Lost Girl: Season 01, Episode 09, Fae Day

Possible spoilers through 03.13. All reviews here.

Chekhov's Crossbow

If you’re a succubus who is emotionally, sexually, and personally frustrated, how do you work it out? Pre-dawn calisthenics, of course. The sword-swinging is one of the few times we see Bo practicing weaponry skills, and it suggests she does this often, so her later fights will be believable.

Most of this episode is self-contained; that is, other than a little processing with Kenzi and talking to Dyson via having to work with him, Bo ignores the emotional pummeling which was last episode. That’s her coping mechanism. Kenzi’s mechanisms are much more progressive, including talking, eating, weapons sharp (Arrows! Throwing stars! Swords!) and blunt (Baseball bats! Staffs of righteousness!), but most importantly, drinking! And so they go to the Dal for ‘one drink.’ Ah, famous last words.

Other famous last words: ‘Dickhead. I don’t believe in fate – you make your own future, you fight for it.’ But we’ll get to that.

Bo and Kenzi arrive in the middle of La Shoshane, the most sacred day of the Fae year, and a free pass for Light and Dark to get freaky – sorry, ‘spiritual.’

The amount Kenzi and Dyson drink in this episode should fell two horses.

Before Bo and Kenzi can get their cocktails to go (not actually legal), Chevonne, a harp-playing banshee, calmly stands up and screeches the prediction of death. A member of ‘the five families’ in the room will die before midnight. This is the first clear picture we get of the Fae ruling class, and if Bo had been paying better attention to Trick’s commentary, it may have served her well in 02.17, “The Girl Who Fae’d With Fire.”

The camera follows Trick walking to get information and lands on Dyson coming into the bar. Dyson wants to sort things out, Bo wants to ignore everything, and because Trick has no time for their little relationship processing right then, he interrupts with the banshee contact information. Bo wins this round. Dyson immediately wins the next, though, suggesting since Bo doesn’t know who her Fae-rents are, she could be the one wailed for. He really needs her, turns out, because Bo is ‘secular’ and not bound by La Shoshane’s rules about not using gifts or getting violent. Off they go to put aside their angst and figure out who will die. As ‘friends.’

Most of their interplay here feels like a legitimate friendship. It’s also part of a rapidly progressing relationship arc, the better to make you feel the weight of its loss in 01.13, a development which feels a bit quick. But at least here Dyson goes to Trick, admits he is emotionally involved and hates lying to Bo, and urges Trick to come clean, or at least allow Dyson to come clean. Trick, packing up the rest of Lou Ann’s things and tying her story in a tidy bow, doesn’t agree.

Now the aftermath of the last episode has been mostly acknowledged, the episode gets down to business figuring out who’s going to die, then killing him or her. First stop, the banshee’s agent, who is harboring an allergic Chevonne in the coat closet. Turns out she’s not only allergic to musty boas, but iron! So they strap her down and play good cop, force-feeding cop. 

Bo ties up a willing third wheel while Dyson unwraps and then grinds his meat . . . if only I could think of a joke . . .

It’s important to note she’s a consensual party here. She’s not thrilled, but if she were unwilling and they tied her to a chair and shoved meat down her throat . . . well that’d be an essay in and of itself. Her compliance is key, though some persuasion is employed. 

The tranced Chevonne reveals the doomed guy is one Sean Cavanaugh, and he has not until midnight, but sundown.

Cut back to Kenzi, who has been making friends with a young Fae. It’s obvious this is going to be the guy, but as she and he tease each other (and play a game I don’t recognize – anyone know if this is an actual thing?), the show teases us and has him reveal his job, his power, and his compassionate heart, but not his name. Until Dyson arrives and calls it out. The old man, who – in the human world, at least – would have lived a full life and been right to go, celebrates, as a young man who presumably has much life to live and be generous faces his fate.

