Lost Girl: Season 4, Episode 11, End of a Line

My Shakespeare professor always said Romeo and Juliet was a story about how poor communication kills romance and people.

And what we’ve got here is failure to communicate.

Hale never told Kenzi what that pesky little twig did. Kenzi never told Hale she kyped it. Hale never told Kenzi about his ear bleeding. Bo never told Kenzi she was leaving for the night. Trick never told Bo about his seed, or that pesky little detail about not killing the Una Mens, until he needed something. Bo did not communicate with Tamsin about Rainer’s looks. Tamsin and Acacia obviously don’t so much as text.

Screen Tamsin is especially upset about that since she now knows Acacia is not only alive, but has two perfectly good thumbs. 2014-01-27 at 1.55.40 PM

All this lack of communication in an episode which telegraphs everything coming. That’s not a value judgement, simply a statement of fact. The moment Acacia mentioned Massimo, he was going to show up and wreak havoc. The second the big deal was made of drinking blood, Bo was going to have to do the same. The moment Hale pulled out the ring, he was a goner. The moment Kenzi said “we have all the time in the world,” he was a goner by the finale. The moment Kenzi came downstairs with the ring on her finger, Hale was a goner by this episode.

So it goes.

The episode uses a half-dozen callbacks (Hecuba, Dmitri and the identity theft, bobblepaw cat, even a picture of Kenzi undercover from “(Dis)members Only”, see picture below), and it is also wildly self-aware. The whole opening scene on the bed is essentially the writer(s) processing the past three years, probably down to referring to sad Dyson as Mopey Dick. Tamsin – instead of the usual Kenzi – serves as the audience surrogate: it opens with her asking, “is that it!?” and continues with her asking things of Bo, of Acacia, which get them to talk plot points. 

The picture is over Rachel's right shoulder; camera left. The rest of the bric-a-brac is fun, too.

Kenzi, meanwhile, is taking the power role in her relationship with Bo. She’s tired of waiting and being left and being patient. She’s angry, and she’s hurt, and she’s letting Bo know all about it.

Bo responds with vague feelings-y platitudes, and how “it wasn’t perfect” with Dyson or Lauren, and how her relationship with Rainer is “bigger than love.” She later babbles on to Tamsin and Acacia that she ‘just knows’ Rainer is a good guy, and doesn’t have it in for her. One wonders how much her being raised with a hyperidealistic, unattainable idea of a relationship has lent itself to her infatuation with Rainer.

Something else her childrearing did not prepare her for? Zombies. EVERYONE KNOWS YOU CUT THEIR HEADS OFF. This is why you need to let your children watch movies. It’s how we learn how to do things like make out and use tourniquets and kill zombies. 

Acacia comes out from behind Bo’s head to finish off the revenant . . . no, really. There’s nowhere in the actual room for her to hide, so they use Bo’s silhouette in the left foreground of the frame to cover both her swinging the sword, and her stepping into the scene. Ballsy.

The left third of the frame is mostly obscured by Bo's right side, which is something Lost Girl does quite often, but not usually for purposes of a big reveal.

Lost Girl follows a current and generally interesting trend of ‘serial killers for hire,’ only adding an undead spin. So Bo is off to find the kingqueenpin.

As in Marie Laveau, the voodoo practitioner and manipulator of people in societal power. As in this song, which you should do yourself a favor by listening to right now. As in another powerful female opponent. While these are becoming more frequent (witness both ongoing Sherlock Holmes adaptations, one of which gets it right), they’re still more prevalent on Lost Girl than most places. The tale involves drinking blood and is dark, as becomes most fairy tales, mythology, New Orleans, and this season.

After Bo drinks the blood, her eyes are blue as she tells the revenants to “be at peace,” and the blood=power Bo is an interesting connection. Drinking blood has voodoo and various religious implications, it’s mentioned by Trick and Vex as a source of power, and has been a throughline in the series since the beginning.

Use of shallow depth of field and glowy red background (technical term) to make Trick seem ominous.

