Alice Bolin has a terrific essay up at the LA Review of Books right now:
The Dead Girl Show’s most notable themes are its two odd, contradictory messages for women. The first is to cast girls as wild, vulnerable creatures who need to be protected from the power of their own sexualities. True Detective demonstrates a self-conscious, conflicted fixation on strippers and sex workers. [...] “How does she even know about that stuff?” Hart asks in 1995 when he and his wife discover sexual drawings his elementary-school-age daughter did. “Girls always know first,” his wife replies. This terrible feminine knowledge has been a trope at least since Eve in the Garden. Marcus compares Twin Peaks’s victim Laura Palmer to the teenage “witches” in Puritan New England who were burned to purge and purify their communities. In the Dead Girl Show, the girl body is both a wellspring of and a target for sexual wickedness.
The other message the Dead Girl Show has for women is more simple: trust no dad. Father figures and male authorities hold a sinister interest in controlling girl bodies and, therefore, in harming them. In True Detective, the conspiracy goes all the way to the top, involving a US senator and his cousin, a powerful minister. [...] Externalizing the impulse to prey on young woman cleverly depicts it as both inevitable and beyond the control of men.
"All Dead Girl Shows betray an Oedipal distrust in male authority figures, but in Twin Peaks and True Detective, the central characters are male authority figures," writes Bolin. Every other line in here has something fascinating to hang onto, so let me just recommend to all Dead Girl Show lovers/haters (Pretty Little Liars is the one that actually wins this, I gather?) that you go on and read the rest at LARB.