Lost Girl: Season 4, Episode 07, La Fae Époque

Screen Shot 2013-12-23 at 5.18.54 PM

I don’t know how everyone reacts when a low-budget show does something like this episode. It begins with the cold open, where Dyson is apparently in custody, conveniently skipping the CGI, choreography, and breaking of things that would have theoretically accompanied his hulked-out fight with the Una Mens that the end of last episode suggested. This episode ratchets the historical accents and acting up to 11. Lauren and Cassie quickly establish the fact Bo’s memory will superimpose familiar surroundings on her trip into the past, thus allowing them to redresses sets. It’s obvious where it gets creative within its strict limitations and cuts production corners – the money spent on a couple period costumes is saved by not having to license modern songs, everything is dimly lit to mask cheap sets and costumes and CGI, etc. The episode gleefully acknowledges that a person’s subconscious and hidden sexual thoughts can be dark, messy places, and in doing so manages to throw a wrench in quite a few ships.

It’s altogether absurd, and catchpenny, and sensationalist, and bodice-ripping, and my own indie-filmmaking, sociological heart loved the heck out of it.

I felt like this. 'Now there is how you make an episode on a shoestring!'

The mystery is simple and straightforward because – unlike the last time Dyson was accused of murder –  it’s not really the main point. The point is similar to that of “Original Skin,” in that it allows the viewers to watch all the characters as they get inside each others’ skins and second-guess themselves and discover new facets of those they thought they knew.

This episode was penned by Michael Grassi, who also did Turn to Stone.” Both are lovely, though the editing in both is solidly average. And like I said in the “Turn to Stone” review, both work really well in spite of, and partly because, they don’t feel the need to throw wild twists into the mix. To be fair, the coach provides a nice little turn, and the jock strap is icing on the cake, but there are no wild misdirects. If you’re familiar with Norse mythology, or the role of shoes in fairy tales – specifically The Red Shoes, and I know these shoes aren’t red but the spirit is the same, and here and here are really interesting links on that – if you’re familiar with Angel‘s flashbacks, if you’re familiar with the Hitchcockian concept of The Wrong Man, then you probably see basically the destination of this episode. That’s why it’s so important the ride be an absolute blast.

It starts with a little basic siren torture, and a monk uttering magic words to off himself in a froth of bubbles. He conveniently waited to do this until after he had set up the basic premise: Dyson is going to be executed for murdering fae and humans in 1899. Kenzi sputters that surely the Una Mens won’t actually go through with it, just as the dead monk slides off his chair. In case that wasn’t clear enough, the next scene shows the Una Mens executing Pietra, the scavenger fae from “Let the Dark Times Roll.” Again with the convenience, this makes us forget that Bo, Kenzi, and Hale have to somehow get a dead monk body out of the packed police station. Perhaps they just waited until the mayor of Toronto did something awful and distracting. It couldn’t’ve taken long.

After presumably dumping the body in one of their many favorite alleys, Kenzi sneaks into the Una Men’s lair and starts scrubbing down a naked Dyson so she can tie a red ribbon ’round his ankle, so he can be linked to Bo and Cassie so Bo can examine his memories – which were conveniently blacked out! – so Bo can find him an alibi for the murders. All this happens in Kenzi’s room, because Bo’s old room has been redressed for the season, though Bo’s bed will show up in Flora’s boudoir in Bo’s subconscious/Dyson’s memories. The ‘constant’ (LOST shout-out!) is Lauren, and she serves a little as audience surrogate when Cassie explains things to her in the present and Bo/Dyson spell out the shoe plot to Flora in the past, and a little as Mr Exposition, as she explains the rest of the process to Bo, and then verbalizes her inner thoughts while watching an unconscious Bo and Cassie navigating Dyson’s memories.

Wait now we have all these electrodes on you want us to WHAT?

This sounds a lot more complicated than it appears on screen. It’s made quite clear who is where and when and why, and it was likely more confusing to keep straight while writing than while filming, and certainly watching is clear, which is nice.

