Guest Blogger Series: “Episode 504 – When God Opens a Window…Look for the Trap Door” by Mahlers5th and Valksy

Happy New Year! Hope you enjoy Mahlers5th and Valksy‘s analysis of Episode 5.04.

“One isn’t necessarily born with courage, but one is born with potential. Without courage, we cannot practice any other virtue with consistency. We cannot be kind, true, merciful, generous, or honest.” – Maya Angelou

Mahlers5th

There is a narrative circulating about episode 504 that goes something like this. With Kenzi gone and in the absence of any meaningful contact with Lauren, Bo has regressed to being a thoroughly unlikeable, uninspiring, confused, self-serving, arrogant, insensitive jerk, totally lacking in compassion and humanity, ruled solely by her sexual appetites, screwing whomever she wants whenever she wants, with no regard for who gets hurt, exploited, or abused in the process. In this episode alone, she screws — with dubious consent — some random dude Tamsin brought home. Was it Tad or Frank? Who cares — he was a stud-muffin with a penis, that’s all that mattered. Then she banged a teenager who turns out to be Dyson’s son. Along the way, she makes out with Tamsin several times in front of Lauren who is apparently stuck to her chair with Crazy Glue, unable to escape yet another heartless exhibitionistic display by her soi-disant ex. For this Bo, the world is her oyster and everyone else is there to cater to her every narcissistic whim: “I want, I’ll take.” She really doesn’t deserve Lauren. Never mind that Lauren seems to think Bo deserves Lauren — she’s just a victimized character in search of more talented writers.

However widely shared this perspective may be among Lost Girl fans, I had a different take on Bo’s behavior in this episode that I’ll return to later. But for now, I’d like to zoom out and take a broader view of the episode because – hopeless innocent that I am — I continue to have faith that the production team had a map laid out when they put this season together, and that it will lead to a memorable, satisfying, kick-ass series finale. Anna Silk said so, and she would never mislead us.

When God opens a window

The actual idiom reads, “When God closes a door, somewhere else He opens a window.” A common (non-religious) interpretation might be, “Behind every apparent adversity lies hidden opportunity.” But the Lost Girl writer has inverted the order here, leaving the second half implied but unstated: “…somewhere He closes a door.” Are we to infer that what appears to be an opportunity in the episode may in fact lead to a closed door or a trap – a Trojan horse, if you will?

The episode focuses mainly on the appearance of Dyson’s son Mark who has ostensibly been chased by the Hunter right into his father’s backyard. Well, of all the gin joints in all the towns in all the world! Then he just happens to find a flyer that leads him straight to Bo — my goodness, life is filled with astonishing occurrences of coincidence and synchronicity that simply defy explanation!

Mark’s story is tailor-made to tug at Bo’s heartstrings. He’s part Kenzi – a homeless stray on the run who lies, scams and steals to survive in the streets – to the point where Tamsin feels compelled to say, “Bo! He’s NOT Kenzi!”  Bo also sees a lot of herself in him – he’s a motherless child with an unknown father, unsure of who or what he really is, lost, running scared, and leaving a mounting body count in his wake. Someone/thing is fishing for Bo again. She wants to rescue Mark and give him the benefit of her hard-won wisdom about the world: “You need to face head-on whatever is chasing you” (advice she’d do well to heed herself). As if that weren’t enough, Mark is Dyson’s long-lost son — a “blessing,” Bo tells Dyson, a “second chance” to make up for his old days of cavorting with nameless women, an opportunity to put past wrongs right.

But when God opens a window…

By the end of the episode, two things have happened that could pose potential problems for Bo down the road. Bo has concealed from Dyson the fact that she slept with Mark, and Dyson suddenly has at least one priority in his life that may prove more important than serving his Queen. In the episode’s closing scene, Bo visits Dyson just after he has killed the Hunter, his face still caked with blood. He looks pensive, troubled, perhaps struggling to come to terms with having just murdered a man in cold blood, and – here’s a first – he tells Bo he appreciates her coming over but he needs to be alone.  Actually, there is no indication she wanted anything more than to comfort and reassure him, but in any case, she respects his request, gives him a warm hug of support and a chaste peck on the cheek, and leaves. Will Dyson’s primary allegiance now be to his son? And if he finds out Bo had sex with him, will that drive a further wedge between them?

