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Penny Dreadful Season Three a Disappointing Finale
by Kristin Battestella
I loved me some Penny Dreadful. Previously, I watched the First Two seasons twice or more before writing my reviews a few months after I had simmered in the immersion of all things sophisticated Victorian macabre. I re-watched the entire series again when finishing this obviously late review, but Season Three’s still blindsiding finale and haphazard resolution of the series undermines the glorious potential that was yet to be found in Penny Dreadful.
Year Three hits the ground running with some delightful circumstances in “The Day Tennyson Died.” Our quirky little family of evil fighters – Vanessa Ives (Eva Green), Sir Malcolm Murray (Timothy Dalton), Ethan Chandler (Josh Hartnett), Victor Frankenstein (Harry Treadaway), and His Monster (Rory Kinnear) – is scattered about the globe from London to the Old West and Africa to the frozen north. Their townhouse base is shabby with covered furniture and piled mail before the titular solemn and lovely poetic references reconnect old friends with tenderness and sympathy. After all they’ve been through, those in London are allowed to stew and cry – unlike the unforgiving railroad and lawless land of the New Mexico Territory. Though blindingly bright compared to the British bleak, there’s an underlying ominous to the witches and werewolves among the lawmen. Letters from Africa with burials made right also find Chiricahua Indians in the most unlikely Zanzibar alley while faraway frozen trawlers debate cannibalism and melodies remind monsters of when they were men. Famous names face racism at Bedlam as pale minions with anemia excuses lurk. Penny Dreadful has a lot to do but does it with superb conversations, new allies, and bloody vignettes. “Predators Far and Near” adds vintage photography, jurisdiction technicalities, a modified barber’s chair for experimenting on patients, and fear of the gramophone cylinders recording one’s sin. Therapy confessions recount prior indiscretions, but the prescription for godless loneliness is doing something innocent and happy no matter how small. Women debate on light and dark souls while men bond over their love of daughters and a son not birthed to them but bound with their suffering. Talbot family history, ritual chanting, and colorful vision quests counter the sophisticated Victorian science lectures and whimsical memories of adventures the likes of 20,000 Leagues under the Sea. Unfortunately, our dreadfuls are more familiar with lunatics and monsters rather than childhood heroes, with Jekyll and Hyde-esque transformations on crazed victims, deceptively charming courtships, a wise Apache woman reminiscent of the fortune teller in The Wolf Man, and a desert full moon to aide one’s bone cracking escape.
Unholy alliances between witches and the Wolf of God continue in “Good and Evil Braided Be.” Is it the beast or angel, good or evil that’s the real persona? Does the mind create phantoms and demons to explain the darkness and pain? Do you bury the animal inside or unleash it? Between the werewolf curse, divided locales, tug and pull father figures, and hints of Hyde, Penny Dreadful creates superb dual themes alongside several racial moments and of the time derogatory Native American comments. Sophisticated light and dark visuals and good and evil motifs are interwoven against crudeness, triumphing over those who define what’s black and white or right and wrong solely based upon skin tone rather than soul. The audience isn’t hit on the head with the social commentary, but one scene beautifully addresses the sadly still lingering attitudes upfront. New, risky hypnosis techniques further retrace past darkness and despair in Episode Four “A Blade of Grass.” Memories and present offices blur in a dreamy act with current doctors and familiar faces in unexpected places uncovering new revelations of a forgotten padded white room. In camera foregrounds and backgrounds accent the confined or expanded four walls as needed with overhead views, zooms, face to face close ups, and wide angle warped. Finite descriptions of precious few details, amplified sounds, and demon shadows match the kindness of an orderly or the evils that await. Precious blankets are taken away amid growling, crying, straight jackets, and water torture. Can God find you in a place like this or are you alone? Our patient fears the evil within and wants to die over the betrayals and sins committed, yet the tender bonding with her jailer turned poetic advocate provides an unlikely compassion. Whether you can face yourself in the mirror or not, these fugue state manifestations overcome evil with the truth at Christmas in one excellent parable. The least amount of effects, minimal characters, and few locales leave nothing but the emotion and anguish upon their faces. It’s divine, just everything television should be and perhaps the best episode of the entire series.
And then, somehow, Penny Dreadful went to shit.
