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Showtime объявил, что первый сезон психосексуального триллера Penny Dreadful теперь доступна для покупки через ITunes, Amazon Instant Video, Google Play, Vudu, Sony Неограниченно и PlayStation Store и Verizon FiOS, с DVD и Blu-Ray релиз запланирован на вторник , 14 октября.

Penny Dreadful Season One Available for Purchase
Showtime has announced that the first season of psychosexual thriller Penny Dreadful is now available for purchase through iTunes, Amazon Instant Video, Google Play, Vudu, Sony Unlimited and PlayStation Store, and Verizon FiOS, with the DVD and Blu-ray release scheduled for Tuesday, October 14th.

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Джон Логан о первом и втором сезонах "Страшных сказок". Перевод будем ждать от valerie

'Penny Dreadful' Creator On What's Next For The Engaging And Underrated Horror Show
16/10/2014
In a year full of wonderful new shows, "Penny Dreadful" was one of the most pleasant surprises.

Perhaps "pleasant" isn't the right word: "Arresting," "energetic," "intense" and "heartbreaking" might be better descriptors of the Showtime drama, which arrived on DVD and other platforms Oct. 14.

Wait, "heartbreaking"? Absolutely. Creator John Logan clearly loves both the Victorian era and the conventions of the horror genre, and "Penny Dreadful," which wrapped up an engrossing and entertaining eight-episode run in June, briskly merged those elements and yet arrived at something refreshingly original. The show borrowed explicitly from "The Picture of Dorian Gray," "Frankenstein" and "Dracula" (and several characters bear the names of individuals in those books), but the show pulled off the neat trick of never coming off as a derivative pastiche. "Penny Dreadful," unlike much of television's horror-tinged fare, was often borne aloft by the kind of brisk, wide-eyed energy that you'd find in a turn-of-the-century adventure serial.

And yet, when monsters weren't being pursued on London's cobblestoned streets, the show revealed a deeper agenda entirely, one that was revealed in stealthy and purposeful stages.

"Penny Dreadful" pulled people in with gore and surprises, high adventure and creeping beasties, and the centerpiece of the showy second episode was a mesmerizing set piece that displayed Eva Green's mercurial charisma to full advantage. But subsequent episodes revealed that "Penny Dreadful" was ultimately most interested in the monsters that lurk inside people's hearts. Starched collars and horse-drawn carriages aside aside, the Showtime drama proved it was as interested in questions of identity and as obsessed with the fragility of human connections as "Transparent" or "Rectify."

It's about "the pull between what you want, and the danger of having it," as Logan said in an interview conducted last July at San Diego Comic-Con.

Logan, who started out as a Chicago playwright and is now best known as the writer of films like "Hugo," "Skyfall" and "Gladiator," said there no chance he'd have set his first TV series in the modern day.

"My keyboard is a time machine and a portal into somewhere fantastical," Logan said. "I'm not so interested in going to the CVS and finding thrilling stories there. I'm in awe of writers who can do that, but that's not my metier. From my first plays all the way until now, I've always been drawn to different worlds, whether it's future worlds, past worlds or alternate worlds, partly because there's such a joy in exploring them."

Even if you're not particularly drawn to horror, it's impossible to look away from the macabre and the fantastical world of "Penny Dreadful," because the humane and compassionate themes of the show are ultimately so winning. Like another showtime program, "Masters of Sex," "Penny Dreadful" is only interested in sexuality, fear and darkness insofar as it illuminates sincere questions about the potential (good and bad) of human nature.

I can only applaud clever subterfuge of "Penny Dreadful": It billed itself as a horror-infused period piece, when its ultimate goal was to create a psychologically dense character study about a band of outsiders who sometimes find solace in each other. As the rush of new fall programs starts to lull (and the realization sinks in that many new shows are pretty tedious), it's worth your while to seek out this drama. If nothing else, it features some surprisingly great performances.

Every member of the show's cast nimbly manages to traverse the show's shifts between melodrama and scenes of quiet subtlety and melancholy, but it must be said, Eva Green was simply phenomenal in the lead role of Vanessa Ives. Asked to exhibit everything from cagey repression to carnal ferocity to wrung-out, hollow-eyed desperation, Green brought her A game and then some.