Speaking of Trick. “History is written by the victors,” including Trick, one of a few left to tell his story. Even though he can self-censor and form his own legacy, he sees no problem admitting Rainer wasn’t evil, “just defiant,” and verbally comparing Bo and Rainer. He’ll manipulate anyone to get his way, and I rather doubt Vex’s father was in his army, let alone a general. Trick is playing him.

While those two match wits and Bo ditches Kenzi to chase another wild goose, Kenzi has her hands full, what with her mother, her cousin, and her lover all showing up to dinner.

Kenzi has always had an acrimonious relationship with her family, but she’s also shown herself to be forgiving. The scene where she spells out to her mom the things she was driven to do on the street, and how it’s amazing she’s still alive and as functional as she is, is heartbreaking, but watching her accept her mother’s apologies, just like that, is almost as painful. We know where this is going.

Kenzi can’t fully believe her mom kicked out the abusive boyfriend and is turning over a new leaf, but hope springs eternal. Kenzi loves her mom, and she wants to believe the good things are true, so she accepts her mom back . . . until the truth if confirmed. The whole thing happens really quickly (I wouldn’t mind seeing this story stretch over a few episodes; it’d be better served that way than as an arc packed into a B-plot), but it’s the too-common, heartbreaking story of an abuser, a con artist, an addict, an enabler, who will continually take advantage of everyone around her. The ones who truly love her are the ones who will get hurt the most and worst.

So many patterns going on in this frame.

But Kenzi’s not into infinite chances. When she catches her mom’s raised hand, that’s the end. Kenzi’s story has always been been explicit about her overcoming abuse, and now she’s explicit about how her mom is a participant in that abuse. Lost Girl is not afraid to let family, friends, and loved ones be irredeemable.

It nags at me that the episode may be trying to draw faint parallels between Bo and Kenzi’s mom. It doesn’t really click, but there’s something there. Kenzi’s mom acted and is acting without regard for Kenzi’s wellbeing, all over a boyfriend she’s told is bad news. Bo is ignoring people telling her Rainer is bad, all because of her ‘feelings’ for Rainer; she’s also using textbook responses about ‘just knowing’ he’s good at heart. Kenzi calls her mom selfish, Kenzi and Dyson both point out Bo can be selfish. Kenzi said her mom chose the boyfriend over her, and Dyson clearly tells Bo she chooses. It’s not that Bo is Kenzi’s mom; Bo isn’t actively choosing someone who abuses Kenzi, and she hasn’t raised a hand to Kenzi, but cries over and rejoices with and legitimately tries to help her. Instead, it seems to show how Bo is heading down a path which could lead to this bad place, should Bo not actively turn from said path. It’s true the story doesn’t seem to be doing a great job of the comparisons. So either I’m crazy, or it’s not thoroughly fleshed out, or it was unintentional but thinly shows up anyways. Perhaps had the two stories been in different episodes, it would be clearer one way or the other.

Add to that confusion the way Silk is back in full form this episode. She’s been a bit uneven this season, sometimes downright off, whether due to general exhaustion, directors steering her character a different way (where Bo being ‘off’ begins and ends is still a puzzle), playing across from a lot of different actors and most of them Cases of the Week, something else intangible, a combination of all of the above, who knows. But she’s solid here, and of course her best scenes are with Solo.

It’s no coincidence the show is best when these two are together at its core, and it’s no accident Bo – who has waffled over her destiny and her love life and her every other choice the past several episodes – is insistent that above all else, she chooses Kenzi. 

I usually avoid promos, but I saw this one, and I wish they hadn't shown this shot. Not because it was misleading (that's the promo's job), but because it killed some of the suspense.

It’s quite the scene, capping an already intense story. I mean, Massimo had his foot on the throat of a woman recently facing her past abusers, and then Hale came in and beat Massimo to death, and then Hale was stabbed in front of Kenzi, then Kenzi lashed out at Bo for all the terrible that’s been happening the last few months, and then Bo drugged Kenzi into a stupor to forget her pain. Just . . . damn.

