Lost Girl: Season 02, Episode 19, “Truth and Consequences”
You know the drill. Possible spoilers through 03.13. All reviews here.
Buckle in and hold on tight, because everything’s about to escalate. Maybe even warp speed past a couple crucial steps.
Two episodes ago, Kenzi and Nate said the four-letter word, and Nadia cut her hand and got a funny look on her face over the blood and Lauren’s shoulder. Last episode, we got zero frames of Nadia or Lauren or Nate, and this episode there’s going to be a proposal and a stabbing.
Speaking of things ramping up, Lachlan likes springing things on Bo mere minutes before he needs them done. Perhaps he’s worried if he gives her time, she’ll renege, or her conscience will get the better of her, or she’ll find a way to circumvent him. This week, he wants her to neutralize the Glave, who just happens to by rich, telepathic, and powerful in her own right. Interestingly, Bo knifes the Glave and Nadia in about the same place, with vastly different results.
Look, things were always headed this way. We were under no delusions. As a Hitchcock fan, I approve of the whole shower sequence, especially since the setup of another personality controlling Nadia’s body plays into the Psycho homage. But an actual journey instead of a grand total of three scenes would have not only made the destination so much more heartwrenching, but would have also been a great way to address something like mental or chronic illness.
Nadia is frustrated she is having blackouts and episodes of mutilation with no later memory, but she reacts angrily to the idea of invasive medications. She’s terrified. Lauren is also terrified, not just for herself but her girlfriend. Lauren feels more and more helpless as Nadia’s condition devolves and she, the doctor whiz, is unable to find a single thing scientifically quantifiably ‘wrong,’ and is thus unable to help the woman she loves. The whole thing ends up putting a strain on their relationship, and also has the effect of isolating and ostracizing them. Their closest friends either don’t notice or can’t fully understand. (Sure, some of the fact we never see them with the other cast is for scheduling purposes – as I’ve written about somewhat here – but the isolationism fits, and the whole process could have been really delved into and drawn out.)
We’ve seen too little of Lauren and Nadia, especially any interactions untainted (in retrospect) by the Garuda, which is a shame both for the story, for the way their relationship and secret mirrors Kenzi/Nate relationship (down to the couch confessionals) but could potentially take a couple different directions, and because the actresses seem to have plenty of chemistry and abilities to spare.
It also would have made Bo’s final ‘necessary evil’ that much more impactful for Bo as a character and for us as an audience. Bo has barely interacted with Nadia, she’s never had a first-person look at Nadia’s episodes or the Garuda’s manifestations terrifying Lauren or Kenzi. But after seeing Nadia push Lauren and bend over with stomach cramps, she diagnoses it as the Garuda, simple as that. Dust hands off, shoo Nate and Nadia off stage, prep for next move. It’s out of the blue, and then Bo doesn’t much process how she feels about the stabbing. Does she feel like a murderer? Should she? Did she consider Nadia a friend? Does she know whether or not Lauren had told Nadia about their relationship (it’s implied Lauren didn’t tell Nadia about the hanky panky, but Nadia’s clearly no dummy). This promising arc, along with so much of the potential shorter arcs, got short shrift this season, likely for a variety of practical reasons gone into in that link above.
Other things in this episode which are good and interesting enough to have used more room to breathe had the season been 13 episodes:
– Hale’s internal loyalty struggle between Trick and Lachlan (and what it would have meant for him as a person, and for a potential future Ash), though the solution he comes to fits with his ideas of modernization
– Lauren’s guilt over keeping things from Nadia
– the Glave’s establishment as a female empowerment figurehead who is not a token Great Woman or Bad Woman, is someone who speaks for women’s rights but has plenty of her own (anti-human) prejudices, and is an evangelist with a machiavellian tilt ie a sort of charismatic Dark Lachlan
– what the heck Trick’s angle is on getting Kenzi out of the way. Is he afraid Kenzi will distract Bo from sacrificing herself if that’s what Trick deems necessary, does he really does want Kenzi to be safe, does he think a human will muck things up, or is there some other middle ground?
The reason any of this works as well as it does is the three female leads. Ksenia Solo finally gets to play heartache, and she can pretty much play the audience how she likes. The scene where she tells Nate she was hoping to recapture her childhood crush but couldn’t, even though we know damn well she did, delivers more wallop than one expects when the other half involves a singer/songwriter who’s been in a handful of scenes.
Silk acts out the trauma as well as can be expected when she’s just not given much to act on. Having to wait to be excused and then forgiven for stabbing your lover’s possessed girlfriend you’ve met all of three times is just awkward, and it’s not like Ann Landers has any advice for what to do about it. “If the stabbing occurred on the carpet, stay around and help clean up. If it was on a smooth slatelike surface, feel free to excuse yourself, leaving your paramour to wash the blood away with her own tears.”
The emotional turmoil of being torn between Bo and Nadia and the trauma of being turned on by one’s partner is well-played by Zoie Palmer here, and though the ultimate stabbing scene is awkwardly blocked and she has to say ‘just do it,’ she delivers. She continues to sell Lauren’s emotional aftermath in the next couple episodes, before having to quickly move on. Because reasons, and also the end of the world brings out the horny in all of us.
But it’s the Bo/Kenzi story which is most interesting. Kenzi, while never flinching when she mentions her own danger chooses to take the (traditionally male) tack of choosing to lie to a loved one, Nate, to keep him from possible harm. Then Bo turns right around and attempts the same, sending Kenzi away because she can’t stand the thought of Kenzi being hurt physically in battle, or emotionally over losing Nate.
Kenzi flips it yet again by refusing to accept the very gesture she makes towards Nate, of sacrificial love. Besides the historical nobility implied by these actions, it cements that Bo and Kenzi have forged an unbreakable bond, and value their relationship above all else (even if Bo sometimes forgets to act like it). Echoing Bo’s words of the credits, this is the life Kenzi chooses, and Bo can’t argue. Not that she wants to.
Is it ever wonderful to have a show, especially a sci-fan show, with three strong women (and multiple strong female guest characters) who can carry stories like this.
– “Some people call it cynical. Others call it realistic.”
– Kenzi references X-Men and The Godfather with equal reverence.
– The way the Glave speaks, publicly, extemporaneously, and interpersonally, is all a variation on the same measured politicking. The flattery, the verbiage manipulation, the ‘For someone who’s only been in the fae community for such a short time . . .” It’s bloody wonderful.
– The way it’s articulated and demonstrated what lying (even the ‘necessary’ kind; subterfuge always has negative results) does to relationships, and how forged family is more important than anything including sexytimes, are among my favorite things about this show.
– Props and set design were killing it this episode. No pun intended.