Series writer and creator John Logan hands Penny Dreadful over to new writers mid season – a maneuver suggesting a viable transition rather than leaving unknowns to resolve your planned finale with rushed characters and compressed stories. Andrew Hinderaker (Pure Genius) pens “This World Is Our Hell” with The West as a barren purgatory full of symbolic multi-layered pursuits on who the righteous should save or whom the evil would kill. Water is scarce among the grave sins and shame worn as redemption; forgiveness versus temptation comes in revealing fireside chats recounting past ambushes and the difficulty of serving multiple masters – fathers, duty, Lucifer. Unfortunately, these lofty topics are undone by nonsensical mysticism. Witches can summon snakes to conveniently wipe out pursuers but cannot heal injured mounts or conjure water and dying people somehow have enough energy for awkward evil sex after days of thirst. The Victorian mad science and desert shootouts jar in an anchor-less back and forth when the confrontations between our converging father figures are more interesting. Lengthy exposition on past horrors feels odd in a series that often shows rather than tells. Why not have an entire Talbot past hour the way “Closer than Sisters” showed us how Penny Dreadful really began? Otherwise the audience is left confused over who’s really at fault for the faithful turning evil. It was Ethan’s dad’s fault for making it the army’s fault who made the Apaches to blame??? Penny Dreadful always had pacing issues and uneven characters, but this Old West excursion could have ditched the dead weight characters and been back to London in half the time. I don’t think it is necessarily Hinderaker and newcomer Krysty Wilson-Cairns’ fault, but “No Beast So Fierce” throws even more at the screen with too many threads regarding who’s evil or who’s the law amid busy shootouts, vampire minions, Bedlam serums, how to kill a man tutorials, Egyptian wonders unrealized, and new steampunk introductions. What’s supposed to be important – monsters being kind to sick children or sassy sword wielding new characters? If the key to defeating evil is holding fast to loved ones, why has our family been apart all season? Perhaps one writer should have been responsible for one set of characters the entire year, as Dracula’s apparently content to wait out the cowboy adventure while other isolated and aimless immortal plans go round and round and pull Penny Dreadful apart at the seams.
Penny Dreadful has an innate melancholy – cemeteries, grave digging, mourning shrouds – but the dark romance is used for unnecessary preachy in “Ebb Tide.” Separated characters finally meet, but one knock on the door and a brief scene reconciling the past and present is not enough. Friends that could fill this empty manor and fight the bloodshed are pushed away while our team in the West doesn’t heed ancestral warnings. Despite insisting London is home, characters remain obstinate just for the sake of creating drama, leading to contrived betrayals and more speeches begging for the fast forward button. Touching conversations on who will bury whom are interwoven with weaker plots, straying from the core and repeating exposition we already know. Visions unite players who have been apart but such mystic conversations and wisdom on rescuing one another from darkness should have happened much sooner – two episodes ago, nobody cared. Krysty Wilson-Cairns writes the quick at forty-three minutes “Perpetual Night,” and it’s the shortest episode of Penny Dreadful when the series desperately needed more time. The boys rush back to Londontown amid foggy cityscapes, morbid voiceovers, tasty frogs multiplying, and rats amok. Dead wolves and toothy minions everywhere require swift blade work and fireplace pokers to stave off vampire infections – but no one thought to call Dr. Frankenstein away from Bedlam’s dungeon when people are said to be dying by the thousands? Penny Dreadful bites off more than it can chew, takes too long to achieve what matters, and spits out the excess when there’s no time left. Ironically, the “The Blessed Dark” finale also delays, saving choice moments with its stars rather than going full tilt with the dream hazy, bodies on hooks, and bats as sad lullabies over the special credits recap the sad state of our separate characters. It’s very exciting to see the reunions and werewolves fighting vampires in true monster mash up fashion as it should be – Dr. Jekyll passes by as Dr. Seward hypnotizes Renfield! As a season finale, this hour provides closing moments on some toiling plots. However, as a series finale, it barely resolves anything. Brief mentions on her destiny, his destiny, and previous prophecies don’t make sense anymore, and Victor literally bumps into the gang at Bedlam. The team is together again by accident! Major moments with his monsters earn one scene each, and none of those super strong immortals join the End of the DaysTM battle. Instead, bad ass walking down the street filler and a few ridiculously outnumbered pistols struggle with conveniently confusing action choreography. Bitter ties to the First Season become unrealized tangents, and new characters are inexplicably more steadfast than our original crew. Four episodes ago, life was worth fighting for but now isolated characters give up because the script says they should in a one hundred and eighty degree turn that’s painful to see end this way.
