Lost Girl: Season 3, Episode 9, The Ceremony
This episode has two cold opens. The second one, after the credits, which continues Bo’s search for various temple-requires talismans.
The first, all orange and teal and nicely-segmented thirds, is sure to send a large percentage of the fandom into a tizzy. It goes out of its way to establish Bo is married – with virginal wedding-dress-like lingerie, and Dyson calling himself her husband – and pregnant. For someone who doesn’t follow societal norms (30 minutes later Bo says: “I’ve never been big on rules. That is who I am”), this strikes all the wrong chords. It’s obviously a dream, or alternate reality, or weird projection. Then we get a second cold open, where suddenly Bo is back pursuing the last few talismans she will need to enter the temple. Kenzi is along for the ride, spouting all sorts of wisdom, including the fact Lauren has many legitimate reasons to be taking some space right now. It’s one thing to have an open relationship. It’s another to lie about your gallivanting around town with a hot Valkyrie, miss your partner’s big night, then bring the Valkyrie back to your partner’s super-fly apartment to celebrate with champagne.
When we and Dyson go to see Lauren, however, she isn’t angry. She’s terrified. Lauren doesn’t believe Bo will necessarily be fine – because she can’t prove it – and Dyson is all positive and touchy-feely. This sets up a nice, short little Faith vs Science chat between the two triangle corners, who have grown in the past two-and-a-half seasons, shifting from constantly needling each other to legitimately respecting each other. Both, adult-like, understand they each love Bo and can work to help her without constantly being petty and whiny.
Boy, are they going to have to work to help Bo. She’s really in for . . . a giant orgy, complete with models?
Eventually, they turn this scene into commentary on Bo’s empathy for humans, and that part is fine. But the shortcut they take to get there – acting like Bo can’t feed off humans without killing them – contradicts something we’ve spent a lot of time establishing. As far as it playing into Bo’s desire to be faithful to Lauren, they could just remind the audience Bo and Lauren’s relationship is open, Lauren is accepting of Bo feeding of others and explicitly doesn’t want to know the details. Later, when talking to Trick, Bo uses the term ‘full feed,’ which would mean it’s akin to what the Lich asked her to do to Lauren in in 02.06. But neither Stella nor anyone else specified she had to fully drain the humans, so she has no story-consistent reason not to. Now, it’s of course possible Bo isn’t a fan of random hookups with models, or she opposes being manipulated into having sex with people of Fae choosing. This is also possibly a reaction to the criticism of the end scene of 02.15, where Ryan ‘brings’ Bo a girl to have sex with. It can definitely be read as coercive and patriarchal and sex-slave-y, and there are plenty of grounds for refusal, but Bo never names one.
Last, this continues to skirt the issue of whether Bo has sex with Lauren AND sucks her chi, while seeming to suggest it’s only the former, (which also explains why Bo heals with Lauren, but not as well/fully as she could otherwise). If Stella were asking Bo to suck the humans’ chi, and Bo were to qualify she’d have sex to amp her powers but wouldn’t risk the chi-suck, that, too, would make some sort of sense . . . until the last scene of this episode. But I’m jumping way ahead now.
After eschewing the model buffet, Kenzi and Bo go back to their apartment and talk about the potential for their relationship to reverse from Kenzi the cat to end like Shawn of the Dead, with Kenzi keeping Bo as a pet. This has been a constant thread (especially with Loughlin referring to Lauren as ‘chattel’ and Kenzi as Bo’s pet), and Trick and Kenzi’s later conversation continues the analogy. It’s a great theme to keep as an undercurrent. Trick’s sudden about-face of total support for Kenzi is counter how he’s been acting the past few episodes, but he does like Kenzi, and I think it’s his way of comforting her in the face of Impending Doom.
