A wheelchair-bound scientist takes in a motley ensemble of superpowered outcasts in order to assemble a powerful force for good.

That’s the basic premise of Marvel’s X-Men of course, and ostensibly of this series too. The original Doom Patrol debuted in DC’s charmingly titled “My Greatest Adventure” comic in June 1963, three months before X-Men, and although no skullduggery has ever been proven it certainly seems possible that Marvel got wind of what DC were planning.

Whatever the truth, it ultimately doesn’t matter as these are in fact very different in style and tone, certainly in this TV version, which plunders various versions of the comic, although it’s most heavily inspired by Grant Morrison’s 1989-1994 run. The Doom Patrol made their live action debut in season one of Titans, for me the highlight of that series. It’s not necessary to have seen that episode (not included in this set) and indeed it’s been confirmed that this series takes place in a different universe, which explains away some of the changes between the Titans episode and this series.

Where this really differs from most comic book ensembles is that these are not really superheroes in the traditional sense. They don’t have superpowers, they have disabilities. All that remains of charmingly foul-mouthed NASCAR driver Cliff Steele is his brain, encased in an oversized robot body. He’s voiced and appears in flashbacks by Brendan Fraser (The Mummy film series), whose career second-wind has revealed a solid character actor. Erstwhile USAF pilot Larry Trainor (Magic Mike/White Collar’s Matt Bomer providing the voice and flashbacks) is inhabited by a negative energy being, swathed in Invisible Man style bandages to protect anyone around him from certain radioactive death. His is a double tragedy, having had to keep his true nature hidden from view even before his accident. April Bowlby (Two and a Half Men) is Rita Farr, a former film star struggling to control her body becoming at best stretchy and at worst a pile of goop after a career-ending encounter with a toxic substance during a shoot. Bowlby perfectly convinces as a ‘50s leading lady, with her classic look and spot on transatlantic accent so familiar from leading ladies of the day. “Crazy” Jane (Orange is the New Black’s Diane Guerrero) is a young woman with 64 distinct personalities, many of which have their own individual powers, all of which effectively live inside her and can be summoned at will to “take over”. Guerrero plays many of these personalities herself, and does a superb job of making each one distinct.

The most familiar character is Cyborg (never a part of the comic book series), portrayed here as a young man trying to come to terms with being part machine, and his father’s role in his transformation. He’s played by Joivan Wade, who Doctor Who viewers will remember making a splash as Rigsy in the episodes Flatline and Face the Raven. While the character perhaps sits awkwardly among the other less famous heroes, he provides something of a bridge between the insular Doom Patrol and the wider DC Universe (if any of those characters exist in this universe; it’s unclear and based on recent revelations in other DC franchises it’s perfectly possible that they don’t).

Overseeing them is Dr Niles Caulder, a long-lived, genius scientist who appears to be helping his houseguests retain their sanity and overcome their burdens, but whose motivations and possible role in their tragedies is far more complex. Timothy Dalton, as always, treats the text with utmost respect, giving no less a performance than if this were Ibsen or Shakespeare. The casting as a whole is top notch even among the lesser characters – Alan Tudyk, entertaining as always, is their main nemesis Mr Nobody, with genre favourite Mark Sheppard, the great Ed Asner and acting/cooking legend Madhur Jaffrey also making appearances.

Much credit should also be given to actors Matthew Zuk and Riley Shanahan, who respectively play the in-costume embodiments of Larry and Cliff. Just because they don’t ultimately deliver their lines on screen should in no way diminish their contributions; it’s their on set performances and physicality which Bomer and Fraser build upon. It is rather a shame to see their names relegated to the closing credits, as if anyone could do their job, rather than be acknowledged in the main titles.

One character who must not go unmentioned is Danny, a teleporting non-gender-specific street, who provides a much needed haven for society’s outsiders and unwanted. It’s as odd a concept as it sounds, but fits perfectly within the tone of the show, at once dark and a little gloomy, but with fairytale-like elements strewn throughout. One particular scene involving Danny and Larry is especially uplifting, before ultimately being heartbreaking. The show’s approach to LGBTQ+ characters is to be applauded, with a nuance in the writing and performance which lifts it above the often awkward and clumsy attempts of other series. The same can be said of its treatment of disability and trauma, and the mental health consequences – we’ve all dreamed of being Wonder Woman or Superman for example, not one of us would ever wish to be Elasti-Girl or Robotman (it should be noted that the Patrol’s rather silly and dated superhero names are rarely, if ever, spoken).

This is a show about those who are on the outside looking in, with little hope of joining in with the rest of the world. If you’ve ever felt like that then this show will resonate. Alternatively if you like the sound of farting donkeys, Animal-Vegetable-Mineral Man, The Beard Hunter or lethal two-legged bums with teeth then this should thoroughly entertain you.

Blu-Ray/DVD extras

Each disc features a selection of deleted scenes from the episodes it covers, annoyingly not individually selectable, and even more annoyingly beeped for swearing (pointless for a set that’s an 18 already due in part to Cliff’s regular F-bombs). Most are of little consequence, although a few are of interest and may possibly have been cut to keep revelations for later in the season or series as a whole (I suggest not watching any until you’ve seen the whole season to be safe). There’s also a gag reel which as usual with such things is essentially a compilation of actors swearing. Again this is censored. A short feature on the Georgia location filming is of some interest, although hardly essential.

I would very much liked to have seen better extras on this set, especially as it’s a lot more expensive than buying it digitally via Amazon Prime (currently £12.99 for HD or SD download, £28.99 for Blu-ray). A commentary or two and a feature on their comic book origins would have been welcome. I think this is symptomatic of the general lack of promotion for this series outside the USA. Having first aired on the US-only DC Universe service in February to May 2019 it wasn’t available to view here in the UK (and presumably elsewhere) until January 2020. The Blu-ray/DVD itself has been available Stateside since October 2019. I sincerely hope that the currently airing season 2 will receive better treatment, I can’t think of a show that deserves it more.

Plus they really missed a trick not producing a Cliff Steelebook edition.

Verdict: By far the funniest, gloomiest, strangest, darkest, most life-affirming series I’ve seen in years. It’s all those things and more. TV that stays with you.

10/10 (for the series) 7/10 for the physical release

Andy Smith

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