Vanessa Ives begins alone, a recluse living in squalor before rising thanks to words and wits with her therapist. Eva Green’s heroine cleans up and humbly restores the manor. Despite losing her faith, Vanessa is inspired by Joan of Arc’s confidence and says she will remain resolute. Oddly, she doesn’t seem as psychic or intuitive anymore and fails to recognize evil tendencies she previously pegged so astutely. It’s sad to see Vanessa open herself, revisiting innocent things that make her happy or having a man’s company once again end in terror. She’s willingly hypnotized to face her repressed psychiatry treatment, addressing her past doubts, regrets, and battles with Lucifer. “A Blade of Grass” shows her at rock bottom before a ray of hope and renewed prayers – if you believe in evil, then you must believe God is there to defeat it. Unfortunately, Penny Dreadful squanders the Lucifer issues, fast tracks Dracula, and circumvents Vanessa’s body and soul versus the fallen brothers with a past event cheating viewers out of a current victory. Vanessa can sense and see Kaetenay when the plot says so, but her lack of psychosexual possession and failed insights inexplicably have her give up despite knowing overdue help is on the way. Green saves this sloppy writing and deserved more hardware for Penny Dreadful. I don’t blame her if she recognized the tone had changed and was ready to depart. The series could have continued in searching for an evil Vanessa as an absent lead a la Blake’s 7 rather than two scenes with bad girl red eye shadow trying to make up for rushing to resolve Vanessa’s story. Josh Hartnett’s Ethan “Lawrence Talbot” Chandler is also not only reluctant to see his real father, but he’s angry at being adopted as Kaetenay’s Apache son. Ethan knows there is blood on his teeth and his soul deserving of punishment and wears his guilt on his sleeve. Unfortunately, his history comes from three different sources – so for all this New Mexico excursion, we don’t get a clear picture. The Wolf of God also spends about fifteen minutes being evil, standing up for Hecate over Malcolm because he won’t repent and belongs in hell. Ethan speaks evil prayers at the dinner table, but isn’t this the guy who’s Latin single-handedly exorcised Vanessa? His reciting of the Lord’s Prayer in the finale feels hollow thanks to his satanic reversal just a few episodes earlier. Was Ethan’s western escapade and Vanessa’s evil each meant to be it’s own season storyline? They both have a scene or two of darkness, and one moment in the finale doesn’t make up for Ethan’s back and forth. Meanwhile, Sarah Greene as Hecate travels in white, an unassuming Gibson girl who loves horses and animals but loathes people. She wants to be evil beside Ethan, but her powers are both handy or nonsense as needed. Hecate kills unnecessary to teach him a lesson and lingers too long in this uneven capacity – crowding an already busy Penny Dreadful while not being a character in her own right. The English Sean Glider (Hornblower) may be an unusual choice as a U.S. Marshall, but his crusty ways balance the British tidiness of Douglas Hodge as Inspector Rusk as they pursue Our Mr. Talbot. Rusk may ask for tea in the bar car and insist Scotland Yard Inspectors do not carry firearms, but he doesn’t underestimate the ruthless West. He begins to believe the Occult upon his case and does take up more violence as the blood on their path increases – before a thankless end, of course.
The beard is back for Timothy Dalton as Sir Malcolm, and even if he doesn’t know all the details, he’s ready to respect Wes Studi’s (Geronimo: An American Legend) Chiricahua Kaetenay if it will help save Ethan. Like an oasis in white in the mostly unlikely place, it’s wonderful when Malcolm and Ethan finally meet up for some shootout action. However, Malcolm really doesn’t have a whole lot to do this season beyond listening to Kaetenay. Most of his dialogue is responsive filler, and even before the surprise series finale, I suspected Dalton would not be returning for Season Four. You don’t keep a talented name without giving him quality writing, and Malcolm ends up repeating the same plot. Chasing after lost lamb Ethan, fighting a vampire to rescue Vanessa – he’s again saving his family even as his travels keep him from his home and any relationship with Victor. Malcolm could have returned to London post-Africa, maybe to meet Catriona sooner or dislike Dr. Sweet, as it’s a disservice to reduce him to little more than Kaetenay’s sidekick. That said, yes please to more of Studi’s set in his ways Apache. He still scalps because old habits die hard, but he doesn’t drink and believes one can’t die until his purpose is served. Granted, Penny Dreadful is trading the mystical negro trope for the mystical Apache stereotype, but the moonlight visions and enigmatic destiny talk tie the blood, suffering, and wolves together. Kaetenay pushes on after Ethan no matter what – he and his people have endured much but he’s prepared to face this darkness over London. There should have been more time for his revelations, and Penny Dreadful only makes use of Kaetenay when needed. It takes seven episodes for Ethan to heed his warnings about what is to come, and he should have mystically connected with Vanessa from the start. As Ethan’s father, Brian Cox (Coriolanus) also has some great one on one’s with Malcolm. They are wonderfully alike, right down to the conquest map on Jared Talbot’s wall, the mountains named after him, and an empty home as the cost. However, a boat load of family history that Ethan already knows is repeatedly told rather than seen, leaving Talbot Senior unevenly written with sorrowful or crazed exposition amid one gunshot and stand off after another. Had we seen the first terrible shootout that has him so angry, then this second battle in his ranch chapel would have had much more meaning. Kaetenay provided connecting visions when necessary, so why not have some kind of mystic Talbot dream that showed the betrayals and horrors causing all this pain?