Whose purpose might these developments serve? If we imagine for a moment that Mark is yet another chess piece being maneuvered into place by Bo’s father (and his minions), the purpose is perhaps clearer. Something keeps trying to separate Bo from her family.  Perhaps this is simply another attempt.

While Bo goes about her life as if she has no dilemmas to confront except the Case of the Week and no decisions more difficult than who to bang before lunch (sic), something evil this way comes. Three bodies have disappeared from Lauren’s morgue, and even Evony is in the dark (sidebar: has there ever been a more Evony-defining line than, “So, your assistant was murdered – dish!”). One is the junior lawyer, Elizabeth Helm, now possessed/inhabited by a stone cold assassin. She has already killed Lauren’s assistant, and Elizabeth’s husband looks like he was fried by lightning. The other two bodies remain missing and that can’t be good – “a VP family man” and “a bike courier taking classes at a night school.” Three other humans have turned up dead. Their occupations — cop, prison guard, and convicted murderer – seem to be codes for “pig,” “bull,” and “goat” respectively (just go with it), animals commonly used in pagan rituals as offerings to the Gods. Particular brands on their bodies as well as the ritualistic nature of the killings make Dyson and Lauren suspect that a Fae cult is behind it. Oh right! With Baddy Dearest still unaccounted for, spirits attacking, and bodies walking away from the morgue, the first thing I’d suspect is a Fae cult. Get your head in the game, guys!  Later, in Dyson’s gym, where he apparently now does all his police work, photos of the slain humans overlap in such a way that a mysterious triple spiral or triskele symbol [www.crystalinks.com/triplegoddess.html]  materializes and burns right through his coffee table, just as an electrical storm begins to whip up outside his window (thanks to @itsnotadrink for identifying the symbol). Who is behind all this? Zeus – Hades’ brother — is the God of sky, lightning and thunder in Greek mythology (in Norse mythology it is Thor, son of Odin) and the symbol that sits atop Zeus’ scepter bears some resemblance to the triskele that burned through Dyson’s coffee table.  Others found triple spiral symbols or interlocking half-moons said to http://m.startribune.com/politics/national/287184501.html represent Artemis, the wild, beautiful, destructive daughter of Zeus and virginal Goddess of the hunt, wild animals, and the moon. Certainly, episode 504 is filled  with suggestive references to Artemis — animal sacrifice; hunting; arrows pierce Bo and the girl on the bus. I believe there is only one sufficiently powerful entity with the means, motive, and opportunity to provoke such widespread chaos and destruction. The Wanderer. I mean, Odin. No, Pyrippus.  Wait, Hades. Zeus! Artemis?  I have absolutely no idea who’s in charge now.

Beyond these supernatural occurrences, episode 504 is filled with more than the usual dollop of violence, from the verbal bickering between Bo and Tamsin, to threats of violence (Tamsin with Mark, the two would-be thieves with Trick), homicidal rage and physical fights (Vex and Dyson), assault with a deadly arrow (Bo), and by my count at least six rather grisly murders (the girl on the bus, the three nameless humans, Elizabeth’s husband, and the Hunter). Dark forces appear to be taking hold. Dyson in particular seems to be losing his cool and surrendering to his wild nature – he viciously mauls an utterly helpless victim already incapacitated by Vex.  Hardly the gentlemanly head start he offered Taft in the season 3 finale.  He might have killed Vex, too, if Lauren hadn’t intervened: “Do you think it’s easy to be the good one, always doing the right thing?!” he snarls at Vex, “Do you know how easy it would be to do the wrong thing?!” As if there weren’t enough Evil on the loose already, Evony drops off a container at Lauren’s lab holding “the most feared creature known to Fae” – so old, in fact, nobody knows what it’s called. Are we finally going to meet that black-ooze-in-a-box from episode 401?