The fact they were explicit about Kenzi’s abused past earlier in the episode supports Hale’s intense reaction to Massimo beating Kenzi. After said reaction, and using his siren to presumably kill the druid, Hale’s ear start bleeding again, suggesting it’s tied to use of his power; he had used his power in “Of All The Gin Joints” before his ear bled, too. Generally, it would be a small price to pay, but this time it cost him his life because he couldn’t hear Kenzi’s warning about Massimo’s rising (the sound mixing there was nicely done).

The other thing which enables Hale’s death is something which gets mentioned in passing in “Turn to Stone,” and that’s Kenzi stealing the Twig of Zamora. The twig was one of Hale’s family heirlooms, and it gives the holder immortality; thus, Kenzi’s stealing the twig both saved Massimo and enabled Hale to die. That’s going to be a lot of guilt and emotion to process.

They do this camera move / angle occasionally, and I like it every time. I should check if there are thematic similarities to the scenes it's used in.

Tamsin and Dyson may have their own processing to do, too. After reestablishing their partnership, they end up (presumably) having sex for the first time. Shortly before, there was a charged moment between Tamsin and Bo, with Bo saying ‘sometimes you just have to go for it, right?’ which I thought was going to end in at least a kiss, before they were mystically interrupted by a book which showed Rainer to not look like Tamsin’s hirer The Wanderer, meaning either they’re not the same person, or there are two forms, the beautiful and the hideous.

Thus stymied, Tamsin goes to the bar and channels her frustrated sexual tension onto Dyson, someone she’s been attracted to for a while, and someone who just had a frustrating conversation of his own with Bo. Tamsin reminds Dyson of the first time they met, when she punched him in the mouth and later kissed him (at that time, I thought they would be in bed together within a dozen episodes, so looking at it that way, this is overdue). They both get something they need out of it, but that doesn’t mean it’s going to be all comfortable and happy in the morning.

No, I will never get tired of this Dal set.

As for the overall picture, the foreshadowing of Massimo, of Hale dying, of Acacia and Laveau, the blood drinking, of various upcoming power plays by Trick, etc., is quite pat. Much of this episode is paint-by-numbers, but the acting – specifically, Solo’s acting, and Silk’s return to form – and what we know of the characters from the past seasons, and the way this genre can fake deaths, and all the rest of the small parts worked. But what they add up to is less than it should be.

The Kenzi/Hale storyline is the perfect example of everything in this episode. The actors are into it; Kenzi’s mom whipping out her pink iPhone to record the moment is the perfect touch; Bo’s giddy reaction to her friend’s happiness is a flash back to brighter days; the ring with its giant stone as well as inherent promise to a poor girl and a human reminds us of how Hale struggles with the disconnect between his family and his own path. But the whole use of engagement to legitimize a relationship and make a death more ‘serious’ is such a cheap shortcut. All this, in addition to the audience empathy built up over time for these characters, makes us forget how truncated Hale’s storyline was from what it could have been, and glazes over how rote this particular episode is. The pieces of the story and the emotional reaction garnered from the audience are so great they add up to at least double the whole.

Seeing Hale go Hulk was pretty fantastic.

I get by complaining about an absence of something, ie a ‘lack of more Hale vs family/privilege/faetriarchy,’ I’m punishing a show for imaginary plotting which didn’t and can’t materialize. There exist a hundred storylines unwritten in every show, and it’s usually problematic to attack a lack of one particular plot. The difference is, they set Hale’s story up so clearly: it was a plotline rich for mining, a potential for one of the more interesting characters on TV in S2, and then they simply abandoned it, and then his end was glaringly signaled with a quickie engagement. Though the pieces were good, the whole was never given the respect and attention it deserved, and that is symptomatic of the whole episode. That’s the real tragedy here.

At least we’ll always have that last gratuitous ab shot.

Stray Observations

– “You had me at a-hole”

– “She’s only my mother by birth.”

-“terror from the terroir.”

– Skeezeball getting his phallic camera stomped on by Bo was my favorite visual gag. 

