The horrific story of Dr Death
James Croot finds terrific performances in this show that was inspired by disturbing real-life events.
‘Tomorrow is another day to prove how good I am.’’ Dr Christopher Duntsch (Joshua Jackson) certainly didn’t lack selfconfidence. The Texas surgeon, who specialised in fixing back and spinal injuries, also had a way to convince even his most concerned patients and their families that, in his hands, everything was going to be OK. ‘‘I’m going to grant her a second life,’’ he assures one husband of his wife’s prospects.
As the new, eight-part true crime drama Dr Death (now streaming on TVNZ OnDemand) details though, Duntsch’s results didn’t match his bluster. Those who went under his knife usually came out far worse off.
Inspired by a popular 2018 podcast, as this Patrick McManus’ (Marco Polo) created series opens, Duntsch has just been given surgical privileges at Dallas Medical Centre. While officials had yet to receive the records from his previous ‘‘home’’, his roster of potential patients and neurosurgical institute was certainly persuasive.
However, within just three days it was a decision they deeply regretted. A trio of surgeries left one patient dead and another with seemingly permanent injuries worse than what they went into fix.
Attempting to repair the damage caused to the third patient, veteran spinal surgeon Robert Henderson (Alec Baldwin) is appalled by what he sees. In discussions with his more flamboyant colleague Dr Randall Kirby (Christian Slater), a man already aware of Duntsch’s less-than-stellar reputation (‘‘he maimed my pool guy,’’ he opines, still in disbelief that the hospital had ‘‘hired’’ him), Henderson describes Duntsch’s work as more suited
‘‘to a slaughterhouse’’.
Checks with nursing staff involved in the surgeries reveal more disturbing evidence. Duntsch’s methods seemed careless at best, and he appeared to have been wearing the same threadbare scrubs on all three days. So when his previous hospital claims to have had no issue with him, Henderson’s concern and frustration boils over. ‘‘Either he’s the most incompetent surgeon I’ve ever crossed paths with, or he’s a sociopath and doing this on purpose.’’
With two Duntsch surgeries already scheduled for next week, Henderson knows he needs to do something – fast.
Director of the first two episodes, Maggie Kiley (Dirty John) does a magnificent job of throwing the audience into the unfolding mystery and horror as Henderson and company uncover the full extent of Duntsch’s malpractices.
Thankfully the surgical
scenes are less visceral than traditional medical dramas such as The Resident and New Amsterdam, although that actually probably makes them even more unnerving.
But while the McManus-led writing team skilfully cuts between the investigation and fleshing out Duntsch’s just-astroubled private life (which includes an estranged father, and a wife who has taken out a court order against him), it’s the cast that sells this drama. Baldwin and Slater make for an effective, disparate double act, while former Dawson’s Creek
star Jackson is a revelation as the destructive doctor. Building on his great work in The Affair, the bulked-up, now 43-year-old Canadian delivers a nuanced performance, which also aims to highlight the fragility of Duntsch’s ego.
Throw in a terrific supporting cast that includes Kelsey Grammer, Grace Gummer and AnnaSophia Robb and the result is a harrowing, compelling drama you’re likely to lose a weekend to.