It is astonishing how everyone in the faemily (not just Bo) seems to be in la-la land regarding the ongoing threat posed by Baddy Dearest. Does Bo really believe Persephone that her father’s powers waned way back in her infancy? If so, than Hades cannot be the entity we knew as the Wanderer. Does Bo think that having rescued Kenzi from Valhalla, her work is done? When Dyson picks up Bo at the gates to Valhalla and is all, “OK, ready to go?” has it sunk in that she just traveled to Tartarus and back? Trick is throwing karaoke nights at the Dal and Tamsin just wants to partay and pretend she’s Kenzi — when she isn’t grabbing Bo for between-meal snacks. Their obliviousness here is reminiscent of the blithe nonchalance demonstrated by the gang after the Dawning, when Bo emerged as the Dark Queen and chi-sucked everyone in the room, while vowing in that evil voice to bridle the masses and ride unto victory with her father. Ho-hum. Lauren and Kenzi reassured each other back then she was still “our Bo,” but nobody really commented on the extraordinary transformation that had just occurred. It was as if they had all suffered some sort of amnestic event. I have a similar feeling now.

This leads me back to where I began – Bo as selfish asshat. Bo used to be a likable and admirable character, especially in seasons 1 and 2, so the argument goes. But beginning at the mid-way point of season 3 and continuing throughout season 4, the writers slowly deconstructed and ruined Bo, robbing her of strength of character and a firm direction, and turning her into someone unlikable and uninspiring.   There was a glimmer of hope in episode 501 that we might have our old Bo back, but subsequent episodes dashed those hopes, leaving fans feeling duped by pre-season promises that Bo would be our lovable, clear-headed, humane, brave, kick-ass heroine again.

Does this perspective really hold up? Let me address the larger context for Bo’s behavior and then comment on her actions in this particular episode.

We fans tend to expect great emotional maturity and consistent strength of character from Bo as the carrying lead hero in a female-driven drama.  Of course, she has never been without flaws – she murdered a man for roofying Kenzi in the opening minutes of the series premiere, after all! I began cheering for Bo right then and there, before I got to know her more redeeming qualities. Didn’t you? She was sexy and badass and cared enough to come to the rescue of a total stranger. She has always been an impetuous, stubborn spitfire with a dark, aggressive streak but we decided her flaws were forgivable – up to a point. I would argue that point when her flaws became unforgivable came when she started treating Lauren “badly.”  I can practically pinpoint the swing in fan sentiments to that moment in episode 306 (“The Kenzi Scale”) when Bo tells Lauren acidly, “I’ll never forgive you for this….sweetie.” From then on, it seemed, any turbulence in her relationship with Lauren was all Bo’s fault. Because she was selfish. Confused. Self-serving. Arrogant. Insensitive.

Lauren has always embodied the emotional maturity Bo lacks.  She is the true adult in the relationship. This has been one source – albeit not the only source — of ever-present tension in their relationship.   Bo has matured to some degree over the past four seasons but not without considerable growing pains and she still has a lot to learn about real intimacy and mature commitment.  What accounts for Bo’s arrested development? Saying “Bo’s is a Succubus and always has been” seems like an incomplete explanation. Of course, from the pre-Dawning onwards, Bo has been fighting battles on multiple fronts against threats from within and without. Her mind has been messed with in all sorts of ways by external forces, most notably her very powerful father.  Even now, Bo is far from “clearheaded.” We may have seen gratifying glimpses of a more focused Bo in episode 501, but that was before she was hijacked to Tartarus, fed off Persephone, wrestled with her father, and returned with the Artemis Candle (that thing has “evil influence” written all over it).

