Karl Delossantos

Halt and Catch Fire is to Mad Men as Low Winter Sun was to Breaking Bad. Since the announcement of the show it was evident that AMC was trying to fill the void that Mad Men is about to leave in the network’s schedule. The comparisons between the two run miles through the Pilot, but much to the writers’ credit the series never feels like a rip-off of Mad Men, instead its flaws are derived from the writers’ need show to feel self-important.

The story of Halt and Catch Fire was one that can sustain itself, unlike the underlying plot momentum of Mad Men, which had to rely on character drama to sustain its episodes. Two men, Joe MacMillan and Gordon Clark, attempt to reverse engineer the IBM BIOS chip to try and engineer their own computer. Much of the pilot is extremely compelling, particularly the well made reverse engineering montage. That is part of the appeal of the series. Its impeccable style was able to hide the fact that everything surrounding it was familiar. Everything from the opening screen defining what “Halt and Catch Fire” meant to a steamy sex scene following a very public debate, this time in a classroom setting. However, with the specific style of the show there was a slight calming of the comparisons.

Another point of familiarity were the characters. Lee Pace portrayed Joe MacMillan who is the Don Draper of the show all the way down to waft dark hair. The character floats through life like it was made for him. He monologues like a poet and persuades like a lawyer. Part of his storyline even involves him pursuing his own agenda behind his employers’ back. Sound familiar. His partner Gordon Clark is played by Scoot McNairy. He is a quiet man who has been weakened by life. It seems that all of his life’s motivation disappeared after various failures including a failed computer he worked on with his wife. She takes on the “bitch wife” role that Betty Draper and Skylar White (although I completely disagree with the public’s disdain for her) inhabited on AMC. They are later joined by Cameron whose role as the rebel genius recruited by the “heroes” seemed to take from every single person before her. It helps that that show’s ensemble was able to insert some uniqueness into each role, however I’m afraid that these caricatures might be set.

However, it’s weakness is hidden by the show’s confidence. When I say confidence, I mean it’s unwavering ability to believe that it could do no wrong, much like MacMillan. Something from a melodramatic monologue is justified with assurance that the move paid off or a seemingly useless scene involving a baseball bat has a deeper character meaning. The self-importance almost runs rampant, but the plot keeps us centered. Our protagonist’s passion keeps us invested. I don’t know how long I’m going to stick with the show. The first episode didn’t offer us much in terms of plot, however I think with this type of confidence they must have something up their sleeve.

Three episodes in and it seems that Penny Dreadful can do no wrong. It is rare that in the first three episodes a show knows itself so intimately that it can change direction and know the audience will follow.

We are returned more closely to the main storyline that was introduced in “Night Work” (see our review here). Ethan, eager to get medicine for his new companion Broma. Their search leads them to a tense stroll through the zoo where they encounter a pack of wolves. This is where the show shines. As the seconds ticked away the feeling of suspense continued to build. The darkness, the dread, casted a thick fog over the scene until it finally was over.

What we got out of the storyline was a clue to Mina’s disappearance. Apparently she has involved herself with a nobleman who is able to control her. However, the pieces never really fell into place until we are introduced to a rabid Fenton who referred to the dark being hiding in the shadows as “master.” A final interrogation scene revealed that he’s always there, reaching his hand out of the dark. Fenton is a creepy motherf**ker.

We’re also told that Vanessa has been acting as bait for this mysterious master. However, it was not totally explained to her about the Amunet possession situation. I’d probably hold that back too. Malcolm simply tells Ethan that if she gets possessed, you might have to bang her, however he was bait more eloquent than that.

After a few tense moments over the treatment of Fenton’s creepy ass, the team is assembled. So called monster hunters consisting of Malcolm, Vanessa, Ethan, Victor, and Sembene. The group agreed to “pledge to go as far as your soul will allow.” This is getting interesting.

However, the storyline that defined the episode and the series yet again involved Dr. Frankenstein. This time we are treated to our first definitive background story to one of the characters on the show, however it is the nature of the background story that is compelling. We learn that Victor’s obsession with life and death stemmed from his mother’s abrupt and traumatic death. The peacefulness of the flashback is suddenly destroyed by the reminder of the carnage of the previous episode.