Fortunately, Rory Kinnear’s Creature aka Caliban aka John Clare has some superb redemption on Penny Dreadful. He won’t harm a dying cabin boy, recalls more about who he was, and realizes who he may yet be after touching moments in the Fourth and Fifth episodes showing his life before his death and resurrection. He is again at the window or in the eaves, on the outside peering in on those that think he is dead. The Creature risks rejection and reaches out despite the pain, blossoming from being an angry violent child to almost the man he used to be. His resurrection allows Caliban to find his family – only to loose it again thanks to innocence versus the unnatural. This season, Clare is almost totally separate from everyone else, alone on this sympathetic journey beyond too brief moments with Vanessa, erroneously on the fringe without even seeing Dr. Frankenstein. He may piece together his past, but not enough was done with the connection between Vanessa and the Creature. She recognizes him, but not him her, and Penny Dreadful cops out by resolving their past in a flashback. Again, just because we the audience saw it does not mean the characters themselves received any current resolution. Why didn’t Caliban ever knock on Malcolm’s door? He would have been welcome in this misfit family dang nabbit! Reeve Carney’s Dorian Gray and Billie Piper’s Brona cum Lily Frankenstein, however, should have stayed home. By his very nature, Dorian is a supporting character that never changes. They aren’t missed when absent but Penny Dreadful uses him and Lily to shoehorn in some kind of modern feminism vengeance that goes nowhere fast with repetitive, ad nauseam speeches. Whether it is justified man hate or not, the appearance of Jessica Barden (The End of the F***ing World) as Justine perhaps a la the de Sade wastes time with back alley torture, nudity, and bloody threesomes. The warped justice is all over the place with even less to do Dorian getting stabbed for funsies before he gets bored from having seen such depravity already. Episodes grind to a halt with their round and round male behavior psychoanalysis, briefly tossing in suffragettes and violence that makes them just as bad as the abusers from who they claim to rescue women. Penny Dreadful has done better psychosexual themes, and compared to Caliban’s soul searching, Lily realizes her humanity too late in one great soliloquy that should happened the moment she was reborn, and Ethan never finds out Brona has been resurrected!!!!
Harry Treadaway’s junkie Victor Frankenstein becomes a mopey little piss ant bent on proving his superior science can conquer death, and he arrogantly thinks he can perfect on Jekyll’s methods. Maybe there’s a parallel between his wanting to create angels instead of monsters and Lily’s superior woman army, but their uneven storylines barely intersect beyond a few redundant stalker scenes and never factor into other plots. Victor goes about getting Lily back in the worst way possible, becoming like his originally angry Creature in a fitting poetic justice. He’s deluded in thinking Lily owes him anything, and it should be a great destructive character arc. However, rather than having him freaking call on Vanessa while they are both in London twiddling their thumbs, Penny Dreadful treats Frankenstein as an afterthought before one last lesson on how to be a human rather than the monster. One poetic voiceover from Victor such as, “Sir Malcolm, I hesitate to confess it now, but I must inform you I have a singular talent for defeating death as we know it…” could have ended Penny Dreadful in a uniquely twisted vein. Sadder still is that Shazad Latif (Mi-5) as Dr. Jekyll somehow turns into a handing Victor the scalpel lackey. He has history with Dr. F. – roommates and dare I say something more – and faces much “half breed” Victorian racism. Jekyll despises his white father but wants his acclaim and title to help prove his serum on anger and duality. Simply put, there is no way he was intended as a throwaway character and we deserved to know him more. Although scheduling conflicts necessitated the departure of Simon Russell Beale as Mr. Lyle, his being written off as going on assignment to Egypt just begs to be told! Did everyone forget all the prophecies on Amunet and Lucifer or the hieroglyphics carved onto the vampire bodies? Of all the friends still about London who never bother to visit, it’s Lyle who draws Vanessa out and into therapy because thanks to his closeted sexuality, he understands what it is like to be unique and alone. Of course, he might have mentioned Perdita Weeks’ (The Tudors) thanatologist Catriona Hartdegen when they were studying all that Fallen Angel and Mother of Evil stuff. She’s a woman of occult science fencing and wearing pants who doesn’t blink at the thought of Dracula being in London. Her one on one scenes with Vanessa are well done with possible replacement or lover vibes, “It’s ‘Cat’ for you, as in cat o’ nine tails.’” Wink! She calls Malcolm “Sir M” and I would have liked to see more of them together, but Catriona’s style provides a steampunk cum The Time Machine and albeit meaningless potential. Her cool fighting skills are ultimately convenient and inexplicable – if we weren’t going to learn more then all these superfluous characters should have never been introduced.