Dyson’s memories open with a shot of Bo-as-Dyson waking between two women; they used that shot in the teaser, and I believe it was the last from the teaser we haven’t seen. It’s unusual to use a scene from halfway through the season in a season promo, but it makes perfect sense because they could flip expectations. It’s not Bo at all, it’s promiscuous Dyson! And it’s something which doesn’t really have any bearing on the story at large! It’s really quite the clever move.

Meanwhile, Dyson is starting to recover his own memories of the murderous event, and recount them to Kenzi. These shots [below] use the boxes in their cage effectively, and it’s likely the shots were ‘cheated,’ that is, the cage comes apart and they were able to find an angle with the best possible background, put Ksenia Solo exactly where they wanted her (possibly using apple boxes to give her a little more height next to Kris Holden-Ried), then position KHR, then move the slats the right distance and angle and position. They more than likely didn’t actually shoot the angles below with the cage in the same exact position we see it in in the wide shots. It’s likely, in fact, that both actors are cheating their eyelines, that is Ksenia Solo would be looking over KHR’s shoulder, and vice verse.

Oh spot on the ceiling, how interesting you are! Heck, right here, KHR could even be acting against a double reading Kenzi's lines.

My biggest quibble is the writing makes Dyson actually speak the words to the effect he’s waiting to get rescued ‘for once.’ Which is annoying for two reasons. One, Dyson speaks the words while in a metal box in the lair of the Una Mens, who already killed one prisoner in front of him. No shit, he needs rescuing. You’ve clearly shown, there’s no need to tell. Two, Dyson gets saved all the time: by Trick in the past here, Lauren and Bo in the present here, and quite often by Kenzi, Bo, and Lauren all of the times. No matter what anyone will tell you, the characters take turns saving the day, and the ladiez often save Dyson’s ass, and in fact though Dyson does his share of saving, the harder he tries to be the hero the farther he falls – witness his attempts to be The Chosen against the Garuda, or going to the Norn without communicating with anyone. His is often the flip of a stereotypical male knight in shining armor. Here, in his past, Flora outright tells him she doesn’t need his protection, but he’s welcome to come along as a companion. As an equal.

That line, though, actually works on another level. In 4.05, when Bo offers Lauren ‘protection,’ likely in the form of ownership, and Lauren tells Bo she doesn’t need it. She would accept Bo as a partner, an equal, but until Bo sees that, Lauren can’t accept the offer.

There’s another parallel with 4.05. At the end, when Bo is talking with Lauren at Evony’s place, she tells Lauren ‘come back to your real family,’ by which Bo means the Light. Here, Lauren tells Bo of course she will work and risk to save Dyson because Dyson is family, by which Lauren means her friends. Same word, different conotations.

Yep, I'm the geek who is watching the mirror the whole time, to see if I catch any slips.

Really, this episode supposedly about Dyson also ends up being quite a bit about Lauren. Amusing, since The Dawning was theoretically about Bo, but ended up psychoanalyzing Dyson as much if not more. It also examines Bo’s subconscious. It’s interesting she projects Lauren (and Kenzi) as fae. Is it a deeply hidden desire? Is it simply the way she has come to see them? Is at least Kenzi’s appearance colored by the fact Kenzi has mentioned wanting to be fae, and even trying?

See how quickly this gets interesting.

The episode incorporates some other symbols and themes, including the color red, the idea of multiple soulmates, and mirrors. Mirrors everywhere! We see Dyson in a shopwindow reflection, Lauren wrote her note to Bo on a mirror, and there are mirrors everywhere in Flora’s apartment/dressing room.

Literally powdering her nose.

The way things are carefully blocked and shot, after Dyson surprises Flora by walking into her mirror, we only see Flora in the mirrors as she and Bo-as-Dyson embrace, move around, and talk. Maybe you caught a slip, but I didn’t see Anna Silk in any mirrors. That takes a lot of planning and work. Fascinatingly, if you slow down Bo’s flashes as she goes into Dyson’s subconscious, we do see Dyson in Flora’s mirror.

