Killer Women (ABC) Review “La Sicaria”

In order to appreciate Killer Women you have to understand it’s aiming for a sweet spot between old school pulp storytelling and a modern day look at how we perceive women. The pilot doesn’t quite strike the right balance between the overt over the top nature of the environment in which Molly (Tricia Helfer) works within and her naturalistic personality. Even without fully achieving its goals, Killer Women presents us with some fascinating ideas about feminism, sexism and exploitation.

In the opening shots we see the classic image of a woman in a short, skintight red dress with a church framed between her legs. It’s something that could have been pulled straight from a ’70s exploitation film, aside from the pivotal moment when she crosses herself before entering. The she walks into the church and shoots the bride, planting the idea that she is the woman scorned. The series could have ran with that scenario, hitting all the standard tropes– it certainly enjoys its stylized shootouts and car chases, but it didn’t. This isn’t a story about women against women, it’s a story about two women finding strength in one another. “La Sicaria” does translate to minion after all, and in their own way both women are minions against their will.



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