Christopher Sebela

writer, wronger, rearranger

Peter and Lynda are gypsies, but is Peter a werewolf? Yes. Yes he is. And hilariously, everyone in town seems to know he’s a werewolf. Oh sure, some have a harder time believing it than others, but once the dead bodies start turning up with all the bite marks and mauling and what not, accusing eyes turn in Peter’s direction, despite the fact that, so far as I could tell, they have no reason to do so. This lasts the entire season. While I’m not a big fan of overly skeptical characters in fiction (Scully notwithstanding), this borders on madness, and it’s indicative of one of the show’s major structural problems. Developments happen throughout without any organic process to them. Stories are, at their most basic, a way of showing a connected series of events: once upon a time there was a boy who had a cow; he traded the cow for a magic bean; his mom threw the bean out the window in anger; the bean grew into a giant beanstalk; the boy climbs the beanstalk because they’re poor; and so on. But bad writing doesn’t recognize the in-between steps. On Hemlock Grove, a boy would just kind of have a bean at some point, and then maybe he’d glance out a window later and there’d be a beanstalk and he’d be like, “Shit, where’d that cunt of a bean go?” and then he’d be in the clouds. It’s writing with too many foregone conclusions, and watching it feels like having to suffer through someone else’s bad dream.
— From Zack Hendlen’s AV Club review of HEMLOCK GROVE

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