The Doomness of which Trick tries, one last time, to impress upon Bo. With a small smirk and commentary on the white wedding/lingerie dress, Bo says the purity ship has sailed. But she’s still committed to the ritual, like it or not. Right before she makes the leap, Dyson shows up to offer his ‘services’ and Lauren gives him her blessing, and Bo another world-is-ending kiss. The kiss is a Season 2 finale mirror, down to the framing and Dyson’s knowing look. I love me some shot symmetry.
That shot was very intentional, and so is one right after, though the second reasoning isn’t as clear. Usually, when a character looks over her shoulder as Bo does before entering the portal, it’s used as a transition to a POV shot, one last look at the friends left behind. Here, we get a 180 to the whole room from behind the portal as Bo and Dyson step into it and leave the Dal . . . for the Dal.
Way to get around needing to build an elaborate temple set! Bo even comments on it: “What, the dawning couldn’t have sprung for a different bar?’ Translation: the set decorators are angry they get no budget, and the writers are on their side. The following Dawning sequence sets reuse everything from Bo’s apartment to the police station boxing ring. The only new thing we have is Dyson and Bo’s house, which is a suggestive-yet-economical sterile and bland.
The first person they meet in said recycled world is The Caretaker. His inability to remember his mother’s name – rather than his father’s – suggests the Fae world puts more stock on the mother and her bloodline than the father. This is suggestive for both Bo’s personal story and the show’s worldview at large: it’s not always about daddy issues. The Caretaker cryptically tells them to find a key, and they run off to do so.
Dyson’s personality has undergone a total makeover, and he’s obviously enjoying himself playing hero in this dangerous situation. Though for a hero, his/their choices of when to fight and when to fly are a bit unfathomable. The second the meet The Guardian he he draws blood, they run to a locker room. Here Dyson confesses he loves Bo, and hey, in 100 years he’ll still be around . . . insinuating Lauren won’t.
This is hardly the time or place, and Bo notes Dyson isn’t going to be much help so long as he’s pining away and waving his false sense of male machismo. To which he responds “I’m just a wolf, standing in front of a succubus,” and thankfully before I could throw something, Bo reacts appropriately with a smack and a cry of “ASSHOLE.”
Then, they split up, which as all horror movies and dreams have taught us, is a Bad Thing. Dyson meets with The Caretaker to get talked into indulging his deepest fantasies, while Bo turns up in uniform, Lauren’s partner on the police force.
It’s about here this dream sequence really gets interesting, cross-projecting Lauren’s and Dyson’s personalities and roles. Lauren wears a lot of uniforms, actually, including the white coat in her earliest scene. I’d rather she lose the coat unless she’s dealing with sick patients or doing something that potentially splatters, but in this episode and in general, she (and by inference, Dyson) are using it and her (their) abilities (researching, policing) to deflect.
Lauren and Bo’s convseration gets real meta real fast, very much intentionally speaking to the audience; from Bo’s “I never needed saving” to Lauren’s “You don’t have to read into everything I do or say.” The last knife twist is:
‘I was in it for the long haul.’
‘It wasn’t my fault.’
‘But you still gave your love away.’
Did Lauren get mentally seduced by Dr. Smarmy? Will there develop some other obscure meaning for ‘love’? It’s intentionally left obscure, the better to tease the audience and referenced later. These sorts of episodes work best when they serve as Alternate Reality Signposts, warning characters what changes to make, and where things could lead, should they go unchecked.
Next to show up in the dream is Kenzi, wearing a significant necklace with a recurring symbol. Several things reoccur throughout The Dawning, from Bo’s pills to the pictures of the model / Aife (whether intentional or not, I can’t always tell who the pictures are supposed to be of). Kenzi’s necklace is possibly meant to suggest in the alternate reality she belongs to the Ash or another Fae. It’s not Trick, because Trick shows up and reminds Bo it’s a Cop vs Street Rat world. Or, a Human vs Fae one.
The temple has turned into wish AND nightmare fulfillment, as such things are wont to do. Bo is transported to a Lynchian suburb where Tamsin cuts flowers and bakes cookies, and Dyson is a doctor. In order, my thoughts on Dyson’s scrubs were these:
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Bo is now projecting Lauren tendencies onto Dyson.