This short bit required a whole extra bit by HMU, and likely a long camera readjust, since Kris Holden-Ried is so much taller than Anna Silk. Dedication!

And then, then Bo sees herself-as-Dyson and Lauren-as-Flora having sex in the mirror. It was already established Bo sees Dyson in a mirror, the audience sees Dyson in reflective surfaces, and anyone in that reality was interacting with Dyson. But Bo’s enjoying the picture of Dyson and Lauren having sex. Bo’s casual acceptance of voyeurism was established in 4.05, she essentially admitted in “Arachnofaebia” that she had imagined all three of them in bed together, and I don’t think it’s too much of a stretch to say that this is one of her secret desires coming true: watching the two people she finds most insanely sexy doing it.

The other equally valid option is one which also occurs to Lauren, and that is that Dyson has imagined her in flagrante, and that’s a dark and intimate and really uncomfortable thing to acknowledge. How many of us had harbored thoughts about people we’d be embarrassed to have know of our imaginations? How many of us have had some kinky thoughts about a coworker, or friend’s partner, or friend, or . . . you get the picture. The fact Lost Girl treats the object having knowledge as awkward, but doesn’t act as if the actual act of illicit imaginations is new or unexpected or particularly shameful, and presents it as fairly a given, is well done.

One last angle: it’s refreshing how – other than the mirror images which present the above interesting potentials – the show keeps the f/f actress pairing even in historical flashbacks from Dyson’s memories. Other shows take a twisted pleasure in finally giving the audience a long-desired f/f character pairing in alternate universes/timelines/bodyswitches, but always when one of the two is pictured and presented in a male body. Now, Bo technically is in a dude’s body, but not how we the audience see it. [Addendum: when Bo looks in the mirror, she and we the audience through her eyes see Dyson. When Bo looks away, the image continues as Dyson because we're at the exact angle we were at when Bo was looking at the mirror. We the audience are looking in the mirror, and thus - like anyone else in that world would - we see Dyson's face.] It subtly flips the usual trope on its head.

This is only the second episode this Grassi has written, and I think I like him. Granted, much of the way the actual blocking etc is presented is probably director, but 1) writers can put specifics in script notes, especially in TV and especially in an episode like this, and 2) Emily Andras mentioned the writers are on set and collaborating with the director for all their episodes. These writers obviously know their genre history.

Jumping back to Bo and thinking about Lauren and Dyson, for a moment: she’s not just thinking about the sexiness of her partners. At the Dal near the end, Bo makes the clearest nod yet to the potential of a poly relationship, when she talks about how though the red string of fate is supposed to bind just two people, Bo in fine with bucking convention and letting it bind many. Sure, it plays as their ‘family of friends,’ but it’s pretty obviously a hint towards her getting to be with Dyson and Lauren and possibly more to boot.

I'm using this picture to talk about Lauren tying herself to Dyson and Bo. I can be not-subtle too.

In fact, in this episode Lauren explicitly tied herself to Bo and Dyson’s destiny. It’s pretty obvious they’re inextricably intertwined, but they’re really sealing the deal. Like I (and in fact this episode) said, Lost Girl doesn’t do subtle. And that’s, admittedly, part of the fun.

Lauren gets in a couple low blows on Dyson’s intellect, as is her wont, but she also drops the witticisms when she goes into the muddled Dyson/Bo subconscious. Lauren sells Bo on untying her string and coming back to reality by telling Bo it’s all for Dyson’s sake, rather than trying to convince a confused Bo that Lauren is still very alive, and still an option. That’s a knife-twisting scene, and the way Palmer navigates from her standard, emotional-but-subtler brand of acting to over-the-top excess revelry and back again is fun to watch. In fact, I bet this whole thing was a blast for everyone to film, if somewhat of an exercise in accents and remembering who one was at any given time.

Having triumphantly emerged from subconsciousland, Bo retrieves the shoe wrapped in an old jock strap (which I can only imagine was used to throw fae off the scent), and she and Lauren rush to everybody’s rescue.