As the other two members of the central trio, Josh Hartnett and Timothy Dalton brought gravitas and depth to their roles, and I'm truly excited to see more from both when the show returns. I expected excellent work from Dalton as Victorian explorer Sir Malcolm Murray, and viewers certainly got that, but I was less familiar with Hartnett's work. Toward the end of Season 1, however, he more than held his own with his co-stars and brought wonderful pathos and shading to the role of knockabout adventurer Ethan Chandler.

With any luck, by the time Season 2 rolls around, people will have caught up with "Penny Dreadful" and learned that it is, like so many meaty genre shows, about an ad hoc family coming together to battle the evil that lurks -- both inside and outside the family.

"I know we turn people off with the provocation of the show, with the language of the show, with the period of the show," Logan said. "But I hope that people give the show a chance and get engaged with the characters in such a way that any preconceived notions they have about horror will become less important."

Logan spoke about why he thinks horror is having a resurgence, why the Victorians are more modern than you might think and what's ahead for Season 2. Be aware that some Season 1 plot points are mentioned.

Your show is in the horror genre, which isn't even my home genre -- I'm much more of a sci-fi geek. But I wouldn't really want to limit "Penny Dreadful" by saying that horror is all that it is. It seems like it's much more about the moral and emotional exploration of these characters than anything else. It ultimately seems interested in the characters' interiors. Was that always your goal?
Always. As my first series, I knew this was going to be a life-changing commitment, especially if it hit and it went [beyond one season]. I spent 10 years thinking about it and just turning it over and over. Even though I am a horror geek -- I was the kid who made the models and read the comic books and watched the movies -- I've never really done horror. Not really, not in great, micro detail.

What drew me at this point in my life as a writer was the complexity of the characters and the way that horror -- and science fiction and Westerns and noir -- allows the characters to manifest their angels and their demons in a very literal way. In horror and sci-fi, these things can be physically manifested as well. That seemed to be a really exciting way to play with the central duality of what it is to be man, what it is to be a monster, what it is to be woman -- all of those tensive poles within all of us.

If I were to do a college paper on "Penny Dreadful," I would take this as my thesis: It's about the danger of resisting your true self and your true impulses, and the danger of not resisting your true self and your true impulses.
Exactly right.

It's the core conundrum in life -- you can't resist who you truly are, but at times, you have to resist what you want. That constant tension underlies the whole show.
Yes. To be a member of any social organism, whether it's the body politic, a family, a congregation -- to be the member of a community, it requires that you trim your sails. It requires that you interact with other people. It requires that your molecules don't refract off of them in such a way that's dissonant or harmful.

On the other hand, we all have a demon. We all have desires, whether they're sexual, psychological, mercenary -- whatever they are. We have the desire to express ourselves in a really extreme way. So that rub is one of the things the show is about, I hope.

Can you talk about how making the first season reframed or reshaped your ideas about Season 2? If nothing else, you now know what your cast is capable of, which is anything.
They are a brilliant cast and they inspire me on a daily basis. The second season, in a way, was easier to write, in that I knew the actors' voices. Or, I should say, I knew the character's voices. And in a way, it was more challenging to write, because I realized these actors are capable of anything. They are fearless. So the limits I placed on myself in the first season, I took off in the second season. Because I know Eva Green will happily go there, and Josh will go there, and Tim will go there, and go there enthusiastically because they trust me and they trust in the central -- and this is important -- morality of our tale.

Because, you know, "Penny Dreadful" is not pornographic. It is not nihilistic. It is not cynical. It is oddly, for such a dark show, incredibly warm-hearted. It wears its heart on its sleeve and says, "Here's who we are. We are all fragile, vulnerable creatures. And although we may be monsters, we maybe lethal in our capabilities, we are so delicate."

And we are also capable of such generosity as well. I keep thinking about the seventh episode of the season. This is probably too much information, but my father died last fall, and that was what it was like -- to be at the bedside of a sick person. There are so many different moments --- moments of levity, of black humor, sadness. So here was this Victorian horror story that could have seemed foreign, but it was the most real thing I've seen about being in that situation. It got at a truth.
Well, my father died two years ago, and it seems like we had a similar response to the episode -- you in watching it and me in creating it. I find that episode very moving, in its exultation and its desolation. David Nevins, in our long years of talking about the show before it even began, once said, "All shows are about families." I translated that to bridge of the Enterprise [on "Star Trek"], because that's what I grew up with. It translates to so many things.

