episode 6: “The Twelfth Of Never” one would think that Betty (as played by Amanda Peet) has reached her lowest point but the episode shows her resolve and redemptive ways to a point. But unlike her ex-husband, she tries to play fair whereas he doesn’t. Why a husband would treat the mother of his children so recklessly even if he remarried is beyond reprehensible. Again this is a dramatization though so parts of the story might not have the full fact represented at certain points. However what is undeniable is the sacrifice that Betty endured to get Dan (played by Christian Slater) where he is but he does not see it that way. There are some bright points that indicate Betty’s potential but also many wrong decisions or perceptions. There are two possibilities for light at the end of the tunnel but the situations don’t quite play out as one hopes or Betty hopes they would. It is about wordplay and coming to bear. The system is stacked against Betty at her best points to gain ground, mostly shrouded in the smugness of the boys’ club and legal jargon. Slater plays the character with an inherent smugness of course but his character ends up being very two dimensional which likely is by design. Giving away too much more would reveal how the descent happens. Either way the path will always end darkly. The issue is that seeing the destruction of such a positive soul, whatever her perceived shortcomings may be, is a tale in unnecessary tragedy.
The compounding of identity filters into this week’s episode of “American Dad”. Episode 10 entitled “American Data” has Stan’s son Steve and some of his friends wanting to get calf implants because they think this will make them look cool at school. The story of the episode devolves into Roger as an arcane professor conducting experiments on the notion of prisoner and guard psychology through a test lab at Steve’s school. When his initial tests go awry, he brings in real convicts to up the stakes. It just turns out Steve is a follower at heart. He makes the inmates food and sings songs. Yet he could be in “Goodfellas”…he adjusts his behavior to what his captors want to see. When he finally gets out, his friends finally see his true colors. Meanwhile Stan is going into catatonia over the loss of a colleague per se that he reflects in the tone of a leaf blower. As with some episodes, the more esoteric imagery tends to have a bigger metaphor masked in its grotesque outlay. Roger in his own alien way keeps talking about binders like it is the end of the world though both he and Steve have their own safe rooms that exist inside their heads. The question ultimately is what does Steve want versus Roger? Acceptance. Love. Life? Steve is the true trooper here and yet his final resolution places him in the same space he was before. And if he has learned anything, he has learned nothing.
Finding the right conclusion that plays with the texture to uphold stakes is difficult in any series. Questions always arise. The manipulation from within becomes the true aspect of drama. With the season finale of “Penny Dreadful: City Of Angels” entitled “Day Of The Dead” the paths divergent become a messy train of broken souls but also resolve. Tiago Vega thinks he sees a path both correct and then apart. But then it comes undone. He thinks he knows the path of right and then he realizes that it doesn’t serve the greater good. Sister Molly thinks she knows what happiness could be but it becomes a shadow of reality. The key with this season has always been sketching the melting pot of life within this time in Los Angeles. It could define what it would become, both with its differences and similarities. The question the series brings up becomes who are the people that lose and what is the inherent collateral damage when all is said and done.
Unlike some of the episodes which make the words do alot of the walking, the season finale especially in its latter half lets the silences and the imagery speak. The diametric images especially in the last 10 minutes push the stories in ways that one would not expect. Granted one specific point does not make sense as it might be more metaphorical than literal. The stakes are still present but manufactured or perhaps regrouped in a different way. The joy that was prevalent in the previous episode lurks below the surface but with an element of pain which is what makes the best drama. Again the manipulation of the supernatural is done subtly but the battle of what the Goddess wanted versus her sister relates in very poetic terms. It foreshadows a crossroads that when discussed is both undeniable and yet tragic, poetic yet sad. Series creator John Logan who also wrote “Gladiator” understands the necessity of light and darkness. Lives are not neatly wrapped up. “Day Of The Dead” as a season finale works to highlight that the danger that lingers, lessons learned, actions taken and yet life moves on perhaps with a little more wisdom.