Leaving aside the influence of her biology, her lineage, and her father’s ongoing mind games, I think we tend to overlook the fact that Bo was also severely traumatized during infancy and again in adolescence. Her adoptive family seems to have provided “good enough” if strict parenting along the way which may account for Bo’s basic resilience. However, she did not come through the early years unscathed, and we see the scars most clearly in her closest relationships. She feels most certain about her love for Kenzi – a sisterly love that avoids some of the demands and complications of romantic and sexual love. And Kenzi being Kenzi — also a trauma survivor — they have tended to keep things light and superficial in their interactions, while the deeper intuitive understanding between them goes largely unspoken.

My point is that when fans blast Bo for being a selfish, insensitive, jerk, I think they are forgetting that she isn’t just fighting the demands of her biology and her father’s influence (and he’s the friggin’ Lord of the Underworld, after all, if Persephone is to be believed). She is also a child of trauma. It’s not easy to overcome those experiences and have healthy, mature, intimate, adult romantic attachments. She’s trying and in my opinion is slowly growing, with fits and starts. She dreads and is deeply shaken by loss — understandably, given her history — and has already lost Kenzi (twice).  This may explain why she is keeping her distance from Lauren at this point – and multiplying her partners. It’s too dangerous to have all of her emotional eggs in one basket with the threat of a confrontation with her father looming ahead.

Valksy

In considering the progression of Bo’s story in this episode, and recognizing protests about the apparent change in Bo’s character, I found myself again trying to decide if Bo was subject to outside influence against her will.  While trying to establish this to my own satisfaction, I found myself questioning whether it is necessarily desirable to have a character who is inherently moral, or if it is more meaningful to allow your character to make mistakes and be flawed, and even express an understanding that she is willingly embracing her own shades of grey rather than being a glowing paragon of virtue.

The virtuous woman was staple of genre television when I was growing up. Wonder Woman and Jaime Sommers (The Bionic Woman) were aspirational figures, but both seemed to trend towards a distinctly comic book monochromatic depiction of good and evil with little complexity.  I don’t disregard the vital cultural significance of Lieutenant Uhura, but she was not a particularly well-rounded character. Most women characters that I was exposed to in science fiction/fantasy stories outside of familial relationships (typically girlfriend, mother or wife, not that there is anything wrong with this, it’s just not my taste) were functionally basic and often had little in the way of complexity other than being expositional tools or tediously damsel-prone.  A parade of female Doctor Who assistants offered little in the way of detailed or nuanced characterization and I would argue that the surviving duo of women in Star Trek: The Next Generation (Counselor Deanna Troi and Doctor Beverly Crusher) also lacked the depth of their male counterparts, being painted broadly as nurturing and tempering influences; as a result, they often had little to do that was actually meaningful to the story and did not seem to resonate as characters who struck heroic notes.  I was more inclined to cheer for Captain Picard or Data, for example, than I ever could have done for Counselor Troi.

Major Kira (1993) may have been the first of a new breed of women characters in genre television, followed by Ivanova in Babylon 5 (1994). An even darker character – Xena: Warrior Princess (1995) – was followed by Buffy the Vampire Slayer (1997) and SyFy’s Battlestar Galactica (2003) with a female Lieutenant Kara “Starbuck” Thrace.  Katee Sackhoff received significant negative feedback – even death threats — for her role as the battle-scarred Starbuck – a tough-as-nails, hard-drinking, abuse-surviving, occasionally promiscuous, authority-defying, but ultimately profoundly heroic character. https://frameofnature.wordpress.com/2011/02/05/gender-roles-in-battlestar-galactica/

Was it therefore risky to create a character like Bo who fights when she needs, kills when she deems it necessary, enjoys alcohol, often exchanges inappropriate wisecracks, is unapologetically sexual (we understand she is a succubus, I’m thinking more in terms of cultural presentation) and — unlike Starbuck — a further evolution in being completely unapologetically female rather than representing conventional gender-reversal?  This is, of course, all a matter of personal taste or interpretation. Is a virtuous and completely morally binary Bo a boring option?  Not at all, and it is unjust to simply claim this.  But when the writers created Bo and established her capacity to be capable of moral ambiguity, was it just in service of a mere trend for “edgy” television, or was she an evolutionary character in her own right and it was more important that she be a difficult, even occasionally unlikeable, character rather than a more typical nurturing and virtuous female hero?