Sean tries to accept his fate, quoting ‘death finds you no matter where you hide,’ but Kenzi is convinced the banshee wail is a Fae-ry tales he can wiggle out of somehow. Until then, he should make a bucket list and proceed to cross them all off. Kenzi can be quite persuasive, and before Sean knows it, he’s trying to reconcile with Liam, his dark Fae brother. He asks Bo to help him, and you know Kenzi really likes the guy when she doesn’t offer even a token objection to Bo doing this one as a freebie.

Their set decoration room must be a magical place.

Bo takes Dyson – she drives, since he’s been doing shots in the background while everyone talks – to Liam’s office, where they find Liam’s minions shredding files and tossing out desperate clients. After asking Bo to dinner and telling Bo Sean is the one who should apologize, Liam clams up. Bo and Dyson do the natural thing: stalk him until he’s alone in a parking garage and sex-duce him into a confession. Pretty sure if Liam were a young woman and Bo a strapping incubus, this scene would play differently. But again, this is closer to the original myth of the succubus, something the show continually toys with. Learning Liam placed a hit on Sean (and Kenzi is with Sean), Bo and Dyson rush to find them at the clubhouse.

Sean and Kenzi are at the clubhouse after a few mini-adventures. Despite claiming he only has one regret, Sean has a few drinks, throws a few darts, dashes off a witty line about heartbeats that will surely come back around, and mentions to Kenzi he’s always fancied the waitress but never done anything about it. Nothing like death to bring one’s libido into focus. Despite being shot down – she probably gets fed a dying wish story once a week – Sean is glad he tried. Once that little hump is over, he’s emboldened to go to his childhood home and confront his father. This goes about as well as asking out the waitress – his father’s response is to get Sean’s will in order – but the point isn’t the result but the attempt: an overture is as good as a conquest.

The script reads: SEAN and KENZI confront DAD in OPULENT GARDEN

Also at the clubhouse: goblin hit man! A wonderful dichotomy exists in this scene. Sean is trying to protect Kenzi not because he’s male, but because he believes he’s nothing to lose, while Kenzi does. Bo ends up protecting Dyson as he’s incapacitated by the goblin’s blow. Both express love through their actions, both come to realize what they value, but neither are conforming to the ‘man should protect woman because, man, and woman’ stricture. Dyson’s shooting the goblin is a bit of a cop-out, but it’s also not the display of physical prowess he usually relies on, and it’s interesting to consider his concession to La Shoshane – no powers, violence only to protect a life – as akin to the ways earlier-referred-to Amish or Mennonites bend their own rules. (Edit: as Rachel points out in the comments, there’s a far  better analogy than Mennonite culture here.)

And then Bo and Kenzi learn a valuable lesson about not leaving dangerous weapons not laying around an unlocked . . . nah, but Sean does grab a loose crossbow and take off after Liam. Sean either fires a warning shot or has bad aim. Liam tries to run but is quite literally trapped by his greed and sins, manifested in the mountain of shredded paper blocking the fire escape.

Then, in the nick of time, Bo’s arrives and her obsessive reading comes in handy. She invokes Agallamh, or enforced peace talks. What her reading glazed over was the part where the invoker offers her life to be held in escrow, in case the talks fail. “It’s not violence, it’s sacrifice,” Dyson equivocates, pointing out another convoluted workaround in the Fae system.

The ceremony begins. Black sand is sprinkled on a line, the remainder handed to an extra, to be handed to a PA, to give to props, to save for use in “Original Skin.” Mysterious liquid is drunk. Wine, blood, who knows. A bird’s-eye shot is taken, for fire effects to be laid over later. A candle is blown out. Dyson offers to be Bo’s claymore, and kill her in case anything goes wrong. Heaven only knows why he decided that was a good idea; seems if she lives, that may come back to bite him. But it’s not the last time he’ll do something like this.

I imagine Trick's floor as a gymnasium, with markings for all the games overlapping in various places.