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Well, it seems to be Bo’s dream, but maybe Dyson is projecting Lauren onto himself.
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Or, maybe the costume designers had scrubs lying around.
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No it’s intentional and intentionally a mindgame. Didn’t you hear Lauren? Stop overanalyzing.
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But, but it’s mean to be overanaylzed.
At that point, I proceeded to analyze until thought train derailed and I caught back up to Bo walking through the hallways, to find a child who is obviously her. We never see daddy, (so he can be cast as anyone, at any time!) but we do get a custody battle in the realest sense of the term, which soft fades back to the opener. Bo is again celebrating her pregnancy with the sound of herself as a baby crying echoing in her own ears (wow, these sorts of episodes are also the hardest to recap) when she gasps in pain and Dyson suddenly realizes, “I’m not a doctor. I can’t help you.”
Yay, layers! First, brute strength isn’t what Bo needs to survive her Dawning. Second, Lauren is better for Bo than Dyson is, in her ability to help heal, and as a person. It’s a stunning, painful revelation, but Dyson realizes he can give himself for Bo, which of course he intended all along. Perhaps that helps explain both his giddiness (may as well have a beer if you’re about to die!) and his willingness to indulge in What If games. Now it’s real, though. Or rather, not. Dyson screams, “NONE OF THIS IS REAL,” as much to himself as Bo, and then uses Bo’s maternal instincts to make her stab him. Relying on maternal instincts can be an eye-roller, but here they are used to delineate that Bo is not her mother. Bo’s love for others above self also separates her from Aife, and she mourns Dyson’s death and insists on saving him. To do so, she writes the symbol in Dyson’s blood, and poof! They’re back in the Dal.
It’s at this point the episode doesn’t work for me. The payoff is anticlimactic. If Bo has been ‘saved’ from de-evolution, there’s no sign of it. To top it off, Bad Bo immediately chi-sucks the whole room save Dyson. Everyone miraculously, immediately recovers, (unlike in 02.06), and we’re left seemingly to infer Bo can only breathe chi back in after taking it. This is one of the few times I’d like them to be more clear: we still need some basic world-building.
I feel Bo’s revelations here could have reached the same conclusion organically, over time and a few well-metaphor-ed monsters. This was more a lesson for Dyson and the audience than Bo. Ultimately, these sorts of episodes are for the audience: to ponder, to deconstruct, to argue, and to read into. So what else did everyone get out of it? To the comments!
Stray Observations
- Kenzie’s slight allusions to the wedding as “The Most Important Ceremony Of Your Life!” is actually a but delightful bait-and-switch: possible death instead of commitment, yay!
- ‘Please let me live to regret this.’
- I feel like they have had to do some accommodating for Zoie Palmer’s movie schedule. She has a conspicuous number of phone calls and scenes with only one other cast member.
- Thankfully, Lost Girl has already been renewed for Season 4, but I’m curious whether the writers had a contingency plan to City of Angels Bo and Lauren’s love story. Several things in this season could have led into a finale with that.
- Dear Writers: I try not to constantly make Buffy comparisons, but you make it too easy. This stabbing scene is straight out of “Becoming, Part Two.”
- These sorts of episodes are full of wish fulfillment, weird psyches working themselves out, and indirect symbolism that can mean 42 different things. Best used sparingly, they serve to keep things interesting, can accurately make one feel like one is in a dream state, and are a staple of the genre.
- This actually would have been a perfect way for Dyson to go out, if he had to. But being a dream-like episode, it couldn’t happen that way, so I was never really worried.
