The actress stars as a recently incarcerated woman whose new job as a masseuse working under a Washington Heights empanada shop takes a 'Sweeney Todd'-like turn.
Aaron Mark
In Dolores’ defense, she does not set out to sell human meat. As she explains it , that pivot was borne of necessity. After her release from prison, Dolores makes her way back to Washington Heights, only to discover it’s transformed beyond recognition in her 16 years away. With nowhere else to go, she tries to start fresh as an unlicensed masseuse operating out of the basement of an empanada shop run by her old friend, Luis .
Creator Aaron Mark takes pains to situate Dolores’ story within the larger context of an entire society hostile to people like her — brown, female, broke, with a record. It stops well short of suggesting thatthe only recourse for the marginalized is to make guanciale from a greedy landlord’s cheeks.
But a high-minded treatise on social injustice this isn’t. Having seeded those themes in the early minutes,mostly sidelines the political commentary to focus on the sheer outrageousness of its premise. Dolores is no Hannibal Lecter; she kills out of self-defense or desperation rather than pleasure, and has no appetite for eating her own victims.
Almost, but not quite. The series suffers from few outright missteps, but its eight half-hour episodes leave behind a vague sense of unfulfilled potential. As a stab at social commentary, it’s missing the searing urgency of fellow modern myth
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