Penny Dreadful has always been between two worlds: fantasy and reality, television and literature, genius and boredom, Vanessa Ives and the Creature. But in its last episode both realities, the malignant witches from fairy tales and the proto-feminist witches from the medieval times, have come together and create a wonderful piece of TV.
Every period in history has its own demons, monsters and cursed places, reflections of their worst nightmares and fears. Looking to the shows of the present day, what can we tell about the dark side of our postmodern society? Continue reading
According to a scientific theory (that you must know if you saw a cancelled TV show produced by J.J. Abrams with the same name), six degrees, everyone is connected everyone through a chain of five intermediaries, even your favorite K-Pop singer is six steps ahead of you. Although this concept has usually been applied (and even improved) to the real world as in, for example, the case of Facebook users, we are going to see how this works in the field of TV shows.
Fargo, Penny Dreadful, and Halt and Catch Fire, these seem to be three of the shows called to set the pace of what’s to come in serial fiction. All of them star, or co-star, independent (even, sometimes, solitary) and melancholic women. Women finally released from the household, and we are talking here about shows set in the XIX century and the 80s, that take the initiative in their male-dominated fictional universes. But, what do these three newcomers look at? They are looking behind, they are looking at Peggy Olson, the character that made possible their status as groundbreaking female leads in contemporary television.