In arbi-fae-tion (too far?), a backstory emerges. Sean called the police and accused Liam of stealing their father’s money. Liam’s reputation was ruined, and he still insists he didn’t do it, while Sean maintains he did. “It’s in your character to steal” Sean snaps. Bad move. Liam claps his hands twice and calls the whole thing off. The same goblin appears, but we’re told it’s a different goblin. Ah, production on the cheap. Kenzi whispers to Bo: stall, stall! Dyson mysteriously forgets his whole super important spiel from earlier about how The Morrigan wouldn’t let a blatant Dark-on-Light attack stand, especially on a holy day. It seems kind of crucial, but perhaps it was all the shots. He does whisper to Trick ‘you could save her;’ perhaps the forgetfulness merely a writer’s ruse to introduce how powerful Trick is, in an episode which has referenced the Blood King at least thrice. Trick carefully keeps his hands folded behind his back when he re-emerges from his den. The better to keep us wondering, my dear.

Whether via Trick’s blood* or her heavy boots weighing down the gas pedal, Kenzi arrives in the nick of time with Sean and Liam’s father, who is forced to admit he stole the money himself to cover his gambling debts. Both sons apologize for their misdeeds and offer a sacrifice; Sean his birthright, Liam his stolen goods. The brother’s birthright rings the Jacob and Esau bell, and not for the last time.

The episode is self-contained enough that any new viewer could follow without having to have seen any other episodes. Yet it contains themes which run through the whole show: placing value on people versus rules; playing with the idea of light and dark, neither being blameless; those joining the Dark Fae often motivated by injustice and pain, and those joining the Light Fae usually motivated by guilt and attempted atonement. True, the idea of Light and Dark being equally culpable and pushed to sides through familial bonds and miscarriage of justice is stronger in Season 1 than the rest.

I imagine the theme from Armageddon playing under this scene.

But how does the episode resolve its central plot?

These episodes are staples of the sci-fan genre, which has a vested interest in making sure the destiny declared at the beginning of the episode comes to pass by the end, even if it doesn’t usually come about in the way one thinks. This is because the hero of the series is usually either the possessor of a Grand Destiny (Charmed, Smallville, Angel) or at some point wonders what the heck their destiny is; to save the world, accept a gift, destroy mankind, etc (Buffy, Battlestar Galactica). My examples tend to break down via human and non-human lines, but Bo, being both Fae and aligned with humans, is going to have an even more convoluted struggle with her destiny.

The story works, too, to give everything a sense of urgency. When characters want to get their lives in order because they have cancer, that’s a mood-killer. When people get T-boned in cars, they have seconds of breath to gasp their last wish before they go limp on the pavement. The supernatural knowledge of time of death, however, gives one enough time to wrap one’s business by the end of the episode. Of course, the same supernatural allows it to be curable urgency, in case a main character is afflicted: see “Food for Thought.” But in matters of destiny, it’s in the show’s interest to allow the proclaimed Fate to run its course, no matter how convoluted, to truly stack the deck against the heroes. So, as it always has been and always shall be, the guest character, is send off with a tearful farewell brought about by a ‘twist’ – here, his own nobility and the misdeeds of others.

How does the whole thing tie into the main stories?

Me. That's how.

While it is Sean’s death and all, the character development is Kenzi’s. Being episodic television, the way you interest the widest audience is to quickly, personally tie the guest character to a permanent character, then have the guest die. Charmed ditches or kills a love-potential-interest every fourth episode; Kenzi should consider herself lucky to have only lost two so far.

You can say the Bo/Dyson relationship here proceeds on Dyson’s realization that he, too, can defy ‘the rules’ or fate for someone he cares about as much as Bo. True, Dyson is still lying to Bo, but he’s also actively struggling against centuries of indoctrination and a strong sense of fealty to Trick, telling Trick Bo’s need to know about her own self outweighs Trick’s unreadiness or fears. Bo’s swing back to Dyson, meanwhile, is certainly partly motivated by Bo’s sense of loss and betrayal over Lauren, but you don’t need to know that for this episode to work.

Just in case you missed it, the episode ends not on Kenzi and Bo, but Dyson’s toast ‘To the Blood King, and all you’ve sacrificed.’ The DUN DUN DUNs are implied.

