It’s fascinating how a television show, especially one that taps into historical moments, can spark such varied reactions. Take, for instance, the buzz around Global's new series, "Explosive Girls." When Eileen MacLennan proposed this content blast, some folks apparently had reservations, perhaps picturing something less than wholesome. But what if that initial apprehension is precisely what makes Canadian television so compelling?
Consider the show's premise: women working in a World War II munitions plant. It’s not just a historical setting; it’s a period of immense societal upheaval. And guess what? This very concept has resonated deeply, becoming the number one new series in the US, drawing an impressive 1.2 million viewers. The success has been so significant that a second season premiered shortly after, with Shaw Media steadily increasing the number of episodes. It’s a testament to how stories that reflect significant shifts in our collective experience can capture the public imagination.
What’s particularly interesting is the local connection. MacLennan himself is a former Victorian, with a background in theatre, including stints at the large art gallery and Kaleidoscope Theatre. Even one of the stars, Meg Tilly, who plays Lorna Corbett, has ties to Victoria. MacLennan describes her as "a goddess," someone he's "absolutely drawn to."
He’s spoken about the nerves leading up to the premiere, even admitting to a bit of nervous smoking. But the show, as he puts it, "looked lovely," and his judgment remained intact. It’s a nice touch, isn't it, when a local talent finds such significant success? MacLennan’s journey is quite a story in itself. Twenty years ago, he was making waves in martial arts administration in the city. Encouraged by others who saw his potential, he eventually took the leap into playwriting.
And he didn't just dip his toes in; he made a splash. By 1994, he’d won a provincial playwrighting award for "Beat the Sunset." His master’s thesis earned him a national fellowship in 1996, and two subsequent plays were nominated for the Governor General's Awards. He was even recruited as a playwright-in-residence by Touchstone Theatre and the Canadian Stage Company. Clearly, he had a knack for it.
Yet, despite this success, MacLennan felt a growing dissatisfaction. The musicals and plays he was involved with had limited runs, and the stagings didn't always align with his vision. So, he reinvented himself, studying at the Canadian Film Centre. His first major television triumph came with writing 15 episodes for "Queer as Folk," followed by "Explosive Girls."
"Explosive Girls" stands out for several reasons. For one, the four lead characters are women. MacLennan has a particular talent for crafting compelling female roles, and he believes the key is to avoid simply mirroring male archetypes. Instead of portraying them as secondary or merely objects of desire, his female characters are depicted with depth, intelligence, and agency. They have their moments of cattiness and backstabbing, sure, but more often, they support each other. As MacLennan himself puts it, "Nobody is entirely flawed or perfect."
The show’s power, he suggests, lies in its setting during a time of immense, traumatic change. The cultural shift of women entering the workforce in traditionally male roles during WWII was groundbreaking. It raises questions, then and now, about whether women would shed their femininity in taking on these roles, and whether the very foundations of society would be shaken. It’s a narrative that continues to resonate because it touches on enduring themes of societal evolution and individual identity.