So the first season is about a family coming together. They needed a crisis point. And then I experienced my father's death with my family, which is spread all over the globe and spread all over emotionally. For six months, we came together in a sickroom and finally hospice care at his home. The experiences were so profound that, being a writer, I had to process them through writing. And that became Episode 7.

When you say you've taken the limits off the show for Season 2, what do you mean by that?
I think I feel the freedom to explore the sacred texts a little more -- those texts being "Dracula," "Frankenstein" and "The Picture of Dorian Gray." Now that I've brought this family together, I can pull at them in different directions. I can set characters in opposition in ways they haven't been yet. I can bring characters who haven't met together and sort of play the game more complexly. To me, the first season was about putting the pieces on the board. Now I get to play with them.

And you'll be adding characters or expanding them in Season 2.
Yes. I figured out the cosmology of the show for three years. I always envisioned the first season as being about the hunt for Mina and the chief antagonists would be vampires. In the second season, I wanted a human -- an almost human, or perhaps human -- antagonist, and that was going to be Madame Kali, whom we met in the second episode of Season 1.

I only wanted Helen McGrory to play her. I've worked with her twice before. She's a brilliant actress and I knew what I wanted this character to do in the second season. So thankfully, she signed up for the two episodes in the first season, and then she's a series regular in Season 2, as an antagonist. Simon Russell Beale comes back as well, and I think he's in eight of the 10 episodes. He's the Egyptologist and he weaves into the plot a lot. And there are a couple more [new characters] as well. New villains, new challenges, new adventures to come.

Will the characters leave London much?
Yes.

Timothy's character has that whole history as an explorer. I mean, you can't really re-create that as a flashback given that you're shooting in Ireland, but will we learn more about that?
I'm going to give you the vague answer.

I definitely love vague answers.
[Laughs] That answer is, I hope to explore the backgrounds and the pasts of all the characters in different ways.

You were very clever in how you structured the season, in that there was literally a lot of red meat for the horror fans early on, and by the time you got people hooked, later in the season, it was this emotional, romantic, bittersweet story full of sadness.
I kept telling my mother, "Believe me, the first two episodes are the goriest." There is gore all the way along, but you touch on something important. When I talk to the composer or designers or new directors about the show, I say the key note is "poignance." The key note is "cello." It's loneliness and sadness. Within that, there's great joy, there's humor, there's adventure, there's action, there's mystery. But it's about being in the act of wanting or of searching.

Of yearning.
Yearning. It's such an active verb for me as a writer. I constantly go back to that place. I told Harry Treadaway [who plays Dr. Frankenstein] today, "Yeah, you don't really have any happy scenes in the second season. But who does?" It's called "Penny Dreadful," not "Penny Jolly."

The central trio that you introduced in Season 1, is that where you see most of the key dynamics taking place?
I always start with Vanessa Ives, because that's where I started the series. The first idea was envisioning that character and that actress. So that's where I always start. And then beyond that, I truly believe it is an ensemble show. Next season, characters will emerge that weren't prominent in the first season. But you know, my "bridge of the Enterprise" is that house [in London occupied by Ives and Murray].

The show has done such a good job of making the world feel very rich and vital. I mean, just the clothing alone -- Victorian clothing is so detailed and thick and textured, and also so constrained. It's as if they're covering up because too much vitality is trying get out.
That's exactly right. Matthew Sweet wrote this great book called "Inventing the Victorians," which has nothing to do with "Penny Dreadful," but in the years of working on this, I read everything I could of Victoriana, London, England, the Raj, the empire, explorers and spiritualists. And then I came across "Inventing the Victorians," and his central thesis is that the Victorians are so much more like us than we like to admit. We like to look back at them and say, "Oh, they were corseted, they were prudish." Nothing could be further from the truth. They had a great appreciation of color, of sexuality.

And just on sexuality, 1891, which is when our first season was set -- it's before Freud. It's before there were classifications like "homosexual." The word did not exist. So people didn't classify themselves. There was a great deal more exploration of sexuality. Billie Piper and I were talking about her character, Brona, and she asked, "Is she a prostitute?" "Well, yes and no. You exchange goods for services but not in the way we would define prostitution." The sexual landscape of Victorian England was much more open and much more fluid than it would be now.

