Page 95 - Metropolis Magazine nº116i

A DIFFERENT SIDE OF THE ‘ROARING TWENTIES’
MAX

they are free and fictional inter- tion that employs text and impro- ld War was a period of change
pretations of the trials they may vised storytelling to set the pace for British women (and others).
have lived through. “Dope Girls” of events, doesn't overly focus Many had taken on traditionally
follows Kate Galloway (Julianne on the historical drama genre it male roles during the conflict,
Nicholson), who, after a personal aims to explore. Instead, it leve- gaining financial independen-
tragedy, moves to London with rages creativity to craft a dyna- ce and a new vision of their role
her daughter Evie (Eilidh Fisher) mic narrative that bears its own in society. Something that was
and ends up involved in the vi- unique imprint. By mixing mo- trying to be “erased” with the end
brant but dangerous world of ille- dern visual elements with an au- of the war and the return of the
gal clubs. Also featured are Billie thentic recreation of the period, soldiers. “Dope Girls” captures
Cassidy (Umi Myers), a bohemian “Dope Girls” offers an innovative this tension and portrays women
dancer with a connection to the approach, eschewing traditional who refuse to return, by will or
protagonist, and Violet Davies period dramas while betting on consequence, to the conventio-
(Eliza Scanlen), one of the first a bold aesthetic and a tone that nal roles of wives and mothers,
women to join the London police oscillates between realism and choosing independence, even if it
force. theatricality. means navigating the dangerous
world of nightclubs, trafficking
The series, with its vibrant direc- The aftermath of the First Wor- and prostitution.

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