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[…] watch from afar, physically helpless, while Bo is attacked from behind. Lauren calls Dyson – who last episode was reminded his physical prowess was not what Bo needed – to help Bo. It literalizes […]
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[…] his asshattery (as when he didn’t want her investigating in the beginning of this episode, or during the Dawning when he pulled out all the worst rom-com stops) and because she has Kenzi to help […]
Mel Killingsworth - Film and TV blog 
This is a great review. Initially, I thought a lot of my confusion about this episode was due to the dream logic, and that was fine, but the more I think about it, the more it simply doesn’t hold up, largely because of that last scene. And I don’t understand why Bo’s big ceremony was so completely focussed on Dyson?
I’ve considered the possibility that maybe this was meant as a kind of fond farewell to that
What do you mean by the “City of Angels Bo and Lauren’s love story” line, do you mind me asking? Bo giving up her powers?
No, not giving up her powers, just her mortality. She’s never fully embraced being Fae, and often sided with humans (to general Fae sneers), so it’d not be too difficult to ret-con in a clause forcing her to choose between Fae and mortal, while still holding on to her powerful, sexual nature. The longer the series goes the less likely this would work and still stay true to the story, but I thought it might make an interesting contingency plan to get tossed around as a ‘just in case.’
Whoa. That would be a perfect resolution. It always made sense to me that Bo would give up her faeness in a heartbeat to opt out of the fae world, and be with Lauren and Kenzi. But the problem is, that would compromise the show’s message about embracing identity and sexuality. Trading her lifespan, while keeping her powers, would be a perfect score all round.
Sorry, “a fond farewell to that romance, and that would justify sacrificing a whole episode to it, but that still seems weird”
Kensi’s necklace has the symbol that Trick drew on Bo’s forehead before entering the temple – implying that she is “Bo’s pet” even in the dream world. Remember, Bo referred to Lauren’s necklace with the Ash’s symbol as a “dog collar” in season 1. The thing that I don’t understand is (well, there’s a lot that didn’t make sense in this episode), if Dyson knew that he was giving up his corporeal life for Bo why did he say “ask me again in 100 years when things are different?” He kept saying “if I can’t have you…” but he’s effectively giving up any chance to have her once Lauren is gone. His mannerisms in the temple just didn’t seem to fit his character.
Ah! I got the dog collar part, but missed how directly it tied her to Bo. Great catch.
I agree, Dyson’s attitude isn’t consistent any way you look at it. If he believes he’s dying he may go a little loopy, but then why the remarks as if he’ll live – like Fae – forever? Wishful thinking? He can only be so honest with himself? Or the portal just has that effect on people? I know people can act strange in strenuous circumstances, but Dyson is usually either cool as a cucumber or a raging wolf. Loopy is new. And a tad inexplicable.
I’m thinking Bo is the daughter of Odin.
At the end, we see an image of a demonic winged horse on an object in Trick’s trunk- the term nightmare does come from an Old Norse word- mara, and Odin was associated with Echwaz…a horse-god of nightmares, but, we shall see.
I’m pondering…
What made Kenzi say “No probs.” so wistfully, after Bo heads out on her own for a walk?
Stella’s words to Trick at the close: Stella had just been speaking to Trick about whatever she had whispered in Kenzi’s ear, telling him if he cared about Kenzi, he would tell her the same. Stella asks if Trick is going to punish her, kisses him and then says, “I just wonder how long you are going to punish yourself, Blood King?” hmmmm. For what?
Trivia bit- Bo comes into the room humming along with a lullaby her father is singing to the baby Bo. He sings, “go away little fairies, go away little fairies…” he is singing The Bressay Lullaby, a Scottish lullaby also known as Baloo Baleerie. The verse he is singing, the first verse of the song, is about shooing away the fairies who want to swap the baby with their fairy (fae) baby. (these fairy babies were called changelings) In the very next scene, we see a woman (Aife, I guess) slit the throat of the nanny, and steal baby Bo away; we know Bo was adopted by human parents and was raised as human.
