Lost Girl: Season 4, Episode 02, Sleeping Beauty School

Right off, let me explain why I love the last episode (4.01), but call out this episode as so much fluff and filler, even though this episode technically gets us closer to the presumed objective of ‘get Bo back and the gang together again’ than 4.01.

Last episode was essentially a freebie. Despite having many things going on which were technically inconsequential to the season’s plot (all characters could have been in almost the same situation without the memory loss, and the compass could have been a key to getting to Bo’s plane, or whatever), the actions were all consequential within the episode. There was a defined objective – get the compass – and a path to it: charm the not-pants off George Takei. Though there is also plenty of mystery and misdirection, it’s all given reason and/or purpose at some point because memory loss.

I really did love this connection, and that Dyson made it and then called out his 'tracker.'

“Sleeping Beauty School” has a much broader endgame – get to Bo – and additionally and most damningly, it’s given no clear path or objective. Thus the rules can get made up and changed along the way. Boy, do they ever. The beauty school is a fun setpiece (why are none of the salons I go to fronts for mystical sex rings?), but ultimately doesn’t add to a single plot point or character beat. The entire plotline of waking a genderflipped Sleeping Beauty ends up for naught, because he as a character exists to spout sexist crap and get hit by a train.

Essentially, everything deadends or exists for the sole purpose of obfuscation. 

If that feels familiar, and this episode comes across eerily reminiscent of last season’s “Fae-ge Against The Machine” – everyone gets split up, a big deal is made about a kiss, characters whose power seems to be confusion and annoyance pop up everywhere, a Rube Goldberg of plot devices with continuous expositionary Tell While Showing scenes, elaborately contrived torture devices – that’d be because it’s the same writer. Only instead of a parallel stories and a clear child trafficking parable we get every character for his/her self and an unclear story about how Bo is . . . abducted by a traveling circus? There’s no plot, there’s just stumbling from one device to the next.

Additionally, play the penultimate scene of 3.04 next to the final diner scene of 4.02 and the lines about getting kissed over a confession of sex and hugged over a deletion of video ring so similarly, because again, same writer. Last episode, the multiple lines of similarity were used to jar a response both from characters and audience, and we also got some phenomenal setpieces to make up for any places the plot wore thin; not just George Takei as a snake, but Ksenia Solo trotting out her moves, lots of fireworks, absurdist theatre. Here, no such thing. Wide swaths of dialog are purely unnecessary, either because the characters are saying what they feel instead of showing it, or in the most egregious instance, Vex has Clio repeat “it’s a deal” just so Dyson could overhear it. Things get rehashed for the heck of it.

Big chunks of this episode are bait-and-switch or just plain trippy, sometimes verging on creepy. It opens on Trick talking to a photo of Bo, and wiping blood over her pictured boobs. Perhaps it’s his blood, spilled from the cuts Aife made, and it’s somehow going to affect what happens next? I’m unsure what was meant here: no matter what, a tad weird, no? Then Kenzi shows her awareness/involvement in Bo’s sex life, which is normal and funny but then when it starts hitting really specific notes, toes that creepy line. Then Hale gets sexed by 20 hairdressers at once, leaves there to almost immediately overpower Kenzi with his faeremones, then has awkward moments with a teenage Tamsin which vacillate wildly between hilarious and creepy. To top it off, Dyson uses a spritz kiss to have the world’s most awkward threesome with an unconscious dude who upon wakening starts blathering sexist nonsense (more on that later). 

Then, what does the episode do well? Generally, while its overall coherence is nil, it lands some nice interpersonal moments, and forwards a few arcs. 

Effectively creepy, though the font choice is dubious at best.

The episode solidifies the fact Lauren is important in/to the fae world, not just individuals in it. This arc is being slowly drawn out, and we’re not entirely sure yet why she’s important to the Una Mens in particular (though I have some guesses), but the anti-human crusade coupled with what she knows cannot bode well. 

It gets in some really interesting commentary on the overall futility of masculine force. Dyson continually tries to confront things with brute strength, but continually it’s sex, speech, logic, or a combination of those three which solve the problem. The one exception is the funny bit where he forgoes even attempting to open the safe in favor of ripping it out of the wall, after Kris Holden-Ried carefully avoids feeling the boobs on the painting cover. 