There is so much muscularity in the Victorians, in terms of their poetry and prose. If you read Dickens, Thackeray, Trollope, Browning, Tennyson, there is such exuberance. And yet they were living in a time in which women were literally and figuratively corseted, where everyone was dressed up to the neck in ties and everyone wore hats and gloves. One of the most shocking events in Season 1 was in Episode 2, when Vanessa Ives goes to a party without wearing gloves. That's a provocation to the people around her.

I remember reading a biography of Florence Nightingale and I was exhausted by everything she was doing. The Victorians wrote so many letters, they wrote so many books, they went on these arduous trips that would absolutely kill me.
They were exuberant about life. They had a swagger and a confidence that mirrored American swagger and confidence. You look back on the British Empire and you see how it fell away. You see how they lost confidence and they became a different people when the Empire died. One can't help but think that we are somewhat in the same situation in America, in terms of what we're going through and where it might lead us eventually. Maybe one of the reasons we're having a renaissance in horror now, at least on television and movies, is one of the reasons they had a renaissance in horror in the Victorian era in their [most popular] form, which was literature. It's anxiety. The key to me, in horror, is anxiety. What were they nervous about and what are we nervous about? What are the things artists choose to manifest through horror?

One of my favorite Victorian authors is Wilkie Collins, and a lot of his stories were about women who were unruly, who were unusual. They created anxiety everywhere they went.
Yes! I love Wilkie Collins. I purposely wanted a female protagonist -- that was the important thing, that my hero was going to be a woman, and a complicated woman. And she wasn't going to be my hero by masculinizing her, by giving her a gun. She was going to be a woman, and a woman in her era, yet be the hero of this piece. She's the strong guiding light around which all the moths gather.

Next season I get to introduce more characters and bring more characters into her world. That was essential to me from the beginning. I thought that was the best way to manifest what we talked about earlier -- the pull between what you want, and the danger of having it.

The first season of "Penny Dreadful" is now available on DVD, Blu-Ray, iTunes and several other platforms, as well as Showtime Anywhere and Showtime On Demand.

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Новых любопытностей в интервью практически нет, все это мы уже читали-слышали, но спасибо за публикацию. Поводом к ней стала трансляция сериала "Страшные сказки" на канале  Showcase.

Penny Dreadful: Josh Hartnett interview
Posted Oct 22, 2014

Period stylings, classic fictional characters, and enough scares to rattle the bravest of souls, Penny Dreadful is a thrilling new drama to debut on showcase, Thursday November 6 at 7.30pm.

Transporting us back to 19th Century London, Penny Dreadful brings to life some of literature’s most famously terrifying creations, from Frankenstein to Dracula and to enigmas like Dorian Gray. The series weaves together these classic horror origin stories as the characters grapple with their monstrous alienation. Expect intrigue, adventure and great entertainment!

A stellar cast comprised of Josh Hartnett (30 Days Of Night), Eva Green (Casino Royale), Billie Piper (Doctor Who) and former James Bond Timothy Dalton is bolstered by an equally impressive Executive Producer line-up that includes Academy Award-winner Sam Mendes and three-time Oscar nominee John Logan. And it is the writing of Logan that has breathed fresh life, and death, into these wonderful literary legends.

Josh Hartnett’s last television appearance was in 1997’s US remake of Cracker, however, given the opportunity to work on this show with such amazing talent it was an easy decision for the 36-year old star to make a return...

When you signed up for Penny Dreadful, did you consider that currently the trend is for film actors to further their careers by going to TV shows?

Josh Hartnett: It wasn’t so much – it wasn’t as simple as that, really. It was more that I wanted to work with Sam Mendes and John Logan and [director] Juan Bayona. That was a major component of me signing on to the character. It wasn’t as calculated as just now I must do a TV show so that I can help my film career. It was purely about working with good collaborators as it always is, and that really doesn’t matter about what the medium is. I’ll do theatre with the right collaborators, I’ll do film and I’ll do TV with the right collaborators.

How has the transition been from film to TV and what’s changed in TV since you started back in 1997 with Cracker?

It’s been so long that I’m a different person, like entirely different in the way that I approach my work and my outlook on life – just everything. I was 18 years old when I started working on Cracker and that’s a lifetime ago for me. And when I decided to do this, the only fear was that I would be working with people that didn’t have the energy and clout to continue making good material over the course of a long period of time. But with John Logan, he’s so well respected within the industry as a screenwriter and he wrote all eight episodes as a single arc and had a series of other ideas for the possible few subsequent seasons of the show and was so clear about what he wanted except for variations that he knew would occur.

