Dope Girls opens in post-war Soho with a scene you won't forget: a grandmother calmly eating a severed tongue while discussing business. That grotesque, theatrical moment sets the tone for a series where women hold the power and survival demands ruthless choices.
Julianne Nicholson is outstanding as Kate Galloway, a widow who transforms grief into a nightclub empire to protect her daughters. She moves seamlessly between tenderness and steel, making Kate the emotional core of the show. Eliza Scanlen shines as Violet Davies, one of London's first female police officers, torn between her badge and her compassion.
The maternal theme runs throughout. From the mafia-like grandmother, to Kate's two very different daughters, to the wealthy mother of her daughter's friend, the series shows motherhood in all its forms: protective, privileged, dangerous and deeply human. My only wish is that the younger daughter had been given more depth, as her innocence could have balanced the darker storylines.
Visually, the show is flamboyant, dynamic and theatrical. Cabaret flair and stylised touches make Soho feel alive and unpredictable. Dope Girls isn't just another gangster drama. It's bold, messy, beautiful and unforgettable. If Peaky Blinders is a stiff drink, this is champagne spilling over the rim.