We are however given some divine new characters with Patti LuPone returning to Penny Dreadful as Dr. Florence Seward – an alienist said to have distant Clayton ancestry due to her resemblance to LuPone’s previous cut-wife role. Though rigid and progressive, Seward is there to heal the ill, who aren’t bad or unworthy, just ill. She calls out every politeness or mannerism, pegging Vanessa’s loss, isolation, and depression in delicious two-hander scenes with award worthy dialogue and delivery. A moving session recounting Vanessa’s tale, however, makes the doctor strike up a cigarette. She refuses to believe the paranormal causes or that vampires are after her patient, but she does understand pain and has some murderous history of her own. Samuel Barnett’s (Dirk Gently’s Holistic Detective Agency) seemingly innocent Renfield is Dr. Seward’s secretary, but his red light district cruising leads to bloody encounters and insect snacks. Where Penny Dreadful initially had to dance around the Stoker limitations, these superb character interpretations deserved more than this season’s rushed attention. Christian Camargo (Dexter) as zoologist and charming widower Alexander Sweet is a man smitten using rapid fire science references to woo Vanessa, but his reveal as Dracula is too darn early. This romance seemed so happy and Sweet is almost empathetic, but evil lurks in the House of Mirrors of all places! He doesn’t want Vanessa’s submission, just to be seduced by she, the Mother of Evil and serve her. Sadly, unraveling toppers instead go unresolved. After admitting he was directly responsible for Mina’s demise and all of Season One, Penny Dreadful lets Dracula exit stage right and we aren’t supposed to notice? What is worth noticing are the trains, dime western action, and steampunky flair alongside our usual penny blood, gore, buzzing flies, broken necks, and bat silhouettes. The cobwebbed and boarded manor opens the windows and clears the dust as the camera focuses on the period touches – vintage motion picture cameras, spectacles, brandy decanters, nibs, and ledgers contrast the hay, canteens, wagons, saw dust, and Native American motifs. The fashions are a little more modern, but the museums, taxidermy, skeletons, and specimens in jars invoke Victorian sciences amid the carriages, cobblestone, and tolling bells. Although some CGI backgrounds are apparent with a foreground actor and fakery behind, the desert vistas, mountains, and ranch compounds create bright lighting schemes to contrast the British grays, developing a unique style like nothing else on television.
Unfortunately, with NBC’s Dracula long gone, Crimson Peak’s less than stellar box office, and Penny lost too soon, the promise of more Victorian horror and a new dark romanticism appears short-lived. Whether the cast or Logan wanted to depart or Showtime disliked the production expenses, something behind the scenes was the final nail in Penny Dreadful‘s coffin. The two hour finale burned off the last episodes yet advertising promoting the event as a season finale later backtracked with the series’ fate. More merchandising opportunities never seemed capitalized upon, and there was little award campaigning. Having had Season One available on other streaming platforms might have helped the show find more audiences, however Penny Dreadful wasn’t available on Netflix until after its cancellation in a tidy Three Season binge package. The series’ props have been auctioned off, so it appears no one shopped Penny Dreadful to any other networks. Call me a conspiracy theorist, but in late 2015 while this Third Year was filming was also when Tom Cruise swept in to take over The Mummy and start Universal’s highly anticipated but ultimately D.O.A. Dark Universe monster revival. Did somebody squash the competition? Maybe it isn’t as simple as that, but I will always be skeptical of Logan and Showtime’s he said/she said claiming that this was always how Penny Dreadful was supposed to end. With new locales and more colorful literary characters among our beloved team, why couldn’t Penny Dreadful sustain itself? Previously, one could overlook any small inconsistencies because the sophisticated scares and morose design far outweighed any negatives. This season, however, becomes a chore to continue and is best left at Episode Four. After finishing Dexter and losing interest in Homeland and Ray Donovan, we’ve canceled our Showtime subscription since Penny is no more. There were other ways to do Penny Dreadful justice than this, well, what seems like internal sabotage, but gothic viewers shouldn’t let this rushed Season Three dampen what has otherwise been a stellar and macabre program.
Penny Dreadful Season 2 is Again a Macabre Good Time
by Kristin Battestella
Penny Dreadful’s sophomore year opens with a recap of the the Showtime series’ debut before picking up the Gothic sophistication right where we left off – this time with ten episodes of scorpions, witches, monsters, and devils.
Vanessa Ives (Eva Green) is attacked by a group of Nightcomer witches led by Madame Kali (Helen McCrory), but ex-gunslinger Ethan Chandler (Josh Hartnett) protects Vanessa along with Sir Malcolm Murray (Timothy Dalton) – whom Madame Kali pursues romantically. Egyptologist Ferdinand Lyle (Simon Russell Beale) helps translate a mysterious demonic tale written on a monk’s relics alongside Dr. Victor Frankenstein (Harry Treadaway), but Frankenstein is distracted by his work on the late Brona Croft (Billie Piper) – now resurrected as Lily Frankenstein at the request of the Creature Caliban (Rory Kinnear), himself going by the name John Clare for his new job at a waxworks museum. Unfortunately, Lily eventually sets her sights on the decadent Dorian Gray (Reeve Carney) instead.
White snow, demonic language, and dangerous carriage attacks waste no time starting “Fresh Hell” alongside excellent tender moments and graves dug from last season. Where Year One was about meeting the team and facing a largely unseen evil, now Penny Dreadful puts a more human face on our company’s threats with evil women and meddling inspectors. It’s a delightful step to share the gruesome aftermath while we get to know this enemy – a little demon family to mirror our flawed fighters. Monstrosity is just everywhere in Londontown!These naked witch ladies should be alluring but they are not, and new biblical threads arise in “Verbis Diablo.” Even prayers are no longer sacred amid pity projects, cholera ills, and enchanting deceptions. New character interactions infuse Penny Dreadful, anchoring the stories of possessed holy men, titular puzzles, disturbing infant abductions, and unique voodoo uses. That’s one diabolic arts and crafts room! There’s sup
erb war room plotting in both our houses – and a mole between them – so it is perhaps unusual to have an all Vanessa flashback episode so soon in “The Nightcomers.” However, the Victorian meets Baba Yaga magic, symbols, and protection motifs are excellent thanks to critical past information that will be important later and sublime guest star Patti LuPone (Life Goes On). This well paced character drama fills in history from the First Season and serves it with quaint do no harm and brutal persecution.
