The Breathtaking Penelope Is Like Nothing Else on TV

As a movie buff with over three decades of immersing myself in the rich tapestry of cinematic storytelling, I must say that Penelope has left a lasting impression on me. This is a series that transcends conventional narrative structures and invites us to embark on an odyssey of self-discovery alongside its protagonist.

Penelope is an age-old name, originating around three thousand years ago in Homer’s epic, the Odyssey. In this classic tale, Penelope was the queen of Ithaca and the embodiment of loyalty in Western culture, enduring countless suitors while waiting at home for her husband to return from the Trojan War that lasted a decade. Conversely, the title character in the captivating half-hour series, “Penelope,” currently streaming on Netflix, is a modern-day Penelope who embarks on a journey of her own. Fleeing her home and venturing through the wilderness of the Pacific Northwest, she sets out on a quest that remains as enigmatic to her as it does to the audience.

Originally crafted and penned by esteemed independent film and television artist Mark Duplass and Biosphere director Mel Eslyn, who also helmed and served as the series’ showrunner, Penelope stands out uniquely in the realm of television. Each of its eight episodes offers an immersive, impressionistic experience, with the camera capturing the vivid greens and deep browns of nature in leisurely shots accompanied by bird melodies, rustling leaves, and peaceful, wordless tunes. In this stunning backdrop, Megan Stott (Little Fires Everywhere) delivers a remarkable portrayal in the lead role, embodying a character who is simultaneously a typical 16-year-old, a girl grappling with an existential dilemma, and the central figure of a thought-provoking allegory.

In a glowing moment of ordinary euphoria, we find Penelope lost in the rhythm of a dance party amidst neon-illuminated woods during a camping trip with her peers. Each individual is engrossed in their personal music through headphones; she’s surrounded by acquaintances yet strangely isolated. The following morning, her mother sends a text asking her to return home for SAT preparation. Penelope composes a message—”Mom… was I ever a content child?”—but reconsiders. Instead, she visits a large retail store, purchases numerous outdoor items amounting to several hundred dollars, catches a train, and records a parting voice message urging her parents not to search for her. “It’s not about you,” she says. “I’m not fleeing; I’m moving towards something. It feels like I’m being summoned.

Her destination is Cascade National Forest, and by the time she gets there, she’s so broke that she has to sneak in after the ranger at the gate leaves for the night. Though she has picked up a survival guide, Penelope clearly does not have the skills for a solo expedition of any length. The first night, she sleeps under a majestic, moss-carpeted tree and asks for its help as she finds her way. Little by little, through great effort, over the course of several episodes, she teaches herself to start a fire, find food, build shelters of ever-increasing sophistication. She is, from a psychological perspective, experiencing something extremely unusual. Yet she’s also recognizable as a teen, celebrating her backwoods achievements by dancing and squealing.

In a forest, Penelope interacts with various creatures and individuals. A solitary young bear catches her attention, prompting her to inquire, “What’s your story?” She wonders if its mother has passed or if it wandered off on its own. If so, she empathizes, “I bet you feel terrible.” The people Penelope meets are likewise deviating from their predetermined paths. One such individual is Krisha Fairchild, a free-spirited woman with silver hair, who shines in the film ‘Krisha’ by Trey Edward Shults. She’s portrayed as a deep-rooted activist, living in the woods for years to prevent loggers from decimating her cherished trees.

At its finest, television is frequently characterized as being akin to literature, featuring complex characters and interwoven storylines that delve into the psyche. However, unlike most TV shows, even those produced by Hollywood, Penelope offers something exceptionally rare: it creates an emotional resonance that transcends what is visibly portrayed on screen. By following Penelope’s perspective, the show eschews typical narrative elements such as frantic parents and police investigations, instead focusing our attention on the laborious daily tasks she endures to survive.

In the course of their work, Duplass and Eslyn acknowledge that the series bears a resemblance to Jack Kerouac’s “Into the Wild.” Additionally, there are noticeable similarities with tales – albeit scarce yet becoming more frequent each year – of young women who venture into the wilderness, such as Cheryl Strayed in her book “Wild” and Lauren Groff in “The Vaster Wilds.” However, these earlier narratives tend to have conclusive, either triumphant or tragic endings. The sudden conclusion of “Penelope,” while perhaps its most criticized aspect, aligns with the series’ subject matter as it emphasizes the journey rather than the destination, focusing on the trials, revelations, and the raw texture of a simplified life. If you’ve ever felt drawn to a more fundamental reality, then this series resonates deeply.

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2024-09-24 20:06