NinadeL

The final season began as a parody of the generic superhero narrative, but it wouldn’t be Doom Patrol if it didn’t immediately turn into DC weirdness on a whole new level. Time travel, zombie butts, old Hollywood nostalgia, a musical episode, accepting the demons of each character, a bunch of drag characters, comic book metaphors, dealing with aging… it’s all here in abundance. The ending is touching, but I preferred the third season more.

Tereza Ramba has been delivering leading roles at the same decent level for the entire last decade, and her portrayal of an alcoholic comes as no surprise, not deviating from her usual performance. The real surprise, however, is the very weak script, especially in the second half, which, besides capturing the main story, couldn't resist the path of cautionary popularization, which in this form is entirely unnecessary in a fictional film. As a result, the film lacks sufficient space to address related themes, which become just insufficient fragments—the abortion of the second child, the main character's father's addiction, her second relationship after rehab... At the beginning, we follow a classic risky situation—a young couple moves into a multi-generational household, and while she is on maternity leave with her mother-in-law, he commutes a long distance to work. This is a complete cliché, rehashed many times, unfortunately played out here into a meaningless variation of similar series. And at the moment when things start to get serious, the state of peak addiction lasts only a very short time... and we're already rushing towards a happy ending. If this is what one of the best Czech films of the year is supposed to look like, then it's going to be another funeral.

After the major changes at the end of the second season, it was necessary to ensure that the group of monsters found a new goal and sense of purpose even after the death of their leader, Victor Frankenstein. The storyline involving the boss's ape daughter had run its course, and while the first few episodes of the season stumbled a bit, the story found its direction in the second half. The reduced number of main characters allowed for a deeper focus on individual personalities, and each one stood out better than the last. Cyborg managed to reconnect with his human side, Elasti-Woman relived her entire life thanks to time travel, and Robotman fully embraced his role as a grandfather. Particularly, the episodes Dada Patrol and 1917 Patrol convinced me of the show's value, which only seems to work with the logic of nonsense. In the end, I think I’ll look back on the entire show fondly.