Cracow Monsters is a Netflix series about “a young woman haunted by her past [who] joins a mysterious professor and his group of gifted students who investigate paranormal activity — and fight demons.”
Comes nowhttps://grammar-ttlms.blogspot.com/2007/07/comes-now.html Andrzej Szyjewski, professor of religious studies at Jagiellonian University, which has been doing business in Cracow/Kraków since 1364, as they calculate it, back when demonology was an academic discipline.
The viewers are subjected to a whole series of disgusting and terrifying characters of various origins. It quickly becomes obvious that even Trentowski’s inventive vocabulary and imagination is not sufficient enough to describe the mix of entities gathered under the banner of supposedly Slavic mythology. The screenplay incorporates ideas from other, more contemporary Native Slavic faith believers (Rodnovery) and New Age workshops. For instance, in episode four, Chworz summons a creature called Spas. He is, in essence, a personification of certain holidays, described by Ukrainian Rodnovery volkhv (wisewoman) Halina Lozko, which the series depicts as something similar to Ded Moroz, who in turn can be likened to Santa Claus. Over the course of the series, Spas, carrying a staff decorated with hanging dolls, busies himself with freezing and then hanging people who failed to give him a present. The ‘Slavic Grinch’ meets his end when Alex electrocutes him with a high voltage wire. It therefore seems that the screenwriter didn’t bother to carry out at least a minimum amount of research when it came to the most key aspect of the show. She didn’t know that the name ‘Spas’, coming from the word spasitel, which means ‘saviour’ and denotes Christ, is unsuitable for a pre-Christian demon. . . .
Even when the screenwriter bases the story around concepts introduced by [19th-century writer Bronislaw] Trentowski, she seems not to understand them and misrepresent them, either knowingly or unknowingly. The best example of this is using the neologism bo?yca, which Trentowski means as ‘knowledge of gods and religion’, to signify a kind of protective spirit, a radiant entity guarding the main protagonist. She also calls it an Aitvara, which indeed denoted a guardian spirit, but one that watched over homesteads, not individuals. Aitvaras were reptilian in shape, brought wealth and prosperity, and were absolutely not exclusive to high priests and priestesses.
One of the series’ strongest points could be its setting: Kraków, a city famous for its rich legendary and historical symbolism. Unfortunately, Kraków also becomes a fantastical amalgamation of real and fictitious places (such as Wanda Mound). Judging from the places visited by the protagonists during their chase after the zapadliska, they can magically jump from one side of the Vistula to the other every few seconds. The viewers will also get the impression that all classes at the Jagiellonian University are conducted solely in Collegium Novum, the administrative centre of the University. Because of this, the eponymous Kraków becomes a simulacrum just as much as the ‘Slavic beliefs’. The most convincing idea related to Kraków in the series is the issue of the curse: the city is unable to develop properly, trapped in a hollow, drowned in smog and ravaged by extreme weather. In the series, Kraków becomes something akin to London, either shrouded in fog or beaten by rain. In this regard, the screenplay rises to the challenge.
I probably could not last through all two seasons, but now that I have Starlink and can stream easily to my isolated forest hideout, I am tempted to give it a look all the same, bearing Prof. Szyjewski’s cautions in mind.
(Thanks for the link to my co-editor in Equinox Publishing’s Pagan book series, Scott Simpson, who also teaches at Jagiellonian University and is the reason why I know anything at all about it. Trust me, he is “more than just a teacher.”)