The Victorian era is a strangely fascinating one. The lower classes endured rampant poverty and appalling work conditions which led to epidemic levels of crime, disease and cheap gin consumption. The wealthy, meanwhile, were free to indulge their morbid curiosity in all things macabre, creating a resurgence in seances, mysticism and gothic literature — not to mention stuffed animals. All of this was curiously juxtaposed with an explosion of technological and scientific advances, increasingly liberal views and real social change. For a brief moment in time, both worlds co-existed in a swirling vortex worthy of a good Dr. Who episode. It may have been an unfortunate time to live for a considerable amount of people, but it certainly left us with rich material for great entertainment, as the following three programmes can attest.
~Whitechapel A stylish and atmospheric murder mystery set in modern day, which takes place in Whitechapel, the area of London where Jack the Ripper committed his crimes. Indeed, the first series deals solely with copycat murders which replicate the Ripper’s gruesome killings.When DI Chandler with his posh, plummy accent is brought in to head up a detective team currently lead by the snarly cockney DS Miles, fastidious rule following instantly clashes with scrappy street smarts. Chandler is driven to distraction by this slovenly group of macho men whom he chastises for not even wearing deodorant and they can’t wrap their heads around his OCD, squeamish tendencies. Of course, after much banging of heads and wringing of hands, mutual respect is earned. Kind of. It’s a touch derivative and has some nagging plot holes but its so wonderfully dank and spooky and sprinkled with the supernatural that misgivings can be overlooked, especially as the relationships which grow between such a motley crew of characters become so wonderfully touching.
~Ripper Street This series is set in the same locale as Whitechapel, but takes place six months after the last Ripper killing in 1888. DI Reid (played by one of my favourite actors, Matthew McFadyen) heads up H Division with Sergeant Drake as his gruff muscle. There’s also Captain Homer Jackson, an American ex-Pinkerton and army doctor who brings his forensics expertise and his fellow American, brothel owning, sometimes wife, Susan who has street smarts in abundance. The four have a magical chemistry which creates the heart of the show. Ripper Street bears a passing resemblance to Murdoch Mysteries with its deep dive into the analysis of fibres, blood splatters and gaping wounds. Any resemblance ends there however. While I have always struggled with the contrived, stilted cleanliness of Murdoch Mysteries, Ripper Street is not afraid to get down and dirty. It positively revels in the sordid and seedy, while also being magnificently alive and positively Dickensian in its vibrancy and the richness of its dialogue. Its also fascinating to see how Captain Jackson’s pathology lab changes over the years, from dank and dingy to sparklingly clean, a subtle nod to changing times. The series takes a hard look at social issues of the time, taking factual events and seamlessly creating a fictional tale around them, and while most episodes have self-contained murders there are several threads which run through the entirety of the seasons.
~Penny Dreadful If there is any show that so brilliantly encapsulates the tawdry world of Victoriana, it would have to be this one. Penny Dreadful is the name given to the 19th century phenomenon of publishing literature in weekly parts, each of which would cost a penny. It was sensationalised literature aimed at the working class masses, big on shock value and printed on cheap paper. In comparison, the weekly installment of Dickens’ stories cost 12 pennies. At the heart of Penny Dreadful’s shadowy world are Sir Malcom, a famous explorer, his clairvoyant accomplice, Vanessa and Ethan an American sharp shooter enlisted to help find Sir Malcolm’s daughter, Mina, who has been kidnapped by a vampiric creature. In their search for her they must battle the demi-monde; those caught between the real and the supernatural worlds. Visually, it’s a stunning production: dark and broody yet filled with a bright and lurid frenetic energy. It’s brilliantly acted and its florid, highbrow dialogue, reminiscent of nineteenth century literature, which could easily become cheesy, is so well written that everything holds together, although perhaps barely at times. Unfortunately, it often feels heavy handed and just, well, too much with its explicit sex, demon battles and the constant spinning of possessed heads. What I enjoyed the most were the quiet bits of the show which divulged back stories and developed the personal relationships, including such well-known fictional characters such as Frankenstein, Dracula and Dorian Grey who are cleverly woven into the storyline.