While viewer reactions to the character of Bo Dennis are subjective, I do question the perception that she was once more innately moral and has since degenerated into someone very much different.  When we first meet Bo it takes her less than four minutes to carry out an extrajudicial summary execution, with such a lack of hesitation that it was clear that she had done this many times before.  Arguably, she killed in self-defense, and for the viewership the nature of the crime allowed Bo to maintain her credibility, but she still killed without a second thought, and would do so again at the end of the episode by slashing a creature’s throat (self-defense again, but do the Fae have a choice to participate in gladiatorial spectacle?).  In the course of the first season Bo will go on to attack an innocent woman (and has to be restrained from murdering her), threatens a fence with torture to extract information, uses her persuasion skills to facilitate theft, makes a point of picking up a couple for a threesome in front of Dyson (after he overhears her saying she didn’t care much about him anyway), and will go on to blame Dyson for Aife’s attack on him.  In episode 111 (“Faetal Justice”) Bo elects not to kill someone involved in a murder and lets him go with a warning, while in very next episode (“(Dis)Members Only”) she makes a completely contrary decision and orchestrates mob justice.

Bo has certainly never been a saint, but is still sympathetic to the viewers since she is demonstrating her desire to “live the life she chooses” – not in terms of something so basic as relationship parameters, but through a series of moral dilemmas; occasionally with inconsistency, often with subversion of free will or outright force, sometimes as a simple observing bystander.  I concur with Mahlers5th’s theory that something external is affecting Bo, but I don’t believe that Bo has genuinely undergone a fundamental conceptual character re-write.  If there is a narrative reason for more superficial story-driven changes in her character – seeming to be confused and more emotional detached – from an external third party, then Bo is a victim and I am uneasy with the idea of blaming her for this.  Until the story has played out to its natural intended conclusion, with twelve episodes remaining (this is practically an entire season left to go, I think it far too soon to see endgame) then I will continue to find Bo compelling because of her shades of grey, rather than in spite of them.

Mahlers5th

Turning to episode 504, I must say I don’t see much evidence for the view of Bo as a self-serving, arrogant, insensitive jerk, totally lacking in compassion and humanity, ruled solely by her sexual appetites, screwing whomever she wants whenever she wants, with no regard for who gets hurt, exploited, or abused in the process. It goes without saying that one-night stands like the young man in the opening scene deserve to be treated as human beings not chattel, but here I think it’s fair to give Bo a pass — this sort of behavior is neither new for her nor unusual for a Succubus. Unlike Tamsin, at least she remembers his name. I also saw nothing exploitative about her interactions with Mark. When he first appears in scene 3, Tamsin wants to dismiss him as “trouble” but Bo corrects her: “Tamsin, he’s in trouble…If we’re going to be partners, we help those who need help. Deal with it” — a far cry from “I want, I take.” She’s willing to take on his case for free. In scene 10, she is more a brisk schoolmarm than seductress: “Stop acting like a child! We can help you, but no more lies!” In the following scene, back at Bo’s place, it is Mark who makes the first move by kissing Bo, ostensibly to help her heal, but even this turns out to be a staged scene designed to entrap the Hunter.

It seemed to me something strange happened when Mark kissed Bo. She looked taken aback, even enthralled, and exclaimed “Whoa…Wow!”  It reminded me of her encounter with Rainer on the train, when Bo also seemed momentarily disoriented. Was it just because there was something “familiar” in the kiss? Or was there something mesmerizing about the kiss? When they finally do go the bed (not until scene 15), Bo is clearly moved by Mark’s story of witnessing his mother’s murder and by his plaintive “I don’t have anywhere else to go, anyone else to turn to.” Did anyone else find his tone a little disingenuous? I found myself wondering who exactly was seducing/using whom. Bo leans in to comfort him, and then again looks slightly confused and disoriented, murmuring, “What is it about you?” She’s puzzled by her own attraction.  What’s crystal clear is that when she realizes he is Dyson’s son, she looks appalled, is too ashamed to admit what happened to Dyson, and later tells Tamsin she feels awful about it. I see no indication whatsoever that she is interested in repeating the experience.