I'll end on Kenzi and Bo, mostly because switching those two scenes would make me happier. And aren't they adorbs?

Stray Observations

– ‘I’m surprised you’re not taking the stairs, I thought you couldn’t use electricity on La Shoshane.’ ‘Wrong culture.’

– ‘Stand-up comedians, it’s like they want to be miserable or something.’

– ‘The whole idea when you’re dying is to break out of your shell, not throw on an extra coat of wax.’

– Kenzi’s knowledge of sports and betting make her cutting jab that much more believable. Damn, that’s good use of a character.

– Gravesites are un-visit-able by those of other clans or sides!? The Fae are absolutely Civil War -esque in their ideals. Brother against brother, indeed.

– *Trick confirms in a later scene he didn’t use his blood, but at the time Kenzi arrives we don’t know that. It hints destiny and powerful forces may have more to do with shaping success and luck than work and . . . luck.

– Fate and destiny are such powerful gimmicks in sci-fan. I wish reality-grounded dramas would seriously discuss them more, but it seems the words themselves initiate a little snobbery, so the serious topics are relegated to more ‘unrealistic’ realms. Sad, that.  

– Does this whole thing mean Hale is to be presumed safe unless a banshee wails? Or at least, a character (likely Bo or Kenzi) makes reference to the fact a banshee hasn’t wailed, and someone corrects her with some exclusionary clause?

– My last-day food would have to include at least: Siphon-pot black-and-tan coffee. Centraal’s berry basil french toast (Willalby’s vegan french toast is better, but this has been my good-luck food since US/Brazil 2011). Roman Candle pestoral pizza (no tomatoes – an allergic reaction is a lame way to fulfill destiny). Spotted Cow kegstand. Simma’s cheesecake. A shot of tequila. And as Bo says, smoke ’em if you got ’em.


20 Responses to “Lost Girl: Season 01, Episode 09, Fae Day”
  1. Rachel says:

    Arbi-fae-tion, huh? 🙂

    Bo totally does ignore things! Go you for observing that! 🙂 The distinction between what she ignores and what she faces has confused me for awhile, and I’ll bet it’s a reason why people thought she seemed OOC season 3 (she kind of ignored a lot stuff s3). She ignores things that she doesn’t understand and that confuse her. Subtle stuff. But she does confronts some things, and she confronts stuff in the moment. Like she’s searching for her mother. But she confronts things that are right and wrong/black and white/very clear to her. Ex: waking up next to Dyson and making sure he’s breathing, having much more gentle sex with Lauren and being very clear in Food for Thought that she’s scared she’ll kill her. But these are fears she can name and understand, and respond to, not the stuff that’s subtle, that she doesn’t understand. I’m not sure how self-reflective she is yet, and that could have a lot to do with her past 10 years and fundamentalist upbringing. Do you think she knows she ignores stuff?

    I’m pretty sure those references are actually Jewish Sabbath references (not taking the elevator, and breaking the rule of ‘no work’ in order to save a life — a Jewish life, though). I have some Orthodox family members, and when I visited them as a kid we tore toilet paper Friday afternoon. Jewish thought on what constitutes work is interesting. In the Talmud, apparently, there are pages of commentary about if a chicken lays an egg on the Sabbath is it kosher to eat that egg (was the chicken working?).

    Does Dyson’s offering himself (as Bo’s claymore, hand, offering his wolf) let us know how he understands chivalry?

    Liam was trapped by his sins, symbolically represented by the shredded paper. You are a good symbolism noticer.

    • Melanie says:

      Fae puns are like crack to me now. I write three or four per review, but I usually take the worst ones out.

      The Amish thing popped into my head first because of electricity, but of course you’re right La Shoshane makes it closer to Jewish, since rules change on holy days. Good catch! And to get around it, having goys yoke their horses, or drive them places, like Bo does Dyson. I shot a grassroots documentary with a Jewish director, and he would bend some rules, because he felt the story – which was very social-justice oriented, and which he rightly believed was ‘doing good’ for people – was important, and it couldn’t be rescheduled around the Sabbath. However, he still wouldn’t drive to wherever we were meeting on the Sabbath, he would walk or someone would pick him up. We tried to be conscious of him not carrying camera gear (it was a very small crew), but he did have his backpack with his notes and things, which he carried. It was interesting to watch him worth through the compromises. He wasn’t strict orthodox any more, but I know rabbis were not thrilled with the concessions he made.