Even once Dyson has been exonerated from the murders, he – both in the past and the present – takes responsibility for them. In fact, it’s framed as being one of the first things he does accept as being his fault, even though it’s born of ignorance and arrogance and not pure malice. Just because one didn’t mean for such drastic consequences to come of their behavior doesn’t mean they shouldn’t take any responsibility for it. I hope this finally and truly marks another turn in Dyson’s personality, even as his acceptance of responsibility and Flora’s death marked a turn so long ago.

But did the Una Mens realize it was a mistake and not murder? At first I thought the Una Mens framed Dyson, and just delayed their gratification for a century. Then I realized, they didn’t frame him but they knew 1) he had been framed 2) he had the shoes, so they arrested him in hopes Bo would manage to find the shoes. Had nothing materialized, they likely would have proceeded with the execution on principle.

MOAR THIS

Nothing makes one hungrier than a narrow brush with death, so all five retreat to the bar for hot dogs.

It’s telling Trick isn’t here, especially since Bo is finally fed up with his games and veneer of benevolence. He’s always been out for himself, and there will likely be some splintering as Dyson has to convince him to play ball, or side against him. All that aside, I love this configuration, and I love it looks like we may get all of them together again. Eventually it’s not going to take them whole seasons to figure out they’re better as a team. The show can still shoot (cheaper and faster, production-wise) 2-character scenes and have them working different angles of the same mission. Everyone being on the same page, or hell even in the same novella, is much preferable.

After all this, what is our next step?

‘Find the bartender. Save the world.’

Stray Observations

- There’s a bit in this podcast about Dyson as ego, then id, and Trick as superego. It’s well worth a listen. [LINK COMING SOON.]

- Last week they queer Casablanca, this week they queer Dyson’s history . . . they’re just queering all of the things.

- Bo can’t turn the eunuch on, but Hale blows in his ear and . . .

- What a convenient gargoyle! I need someone to make a photo collage of all the creative ways they’ve covered Dyson’s junk this season. Pretty please.

- I think they were making a weird statement with Cassie before, but I like her better this way. As in, less J-pop and juvenile. She thankfully kept her irreverence and blunt honesty, though.

- Solo could star in a Claudette Colbert biopic. Wondering if the helskór will be a way to bring Tamsin back into this.

- I’m not a fan of the phone ring trick, but it looks like they’re making it, and Kenzi’s ringtone specifically, a running joke.

- “She will . . .” WHAT? “It is written” WHAT? So many vague half-prophesies. I wish they’d solidify a bit more of these various prophesies they keep making oblique reference to. It’s been nearly a full four seasons of Bo’s big role in the fae world getting dragged out without any major reveals or even explicit crumbs. I’m worried they’ll run out of runway. 

Comments
14 Responses to “Lost Girl: Season 4, Episode 07, La Fae Époque”
  1. Jordee says:

    Great review, great insight as always. The other thing I found worthy of mentioning is Trick elevating Dyson to hero status. He says it is written, but I have to wonder how much of it is merely stroking of his ego to get him to go along with Trick’s plan.
    It could explain why Dyson has this ridiculous notion that he is a hero and constantly has to try and save the day, rather than simply lend his assistance.

    • Melanie says:

      I went back and watched that part again. I’d taken it as more of a vague reference to the colony or fae in general, but you’re right it’s in reference to reference Dyson, that it is written, it is Dyson’s destiny, to be a hero.

      He’s a great soldier (also something Trick calls him), but I think you’re onto something with the manipulation. Trick has been using him for quite a while.

      *strokes beard* Eeeeenteresting.

  2. Anina says:

    I really enjoy your reviews, Melanie! Great insight as always.

    There are 2 things you didn’t touch upon which I found very interesting. 1) this was the first ep of S4 where I feel Bo was her “normal” self, with no dark/sinister overtones. Even considering she was acting as Dyson, I’m sure the writer(s) would have found ways to get the dark in had they wanted to. Are we to think this is because the faemily is back together?