As for Bo’s kisses with Tamsin, these are feeds – at least in Bo’s mind – done solely for healing purposes. It’s unclear what Tamsin is up to – sometimes she seems to be in love, at other times, she seems to be positioning herself as Bo’s go-to feed for reasons that remain unclear. In any case, Lauren takes it all in stride, with grace and good humor — “Oh my God! So much blood…and kissing!” In the end, it is Lauren’s science, not Tamsin’s feeds, that saves the day. “I’m lucky you came by,” Bo says to Lauren with that look of love in her eyes, to which Lauren replies with wry self-assurance, “It’s my professional opinion you’ve always benefitted from human touch.”  It’s a tender and highly charged moment that Tamsin simply can’t leave alone – much to Bo’s annoyance. Throughout the episode, Lauren is depicted not as the wronged victim but as a strong, confident leader among friends.

So is Bo ruled solely by her sexual appetites in this episode? Screwing whomever she wants whenever she wants, with no regard for who gets hurt, exploited, or abused in the process? I just didn’t see it.

As a final comment, there is a wonderful exchange between Bo and Tamsin after they catch up to Mark. They disagree about interrogation tactics, Bo suggesting that Tamsin needs to “take it down a notch.” Tamsin pulls her aside for a “positive conversation”:

BO:                 Well, I HEAR you, but sometimes I wish you’d try a different approach…

TAMSIN:       Well, I hear YOU, but I have been doing this a very long time and sometimes I’d appreciate your patience.

I’m willing to give the Lost Girl team the benefit of the doubt, forgive the flaws, and show some patience as this final season unfolds. I have faith in Anna Silk that it will happen just as she foretold, and remain optimistic that everything will turn out as it should.

17 Responses to Guest Blogger Series: “Episode 504 – When God Opens a Window…Look for the Trap Door” by Mahlers5th and Valksy

  1. Tristen says:

    Here’s the bottom line. Writing inferior stories is killing Lost Girl. At some point the fans need to “like and root for” the main character on the show. No matter Bo’s history, the writers are making Bo very unlikeable. The show never pulls off complete storylines and too many plot fail comprehension. It is no wonder the show got canceled.

    Bo does not need to be perfect, but the show needs to give us a reason to care about Bo’s journey. Many are like me, we look to other characters to care about because we don’t care about Bo anymore.

    IMO … Doccubus fans made the mistake of accepting crumbs from the writers, because now that’s all we get. Endgame should never have been the fan base cry. Endgame means the writers never have to address Bo and Lauren’s storyline till the very last minute of the very last episode on the very last season.

  2. Valksy says:

    I really cannot agree with your comments since how fans experience Bo is surely inherently subjective – I pointed out that she has always had moral ambiguity, and still does today to suggest that the shades of grey have always been present and are not a recent development, although I would still concur with spec of additional third party influence (since Bo has been revealed as a virtual demi-god, I cant help but think of the tinkering common in greek/roman pantheon storytelling and the flaws the heroes were prone to). While the moral ambiguity has canonical support, the rest is also my perception rather than a claimed truth. The thing is, none of us know yet and none of us have to agree, but we must also accept that we do not speak for one another.

    Equally personally, I still like Bo despite her flaws, indeed as a character I prefer her flawed and don’t mind if she is occasionally unlikeable as I consider that a more multi-faceted approach to characterisation. As in the article, I prefer Batman to Superman, you might not agree. Is anyone right or wrong here and do we demonstrate our choice through the consuming of product?