      Dyson’s offering of himself is chivalrous, and a great part of how he expresses love. It’s twisted, to express love via being willing to kill someone, but that’s another trope especially prevalent in Westerns and sci-fan: http://tvtropes.org/pmwiki/pmwiki.php/Main/KillTheOnesYouLove

      I absolutely believe Bo self-deludes, and I absolutely believe it’s strongly tied to her fundamentalist past. Your parsing it between concrete, understandable things and more intangible things is good analysis; that’s exactly it. It’s black-and-white to her that Lou Ann shouldn’t be killed for what Vex did, especially as she sees it parallel her own life. But it’s much easier not to self-reflect on many other things, like the way her actions hurt other’s feelings, or why she chooses to lie in certain instances, because those are issues which requires much introspection, minutiae, and feelings Bo has never had to deal with.

      I think she represses her knowledge that she ignores it. Watch Anna Silk’s face work when Bo is struggling with whether to tell Lauren about her errant kill. Telling the truth would open a can of worms, not only with Lauren, but within herself. Bo knows she’s ignoring it, but she tamps down her feelings. Great work. As the episodes go on, she can repress the fact and her ignorance of the fact. Self-delusion is a powerful thing.

      Speaking of. One of the reasons fundamentalism is so attractive, and people will try to come out of it but end up returning, is it’s so *easy.* And again, this goes for all religious fundamentalism, though Bo is roughly of the Protestant sort. That may seem crazy from an outsider’s perspective, because the rules and regulations are neverending; but by making everything black-and-white, by establishing these really strong, conservative boundaries, by clearly delineating gender roles, and a hierarchy of leadership, one believes by simply following them, one avoids sinning. It’s so much easier to say ‘don’t drink alcohol!’ or ‘don’t have sex outside of marriage’ than try to figure out where one’s personal limit is, or what sex means to on in and out of the context of different relationships. It’s so much easier to say ‘I’m man, I earn money,’ or ‘I’m woman, I cook food and raise children,’ than try to develop a compromise where both may be doing mixtures of things and get some things they love and some responsibilities they hate, based on personal and interrelationship needs. It’s so much easier to say “that person is sexually aberrant, that person has tattoos and a mowhawk, that person is a single parent, that person wears pants or plunging necklines, that person believes/doesn’t believe in this really specific doctrine. So I’m going to hate, berate, beat, or separate from him or her” than to sit down and struggle with what it means to be human and WHY that person thinks differently than you but deserves to be treated the same as you. Those things are incredibly difficult for someone coming out of fundamentalism. Someone like Bo’s mother stays in the world because it’s there she can rest assured in her judgement of Bo’s sexuality, and her judgement and avoidance of said sins confirms her salvation in her mind. That’s simple. It’s a #*@&#ing powerful cycle to break.

      • Rachel says:

        I think fae puns are like crack to the writers too 😛

        Another interesting scene was when Lauren asked Bo to sleep with her, right after Nadia died. When Bo thinks she means sex, she’s confident and clear in her yes (sex as a succubus is usually black and white), but when Lauren says she just means sleep (& talk), Anna Silk does a great job of hesitating/tamping down her feelings for a moment… I wonder if it showed her response to the emotional intimacy Lauren is asking for. It wasn’t rejection, but hesitation. Emotional intimacy includes introspection and minutiae.

        In s3 when Tamsin tells Bo she’s perfect, and she’s never met someone like Bo in all the thousands of years she’s been alive, I found this a bit, I don’t know, aggrandizing and also inaccurate (no diss on Bo meant by that, by the way) in that it was ignoring how Bo ignores stuff and is human. But maybe it was a reflection that Bo and Tamsin’s relationship is pretty concrete?