How did you set about creating Ethan Chandler’s character? Was it hard to get into his head?

The only difficult thing about getting into Ethan’s head is that this is the first time in my career I’ve been working without backstory or knowing where the character’s going to go. The work that I do when I’m preparing for a character usually involves trying to decide the deepest possible meaning from the writer’s text of what the character could be going through: where he comes from, what he desires, what he fears.

When I spoke to John Logan about the character, he didn’t quite know what the backstory for Ethan was going to be exactly. He certainly had ideas but we knew that it was going to become the fore-story, possibly by the end of the first season or at the beginning of the second season, and so I was left in a situation where I had to make something up, which can be fun but it can also be terrifying.

There’s some great horror and scary shows on TV at the moment, how do you think Penny Dreadful sets itself apart?

It’s different people creating it and I think the show has some of the highest quality people in either film or television working on the show. John Logan is no slouch when it comes to screenwriting, he’s been nominated so many times for Academy Awards for best screenplay, and Sam Mendes working on his first television show. Obviously these are great people that you want to collaborate with. I know that a lot of it is about creeping out the audience but for me as an actor as a collaborator, it was just the chance to work with these people and to be able to kind of tease out a character over a longer period of time.

You guys have to think, dress and talk according to the Victorian London era. How immersive an experience was that for you?

It’s always fun to get a set where they’re creating a different world and you get to see it physically in front of you. It’s an exciting moment when you first walk onto a beautiful either period set or science fiction set or something that’s just unlike your daily life and you see how much production value there is in what you’re doing. It kind of puts a little pressure on us as performers to hold up our end of the bargain because it’s been so well thought out and there’s so much money being spent on the production. And so it’s always interesting at the very beginning of production to see how a character is going to look and how the world’s going to look.

How is it to work with the beautiful and talented Eva Green and the great Timothy Dalton in this series?

We’re all from such different worlds, Eva is a person who generally keeps to herself and works hard in a certain way to bring a lot of dark characters to the screen and has a sort of certain appeal that is very specific. I’ve seen her work over the years and I’ve always admired what she does. And Timothy is a completely different sort of guy. He comes from a very theatrical background and is prone to experiment and to see what we can pull off with the characters. We’re three very different types of actors and so the chemistry in that situation is actually good because we’re forced to act in different way.

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Краткий синопсис сериала, вышедший после четвертой серии.
Происки дьявола
8/06/2014

Действие следующего сериала о дьявольщине – "Ужасы по дешевке" - происходит столетием ранее аккурат через Ла-Манш, в викторианском Лондоне. Автором идеи, сценаристом и исполнительным продюсером сериала, кстати, уже продленного на второй сезон, является Джон Логан, с послужным списком которого можно ознакомиться на его персональной странице. Для него "Ужасы по дешевке" стали дебютом на телевидении и долгожданным признанием в любви к монстрам, которых он обожал с детства. К сценарию никого не подпускает, интересно, как Логан поведет себя со вторым сезоном.

Проект "Ужасы по дешевке" задумывался как "сборная солянка", в которую попали бы если не все, то большинство персонажей британской литературы того периода: Виктор Франкенштейн и его Чудовище, Дориан Грей, Ван Хельсинг, Дракула, доктор Джекил и мистер Хайд. Чтобы сериал не был сконцентрирован на каком-то одном герое, ключевыми персонажами сделали "обычных" людей, чьей миссией является борьба с темными силами, населяющими Лондон. Ими стали – медиум Ванесса Айвз (Ева Грин), исследователь Африки сэр Малкольм Мюррей (Тимоти Далтон) и американский заезжий гастролер Итан Чендлер (Джош Хартнетт). У каждого из троицы есть темные секреты и прошлое, детали которого они тщательно скрывают от посторонних глаз. Тем не менее, все явственнее чувствуется их превращение в одну, пусть не семью, но команду близких единомышленников, включая и доктора Франкенштейна, которого Логан на начальных стадиях зарождения проекта задумывал как главного героя.