The demonic riddles and unique character confrontations continue in “Evil Spirits in Heavenly Places.” Deception always wears such a pretty face yet Penny Dreadful makes time for our darkly clad band to enjoy some lighthearted social moments before a creepy chameleon siege upon Sir Malcolm’s house that has the viewer studying each frame for clues. While padding time and unnecessarily stretched out scenes are apparent in this longer season, the final moments here are an appropriately simmering, silent unease. “Above the Vaulted Sky” has some fine true horror as extensions of our family pay a terrible price, and recalled Apache atrocities parallel the montages of faith and battle preparations. Are steel doors, guns, prayers, and totems enough to face the devil? It’s pleasing to have time dedicated to the turmoil and lying in wait for harm to come as evil and the authorities close in on our company. Penny Dreadful has touching poetic moments before major ghosts encounters and hefty scares. However, the sex scene finale here is very poorly edited with intercut frightening erroneously mixed with what should be tender bedroom moments. The morning after in “Glorious Horrors” is non too peachy either as influences are asserted and bloody fatalities become as simple as replacing the carpet. Can one be oblivious to threats when everything is connected and nothing is happenstance? Funeral talk and awkward balls shape a deliciously off kilter splendor, and Penny Dreadful puts all its players together in a twisted little bloodbath with intriguing character asides, jealous pairs old and new, superb revelations, and gruesome showdowns.
“Little Scorpion” is a shorter Penny Dreadful episode at only 49 minutes, but this Ethan and Vanessa-centric block has lovely one on one character moments questioning solitude and the growing distrust among our eponymous team. The tormented have some small, delightful comforts away from the inescapable monsters and demons at their backs, making for some dangerous tension and steaming dancing in the dark storms. Superior hours where not all the cast appears suggests Penny Dreadful creator John Logan may be juggling too many storylines or characters, but “Memento Mori” trades deadly toppers for swift interrogation filming. Askew up close shots, intercut tension, and lies contrast softer fireside conversations and waxing regrets. Can you look at yourself inthe mirror when you do what has to be done in the fight against evil? The ongoing demon incarnate puzzle solving ties together pieces from Season One as mirrors and dual camera tricks heighten the character heavies. Although the evil plans seem too wishy wasy at times with back and forth possessions and reversed enchantments, this episode allows its three plotlines to play out as uninterrupted acts, bucking the A, B, C standard television story structure to elevate its scary revelations.
Monster does catch monster, and even the authorities consider otherworldly and superstitious possibilities in “And Hell Itself My Only Foe.” Upticked violence and hauntings find our team, and the witty dialogue and intelligent scripting add to the surprises. The subtle Talbot name drop is worth all the wolf mishandling in the First Season, and more self-awareness comes in the ugly waxworks entertainment. Evil is beautiful and seductive with temptations from Lucifer to display one’s inner beast. That internal made manifest leads to some stunning confrontations, indeed. $%#%(*&! The excellent multi-layered horrors and battle of wills continue in the “And They Were Enemies” finale as Penny Dreadful’s not so merry band is tested in enemy territory. Devils on the shoulder present a most convincing case – be it death, our darkest desires, or the brightest dream too good to be true. Once you cross the line toward darkness, what must you do to come back to the light? Can you save yourself at all? Granted, moments with the effigy puppetry and lookalike demonic language arguing become hokey quickly, a jarringly laughable moment amid the utmost heavy. After a hefty but quality slow build and some unnecessary treading tires and stalling plots, the final evil confrontation also feels too rushed by comparison. There are some wild surprises and a character denouement with time for reflection is a welcome change from an action finale. However, maybe the pacing should have been tightened to have an all battle second to last hour and then an entire sigh of relief end instead of a finale that feels too half and half. Fortunately, Penny Dreadful concludes with plenty of creepy nonetheless. Are our players moving forward stronger after these paranormal events? Their ships may be sailing their separate ways, but Year Three of Penny Dreadful looks to promise plenty! %%$%#$@#*@!
