As a parent who has navigated the digital landscape with my own teenagers, I find the series “Penelope” to be a refreshing and thought-provoking exploration of modern adolescence. Having spent countless hours arguing about screen time limits and the perils of social media, I can relate to the show’s central theme – a teenager’s quest for existential wholeness amidst the digital interconnected world.
In the latest YA series from Mel Eslyn and Mark Duplass, titled “Penelope,” there’s an ethereal quality reminiscent of folklore tales. The story revolves around Megan Stott’s character, a 16-year-old girl, who suddenly abandons her old life and ventures into the enchanting wilderness of the Pacific Northwest. Initially unfamiliar with survival skills, she learns to survive for nights, then weeks, and eventually an indefinite period. The motive behind her actions remains vague; the series hints at an emotional stirring. The narrative begins with a scene of a quiet dance party that seems like a summer camp setting. She’s immersed in her own world, wearing headphones, surrounded by peers engrossed in their phones – until she sees a wolf, which triggers something within her.
As the teenager ventures deeper into the forest, Penelope occasionally reveals glimpses of her inner struggles, yet never with clarity. “I fear there’s a part within me that’s fractured,” she admits later during interaction with an older eco-activist saving a tree. “That I have this void I can never fill.” At times, she ponders: Was I ever a content child? The enigmatic essence of Penelope’s emotional core is captivating and for the most part, seems authentic. It’s as if the anguish and weight of teenage life, especially in this era of extreme digital prevalence, is seldom expressible. Penelope embodies this experience. However, the cryptic force behind the series is also why its abrupt finale is so intensely disappointing, as it contradicts the ambition of almost everything that preceded it.
“Rest in peace.
In a swift and almost imperceptible manner, the disclosure carries an elusive quality, causing it to be easily overlooked. As Penelope expeditiously scans her profile, a viewer might fail to notice the post’s timestamp, leading to a misinterpretation that her parents’ demise occurred prior to the series. This misreading would transform the entire narrative into a depiction of a teenage girl grieving her parents. However, unless one is able to contort their understanding so far as to believe the entire series unfolds within a mere few days — which is highly improbable — then the chronology of their deaths coinciding with Penelope’s wilderness journey means that this Penelope tale becomes the account of a young girl who experiences an unimaginable loss during a significant phase of self-exploration. The season finale features a prolonged shot focusing on Penelope’s face, capturing her reaction to the news. Her response is subdued, somewhat enigmatic, before the screen fades to black.
This uncommon series, titled “Penelope“, initially appears as a daring exploration into the enigmatic, challenging-to-define feeling of adolescent melancholy. For most of its duration, it feels like an innovative endeavor that challenges conventional storytelling norms. The plot may be complex, but the ambition is captivating.
The series “Penelope” comes at an apt moment, as it delves into themes relevant to today’s youth, often referred to by author Jonathan Haidt as “The Anxious Generation”. With ongoing debates about smartphone use in schools and social media platforms addressing safety concerns, the show aligns with the current discourse. “Social Studies”, a docuseries airing on FX, provides an in-depth look at high school students and their experiences with social media. “Penelope” complements this discussion by presenting a story about a teenager who rejects digital modernity in search of personal fulfillment. Instead of embracing the virtual world, she focuses on the physical one. The narrative raises intriguing questions about disconnecting in today’s era, the lost magic in our world, and whether nature alone can provide satisfaction. However, the tragic event of Penelope losing her parents at the end of the story seems to diminish the grandeur of these themes, making it more about a personal tragedy rather than broader existential questions.
Despite its minimal budget, “Penelope” stands out as a unique gem in the realm of independent television, crafted by Duplass Brothers Productions – a team with a rich history in indie film movements. They’ve produced shows for HBO (like “Somebody Somewhere” and “Room 104”), Netflix (“Wild Wild Country”), and more, all characterized by their focus on small, intimate narratives. The low-budget approach of “Penelope” is likely why it feels so fresh and innovative. It’s a testament to the Duplasses’ creative vision that they’ve managed to create something unusual and captivating with this show. Here’s hoping for more television like it, especially if its conclusions live up to expectations.
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2024-10-05 00:54