– Heaven help us if Kenzi decides Hale’s death plus abandonment issues is a catalyst for leaving, even temporarily. But, if Kenzi actually moves out, they’ll turn her room set back in Bo’s room set.

– CREDITS RUIN ALL THE THINGS. Such a rapid change in music and mood. We hates them, my precious.

22 Responses to “Lost Girl: Season 4, Episode 11, End of a Line”
  1. mytwocents says:

    How I do enjoy your reviews. Coincidentally, American Horror Story: Coven – another show with powerfully prominent female leads – invokes Marie Laveau this season.

    • Melanie says:

      Thank you!

      I’m always down for shows with strong female leads, but I’m never down for horror or ‘jump-happy’ supernatural shows. Thus I’m rather conflicted about watching AHS overall. But it’s good to know they’re bringing in historical and prominent female elements, both.

  2. Glad to see how you reasoned out the Tamsin/Dyson exchange. I really couldn’t (still can’t, actually) see how it matters in terms of this episode or in terms of the overall direction the show is headed.

    • Melanie says:

      I don’t know if they’re going to make it a big deal going forward. It may or may not become a plot. But individually, it packs a lot into a little space. These are characters whose lives are fracturing. Dyson is watching the woman he loves throw away her family to chase someone he legitimately thinks is evil and/or manipulating her emotionally. Tamsin is facing her own mortality and guilt and yearning for a connection with a Bo who’s pretty oblivious to it. (Kenzi and Lauren are feeling the distance, too, and Trick . . . well, Trick feels ‘hurt’ because Bo is defiant and it bruises his kingly ego, and I like they’re playing him up like that.) It makes sense – especially on a show like this, which has done well using sex for everything from deep romantic connection to emotional catharsis to casual romp, sometimes within the same relationship – that they turn to someone they’ve bonded with and been attracted to.

  3. Alex August says:

    Excellent review of a very powerful episode. I do agree that having more of Kenzi and Hale in the show as a b plot would have worked better than it all coming about in a single episode where we also had zombie hunting going on.

    Massimo seems to have really stepped it up on the evil scale. He was always slimy, but assaulting Kenzi and preparing to torture and kill her really changed the character from ill tempered drug dealer to psycho. Obviously he also murdered Hale without remorse, but it was clearly far more personal with his attack on Kenzi and Hale simply got in the way.

    The survivors guilt not just for Kenzi and Dyson, but Bo and Tamsin as well is something I hope they touch on. Obviously we have the issue of Bo abandoning Kenzi since the season started, but Tamsin was the one that gave Massimo the opening into the group that eventually lead to all of this because her friend Acacia wants the job finished. The same Acacia who accidentally sets up the home invasion by staging a zombie invasion that pulls Tamsin and Bo away from the crack shack instead of having them their with Kenzi as suggested would be happening in the opening scene.

    I’m with you that the Vex’s father connection to Trick seems odd, but at the same time, looking at the Trick shown in the flashbacks, I could see him having some lunatic mesmer who liked to make his enemies stand still why he killed them as a general. Would have been a nice thing to mention three seasons ago when Vex was introduced, but my guess is that it was a sudden addition to Vex’s character background and to explain what him and Trick would talk about then a fully fleshed out concept.

    Lastly I will say that Bo killing Marie Laveau, then giving the skeezeball her head and smashing his camera took me back to the good ol’ days when Bo stopped the bad guys (or gals) who were killing people and showed disgust for creepy Fae that were hitting on her.

    • Melanie says:

      Agree it was powerful. Like last episode covered its holes with humor, this covered its with acting.

      Yep. I love the change. He was either mostly getting what he wanted with threats and suggestion of sexual misconduct, or he was trying to play games. Now he has the twig and has been put on the defensive, his true colors show. This sort of evil is much more grounded in our reality than their big bads – even more than Isaac/Taft – and I love that, too.

