of Gothic proportions . In fact , several of these dramas — The Fall from Ireland , The Break from Belgium , Bordertown from Finland , Trapped from Iceland , and Luther from England among them — contain episodes that are clearly intended to awaken in the viewer that level of terror once considered the sole domain of Gothic horror . Of these , Luther may be the most significant . Series ’ writer Neil Cross has effectively captured , in both Luther the novel and Luther the TV series , a level of cultural anxiety that has traditionally found expression in both Gothic literature and cinematic horror and that has moved readers , and now viewers , to seek in these writers ’ works a psychological and spiritual refuge from terror-inducing events of the real world . It is this cultural anxiety that Cross touches upon through London detective John Luther ’ s encounters with deranged killers , the series ’ monsters , who often lurk in the shadows of old condemned buildings in the seedier parts of London . Indeed , the success of the Luther TV series depends upon the skillful use of elements associated with traditional Gothic and contemporary horror .
The Story
BBC ’ s four-series crime drama ( 2010-2015 ) holds viewers ’ attention with Luther ’ s seemingly endless encounters with sociopathic killers , counterparts of the monsters of traditional gothic horror . Judith B . Weist , authority on media and culture , addresses society ’ s enduring fascination with monsters that take the form of killers who fail to repress their bestial , demonic , and psychotic impulses behind the mask of civilized humanity :
Monsters in various forms have held a place in every culture throughout history … and they have figured prominently into Western film and literature for centuries …. These monsters take many forms , from demons , ghouls , and evil spirits ; to vampires , werewolves , witches , and zombies ; to mythic creatures such as Big Foot , the Abominable Snowman , the Mummy , Godzilla , and the Loch Ness Monster . But , despite differences in form and period of popularity , the representations of various “ cultural monsters ” have remained relatively consistent , including elements of insanity or possession , depravity , and wickedness . These monsters frequently take human form but are depicted with animalistic characteristics — emotionally void , predatory , and savage . They live on through cultural stories ( fiction and nonfiction ) and reinforce cultural values , beliefs , and norms …. More than that , stories about monsters are linked to social , political , and economic factors …. ( 330 )
101