Doom Patrol Season 2 Episode 4 Recap: ‘Sex Patrol’
Photo: Bob Mahoney / The CW
It is repetitive to keep saying: “Of course Fate Patrol done … “or” Only Fate Patrol might do something like… ”, but that’s absolutely the case for an episode like“ Sex Patrol ”. In a way, the episode is Fate Patrolway of asking: “What if we had just done Buffy“Where are the wild things” but more… and also less? And somehow it works. In terms of being “less,” “Sex Patrol” isn’t as debauched as one might assume a party set up to revive Danny would be. In fact, the “sex” part of it all is just Flex Mentallo using her abilities to give Rita professionally needed orgasms, while facing the wall all the time, at her behest. But the “plus” is that it leads to a sex demon named the Shadowy Mr. Evans, sex ghosts, the SeX-Men and a demonic sex baby who ends up taking Jenna Maroney’s advice literally.
And yet, such a bizarre episode is also the most closely-plotted episode of the season to date, and one that explores the motivations and mindsets of the characters in a way that no one takes notice. Arguably the strength of this episode comes from the sheer strength of Danny’s character / concept. Danny is a non-binary, sentient being with no physical form, but their characterization is clear and consistent, which in turn provides a clear and consistent characterization for the Dannyzen. Which is why it makes sense that the Dannyzen all come to Doom Manor to try and revive Danny and fix what was broken. Which is why it makes sense that Flex Mentallo could comfort Dorothy, if only for a moment, in her distress over having broken Danny, and then try to help Rita control her abilities (despite the outcome). Which is why it makes sense that Maura Lee Korrupt has Vic’s clear head about the whole Roni affair. In fact, “Sex Patrol” puts Vic / Roni’s story back on track after “Pain Patrol” awkwardly sped things up, focusing more on finding your people power in a world full of hate and ignorance.
At this point in the season (and the series), Larry has faced issues from his past that he has avoided. He spent the first season dealing with his sexuality and all the pain that resulted from his cover-up, and the later episodes confronted him with the kind of father he was (or wasn’t). As he pulled out a Larry classic and decided not to attend his son’s wake “Tyme Patrol” he was apparently able to put the past behind him. Or at least go beyond the questions he still wondered about all of this. But now the question is his future. It’s something Larry has never had to wonder about, until now, as a handsome man Dannyzen dances on him. At this point, it’s not that Larry is sexually uncomfortable – he thinks to himself “to be cool,” because he knows how he can be – but because of the fact that if he took off his bandages he would kill the guy and everyone at the party. It’s not exactly a flirty talk, but it’s Larry’s truth that he needs to deal with now. Is there a possibility for him to be with someone again?
When Cliff and Larry speak later, Larry points out, “I couldn’t do anything that I was supposed to do. What am I supposed to do after this? He speaks of going into space, of being a father; he couldn’t do any of that when he was supposed to be better equipped to do these things, but he faced that past over the course of the series. And now? Larry also makes a good point about how parents (like him and Cliff) ruin their children’s lives and then their kids just have to live with it, which applies to Jane, Rita (especially in this episode), and, of course, Dorothy.
While Dorothy has spent a good chunk of her 100 (and three-quarters) year life in Danny, this episode makes it clear that she never had the chance to hang out and hang out with the Dannyzen: she was stuck. under Danny, only hear all the fun and merriment upstairs. “Sex Patrol” explores the idea that Danny was his prison, not his sanctuary, and although it’s easy to try and deny that at first – because Candlemaker says so and because Niles seems like a “good” father , relatively – that’s true. Danny admits it himself, while Niles continues to try to deny it. (“I think as a dad he should know,” Niles says. But he was an absent dad and a dad who made and continues to make excuses.) While Dorothy is still 11 – also this age mentally and emotionally – that 100 (and three-quarters) years of life make things muddy. Should she be treated like an adult by Niles and everyone else? In theory, yes, but then again, she can’t handle it mentally and emotionally. But Candlemaker tries to convince her that she can, grappling with her insecurities due to her age and fear of being imprisoned again in order to have her challenge her father and destroy Danny (which she refuses to do). do at the last second). There’s a point in the episode where Herschel tries to argue on his behalf against Candlemaker, which is admirable – because Herschel rocks – but it backfires, because Herschel does it from a childhood perspective. Dorothy naturally doesn’t want to be seen as a child because children are excluded from everything and she is perpetually excluded from everything.