    2) Lauren is the centerpiece of the hot dog scene at the Dal, and the only one not wearing black. She is also the only one who has declared her preference for the Dark.I agree with you that Lauren is somehow working on the downfall of the Fae, but wouldn’t that also mean the downfall of the memberrs of her faemily?

    One more thing: as I’m not in the writing/filming business, I’d like to know what you mean by “solidly average editing” / editing at all? Could you give me an example? I really enjoy your explanations about shooting angles, sets etc.!

    And one last thing: that remark about the mayor of Toronto? Priceless!!

    • Melanie says:

      1) Yes . . . I was unsure how much of that was because she was in Dyson’s past subconscious, how much was because she was in her own subconscious (and she has shown herself to be good at heart, if often thoughtless in execution), and how much was because that content and tone simply would clash with the feel of this episode. It would be another layer in an already crowded and psychoanalytic episode.

      2) Great observation on the use of black for ‘Light’ and silver for ‘Dark.’ I think Lauren is working to destroy The System more than individual fae, and eventually I think that’s what Bo (and the gang) will also help destroy. There may be somewhat of a civil war, and strained relationships over it, but I don’t think any members of her faemily will suffer downfall . . . with the possible exception of Trick, but he and Lauren mostly tolerate each other, anyways.

      OK, so. Editing is part science, part feel. As for science:

      a) I can tell you how a basic 2-person conversation should be shot and edited to best orient the viewer [establish one character on the right of the screen and one on the left in the wide shot, then when you cut to single-person shots the person on the right should be towards the right third of the screen, and if the other person's shoulder is in the shot, that shoulder should be on the left, and all vice-versa].

      b) I can tell you if the editing is ‘loose’ or ‘tight’ based on how quickly the cuts are coming within the conversation, how long it takes after a person stops speaking for a cut to come or pick up another speaker: for an example of tight editing, see practically any episode of West Wing or Gilmore Girls (http://mehlsbells.wordpress.com/2013/09/19/walking-and-talking-inventing-and-crediting/), particularly the Gilmore’s dinner at Richard and Emily’s.

      For an example of loose editing see something like Drive (http://mehlsbells.wordpress.com/2012/07/05/movie-review-drive/) or Gravity (http://mehlsbells.wordpress.com/2013/10/20/movie-review-gravity/), where you’re left with a lot of time to examine the characters’ faces with no talking or action going on.

      For an example of frenetic editing see Moulin Rouge.

      c) Then there’s the idea of too much extemporaneous fluff, for example a good 15 minutes could/should have been trimmed from Pacific Rim. http://letterboxd.com/mehlsbells/film/pacific-rim/

      d) The selection of shots is also important. As an editor, you’re often going to be limited by the angles covered (if a shoot is running too long one of the first things to go is extra coverage or another angle of any given scene), what takes the director marks as best edit, the takes where an actor or the focus puller hit his/her mark and so the character is in focus and in frame, etc. etc.

      All right, an example. Take a look at Lost Girl 4.04, from 13:40 – 14:15 (at least in my copy, sorry if yours doesn’t match exactly). This is something which struck me while watching, and I’ll take this chance to geek out and break it down.

      13:40 starts with a Camera POV [point of view] on the whole scene. Lauren says something.
      13:48 cuts to a medium-wide of Crystal, doing nothing but slightly moving her head. This shot lasts a little under 2 seconds, before it switches back to the exact same camera POV angle from 13:40.

      EITHER, they really wanted the viewer to get an idea that Crystal was paying attention to what Lauren was saying (and a single of her would be more likely to get this idea across than her moving in the background of the other shot, or maybe she didn’t actually move in the other shot and the director decided he wanted her to . . . you see how many variables there are) OR, and this is most likely, there was something they needed to ‘cover’ between Lauren’s lines “we’re being watched” and “you found me, now what.” Again, we have several variables. Did Zoie Palmer pause for 5 seconds, and they wanted to cut the lines closer together, thus just a 2-second cover shot? Did Lauren have other line(s) in between that they wanted to cut, for time or content? Did the director like Zoie Palmer’s delivery of ‘we’re being watched’ in take 1, but her delivery of ‘you found me’ in take 5? Did they decide on the fly to add a line? Any of this is possible.