      There is so much guilt and processing that needs to happen, but I’m very worried that there won’t be enough time to do all that, plus deal with Rainer, plus deal with who has the seed, plus deal with what the hell happened to Aife, plus plus plus. I know they disposed of the Una Mens very quickly, but I prefer my finale climaxes with more . . . climax. Also, I’m of the theory Hale’s death and Bo’s inability to bring him back may be what pushes Kenzi over the edge, and she may even try to get the seed and go Supernova Fae Bad. It fits with where she’s been going since S3 and struggling with her humanity, it fits with her feeling rejected by Bo and now feeling she has no family, it fits with her wanting revenge on Massimo, she’s had some shadow thief training and could even potentially talk Dyson and/or Lauren into helping her (Dyson will be down to physically revenge his buddy, and Lauren and they have proven to be a good team), and then it goes all One Ring on her and Bo will have to really face her best friend being corrupted and . . . *sigh* There’s just so much there I could see happening, but they’re running out of runway. I feel they’ll be pushing almost all the Dark/Light binary destruction ’til Season 5, but the Rainer/Wanderer stuff needs to be dealt with now.

      I suppose you’re right. It still feels odd.

      Yes! And the creepy fae exchange reminded me of her run-in with the fae butcher in Death Didn’t Become Him – https://mehlsbells.wordpress.com/2013/08/15/lost-girl-season-2-episode-08-death-didnt-become-him/ – which I really love.

  4. Elizabeth says:

    I always love your dark Trick suspicions. I don’t entirely agree, but I love thinking with you about the dark implications of Trick as biggest of big bads. I enjoyed the character scenes with Trick and Vex in this episode. They really are turning quite the corner with Vex, aren’t they? I noticed it from the moment he entered the room. Always before he’s been perched on something high up or popping up or over from somewhere– very Puck from Midsummer Night’s Dream. Great Fae stuff. This time, he just saunters down the stairs. Saunters. In an outfit I could totally wear to work at the library. Great buckles and laces, but no one would bat an eye.
    I’m excited, though, because I love Vex as a moving, developing character and I’d love to see Paul Amos get to do more of a variety of stuff. But, change is scary… I mean, Hale… *sigh*

    I’ve already said lots of horsey, Kenzi and Marie Leveau things over on Drinks at the Dal, but this is the right place for my happy Vex comments. Yay!

    • Melanie says:

      He’s just such a delightful bastard!

      I think Vex is always going to be volatile, but this side of him has been slowly coaxed into making a few appearances – for instance when he was living with Bo and Kenzi in the clubhouse. But he’s also the only character they have who can pull off entering on a piano in a tophat, or capitulating to the Una Mens one moment and (even if grudgingly) helping the gang the next. He unpredictability means they can afford to develop some of his other sides without losing his dark side (though sadly for plot potential, he’s never since been as dark as he was in the ‘pilot’ 1.08).

      And he does saunter so well.

  5. emiperkins says:

    Nice review, but I have to contest a point: Kenzi didn’t steal the twig. Hale gave it to her to keep her safe. The Morrigan’s stun gun didn’t work on her because of it.

    • Melanie says:


      Of course! I had forgotten that whole exchange, so when she mentioned trading it earlier this season, I assumed she snagged it along with some of Trick’s valuables. Thanks for pointing it out.

  6. vexundorma says:

    If it weren’t predictable from the get go (I mentioned it in a comment to your ep 402 review); if the writers hadn’t already erased him from the show; if the “epic” falling in love/marriage proposal thing hadn’t been a cheap soap device that rang hollow and storywise incoherent (did the writers forget Lou Ann’s reasoning for her approaching execution in ep 108 “I fell in love with a human. I knew the rules and I ignored them”?), then Hale’s death might carry an emotional punch. As it was it ended being just a venue for KC Collins best acting in a long time and a for great performance from Ksenia Solo.
    In any other half-decent show the audience would see the fallout from Hale’s death affecting Dyson, Tamsin, Lauren and Bo, who once again decided who lives and who dies, the only decision she’s apparently capable of making. The focus of course would be on Kenzi, who would never come back from a day like that the way she was portrayed; she might survive, somehow, but she would never be the same, nor her relationships with everyone else, particularly with Bo (who failed her as a friend since the Dawning) and with Lauren (the only other human in her close circle and the only person who can understand her pain). Because of the rich web of possibilities to explore this kind of death would also be placed earlier in the season, perhaps at its middle, to allow the extent of consequences to play out.
    But this is Lost Girl, which means there is zero chance of it happening. Because plot. It is even possible that Kenzi will also die, temporarily I suppose, to allow for Bo to bring her back in a five minute journey back to hero status and to avoid delving into that boring stuff of consequences and character development. Because fanservice is the prime directive, and much more fun (and easy). Anyway, by ep 501 Hale will have joined the great Wall of Amnesia under the Dal, never to be mentioned again.