Tamsin-kid is generally funny, and whether good kid actor or crafty editing, her timing on the AGAINs is fantastic. As someone who’s spent the better part of the past 3 years living with young kids, the constant attempts to curtail swear words, explain various items, and most especially entertain/distract with videos on a cell phone is really quite perfect. It wouldn’t’ve taken much longer for Young TamTam long to figure out how to play the video on her own, though. Nor would it have taken much longer for her to get unbearable, so thanks for warp-growth.

At some point all the characters ramble on about love, some under the spell of the Endymion, and some under a barrage of kid questions, but only one really sticks. Kenzi’s soliloquy on love is so much better than Dyson’s or Hale’s, not only because it’s more her personality to verbalize, but because it doesn’t take itself so seriously. (Also, yo, Hale, if you really need to explain at that much length you like them, YOU’RE DOING IT WRONG. Not to mention, there’s a pretty blatant insult to Kenzi’s humanity at the end there, and “I want to be a part of you” also is really weird/meh.)

Dyson and Clio get on the train, Bo gets off the train. This could keep Anna Silk’s role small in the next ep, prolonging the time she doesn’t have to act across from other people and thus could shoot around her schedule. It’s pragmatic and smart writing, though if it ends up with another episode like this, it may not be worthwhile.

Choo choo, CGI train!

My mostly list-based format last week was meant to be a one-off, but I think it actually serves this week well, too. Here goes. 

Some Veiwing Notes

no tracheotomy.
NO TRACHEOTMOY
OH
Ok.
That’s a nice twist.
I’ll allow it.

this Hale thing might be getting old
i can’t tell
mutton
what is happening right now. Dyson is using his words?
no. NO. “I still fight for her.” damnit.
he works so much better how he is right now.
why didn’t they jettison this storyline?

Check the board: Cherry Pie, a shout-out to "There's Bo Place Like Home."

Visuals

The script notes for Lauren/Amber must read, ‘Appears on screen in worst shirt/hair combination possible.” “Arrives at work wearing the most terrible pants.” “Amber really looks awful, as if the world has kicked her to the curb and then a doubledecker bus has driven by and soaked her with gutter refuse.’ 

The dude’s ex owns a salon and the troutometrist was an eye doctor . . . they’re gonna hit up all of Toronto’s small businesses. It’s great way to expand set repertoire.

Cleo with a cigarette behind her ear, Hale’s hat, and that shirt just screams ‘oldschool movie intrepid female journalist.’ I’m not generally a fan of puffy shirts, but I am a fan of His Girl Friday, so, SOLD.

A camera moving to come up behind someone is always meaningful, and here you expect Kenzi to see someone when she turns around; instead, it’s a realization of what Kenzi’s doing. There’s nothing particularly vital about this, I just found it interesting.

Splitting everyone up means lots of phone conversations.

Character Personality Throughlines

This season so far seems to have reset small parts of everyone’s personalities, mostly by keying them up to fever pitch, and I dunno if that’s gonna stick.

Vex continues to do whatever best benefits himself. If he can help some people he kind of likes along the way, sure, but he puts himself first no matter what. 

Kenzi steals from Trick with no remorse, and this ramp-up of a throughline from Seasons 1-3 started last episode.  

Dyson always goes to that motorcycle, but it’s not just fleeing the scene when it gets emotive, it’s that Dyson always runs when it gets to the not-fighty parts. Look how he leaves Kenzi to babysit so he can track down leads with Hale, then leaves Hale at the mercy of the hairdressers so he can tear a door off things. Finesse, schimesse. He doesn’t want to take time to understand things he can’t physically engage with. All this is why his exposition on love feels so forced; it’s not in his character.

Trick’s default is still keeping secrets from Bo! Will he never learn? (I’m unsure if Dyson’s ‘there’s a lot of things Bo must never find out’ was sardonic.)

Lauren is just over there saving lives/the fae world without much fanfare. It’s not a personality trait, perse, but it’s definitely something that’s coming into play more and more. Likely, humanity and fae oppression (faepression?) are major things she’ll be coming to terms with this season, along with Kenzi.