Evil just won’t let go of Vanessa Ives so easily, will it? Her strength to fight against demons inside and out glues the team together as much as it puts them in peril, and Vanessa needs them as much as they need her. She talks about what must be done and what she is capable of doing, and even when some of that is just delayed exposition issues, we believe her wrath because we’ve see her pain. For all the good she does and her ongoing struggles to keep this delicate balance, her ties to Amunet leave nothing but badness in her wake. How do you cling to faith when there is so much wicked? Vanessa endeavors to embrace her power within – but does that mean you abandon your belief in a higher power? Having religion doesn’t necessarily make you good, and Vanessa admits she and God are on challenging terms. Can we just be who we are or is that too much responsibility for one soul? Vanessa’s therapy is in her support of the boys about her – she is a confessor for each of them in different ways. Will solace be found in like tormented persons? She can soothe others but not herself, and Vanessa has some deliciously intellectual conversations with John Clare, adding a new damned soul to her repertoire – which looks quite cloudy for next season.
Likewise, Ethan Chandler is beginning to suspect his wolfy connections as more dastardly carnage comes to light. He’s perpetually trying to leave town thanks to his fear of admitting what he is capable of doing, which is beautifully foreshadowed in “Verbis Diablo” before the tenth hour finale. Ethan’s charming banter with Lyle deflects his inner lupus with Latin research, and Hartnett very nearly steals the show in his witty battles with Douglas Hodge (Red Cap) as the persistently not stupid Inspector Rusk. Like Vanessa, Ethan pegs people for who they really are, and his coy comes in handy as his pursuers mount. Even if he can face his affliction and its monthly consequences, he tries to protect Vanessa from his wild in a wonderfully unconventional romance – if it can even be called that. We don’t see the wolf outs for flash in the pan cool, but rather as choice visuals to emphasize the tormented monstrosity now fully realized on Penny Dreadful as it should have been all along. Danny Sapani as manservant Sembene also has more to do now that he helps Ethan bind his lycanthrope tendencies, adding to the fine moments he has with Sir Malcolm. This stalwart and strong but humble workhorse character provides a shaman wisdom while doing the dishes, baking, and waxing on how Ethan should see his moonlit changes as a blessing not a curse. Sembene shares his own past sins and guards his household kin with unwavering duty and respect, but by golly, audiences will be understandably angry at the treatment of the character. He still deserves more, #$%D#&*%!
New bewitching temptations and continued family losses grip Sir Malcolm once again on Penny Dreadful, but the in control, noble gentleman on the outside can’t use his suave to hide his pain. Sir Malcolm must face the questions and consequences regarding his daughter Mina’s death from Last Season, and he’s ready to trade his life and accept his punishment to spare his newfound family further torment. His internal demons provide ghostly experiences both positive and wicked. Dalton is charming in his unknowingly deceptive courting with Mrs. Poole, but the shaving of his beard is a surprising character development. It’s just so odd seeing the ex-007 sans scruff again, but the change is a perfect reflection of the evil influences at work. Despite some strong advice from Sir Malcolm and an interesting science versus faith intellectual pairing with Lyle, young Victor Frankenstein is also blinded by his wrong doings, chiding John Clare’s pressure on Lily while Victor himself is slowly but surely shaping his perfect woman. Frankenstein’s muddled monster making motives become increasingly creepy science for fetish alongside his now not secret drug addictions. He’s a little nasty, too, but bonds with Vanessa, trusting her to help him with his awkward shopping experience. Slowly Victor becomes aware of his mistakes, even admitting his addiction is affecting his freaky science, but by time he wants to escape his creations, it’s too late. Ironically, Dr. F. doesn’t believe in witchcraft, but evil knows what he has spawned and uses his deeds against him in smashing fashion.
Those wonderfully macabre waxworks and layered Victorian deceptions elevate the Caliban aka John Clare plots this season, and his scenes with Vanessa are refreshingly honest and mature. Clare speaks his mind without malice instead of his usual mine mine mine childish wants. Why are these Frankenstein men so pressed and gushing over every woman they meet? Clare’s friendship with Vanessa is his first genuine and healthy relationship. Kinnear has room to shine in the poetic recitings and quiet moments with Green, but the well read doesn’t do Clare any good if he won’t learn from his to err is human. Once again, he misuses his chance to do right, can’t catch a break, and ultimately must flee. When Clare finally looks past Lily’s beauty and his desperate need for companionship, he sees a worse ruthlessness and rightfully realizes that Pandora’s Box contains a mirror. Was Lily’s creation worth it? Though the short blonde hair doesn’t fit the period and it is unusual that Vanessa doesn’t recognizer her, Billie Piper is much better this year as Lily Frankenstein compared to the dead end and bad accent that was Brona Croft. It’s perfectly acceptable on Penny Dreadful when the resurrection of a character can fix all that was dislikable, and Lily smartly questions why women wear corsets and are meant to be controlled and appealing to a man. She seems innocent, but soon proves the dastardly of her rebirth and wrongfully remodeled by Victor is not for anything angelic. Lily learns how to lie, finds her deadly instincts, and grows tempted by Dorian thanks to elegant white frocks, gruesome blood stains, and a man-made monster superiority complex. We should like Lily – we don’t blame her for remembering the abuses of her previous oldest prostitution profession and using her strength for revenge. However, her twisted and wrong doing companionship with Dorian is anything but empowering to anyone but herself.
