![]() ![]() The 2018 Showtime docuseries, executive produced by James, explores basketball’s collision with American issues on and off the court. But it’s James who turned her derogatory advice into the title of a powerful three-part documentary about the changing influence of NBA players on American culture and politics. The first season, narrated by a villain aware of the fact that they are all in a television show, was meta to the max the second, which starts in a dark, dreary place, as characters reckon with responsibility, forgiveness and a new threat close to home, is for the moment more straightforward, but no less original.įox News host Laura Ingraham coined the demeaning phrase when she went after LeBron James for his comments about President Trump. (Failure is a theme.) The comic book on which the series is based debuted in 1963 - in advance of its conceptual twin, Marvel’s “X-Men” - and though generally set in the present day, the series is much more engaged with 20th century referents (and, this season, 19th) than 21st. A motley crew of ageless mutants shelter under the wing - not an actual wing, it might be necessary to point out - of sad scientist Timothy Dalton, more concerned with sorting themselves out than saving a world barely conscious of their existence. In a situation almost appropriate to its traumatized characters, “Doom Patrol” - comic, tragic, parodic, celebratory and wonderfully offbeat even for a genre in which anything can happen - has been hiding out on the niche streamer DC Universe its second season, which begins this week, brings it into the brighter light of HBO Max. But on TV, where storytelling matters more than action and feeling more than effects, they continue to thrive (and even, with “Watchmen,” enter the national conversation). Superheroes have turned the movies to mush, or perhaps it’s the other way around. ![]()
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