Peacemaker manages to be one of TV’s funniest shows (straight from the instantly viral opening credits) and one of the most violent. Animated sitcom Harley Quinn features Kaley Cuoco giving a career-best performance as the titular chaos agent, who surprises herself and the audience by falling in love with fellow supervillainess Poison Ivy (Lake Bell). Long before The Whale, Doom Patrol gave life to the Brendan Fraser renaissance with his role as a tragic race-car-driving jerk uneasily resurrected in a robot body that houses his brain his journey is less about using his superpowers and more about trying to make peace with his estranged daughter. Whereas the samey-ness of Marvel’s shows is a truth so universally acknowledged that, just last week, it was called out by the first-season finale of Marvel’s own She-Hulk, DC’s shows can, apparently, focus a lot less on saving the world from frequent catastrophes, and instead dig into their characters’ unique idiosyncrasies. But in more recent years, as the two cinematic universes have increasingly competed on TV, DC’s shows have done something unexpected: they’ve dared to be weird. Marvel attracted bigger names, put out more films, had a higher hit rate, and boasted less problematic fans. For many years, DC lagged far behind Marvel in the world of comic-book-to-screen adaptations.
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