Tamsin still keeps her property of having no social boundaries. Just as she moved into Lauren’s house as a drunken adult, here she pokes in Bo’s drawers, plays with Kenzi’s sprite paste, and eats whatever she pleases.

Of course Kenzi's armwarmers are child-sized.

Callbacks

‘How are you still alive.’ Nobody ever knows how Kenzi survives.

The kimono, which is well on its way to being worn by every single character. I want them to finangle Trick into it.

Cherry Pie (see Lauren’s picture).

Turkish bath indeed. All the mens want a piece of Dyson.

Not exactly a callback, but our Sleeping Beauty wakes up calling women whores and trollops, and gets run over by a train posthaste. He’s misogyny personified, and he gets offed right away for it, which is a trend in Lost Girl, as I’ve noted. Still, so much sexism this season, and sure to be more when Massimo gets back on screen. Sure it’s presented negatively, but why the proliferation?

I'll buy the umbrella, but surely he'd pick more dated clothes?

Stray Observations

– Ah, I was waiting for a flashback. They gotta reuse that crash, it cost a lot.

– Salon as front for a sex ring? Why don’t I ever accidentally make an appointment at one of those!?

– Lauren can put down her liquor. Apparently, it’s champagne which really gets her.

– ‘All I got was a head massage.’

– ‘Kicks you in the box.’

– ‘No cream no gleam.’

They backed off of a certain fandom wish fulfillment at the last second and Jenny Schecter didn't get hit by a train.

Can’t actually take credit for the mouseover joke; that belongs to Dale.

What Did We Get Right/Wrong

Bo’s presence is indeed light, and likely all these scenes were shot not at the same time as the rest of 4.02.

We are correct about people being on a different plane! Just Bo (possibly Tamsin at some point, it’s unclear how valkyrie-generation works), but still correct.

The authority figures are definitely here, and definitely a new weight class.

Bo’s not in the box, which was something I called last week. Still unsure what IS in said box A small taco-craving Chihuahua, perhaps?

Comments
12 Responses to “Lost Girl: Season 4, Episode 02, Sleeping Beauty School”
  1. keets says:

    I liked this episode much better than last weeks. Both of them were somewhat flat with the absence of Bo. Also, I get that Kenzi and Dyson are big parts of the show, but so is Lauren. For them to underutilize Zoie Palmer’s talent so much in the first two episodes in which their lead was missing was just dumb. Kenzi, Dyson, and Hale cannot carry this show and they didn’t. I was bored, often. I loved the Unamens, and the Death Train. I don’t mind dark, but if you go dark do so equally. Misogyny was front and center and it did Dyson no favors. The more they try and make him look like the big white knight the more he looks like a major douche. Ugh. KHR’s acting was so overblown I almost couldn’t watch. I’m guessing it was intentional, one can hope, but wow he came off as a total jerk in both eps. (to me)

    The best part of the first ep. was the dance, but that was still two roosters fighting over the same hen and of course the ‘beta’ wolf won. LOL. But getting back to why I liked this ep. better? It did move the plot along a bit. Last ep. was totally indulgent and left me meh. At least we have movement in all of the characters story lines. I found the ‘funny’ not really that funny and they could have axed Kenzi’s whole display on why her sparkle cream was so important. They showed us that last week.

    I loved Mia Kirshner, she was a bright spot and her acting was really good.

    Your list of callbacks is great. Cherry pie? Lauren? Sorry, but I don’t get it. I can be slow that way. Is this about the ‘color’ or something else.

    I loved your parallel of this ep. to ‘Fae against the machine’ I could really see the relationship once you pointed out it was the same writer and that similar situational shots were used as well as, well, situations. Ha. I love you take on the show. I will try to come back. Thanks.

    • Melanie says:

      Thanks for the comment!

      “Fae-ge Against The Machine,” wasn’t as messy as this episode, in large part because of the titular machine. B plot gave us an overarching reason for what was happening in the A plot, and all the incidentals came from somewhere. Here, where does doubled-hot-dog-cart-guy come from? Nowhere. He appears because plot needs him to. Is he visible to the non-fae world, thus endangering the fae existence? We don’t know. Characters there serve their purpose to forward/consequentially obstruct Bo’s journey; here, Fake/Other/First Eddie serves solely to misdirect Dyson and prolong the episode.