        I think there’s more black and white/right and wrong for Bo in her relationships with Tamsin, and with Dyson (ex: his chivalry, even when he treats her badly it’s a black-and-white badly (though her readiness to forgive him is interesting… and not so clearly black and white), he gives up her wolf for her, he gets it back, he sacrifices himself for her, he mates for life… fairly concrete stuff… I’m don’t see a lot of introspection in these relationships). With Lauren, I think there is minutiae and introspection (ex: her servitude was from a space of love, the reason she broke up with Bo was born of introspection (“I’ll always be asking for more than you can give me” — I don’t think this meant physical monogamy as much as it meant emotional intimacy and perhaps emotional monogamy), her conversation with Bo while Isaac was in the background involved minutiae).

        So what makes someone who has grown up fundamentalist want to come out of it? Is it some sense that the beliefs, while they may seem easier, aren’t the whole truth?

        • Melanie says:

          Bo can give people comfort sex (and pretty much any kind of sex). Comfort touching, comfort talking, these are things she has a much harder time with. Though. I love how Kenzi, the human, is constantly teaching her how to deal with emotions; breaking up, being rejected, falling in love, etc. Meanwhile, Bo’s comforting Kenzi – for example after her break-up with Nate – is a very innate, easy response, partly because there are no sexual feelings mixed in there. It’s a dynamic which has been absent a bit of late, and probably contributes to Bo’s messiness after the Lauren breakup. Yes it requires more introspection, but Kenzi should be there to toss off some one-liners and hug her and clarify. Instead, she doesn’t even tell Kenzi about kissing Tamsin and lying to Lauren until they’re chasing a monster and she thinks she’s about to die in the Dawning, and there’s no time to sort it all out. Then the Dawning happens, and who the heck even knows what that did to her introspection abilities (though my new favorite standing theory is it interferes with Bo’s ability to empathize with humans, and that would also perhaps help explain the current frosty Fae/human dynamic even though Fae go to human schol and have human friends as children.)


          A fundamentalist can want to come out of it for a variety of reasons, of course, but often breaking the cycle is accompanied by an understanding of grace over law, and exactly, a realization the truth is being obscured. I think both easier and harder for women to break the cycle, because fundamentalism (as, of course, many cultures and societies) represses and oppresses women so much more, whereas it often feeds men into controlling positions. Women who have been repressed/oppressed have more reason to get out from under, but often fewer tools to do so. Yet another reason Bo – as a sexually driven, powerful woman who now finds herself seriously lacking some social and vocational skills – coming out of that mentality is fascinating.

  2. vexundorma says:

    This is the episode where Lost Girl expounds the role of fate/destiny in the show’s universe, as you rightly point out, but I don’t quite agree with how you read what is shown. Yes, it is quite common for a scifi/fantasy TV series to embrace the concept of destiny as a covert explanatory mechanism (and writing trick) for the stories being told – in Once Upon a Time we have an extreme example of this since everything can be laid at Destiny’s feet and the characters feel like tiny pieces in some universal clockwork mechanism, getting an almost automatic free pass because of it. And yes there’s a scarcity of shows going in the opposite direction, letting characters make their own choices, creating their own paths and paying for their mistakes, with no concession to fate or destiny – Game of Thrones is the one that comes to mind.
    But Lost Girl goes for a kind of middle ground notion – there are fateful events that certain people, in certain circumstances, can get a glimpse of; and sometimes the glimpse is enough (the banshee crying for a death), most times it needs context to understand its meaning (Bo’s visions of killing Trick throughout season 2). In such a universe you can’t fight or stop those events, but you can change their circumstances: young Sean Cavanaugh is marked to die by a banshee and will die, but thanks to Kenzi’s and Bo’s efforts he will die at peace with his brother, and his brother and his father will be changed by it.
    In this universe there’s no destiny written in stone and characters are free to make their own choices and suffer consequences, which means that if consequences are often absent that’s simply a writing choice. From this perspective on fate it is fascinating to wonder if Bo and Kenzi were always meant to meet, but the particular circumstances of that meeting would be the ones to decide the future of the fae, making Kenzi, a human, the key to that future.
    Also, the throwaway line about the five human and five fae families for whose members the banshees cry suggests a time when there was a measure of respect between fae and humans, when fear, hate or contempt didn’t taint the relationships between both sides. It was a potential intriguing storyline to develop that could explain how and why things went to hell, but after 3 seasons of silence I believe it was just one more of the many that this show opens and forgets about.