Unfortunately, I did not miss the absent Dorian Gray in “Fresh Hell,” and his brothel shenanigans feel more like interfering annoyances during the first half of Penny Dreadful this season. I’m all for more penis on television, but compared to the more serious, self aware, and better developed star roles, the character seems like an excuse for depravity mixed with would be modern social commentary. Dorian doesn’t even interact with any other main character until “Glorious Horrors” – or anyone else but Jonny Beauchamp (Stonewall) as Angelique for that matter. These scenes become shoehorned in titillation or sensationalism, a cruel and cliché storyline serving no purpose in the overall season arc. Angelique’s gender struggles in Victorian society and finally finding a tender relationship should be touching, but by slicing their aforementioned consummation scene with evil seduction and paranormal death scenes, are you saying gay sex is as bad as casting demonic spells on a man and using voodoo to kill his wife?!?! #$%$^$@*&! We know this tryst is fun and games for Dorian, but this is no fling to Angelique, and those consequences also unfairly stereotype Angelique as a nosy, jealous beotch when Dorian moves on to his next fancy. The about dang time reveal of his eponymous portrait and his blasé attitude toward it proves how ugly his true self really is, but we already knew that from his toying with Angelique. This entire unnecessary and unjust plot further proves Dorian Gray is a tug and pull supporting player who should only be recurring as needed – and Angelique should have been the gosh darn regular joining our dreadful company instead!
Thankfully, Simon Russell Beale is deliciously good fun as our team’s flamboyant Egyptologist Ferdinand Lyle. Despite the sophistication and heavy work at hand, Beale provides a covert humor and positive gravitas with his flirtations:
“American! I am undone!”
“Well, I do have a gun belt.”
“Stop!…Will you bring your gun belt?”
Underneath this fluttery chemistry, Lyle is unsure where his allegiance lies, and by admitting his conflicting circumstances and burdens to bear, he fits right in with the Penny Dreadful gang. The homoerotic undertones match the main story instead of being uncomfortably apart from it, adding flair to a character largely saddled with fantastic exposition. In addition to the already established Catholic iconography, Lyle adds more conversations on faith, reflection, and recompense thanks to all he has witnessed from Helen McCrory as that sometime Madame Kali and always evil Mrs. Evelyn Poole. Her enemy house not only has a medieval ossuary bent, but Sarah Greene (Vikings) as the ruthless but cool Hecate is ready to step out of her mother’s much older than she looks shadow. Madame Kali is in a powerful tit for tat with her demonic master, and she intends to gain new praise by delivering Vanessa to him – with Sir Malcolm as a dark bonus for herself. Her ambitions, Hecate’s rival desires, and their evil foil, however, do get stretched thin at times. These are formidable ladies cutting out hearts and invoking killer puppetry with more provocative tricks – The Pooles shouldn’t have to hurry up and wait to harm our dreadfuls. Nonetheless, such evil planning talks make for some juicy scene chewing for McCrory and other returning guest stars. Just because you’re dead doesn’t mean you can’t reappear as Madame Kali sees fit!
Iffy CGI cityscapes, animated scorpions, and more sweeping scene transitions don’t always look right on Penny Dreadful, but the up close London streets alive with horses, waxworks, and period mechanization look the ghastly Victorian needed. The below the British Museum dusty, piles, statues, and maze-like clutter for good or ill is simply begging for some Mummy plots! More Universal Horror nods including the one armed inspector and swan style gowns layer the lush alongside a haunting score. The witch designs look of the past, with evil sprites coming out of the walls or mirrors and matching a colorful scheme of orange for evil firesides and gruesome greens for the dead. Candlelit patinas contrast the all gray and white ghostly while coffins, shrouds, gargoyles, and dungeon traps keep the macabre personal rather than today’s hollow torture porn gore – often with 55 minutes plus for full morbid effect. Sharp language uses mix old staples, making for a twisted new tongue where eerie terms like lupus and Lucifer stand out and force the audience to pay attention upon first viewing Penny Dreadful. The fashions are again scrumptious, and it’s lame of Hot Topic to go with scorpion tee shirts when this kind of long skirt and button up lace is on the runaway and ripe for a comeback. Penny Dreadful has an excellent attention to detail, and I’m surprised this uber sophisticated design isn’t receiving more technical awards.
Watching Penny Dreadful can also be tough thanks to cumbersome Showtime Anytime and Xfinity interfaces, loading and log in troubles, and expiring episode rushes but there are Amazon streaming and DVD options in addition to Showtime reruns. Ironically, the show’s premium channel home allows it to be top tier scandalous yet also makes Penny Dreadful difficult for viewers to find. Nonetheless, the series remains must see for Gothic horror fans. The sensationally spooky material and often outlandishly wicked are treated intelligently, and we’ve been waiting for Penny Dreadful’s kind of sophisticated, top drawer horror for too long.