      While all that simply materializes for plot, the feelings and minutiae are all spoken aloud in agonizing detail. Example: Bo’s on the train, she wakes up and says, “Everything’s spinning . . . not spinning, _moving_.” Dyson talks through the safe, in detail someone wouldn’t go into as a verbal aside to oneself. Dyson tells Lauren/the audience “I don’t know if you are the best rival or the worst, but you are smart and resourceful.” We know all this; even if we haven’t seen seasons 1-3, Lauren showcases her resourcefulness in this very episode. Having Dyson state it is redundant. Clio doesn’t stop with ‘hold onto your knickers,’ she has to add ‘it’s going to be a wild ride.’ This episode literally verbalizes ALL OF THE THINGS.

      Of course, there are still things to enjoy, and yes we get some plot furtherance, and learn more about the Una Mens and Clio, but it feels mostly serviceable and convoluted, not enjoyable and complicated.

      The acting in both these episodes has definitely skewed more towards camp. Everyone is overacting his/her heart out. It’s intentional/direction. The dangers you run there is missing the mark, and/or audiences disliking camp in general. I agree with you about Palmer’s talent, but I think Solo can (and did) carry last week. Still, Bo doing her thing, the gang together, specifically Kenzi and Bo together, IS this show, and the sooner we can get back there, the better.

      As for the cherry pie: I do mouseovers on the pictures, and should have pointed out that’s where I made the notation. Cherry pie is a callback to “There’s Bo Place Like Home,” with the cherry festival and specifically the deadly cherry pie.

  2. cleop527 says:

    What’s your spec on Lauren and the Una Mens?

    • Melanie says:

      You know, when I wrote that I had two more fully-formed theories, but now I can’t quite put the pieces together right in my head. Here are some components thereof, though.

      1) death, as she’s human and has a record of ‘insubordination.’
      2) more forced servitude, with an aim towards a sort of uberfae.
      3) using her to figure out how to make humans fae. This would be an interesting alternative to extermination, but it’s also the most unlikely, not least because they may not even know she can do such a thing.
      4) to get to Bo, likely as hostage. While there may be a combination of things, using Bo’s friends to leverage against her feels like it will be integrated somehow, and who better than Kenzi and Lauren.

      Not only was Lauren recently in a relationship with Bo, but she and Kenzi are human, which makes them more defenseless (than someone such as Hale), and means the Una Mens can imprison or harm them with impunity from their laws (unlike someone such as Dyson).

      Though as fae doctor and the only one to create a cross-species in the lab Lauren has knowledge which could harm the fae, I think they’re more scared of Bo’s powers than Lauren’s knowledge. This is a very common mistake made by authority figures, including Isaac; to fear and cherish brawn over brain.

  3. vexundorma says:

    After the way the back half of season 3 collapsed on itself I decided to have zero expectations for season 4. Perhaps that’s why I rather enjoyed the first two episodes.
    Some random thoughts that occurred to me after watching them:
    1. There’s something different in the cinematography – in the light, the colors and the sense of space – that forebodes the presence of darkness in a way I very much like.
    2. There’s no way in heaven or hell that Trick could have escaped with just a couple of scratches the attack of a towering enraged psychopath with a giant knife. (That, I suppose, is why the scene was sent off-screen, because as per S3 every scene, no matter how important, that might derail the plot is shipped off-screen).
    3. Apparently the Consequences Day of Reckoning has finally come in the guise of the UnaMens. The UnaMens are clearly the Fae Inquisition: they don’t deal in subtle, as Trick said, they hunt the heretics that stray from the laws and flay them alive, as the guy in 4.01 said to Kenzi (there is a bloodied mask in the wall of Death Masks with, I think, a facial skin attached to it). It can’t be a surprise that they’d have masks for Bo (the heretic rebel), Lauren (human lover of a fae and accused of unleashing a strike against the fae), Kenzi (the terrorist who destroyed Baba Yaga and attacked the Norn in her house with a chainsaw), Vex (who staged an unauthorized coup against the Morrigan) or even Aife (who blew to pieces half the Light Fae Elders) – and let’s appreciate how interesting it is the fact that almost all of them are women. With the Inquisition around things can go pretty dark, pretty violent and pretty bloody.
    4. To maintain the camp in a journey through darkness is a tall order for any show. Lost Girl managed to do it in season 1, but the tone now is way darker and the job more difficult. It’ll be interesting to see if the writers have the chops to accomplish the task.
    5. A real test of the “progressiveness” of the show will be the handling of Hale, Trick and Dyson by the UnaMens. All of them befriended, helped and covered for the “terrorists” and “heretics” and Dyson even “slept with the enemy”, which should grant a hard “questioning” to all of them. If they’re not in the UnaMens’ list I’ll have my personal answer (the camera didn’t show any masks for the three but that isn’t a definitive sign of anything).
    6. Tricks funny lines about the clubhouse would make sense if it was his first visit to the place, but someone forgot he was there for Bo’s anniversary party in 2.12 (show bibles and synopsis storyboards are for pussies).
    7. I can accept that Lauren ceased all contacts with everybody after her escape from Taft’s labs and ignores everything that happened in the fae world since then, assuming that Hale is still the Ash and Bo is still in the clubhouse with Kenzi. I can accept that after remembering Bo she might want to know what the heck has happened in the meantime. I can accept she calling Dyson because her relationship with Kenzi was inexistent and her last two moments with Bo were soul-crushing (but how the heck a call from a dinner pay phone turns into a “private number” in a cell screen?). What I cannot believe is that she, a very intelligent woman that certainly knows is on the fae’s most wanted list, would be anxious to know if she could “go home”. Is slavery to the Ash “home”? Really? Is the prospect of life in chains in a dungeon, or worse, “home”? Really? I also cannot believe that she wouldn’t take off immediately after the call because she knows the call can be traced and the fae she treated can’t be trusted. And I most certainly cannot believe that, no matter the personal circumstances, she would blow her cover and put a (supposedly) innocent life at risk for what amounts to a meaningless action (I’m assuming she knows about back-ups and cloud uploading). It’s just too stupid and ooc for someone like Lauren.
    8. The props department is populated by magicians, the CGI is cute for a 2 cents budget and the FX are better than in previous seasons.
    9. After 3 seasons of character growth Hale seems to be turning into a buffoonesque sidekick type. I wonder if he’s going to get the ax.
    10. Hale doesn’t have the guts to show is feelings for Kenzi (perhaps the awkwardness of a second time because he already did it in 3.12) and Kenzi doesn’t have the guts to tell him how she really feels (because she’s a notoriously shy girl, I guess). OK, whatever.
    11. There’s not a single fae in Faeronto that doesn’t know about the unaligned succubus sidekick and a lot of them have seem her all over the place. Yet while utterly terrified Kenzi goes to the Collector’s ball, draws the attention of everyone with her dance and remains at the same address everybody knows she’s lived in for years. Perfectly logic and understandable.
    12. What the heck is going on with Trick and Dyson? And I don’t mean just the bizarre acting choices but the scripted lines and scenes. Are the writers priming them for a resounding fall from grace or do they genuinely believe they’re portraying a caring and worried grandfather and a valiant and noble wolf-warrior? Because that’s not what I’m seeing on screen. Dyson, in particular,… man I cannot take the character seriously anymore; for me he’s becoming something like the comic relief of the show and when he proclaimed his love for Bo to Eddy I just laughed.
    13. Plot over character continues to be the prevailing theme, it seems.
    14. I really love the eye candy.
    Still zero expectations.

    • Melanie says:

      1. Agreed, though this episode flailed a little there. Too much yellow; granted that’s a neo-noir standby, but it hit way too hard in every scene but the diner. Lost Girl is generally good about switching it up from location to location, as the first episode showed, and I’m a fan of that.

      2. I think we’re supposed to spend this time wondering if Aife is alive? But (unless they bring it back later with a flashback, which I doubt) I’m with you. If you’re not going to have the fight in, then maybe just show Aife drawing a knife, and later Trick with a couple cuts. More mysterious, or less. No having cake and eating it, too.