Frankenstein’s first monster who is closer to the beast that we are familiar with is not much of a beast after all. Caliban, the name given to the monster by a stranger, was able to speak eloquently and display real emotion and hurt after his first encounter with his father. It seemed from the beginning that Dr. Frankenstein was simply unable to contain his first monster. However, the truth is that within second’s of Caliban’s creation the doctor ran out terrified of what he created. The screams of the monster weren’t screams of horror, they were screams of any new born living being. To be ignored was painful and confusing for Caliban. We actually begin feeling for him, however the show continued to shroud itself in darkness as Caliban and the Doctor were still covered in the blood of our dear departed Proteus, whose body laid in shambles as the two continued their conversation.

Caliban felt abandoned the way a child felt abandoned by his parents. However, he was shown kindness despite his appearance and learned quickly of the nature of the world. There is good and there is evil, however the lines may not be so clear. Caliban’s isolation and story felt so heartbreaking that it seemed that his act of brutality was simply done in rage following the clear rejection of his creator. Penny Dreadful has become so much more than a show meant to induce horror. This side story of Victor and his creatures have become the catalyst for conversation about human nature.

Caliban’s back story has become one of the most interesting story lines of the series. I’m interested to see how it plays out. So far it seems that the show is staying closer to the story of Mary Shelley’s Frankenstein, which the episode laid the groundwork for. I can see where they are potentially going with this Victor/Caliban storyline, but I will digress for now. Caliban is a passionate character who is clearly dangerous, that’s what Victor has to look out for. The entire episode provided wonderful material for Harry Treadaway and Rory Kinnear that both actors poured themselves into.

SPOILERS! If you haven’t watched this episode of Penny Dreadful, I highly suggest you stop reading now!

Penny Dreadful’s second episode titled “Seance” scaled back the scares and focused more on character development and the overall darkness of the series, but there’s no denying that this was one phenomenal hour of television. Everything we thought we knew about the series is ripped from us in literally a matter of seconds as the series continues to be unflinching in its portrayal of the gothic fiction meant to horrify and shock us.

Let me start off by saying that if we didn’t know what was going on before, then we are really in the dark now. The series knows that they have hooked us to what essentially is a basic knowledge of the world, which puts them in a position of power. They can do whatever they want with us and we would buy into it, that’s what made the final shock of the episode so heartbreaking and exciting at the same time.

Just when I was ready to call Victor and his monster Proteus the best couple of the television season, we are deprived of what seemed like one of the more pleasant storylines introduced to us in the Pilot. Much of the episode focused on Victor’s efforts to teach his new monster, who chose the name Proteus, and help him piece together his history before his demise. It was wonderful to watch this relationship between monster and creator develop. Every time we cut to them it was a welcome release from the tensions of the rest of the episode.

Just at the end, when we have thoroughly been duped into loving Frankenstein’s Proteus, especially when he declares he hopes to have as many as ten friends, he is torn into two pieces by a true monster. This monster refers to himself as Frankenstein’s first creation and is closer to the nightmarish creature that we were thinking about when the identity of the doctor was revealed. Now, the question becomes what now? Is the monster responsible for the ripper killings that were referred to in the last episode and the cold open? Will Frankenstein protect his creation?

This storyline was also a welcome indicator for the rest of the series. As confused as we may be right now about the intentions of each character and the direction of each storyline, it revealed to us that this is a show that is unflinching. The writers aren’t afraid to kill off a, however brief, beloved character or show a graphic sex scene with a prostitute with tuberculosis.

One of series’ more intriguing characters, which is saying a lot, is introduced in this episode. The classic story of Dorian Gray is mixed into the darkness that is Penny Dreadful and let me tell you, this is not your Angela Lansbury version. Reeve Carney plays a modernized version of the classic English literature character with apparently the same shaky moral grounds as the Oscar Wilde version, but Carney is able to infuse the character with such charm and sexual energy that he makes you just want to jump in the sack with him.

His storyline begins with a rather racy sex scene with a prostitute suffering from tuberculosis. Despite her spitting up blood, coughing, and wheezing, it seemed Mr. Gray enjoyed himself. He even became more aggressive when she coughed blood onto his face. All the while he had pictures being taken, which would point to him being some recluse, but the next time we see him he is dancing with Vanessa at a party.