As for the symbol Trick drew on Bo’s forehead, on Kenzi’s “pet collar,” and that Bo drew in Dyson’s blood? It looked like a circle enclosing the Greek letter, Pi. The Greek letter Pi π is a gate, since it is the first letter of πúλη (pulé- gate of town or temple). The Greek wanted to represent the shape of the entrance to civilization. Circles represent boundaries, and enclosures as well as returning cycles.The symbol is also similar to a Druidic sigil called The Gate. Interesting that she had to find the key to go back through the temple door.
(I originally posted this over in the syfy forum for this episode.)
I wasn’t positive if the picture was supposed to reference Bo’s father, or another ‘big bad’ that Trick somehow figured out was coming after Bo (which could be supported by Tamsin’s minor freakout, too). Odin could be The Wanderer looking for Bo’s death, and The Wanderer doesn’t have to be Bo at all. I do like your theory about a great mythological father, and it does fit with Bo being all super-Fae.
I’ve nothing to add to your wonderful comment, but I especially love the bit about the Bressay Lullaby. Do ponder here any time.
Hi, Melanie. This is another thoughtful review of Lost Girl. Well done. This episode has gotten me thinking, too. I wrote a less composed follow-up at tumblr: http://tmblr.co/Z6mW5tggeeje . We agree on much of the episode, I think. What I didn’t say and you did (thank you) is that it is a bit anti-climatic, referring to Bo’s Dawning. You say we have no evidence that Bo’s devolution is over, but I think we do actually see this. For a lot of the season I have been confused about Bo’s devolution and her super succubus (i.e. her demon-voice chi-suck a whole room succubus) and the difference between them. But it clicked for me in this episode. De-evolved Bo is the primal Bo, the animal Bo, the image of Bo eating raw meat with horns coming out of her head that haunt’s Bo’s dreams before the Dawning and the image the dreamcatcher saw. Super succubus Bo is the demon-voiced Bo, the powerful Bo, the scary Bo. I don’t think they are the same, or were ever meant to be the same. I think the audience has assumed they were since we see Bo feed on that dark fae outside the Dal in Caeged Fae (3.01). My theory is that super succubus Bo went into survival mode and fed on the first person she saw because it sensed the devolution of Bo starting and wanted to pick up extra feeds. What we see when Bo emerges from her temple and has successfully navigated her Dawning is that Bo is in control now of her super succubus. My thought was that she has accepted her father’s contributions to her fae-ness, and super succubus Bo is his genetic gift to her. That’s why she can control how much chi to suck from 4 different people in order to reanimate Dyson; she’s in control because she understands what it is now, and who she is, in spite of her lineage. I think she knows she is “good,” as she tells her adoptive mother in 3.07, and that even if her origin is framed in, let’s be serious, real darkness and yes, evil, she is not. —I’ve never really been a romantic pairing shipper for this show; I really think Bo can love all of these people deeply and with total loyalty. I think it’s her extra special power: to be able to love with an open heart. And, I think that will save her from ever being evil, or perverted by her father’s intentions and power. —Again, great review. I really do enjoy reading them.
I’m a big proponent of shows not always spelling everything our for viewers. Obviously in sci-fi-type shows we have to have scenes where characters explain what this monster does and how it can and can’t be defeated, etc., but I mean the scenes of nothing but exposition about What Just Happened, a la the last scene of Hitchcock’s Psycho. I think it shows a great underestimation of the audience and the audience’s intelligence. And I’m glad Lost Girl doesn’t do this sort of thing often.
That said, I think the show could have done more to distinguish between the two Bo problems, especially as they involved a lot of the same elements (shots! hunger! anger!). I get that in the end, Bo’s conversation with Kenzi only tells us what Bo knows about how she changed – or didn’t, really – but we’re still confused. We needed more information going in.
I like/agree with your point Super Bo and Bad Bo aren’t the same. In that case, we haven’t actually seen enough of the de-evolution to warrant this huge leadup to The Dawning for have our payoff be a lot of psychology about Lauren and Dyson and their roles in Bo’s life and life at large and Dyson’s fantastical demons . . . *which I liked,* but thought a sorry excuse for a Dawning. Last episode was a more convoluted Journey/Test sort of episode than this.