“Are you sure I should see this,” is a pretty funny line from Dorothy when bedtime is about an hour after bedtime and Scarlet Harlot creaks on the dance floor, but she goes online. also to Rita’s story and the fact that her mind block is based on suppressing something that she shouldn’t have seen as a child. There’s nothing less surprising – or more stressful – than the fact that Rita hasn’t had an orgasm (until Danny’s accidental flexing of Flex) since the Hoover administration. But that leads us to a mental block in the form of the repressed memory of her mother lying with a producer to have a young Rita play a role. This, of course, goes back to Larry’s line about parents spoiling their children, even though Rita’s mother clearly didn’t want her daughter to see this; but like Dorothy, Rita just couldn’t bear to be left out and decided to take a look, to catch a glimpse, with her mother seeing her see her in this demoralizing position. But it just shows that Niles was right: “Nothing good happens after bedtime.”
Where Dorothy and Rita continue to intersect is in the way Rita subconsciously reproduces Dorothy’s mothering based on what her own mother was doing. It’s innocent at first – Rita adult chat with Dorothy and puts lipstick on her, treating her like the adult she aspires to be. But it takes an unfortunate turn when it’s refracted through the lens of how Rita’s mother would treat Rita, and then it blows up completely when an exhausted Rita parrots her mother’s words to Dorothy, after Dorothy asks her if Rita. really thinks she’s beautiful, “Honey, please. You have other talents. Focus on those. It’s a bad time for Dorothy to hear those words, and he’s followed. by Candlemaker taunting her, telling her to tell her “girlfriends” about it.
“Sex Patrol” is framed in terms of “bedtime,” but it’s also broken down in terms of Jane’s personality on the surface, as “4 HOURS TIL BEDTIME” coincides with the introduction of the Jane part of the episode. . While Jane is trapped in the subway, she tries to explain to Hammerhead that it won’t be so easy for whatever personality at the top to leave Doom Manor, as the lure of being up there is quite strong. . Hammerhead elegantly explains that Kay is the only thing that matters, “and she deserves better than your fucking friends.” Which is close to the first attempt at the primary personality of the episode, the painter, the (beautiful) girl of the hanged man. This is the character’s first comeback since Fate Patrol pilot, and her motivation is pretty simple: she just wants to paint, and she can do it anywhere.
Unfortunately for her (and the other personalities), her confidence is immediately shaken by Cliff, who explains that just wanting to paint won’t account for things like money, housing, and food. Cliff isn’t intentionally trying to get her into an existential crisis – it just happens, because her motivations are really nothing more than wanting to paint. So he tries to comfort her by saying, “You will understand. Jane always has.
Which leads to the next personality (to “BEDTIME”), Scarlet Harlot, who is at least on the verge of getting out of Doom Manor entirely, as it’s full of “non-annoying” (his word) and just plain boring. … until she realizes there is a debauched party. So, again, a Jane personality sticks around, only leaving when Dr. Harrison – a responsible personality – takes over a few hours after bedtime. While that seems to do the trick, Dr Harrison is immediately yearned to understand why the SeX-Men think the world is doomed … then Hammerhead is brought to the surface by the threat of all the children (including Kay, of course). danger. Once Hammerhead saves the day – by pushing a baby into the hole of a sex demon, because it’s Fate Patrol – she admits that Jane was right about the difficulty of leaving (and how they actually make the world solid, in their weird way) and puts her on top right away. At least “for now,” as she puts it even when Niles asks; While this could be a happy ending for Jane, it’s worth noting that despite all the talk about Miranda’s return as a primary, that’s not the case here. Again.
• Flex Mentallo has always found it easy to control his powers because all you have to do is “clear your mind”. He then goes on to show Rita how he literally clears her mind. Bless this magnificent meathead.
• The SeX-Men are Kiss (Michael Tourek), Torture (Tracey Bonner) and Cuddles (Michael Shenefelt), and their van is called the SeX-Machine. Yes, they are actually from the comics. Just like the Shadowy Mr. Evans. They are also now probably the best way to convince your friends to watch this show.
• This week in “I’m Cyborg”: The SeX Men tell Vic to leave once they see the sex ghosts, to which Vic says, “I’m Cyborg.” Yes, it’s hilarious that Vic thinks being Cyborg means he would be helpful in a sex ghost situation. (He is not.)
• We actually have a new version of Cliff in this episode, which is Cliff high-on-ecstasy. (“The chef has drugs.”) Cliff is still, of course, angry with Niles, but he’s more angry with himself for the way Florida has gone. Then Cliff gets high and he plays the robot, dances with a shadow demon and is more confused than ever about what is going on in this series.