      4. “To maintain the camp in a journey through darkness is a tall order for any show.” Oof, yes. Only two or three spring to mind. Another angle is adding *too* much supernaturality, which is what Angel tried and failed in spectacular measure. If it turns out Bo was mystically impregnated and there’s a war on over her baby and then the baby mystically gets old and Dyson falls for it, I’m OUT.

      5. The thing with Hale, Trick, and Dyson is they’re all Light fae ‘in good standing.’ Sure they’ve cavorted with the succubus, but they can claim, or even simply be given the benefit of the doubt, as many have in inquisitions and ethnic cleansings before. The show setting up women as the rebels and reprobates and guys as generally playing-by-the-rules was interesting, but only muddles interpretations of plotlines such as this.

      6. I think the idea is supposed to be that Kenzi in this timeline kept up the place much more
      laxly than Bo would have? I was unsure of the purpose, other than to fill space and get in the nod about Kenzi’s survival against all odds. Or possibly setting up someone walking in next episode . . . Which would be dumb. Don’t do that, show.

      7. There’s a sequence of numbers you can dial from any phone so a number shows up private; I believe star-something-something. Otherwise, yeah. Lauren’s instinct to save life has been fairly consistent, but still, she’s no dummy, and she’s supposedly had various identities for several years. She shouldn’t be so amateur, at the least she’d be running. She’s obviously come to trust her coworker, though I’m unsure whether that will play out well or not for her.

      9. Hale’s potential has been squandered time and again. In every way.

      12. I honestly have no idea. I’ve never seen Trick as a caring and worried grandfather; as he got to know Bo there developed some feelings, both self-serving and genuine, but he’ll never overcome his general self-centeredness and lust for control.

      Dyson sees himself as a valiant and noble wolf-warrior, he commits actions which would historically and in some contexts be considered noble, he does things out of misplaced/antiquated chivalrous motivations, but I don’t think (or at least I hope) the writers see him this way. The biggest problem with his love soliloquy is it was *entirely* out of character, both for him to speak in flowery prose and for him to do so to a complete stranger, let alone talk about his feelings at all. And this ties into your #13, and some comments on last week’s post. The author obviously needed to tell not show, and/or have another lengthy treatise on the nature of love, and picked the character least suited for the job. Because plot over character.

  4. Rachel says:

    One of my favorite episodes ever is 3×08 because I also thought it was an interesting commentary on self-determination, written really well. Trick controls some of Bo’s movements through the invitation (Bo became drunk and poisoned and kissed Tamsin, through Trick’s influence… though she doesn’t know it). Stella had great influence over Trick in the episode too. To what extent do we ‘live the life we choose’ and to what extent are our choices and decisions influenced by the environments and contexts and relationships we live within? What outside of us influences our choices and decisions, and to what degree?

    Do you see larger themes happening in this episode?

    • Rachel says:

      Meaning… do you see larger themes happening in 4×02? I can miss them 🙂

      • Melanie says:

        I suppose I’d say it’s ‘strength isn’t actually so great.’ Dyson throws his weight around, but it’s not brute force which solves things. Lauren gets what she wants/needs through smarts and appealing to Crystal, though she (Crystal) too could be a ploy and I’d not be entirely surprised. Hell, I’d be astonished and impressed if the show is deciding to move towards a full otherworld reveal; say Crystal is a human reporter trying to gather evidence of fae existence and she will expose all and humanity will react toward the fae as fae react towards humans and now Bo has to save the world and those she loves in both directions and worldending showdown in Season 5 and Bo stands victorious on a battlefield drenched in the various bodily fluids of her enemies.

        But I don’t actually think that’s an endgame.

        Back to the episode. It’s possible the idea was supposed to be ‘love’ solves things, but if so, that got muddled in having characters declare love who’d never do so, and in weird ways, and under influence of perfume and endymion and . . . srsly wtf.

        Other than that, not really. There’s the ubersexism, to the point even Dyson puts his foot down (and yeah he puts it down by threatening force: OF COURSE HE DOES, IT’S THE ONLY WAY HE KNOWS HOW), which is overt as it gets and mostly gets punished, but it’s such a short unnecessary arc and feels like it was tried for laughs. I’d have to rewatch, I suppose, but honestly I’ve no desire to do so at this point.

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