The seance mentioned in the title occurs at said party thrown by Lyle. Despite the psychic’s clearly fake possession it seemed that Vanessa was possessed by something much darker. Something that targeted Sir Malcom’s history. The scene was probably one of the best scenes of television in the past year. It was terrifying, powerful, and… well, dreadful. From the entity we learned that Sir Malcolm left his dying son Peter to go on an expedition.

Whatever was possessing Vanessa knew its stuff, but when something more insidious entered her, that’s when things got really interesting. The entity accused Sir Malcolm of lusting over his own daughter saying he she saw him having sex with someone. It was a bit confusing, but the horror of the scene wasn’t lost. It ended with a classic demonic back bend as Vanessa left the party leaving the guests horrified.

Usually the first four episodes of a series are rough. It seems that the writers and directors don’t know what kind of show they’re making, but if this episode is any indication, it is clear that the Penny Dreadful crew is pointed in the right direction. Dread, horror, gore, repeat. That’s the pattern we’re looking at and I wouldn’t have it any other way.

Turns out Mad Men has a soul after all. At the end of the episode, entitled “The Strategy,” we find Peggy, Don, and Pete having a family dinner at a burger barn. Three people battered by life having a cordial meal together. However, as the rest of the episode preceding the scene revealed, these are three people who have just learned what it is to be human.

Peggy and Don are still somewhat at odds, more on Peggy’s side though. She is still seething, slopping around, feeling sorry for herself that she can’t reach the level of the great Don Draper. It’s a dark shadow to try to crawl out of, but I’m sure she does. The problem with Peggy is that she’s too hung up on being Don that she forgets that she is her own person. In the episode, she delivers a beautiful Draper-esque pitch for Burger Chef. Elizabeth Moss exuding every bit of confidence as her character has. However, all that confidence crumbles away with one suggestion from Don. She can’t seem to grasp the concept that no matter what there will always be a better idea.

It also begs to be said that the episode was a wonderful reminder of the changing times. This half-season has been great at that so far. The hippie culture, the computer, but this episode brought to the surface something that the show has been focusing on since day one: women. Peggy realizes her pitch is rooted in the past. The family she was trying to portray, a couple of happy kids with Dad waiting for dinner and Mom worrying what to make, was becoming the minority. Peggy herself began to rue what she has become. A woman who has turned thirty with nothing to show for it, but in one of the show’s softer moments, Don reminds her (with the help of Sinatra’s “My Way”) that she is doing just fine. Then, they danced. It was hands down one of my favorite moments of the season and maybe the series. It perfectly summed up the duo’s relationship as a mentor and his protege, a father and his daughter, as friends.

The episode was also a huge stepping stone for Joan, which also makes me wish this episode had given more screen time to Hendricks whose Emmy chances look skunked by this season. Bob Benson is made an offer to move to Detroit to join Buick after Chevy makes a move to bring its advertising in house. Knowing that the GE executives will be more assured if he comes in with a wife, he proposes to Joan who, after years of being objectified, asserts that she would rather marry for love. Hendricks is so subtle with her acting, but impactful at the same time. She emotes so naturally. It’s a travesty that she hasn’t won any awards (or the entire cast rather) for this role.

The one last piece to that dinner in burger chef is Pete. He has been a mystery this entire season. There was a point where I realized that the charm of it all may have seeped into him (like his tan) and he was living in some dream world where nothing mattered. However, after leaving Bonnie in New York to visit his daughter in Connecticut he is given a sort of wake up call. Trudy isn’t at the house to greet him and doesn’t come home until late. Pete feels rejected and unwanted. Trudy even points at that he saw his daughter enough for the year. His dream is falling apart. In New York, Pete is the man who needs to be needed and Bonnie realizes that. She goes back to Los Angeles without him on the same flight as Megan who was visiting Don.

Their relationship has been falling apart since the beginning, but it was clear now that she was trying to run away from Don now. When in the apartment she decided to take the rest of her stuff with her to Los Angeles, but when Don offered to bring it when he visited she closed up. It looks like the era of Megan Draper is no more.

This was a refreshing episode of Mad Men. So often the show is brutally honest and cold in its portrayal. It is part of its success. This episode reminded us that sometimes things do fall into place. That the lives of the characters aren’t lost causes. They have room to grow, learn, and move on. It excited me to see how the writers tear them apart again.