      This happens a few times in this scene. One more example:

      14:06 is a medium wide non-security-camera-POV of the room. Lauren is talking. She turns and looks at where the security camera is.
      14:09 switches back to the camera POV for only two seconds. Nothing actually happens, we just see the room.
      14:11 switches back to *the exact same angle* we had at 14:06.

      While sometimes programs like this will switch back to a camera POV to remind the viewer that someone is watching the characters, or to make the viewers put themselves in the place of voyeurs, we just saw this angle! And it’s only a 2-second shot; blink and you miss it. Thus, it’s more than likely 14:06 and 14:11 are different takes from the same angle, or possibly there was a very long pause and they needed to trim time. They use the camera POV as a ‘cover shot,’ to ‘cover the jump’ when they either switched between takes or cut several seconds out of one take.

      There’s a lot more than this to the science thereof, but this is a good start.

      And then, there’s there’s feel. Chemistry. It’s hard to quantify, but you simply know. There’s a really phenomenal introduction to editing theory called In The Blink of an Eye which talks about editing ‘on the blink,’ because an actor will often blink *immediately* when the ‘feeling’ or tension or chemistry or humor or whatever in the scene passes its breaking point. That’s sometime the actor innately feels in the moment, and it may vary wildly from film to film, or even type of scene to scene. And that’s something that doesn’t ‘show’ in the edit, but you truly do feel as a viewer, that a scene and the cuts therein are neither too long nor too short.

      I’ve spent a lot of time examining editing, being assistant editor for larger shows or editing feature documentaries and short films. Sometimes I simply feel a show is well or poorly or averagely edited, but I can’t quite put my finger on why without going back and looking specifically at it. I will say if I am noticing editing throughout a whole episode or movie, it’s either being done really well, or really poorly.

      In this episode, I think some of the ways things were cut (particularly in Flora’s room) were to cover Anna Silk being in the mirror. Because there is a lot of movement in the blocking – Flora/Lauren walking and singing while Angel/Kenzi poured drinks behind Dyson/Bo, Flora/Lauren and Dyson/Bo moving around the apartment as they talked (trying to hit all those marks is nothing compared to trying to deliver your lines at the exact same place in your marks, while keeping up your accent and, you know, acting) the editing was likely switching between several takes. It’s an editor’s nightmare when multiple actors are doing a lot of moving and other action while talking, because often the shots from different takes don’t ‘match.’ And the reality of being a lower-budget show with only a week to rehearse and shoot each episode means you will never has as many takes at each angle to have one complete, perfect unbroken take, even with a multicam setup [How I Met Your Mother is multi-cam, in the style of many classic sitcoms; Parks and Rec, most movies, and a lot of US prime-time dramas are single cam] which can make it easier to switch . . . so long as you’re only operating within the same take, which often you aren’t. All this means lots of ‘cover shots,’ sometimes switching between shots which don’t exactly match as far as where everyone is standing or how people’s bodies are positioned or what part of their lines they are on . . .

      oh yes. So one last thing. a lot of this episode actually showed the mouths of both characters at the same time, IE not many shots where you saw one character’s face while looking over the shoulder of another character [see point A, waaaaaay up there]. You see both Angel/Kenzi and Dyson/Bo the whole time both are talking. Often Flora/Lauren and Dyson/Bo are speaking while holding each other and both are in profile to the camera. Same with Flora/Lauren and Vex/whatshisname on the bed. This blocking/camera angle makes it harder to switch between takes, which often occurs by just switching from a medium-two-shot to a single of one actor talking. When you’re using singles, you can essentially pull any line at any point, you can more easily switch from take to take, if someone really flubbed a line you can stay on the other actor and use good audio of the other actor from a completely different take or even dubbed later in the studio, etc. In other words, the way this Lost Girl episode was shot makes ‘cheating,’ harder, and in short saying it was average editing really didn’t account for the fact it was also probably more difficult editing.