Обещанные в анонсах кровь, эротика, насилие и психология с мистикой, присутствуют в достаточном объеме. На антураж – декорации, костюмы, грим – средств не пожалели. Хочется особо отметить труд гримеров, поскольку в костюмированных телепроектах их работа как нигде может либо все погубить, либо, наоборот, стать знаком качества. Никакого блеска для губ, никакой "боевой" раскраски, никакого френча на ногтях – Ева Грин прекрасна и правдоподобна в образе леди девятнадцатого века. Нечисть в виде вампиров и прочих живых мертвецов во главе с самым главным Диаволом, похитившим дочь сэра Малкольма, тоже довольно колоритна. Среди нелюдей нет нарисованных на компьютере, только "хэндмэйд".

Судить о сериале, посмотрев половину первого сезона, то есть, четыре эпизода, занятие неблагодарное. Но можно сказать с уверенностью, что диалоги, актерская работа и антураж эпохи будут также хороши. Что касается главного вопроса – страшно или нет, - тут все индивидуально. Вампиры, пожирающие плоть, расчлененные проститутки в глухих переулках, наползающий откуда ни возьмись туман, сверкающие в темноте красные глаза, перевернутые кресты, одержимость физическая и в достижении цели – все это присутствует. Но главное украшение сериала – это, однозначно, его актеры.

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Влиятельный ресурс Variety поделился со своими читателями рассказом о том, как работали каскадеры на съемках первого сезона сериала «Ужасы по дешевке» («Penny Dreadful»). Смотрите видеоролик с комментариями создателя сериала Джона Логана.

«Вы ведь хотите, чтобы в противостоянии была своя ДНК, вы хотите прочувствовать действие, — объясняет Логан — Мы хотели, чтобы трюки в «Penny Dreadful» были разнообразными, чтобы даже вульгарные драки соответствовали нашему сериалу. Пусть они будут некрасивыми и жестокими — пусть в них присутствует чувство дикости».
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В Видео много Джоша!!!
Inside the Savage Fight Scenes of ‘Penny Dreadful’ Season 1 (EXCLUSIVE)

The first season of Showtime’s “Penny Dreadful” explored some of horror fiction’s most famous figures, spinning a provocative yarn that weaved vampires, werewolves and demons into the more recognizable stories of Dorian Gray and Victor Frankenstein for a gripping and gruesome monster mash-up. While viewers may have been lured by the chance to see such iconic characters inhabiting the same screen, they stayed for the powerhouse performances from the likes of Eva Green (who played Vanessa Ives, a character original to the series) and the lavish production values, which faithfully recreated the claustrophobic streets of Victorian London and staged some impressive set pieces, from grand theater productions to an elaborate fight scene between our heroes and a vampiric horde.

When dealing with battles between supernatural creatures, viewers have high expectations, so creator John Logan turned to stunt coordinator Pete Miles, whom he had worked with on “Skyfall.”

“You want an action sequence to have its own DNA and feel to it,” Logan explains in Variety‘s exclusive behind-the-scenes look at the stunt work on the series. “We wanted the ‘Penny Dreadful’ action sequences to be appropriate to the piece, so our fights are barroom brawls; they’re really ugly and violent — it has the feeling of savagery.”

In the video above, Miles and the producers explain what went into creating some of the most challenging action scenes of the first season, which had star Josh Hartnett channeling his inner cowboy and Timothy Dalton sustaining a minor flesh wound in the heat of battle.

“Penny Dreadful” returns to Showtime in 2015.
Filed Under:

    John Logan
    Josh Hartnett
    Penny Dreadful
    Showtime
    Timothy Dalton

http://variety.com/2014/tv/news/penny-d … 201358314/
Спасибо valerie за новости и перевод!

В новом видеоролике от создателей сериала «Ужасы по дешевке» («Penny Dreadful») Джон Логан рассказывает о том, как снимали сцену сеанса во второй серии первого сезона.

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"Penny Dreadful," Showtime: Given that it features characters from classic tales of horror and Gothic suspense, "Penny Dreadful" could have been a derivative pastiche -- a tarted-up chance for a pay-cable network to cash in on America's seemingly endless appetite for bloody fare. "Penny Dreadful" is so not that. This smart and perceptive show had fun with its pulpier elements, to be sure; rocketing around Victorian London with an obsessed band of demon hunters was a blast at times. But all of that was, in a sense, window dressing for the much deeper and sadder tale that "Penny Dreadful" wanted to tell about the difficulty of connection and the strange beauty of grief. Every member of the core cast is very, very good but Eva Green, in particular, is spectacular as the mysterious Vanessa Ives. (I reviewed "Penny Dreadful" here, wrote about it here and also interviewed creator John Logan.)

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