There’s definitely a balance to be struck – we don’t want eight flashbacks to UnderFaeBo every episode. But I think the whole dealing of both at the same time was a little haphazard. Maybe because being obscure can cover plot holes, maybe they intended to obfuscate the two. Thankfully, this is not actually the biggest or even close to the biggest thing Lost Girl has going for it. The metaphors it uses, the way relationships and friendships work (absolutely agree Bo loves all deeply and equally), the fantastic Monsters of the Week, these things are still firing on all four cylinders.
But I do thank you for deconstructing it, and the points you make about Bo’s father are solid (and probably going to warrant a radical revamp of my earlier views/assumptions about him).
Also, speculation: Lauren is really putting the pieces together about SuperBo’s abilities. She’s always given Bo more credit than anyone except possibly Trick, she’s seen all of the SuperBo manifestations, and she’s about to dive into some books and research and go all science-y on it.
And, I just posted the Lauren puzzling it all together, too! We’re definitely on the same page about much of this storyline. (My post: http://tmblr.co/Z6mW5tglM0VL ) I’m also working on what is turning out to be a very long thought post about “The Wanderer” that might interest you: http://tmblr.co/Z6mW5tgnxgW7. Your point about what Bo was grappling with in her Dawning, with the occasional interruption of Dyson actually being there, is interesting and might be why it’s so anti-climatic.
Everyone is always so worried for Bo in the fae world. And, the message they keep harping to her is that the Dawning is different for everyone, and they assume because of Bo’s origins that hers will be very hard. But I can’t help but think that they are constantly overlooking her in the here and now. I am not sure why, but everyone (mostly) wants to protect Bo. I am not surprised that her Dawning is more psychologically rather than physically challenging. The mystery of her origins, her parents, her birth, her being entrusted to humans to raise, is Bo’s root, shall we say. So, her self actualization must be to understand that or reconcile that she can’t understand it and live the life she has. As she tells us every episode, she will live the life she chooses. So, I get that her Dawning actually related to her and her concerns instead of everyone else’s concerns for her.
I do think that Bo is concerned by her super succubus power, and I think she feared it much like Lauren seems to. Maybe Bo’s Dawning had everything to do with Bo centering herself with the people and ideals she values before any dark power she might have inherited can consume or pervert the Bo we know.
But you’re right, I think, about the show making super succubus Bo, evil Bo, and de-evolved Bo more distinct from one another. The Dawning almost seems like a plot detail that has to be in place, even if it is unbalanced, so that we will be able to understand what is surely to come.
And, I know I am speculating about all of this, so you are kind to refer to it as deconstructing. I’m afraid my visual literacy is not as well developed as your own. I enjoy that element of your reviews, when you refer to a production technique used by the LG team to tell part of the story. I do think there is meaning in how things are done and the choices made to denote association and meaning. Thanks again for taking the time.
Mmm, yes, I think Lauren’s look is meant to be puzzling it out, but I’m sure the show enjoys that it can be played both ways.
As for The Wanderer, I am indeed interested – though we’ll find out soon enough, delving into the mythological/various foundations for stories is always fascinating.
To your last comment: I work hard at noticing, because TV and movies are ‘what I do.’ I’ve PA’d, edited, written, directed, and produced a growing number of short and feature films and two TV shows, and I’m always excited about the meaning behind every shot angle, prop, color scheme, sound effect, etc. As I create my own and work on others’, I like to read theory books and carefully watch all the tv/movies I can. I often try to watch twice – for the story, and for production values/choices. I often watch with headphones to better pick up on audio mixing, such as the clock ticking or a car roaring off from r-l.