      I hope this was more helpful than confusing, and I shall end my ramble. Do feel free to ask for specific points of clarification.

      • Anina says:

        Thank you so much for your time and effort! It was not confusing at all, quite the opposite. Being a bit of a cerebral type I’m always one for the “how to do” side of things and this newfound knowledge will certainly make me pay more attention to those details from now on. Quite fun!

        Also: very interesting remark about Lauren and Trick’s possible downfall. I see them as the exact opposites in the spectrum of ancient vs. modern world. While Trick is the embodiment of the old ways (literally having magic in his veins), Lauren is the modern genius at science which (at least sometimes) can beat even the Fae’s magic.

        After being a bit irritated with S4 at first, I’m now very much enjoying the episodes and the arc. They are really making an effort to stir things up, which I think was much needed after a mediocre S3. Currently the fans of both “teams” are frothing at the mouth (though for different reasons), so the showrunners are doing things right! And I really don’t care who Bo ends up with (if at all). That said, I’m right with you re the photo collage you asked for :-)

        • Melanie says:

          Of course! Writing things out like this is more unwieldy than being able to toggle through something while pointing and talking, but it’s a good exercise for me. I’ll nerd out about film theory as long as you lovely readers are interested. I do remember talking a lot about editing in the ‘Vexed as a Perfect Pilot’ review, as well as ‘(Dis)members Only,’ and I will look for more opportunities to dig into editing and sound mixing and such in the remaining LGS4 episodes.

          By the way, if you’re interested in framing and blocking techniques, with a little editing analysis, I believe I talk quite a bit about that in the _Luther_ reviews, especially the first series. The first series was shot with some fascinating, extreme angles, and _Sherlock_ follows a similar pattern. The BBC is experimenting a lot with shooting styles and being more unconventional/film-esque in its style in its shorter series, and I at least am a fan.

          Trick and Lauren are not exactly the Reason and Faith dichotomy of LOST’s Jack and Locke, but they are definitely representative of opposites. Young versus old, human versus fae, ‘slave’ versus ‘king,’ honesty versus trickery, science versus magic, love versus manipulation. Not to say Lauren can’t be nefarious and pragmatic and sometimes downright insulting, but Trick factors himself above all else, then the system, then maybe a select few others if they will help him get what he wants now or in the future. Still, some moments they actually agree, as in ‘Arachnofaebia,’ and their differences make those moments all the more interesting.

  3. Rachel says:

    Sorry I’m a bit late in chiming in… do you think Bo is truly becoming an anti-hero for a bit (even though she’s more purely ‘hero’ in this episode)? I think 4×08 also begins addressing her/other characters’ “stuff” (fear, denial…).

    • Melanie says:

      I’d not say Bo is becoming an antihero, because I see no indication she has truly lost her way; (it’s presented more as a struggle, or an internal force Jekyll/Hyde sort of deal which will probably resolve at some point. The supernatural / fantastical aspects of her struggle make it even harder to delineate her ‘type,’ but I do still think she’s a noble and heroic character, even or especially when misguided or troubled.

      I’d actually be interested to hear someone argue for Bo being a superfluous woman (http://en.wikipedia.org/wiki/Superfluous_man), based on her powerful status, lack of fitting into societal norms, her often disregard for others’ feelings (not always intentional, still there), and her forays especially in 4.08

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  1. […] it’s because of budget issues, as mehlsbells suggests, but Lost Girl is generally dark. I don’t mean only in story line, I mean in terms of actual […]

  2. […] The Una Mens stand on their own as the best kind of villains: those who eschew emotions and thus underscore how relationships and humanity are important even when including unimaginable pain; those whose monotone insistence upon letters of the law is maddening and unarguable; those whose schemes introduce the possibility of period and/or fantastical episodes like La Fae Epoque. […]



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