    • Rachel says:

      Thanks for your post. Hope it’s ok that I jump in 🙂 I too think fate/destiny/free will/being influenced is a huge theme of Lost Girl. I disagree, though, that in their universe there’s no destiny written in stone. In a way, the end of this episode would suggest that there is a defined destiny and fate (the Banshee was right, though the hours before, as you suggest, were all about Sam’s choices). Also, I think how your biology, family, experiences, and beliefs shape your choices is an aspect of this theme. Sam’s choices were deeply influenced by talking with Kenzi, for example. You can be influenced without knowing you’re being influenced (like in 3×8 — Trick, and therefore Bo’s lineage and biology, were influencing her… and the Morrigan talent sucks unknowing people — determining their fate, and Vex, even). I love how LG explores choice and fate.

      Interesting observation about the 5 noble families. If there once was a measure of respect between fae and humans, how did humans ever forget that the fae exist? And what set off the fae’s disrespect?

      • Melanie says:

        Ah, now we’re introducing nature v nurture to it as well! Bo being adopted opens several cans of worms. Her nature is succubus, but her adoptive parents shamed her for it, and that shame and fear is very much still a part of her. Her bio-mom is not just Dark Fae but evil, and her bio-dad is an unknown entity, and Trick is powerful and quite the manipulative character . . . how much can Bo fight BOTH her nature and nurture to carve her own path, not to mention her ‘destiny,’ and how much is her destiny bound up in her nature? So many possibilites.

        • Rachel says:

          Yep, I think it’s a major, nuanced theme. Gets explored in so many episodes. As I’m writing I’m remembering the line in the first episode where Lauren tells Bo that she doesn’t always have to kill people, she can be taught to control it (and with that knowledge Bo now has choice over something she was previously at the mercy of). And the first time we see Bo kill… she thinks she can’t control it (which she tells Kenzi), so, with that as her given, she has taken control over who she kills (choosing people who are hurtful and dangerous). What we have choice over and what we do not, and how these influence each other, continually comes up. Fae Day, for example 🙂

      • vexundorma says:

        Destiny has, for me, a connotation of inevitability. Things will happen in a precise way, at a precise time and in a precise order; people will do the precise thing in the precise moment. And the fact that people ignore what they’re going to do doesn’t mean they have any degree of freedom. Destiny is the absence of freedom, the mark of a mechanical reality, and in most instances the sign of a boring story.
        I don’t think, but I may be wrong, that that is the kind of universe Lost Girl is presenting to the audience, because destiny doesn’t allow for a change in reality and that’s exactly what the Blood King does – and he did it at least on two occasions that we know of: to end the fae civil war and to save Bo.
        The way I see it in the Lost Girl-verse reality is a kind of very elaborate and complex game, where certain events/trials are programmed for the players/characters but the road to get there is open to all possibilities, and the road made by their choices will in good measure define if/how/when they come out of those events. The almost godlike power of Trick is that he is able to change the game for everybody, and the new game is what he calls the price to be paid, because he can change it but he can’t control it.
        What I find very interesting, from this perspective, is the role of Kenzi because after Trick she, a human, is the character that has consistently produced more ripple effects in the fae world (she even pushed Trick to use his blood), always in the shadow of Bo, always unnoticed but for her funny quirky ways.
        As for the 5 families line and its possibilities the questions you asked would be the very first ones to pose in developing a storyline. They’re very good, but they’ll probably remain forever unanswered.