    • Melanie says:

      The way they were writing the character left them no choice but to use him as a catalyst. And as I mentioned elsewhere, as humor covered holes last week, acting helped hide them this week. Because the acting, it was good.

      I’ll be honest, sometimes I’m not positive what your aim is with your comments. You don’t require a response; they’re basically mini-analyses in and of themselves. We know we don’t entirely agree on things, though I think we mutually respect each others’ opinions and insight (and so of course, keep them coming). You seem to comment only when criticizing, yet you still watch and expend energy on the show so there’s something you must like.

      I’ll only say that this season I’ve come to watch this show like I finally came to watch LOST. It does great stand-alone episodes and fascinating character interplay (some of LOST’s best scenes were two characters talking, and the scene in Groundhog Fae with Vex and Lauren and Dyson in Bo’s room reminds me of nothing more than the scene with Kate and Sawyer on the beach playing I Never, which is still a high point), but it doesn’t have a consistent enough worldbuilding and long-arc development to be able to pull the mythological threads through a season – or two, as this Wanderer stuff is dragging through.

      The comparisons to Buffy are becoming more and more surface, and probably disappointing people still leaning on them, because that show’s strength was in its long arcs. Lost Girl, like LOST, founders in its own ever-expanding mythology and is better served when examining faith v science, fae v humans, individual tropes and desires, stand-alone stories; LOST in its flashbacks, Lost Girl in its episodes. If I had my druthers, the show would go back to a S1 and S2.1 format, where the overarching stakes were low. But it gets to, funnily enough, something Damon Lindelof says about the way modern cinema/TV believes catacysmic stakes are necessary. http://www.vulture.com/2013/08/script-doctor-damon-lindelof-on-blockbuster-screenwriting.html People can’t just let shows revel in small stakes, interpersonal stories, etc., even if their budgets and actors and everything else are best suited to it.

      • vexundorma says:

        I guess my comments have been scarce and possibly overly critical, as you say, which can perhaps be attributed to the absurd expectations I entertained for a show with so much potential. Since the Kenzi/Hale mini-arc encapsulated a handful of the problems I had with the direction the show took after the end of season 2 (in my opinion the show was rebooted in S3 with ep 3.07 serving as a transition point) my comment tried to reason why it was another instance of a missed great opportunity. But you’re absolutely right, it doesn’t make any kind of sense to watch a show that just flatlined for me and even less sense to comment on it. I like to read your analysis and your take on things and I’ll keep on reading them, and I’m pretty sure your show’s reviews will be enough to know how all the myriad plots are resolved (or not) by the end of the season, before putting the show right next to all the others that I stopped watching through the years.

        • Melanie says:

          Of course I’m not going to discourage you from commenting, and you often do bring up fantastic points. I merely wondered.

          One of the double-edged swords of reviewing things so compartmentally is: I am able to see metaphors and repeating motifs I probably would otherwise miss, but I also can get so caught up I often miss dissecting the long-arc forest in favor of the episode trees. I plan to do a summation at the end of the season to address the fact I think most of the episodes have been pretty solid individually, but that a lot of character continuity, long-arc-plotting, and fantastic opportunities have gone by the wayside. If you do stop watching (though I somehow, stubbornly hope you don’t, even if only for my benefit) and my individual reviews don’t do it, hopefully that will.