All this does include noticing the other stuff: when something has been ADR’d (dubbed) in post due to there being audio interference, or a line change, or any number of reasons; general continuity errors; when a walk-on character is being obviously set up to be significant; etc. Most of this ability to catch things comes from my history as an editor, where continuity is key and perfection is impossible. Some of my friends complain I’ve tainted their TV watching with all my pointing out. But so long as people on the internet enjoy it, I shall continue to post it here!
p.s. I always use hovertext on my pictures, and sometimes it’s commentary on shot composition, colors, etc.
Ooooooh, I see them now! I’ve mostly been reading/visiting on an iPad, so title tag content doesn’t usually pop-up, or maybe it does and I’ve not scooted around the images enough to notice.
What editing software/app do you like to use?
For the pictures, I usually just screenshot and add the text in WordPress.
For video (which I think is what you meant), I’m fluent in Vegas Pro and Final Cut Pro, and have some experience with Adobe Premiere.
Hi, Melanie. Is there any kind of video editing basic principles resource that you’d recommend? —Thank you, as always.
If you’re asking about the technical side, I’ve always been terrible at learning that sort of thing from a book. I was lucky to work in a production office during college where I learned most of it hands-on, through trial and error and also from a film teacher who worked in the office and a friend who had taken some classes.
If you’re asking about technique, I started with two books. The first is ‘Filmmaking: Narrative and Structural Technique’ (Bob Foss) which takes a really brief look at editing but talks about time passage and spacial relations, use of camera angle and movement, etc. which are all important while editing; it’s a decent place to start if you want basic-basic. The second is a huge book with pictures and diagrams and really detailed breakdowns from famous films and how the edit accomplished things; I recently moved and can’t seem to find it at the moment, but I’ll let you know the title when I do.
If you want to dig a little deeper, I highly recommend ‘In the Blink of an Eye’ (Walter Murch). I have since read a lot of theory books, but few do so well at bridging high theory and basic editing principles.
Once I started understanding why and how specific cuts are made and watched films with that in mind, it was mindblowing. Of course, part of editing is intuitive, and sometimes a cut just feels right or wrong.
I’d also suggest you find an editor whose work you like and break it down. Partly because the only other editors I met/heard of were men, partly because the only things I truly love about Reservoir Dogs are the opening scene and the editing, I studied a lot of Sally Menke’s work. Of course sometimes the director or producer has made a call on certain cuts, but rarely do they have to go cut-by-cut in the big leagues. Distinct editing styles absolutely emerge. I’m also a total sucker for filmmaker Rian Johnson, who directed and then edited Brick. (This is what I did for my film. Being the director/editor also assures nobody on set gets away with saying ‘just fix it in post.’)
Hope that helped.
Yes! Thank you. That will definitely get me started.
I picked up on Zoie’s schedule. That almost makes sense to why for three straight episodes Bo spent an entire episode with everyone but her girlfriend. I’m laughing about that because there was never a need to put Bo into a relationship if they were never going to make her commit.
There was never a need to wake up Nadia just to kill her, and taking five years of Lauren’s work and torture with her.
Lauren gave Bo permission to feed elsewhere. That’s like giving a child full access to a cookie jar, and they never told you how often they were in it.
Since Bo went through all of this, unnecessary lying and even laughable tests to go into Dyson’s fantasy land. Ridiculous. They ruined LG with absurd plots like this. I know Canadian shows only get five years, but with writing like this and the following seasons, they only deserved two seasons. They simply went off the rails.
What’s interesting is Bo in her Dawning wants to be working and married to a doctor with a family. Then they clearly show her telling (Lauren as a cop) that she was in it for the long run until she gave her love away. She was still mad at Dyson for going to the Norn. Outside of her Dawning, she wasn’t mad about it. Long story short, she loves a scientist and lost the one she actually had.
Then after bringing Dyson back and being proud about it, she dumped him on Lauren to be treated. Why did he need to treated if her succubus was so powerful that he still needed human medicine to completely recover?
Poor Silk, her head must have been mush reading these ridiculous scripts.