        • Rachel says:

          Yeah, Lost Girl definitely isn’t about an automated universe. And Trick is a great character to bring up in regards to this (his power, and the limits of his power, are an example of this “nature/nurture/free will/no control” theme incarnate!), since his specific power is the ability to write what happens and change the future… yet he has no control over what this newly written future unleashes once people begin making decisions within this new reality, and shaping this new reality through their choices. Great point 🙂 And, to layer this even more, Trick’s choices are deeply influenced by Fae tradition and culture (and prejudice towards humans).

          Yet I don’t think Lost Girl is presenting a universe of absolutely freedom of choice, either. Bo wants to live the life she chooses, but many of her choices are influenced. The show does a great job of exploring this complex, nuanced interaction between individual freedom and being influenced (by biology, culture, family, friends), and even controlled.

          Interesting thought about Kenzi’s ripple effect in the Fae world — I think chopping down the Norn’s tree, Fae rules be damned 🙂 Also, Lauren (at the end of season 3) has now created a huge ripple effect in the Fae world. Interesting layer to the human-Fae dynamic!

        • Melanie says:

          OK. So, ‘destiny’ would be an absolute path, versus a flexible All Roads Lead To An End, Which Is Destiny (?). Interesting.

          I agree with your assessment Lost Girl is presenting a universe in which the road is malleable by each character, though they of course in turn will influence the paths of others.

    • Melanie says:

      I’ll happily concede your point that Sean being able to affect the way he gets to his destiny, and change that of others, is a powerful part of the storyline, and shows Lost Girl going for a middle ground. I can’t touch on Once Upon a Time being a current example, as I’ve never seen it, but I take your word for it, and the way you say that mechanism serves to gives a free pass is really interesting – and also one of the reasons I’ve never gone in for the fate/predestination overarching scheme. This is partly why Battlestar Galactica so frustrated me.

      I do read it as, Sean was *never* going to be able to affect his endgame. Others, whether more powerful or lucky than he, however, might. Then the point becomes, shouldn’t we all strive, not just in case we can change it, but in case we can make the few hours or years in between that much better, as Sean did? I think Sean is unable to fight destiny to make Bo’s ultimate fight with destiny that more loaded; that is, Bo will ultimately be able to change her destiny, and the ‘free will’ aspect the first episode shows Bo taking will be reinforced. So yes, middle ground. That’s a bit of speculation; we shall see.

      Making Kenzi the key to the Fae’s future would be a fantastic touch! I’m a teensy bit worried that since they haven’t talked about her parents yet, they’d try to retcon some Fae back-destiny for her, though. Bo has plenty of that going. Let Kenzi’s story remain a dark and very human mystery, please.

      How far the show delves into the free will / predestination struggle is yet to be seen. It’s played out varying and minor degrees through the seasons, and Trick’s struggle puts an interesting twist on it. I hope it’s not one of those storylines they open up and leave hanging. I’m with you, there’s a much bigger story about how the human/Fae relations went to hell, and why they’re still at odds. Hale’s storyline is very much bound up in this concept, and I’m not sure which got sidelined first, but if the show goes long enough for both to be brought back, there’s a lot of potential there.

  3. Sandra Grant says:

    Just wonder do you think Kenzi’s suitors maybe be like Xena’s Gabrielle when it comes to suitors,could they just be just red shirts, but not all die (i.e Nate)

    • Melanie says:

      Sorry, I’ve never seen Xena, so I can’t speak to this one, though it sounds like a fascinating parallel . . . Anyone else? Bueller?

      (But if you’re going to spoiler anyone’s death please put a warning on it, because yes I’m That Person, who tries to not know anything about the party even if she’s 10 years late, just in case she decides to go crash said party.)

      • Sandra Grant says:

        oh I’m sorry, my bad, but if u get ever get a chance Xena was awesome show.

        • Melanie says:

          No, no problem! Just, if anyone is going to get super-specific and name names, then I’d love a heads-up.

          Someone else, too, recently told me I should see Xena. I did watch a bit of Hercules when they were both airing, but I don’t remember much of that, either.

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