  7. Cate says:

    I feel like everyone in this show gets punished somehow, usually pretty badly, and Bo is always a-okay. Getting dumped is as bad as it ever gets for her,and they solve that by having every single human and fae (except the Morrigan, Kenzi and Trick) want to be next in line. All the love triangles are boring, if I wanted Twilight I would watch Twilight. And I NEVER want Twilight. I miss the idea of the show in the first season and most of the second, where Bo and Kenzi were paranormal detectives and Dyson and Hale were cops and crossovers happened that way, and it was about the interaction between the human and fae worlds. Also I can’t tell if it’s Bo’s character and mediocre story line getting on my nerves most, or Anna Silk’s inconsistent and melodramatic acting.I’m sick of this whole season, and that’s so sad because I LOVED this show for the first three! I also think the direction they’ve (so far) gone with Rainer/the Wanderer is so cliche and boring and easy. It’s just been such an over the top and melodramatic and inconsistent season…maybe to do with how many different writers and directors there are. Kinda tempted to just stop watching, continue reading your reviews, and decide whether or not I want to try again for season 5. I will miss Hale. Kinda hoping (even though it would annoy me for other reasons, but since everything else already is I’m gonna allow it!) that Kenzi goes to the Norn to bring him back, that that’s somehow possible and happens. Then it could be about the challenges and problems with that, and with whatever Kenzi has to give up in order to make it happen. I’m really giving up on plot as it pertains to Bo. Kinda sick of this whole “chosen one and can do no wrong and nothing really bad will ever happen” thing. On a non plot point, I hope that killing Hale (unless they take my suggestion of course) was because KC Collins was wanting to leave the show, and not because they thought it was a good idea. Definitely agree it seems rushed.

    • Melanie says:

      If it *was* over KC wanting to leave the show, then I guess I can’t blame him. His storyline is strewn with wasted potential and he has definitely lost screentime since S1. I think he’s on another show, as well. But while the writing was on the wall, the actual execution was just. so. abrupt.

      Much of Bo’s terrible circumstance is in her past, and this is her way of rebuilding her life. Her current punishment is more growing pains and psychological (her terror of growing old alone which is a recurring theme, etc). Then again, everyone else has some sort of haunted past and seems to get slammed more than she, both with life events (Dyson being rejected by his pack, Kenzi with her family’s abuse and living on the streets, Lauren with the enslavement, Tamsin and Vex with all sorts of things) and with losing loved ones (Dyson Ciara, Lauren Nadia, Kenzi Hale). I think Bo’s may be coming; the Leviathan hinted at it, though I *am* afraid she’ll manage to bring that person back without major consequences. If it’s Kenzi, though, they damn well better manage to make those two together central to the story again for S5.

      What they do with Bo as a character is interesting to me because, she’s hardly perfect, and though she’s still a catalyst for many of these stories, she’s not just the plucky heroine anymore. The lines are much more gray and muddled, which I personally love. Bo’s always clung to double standards and ignored or not recognized the needs of everyone she loves, but now that’s showing more. She’s gone from the central sympathetic character to one of the least (and I know I just said the show isn’t really Buffy any more, but this is a very Buffy Season 6 move). Though the writing has sometimes unevenly portrayed this [which may be a result of writers having different views of Bo as a character], and I agree Anna Silk’s acting has not been so solid this season [though I think she’s returned to form in the last couple episodes], and I’m reserving judgement over the Rainer thing until we see where it ends [pleeeeeeaaaase let it end up a Cupid and Psyche myth, and not along the Beauty and the Beast lines], but I can see your frustration.

      Still, I can’t lie that I’m not flattered you’d still read my reviews.

  8. viewer says:

    Hope some how they bring Hale back. I liked the storyline of Kenzi and Hale. I don’t know if i’ll watch after Hales death. Sorry Lost Girl lost a viewer.

  9. Samantha says:

    Just throwing this out there, Kenzi didn’t steal the twig of Zamora, he gave it to her when Evony declared her a terrorist of the Fae.

  10. shaunhaynes22 says:

    Nadia dead.
    Ciara dead.
    Hale dead.

    It’s not lost on me that all of her friends lovers died so that Bo would be the only one they love.

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