    I understand you think under-consumption is why the show got pulled, I admit I’ve not heard that it was a ratings tank and wonder if a story arc has been playing out with an anticipated ending for some time now. Season 2 could have worked as an admittedly infuriating punchline to the show if the production had been shuttered then. But 3-4-5 have been distinct run-ons of one other – I wonder even if 3 and 4 could have been halves of the same season if there had been a extended pick-up as we saw in 2, which caused the bloating. I wonder if that is by intent with a natural end to Bo’s story as a possible prospect. Is this more or less satisfying – a beginning, middle and end – than the rug being pulled? Also open to personal experience, I suppose.

    As a character in general, I was afraid that the Bo as we left her in S2 was in peril of becoming a sterile and progressively more monochromatic character who always won against whatever monster she faced. It was my feeling that she needed to start losing and being seriously challenged, and she has been. I’m comfortable with this aspect of storytelling – which is why I consistently find enough to pique my interest and analyse, theorise and otherwise discuss. This doesn’t feel like crumbs to me.

    I still love this show, enjoy these characters, find the actors agreeable and entertaining and am curious enough about the direction of the story to keep tuning in. Would I have started watching if not for doccubus? No. But the romantic thread was a supplementary storyline, not a primary one, and I always knew that. And I do want to see how all of it ends. This also doesn’t feel like I’m accepting crumbs.

    Now, you may take offence at this, and feel I’m being arrogant and preachy. OK. But offence is not intended at all, I’m trying to explain why I feel that there is still a point to writing about the show, and why I simply don’t agree with the target painted on Bo or the re-framing of Lost Girl as being about doccubus when that was only ever once facet.

    I admit that the targeting and aggression I have seen against Bo would actually make me pretty uncomfy if it turns out she has been compromised — characters negotiating their moral landscape as best they can, and making mistakes because I feel that adds texture, is one thing. Blaming or condemning them for the wrong of another is very different. This is why I find a character like Mystique, for example, in Xmen both compelling and remarkably sympathetic — as an abused character who suffered deeply, even to the point of insanity at the loss of her lover, I find it hard to blame her for her animus against humans. I didn’t especially want to invoke Magneto’s backstory as another example, but also find it an uneasy notion to simply broadly paint him as villainous. If circumstances are often beyond the character’s control, drawing them in deeper layers that may not always be comfortable, and is it right or wrong to invoke blame? In my subjective experience, I prefer not to. Because of this – and because I believe it to still be happening – I have long been sympathetic to Bo and continue to be so.

    I will always hope for something better, especially something LGBT (indeed, I barely watch television for this reason) and even if it does not end the way I want, I’m still willing to give plenty of credit for trying to place a female character, especially one warts and all, front and centre, and for taking the risks that they did. And I do not doubt that there is risk, the current cultural backlash against women/minority representation on other digital media platforms shows this to be so.

    I remain supportive and still enjoy the show, the actors, and the story being told. Your mileage just varies to mine. (like I said, no offence is meant – in fact I felt it would be rude to simply not say anything at all, which places me in an awkward situation of expressing strong disagreement which may cause said offence anyway).

    • Tristen says:

      Your comments are welcomed but I think you have deeper thoughts about the show then the producers and writers ever have. Overthinking Lost Girl and justifying its storyline is fine fore some. Bo was never perfect but she is a cartoon character of her old self. Maybe the writers will somehow make us care about her again, but for now, many of us don’t care about her story anymore. And I’m not talking JUST about the LGBT community. This opinion is not just mine and can be seen on many msg boards.

      Even a Doccubus ending can not win me back. Good story’s that make me root for Bo again will win me back.

      • Mahlers5th says:

        And yet you keep watching…That’s admirable, given your level of disappointment and frustration. It means you haven’t entirely given up hope. I hope your perseverance is rewarded.

        You are perfectly entitled to your opinion about Bo, but I wish you’d help my understand your point of view. Focusing on season 5 so far, what exactly about Bo has made her so unlikable? Was she likable when she scaled that cliff to find the helskol, defended herself against three creeps, got past Freya, rescued Kenzi, sacrificed herself so Kenzi could live, held her own against her father’s mind games in Hel, was prepared to face him alone in the dark, defiantly told him “You’re not my family, you’re nothing,” fought off whoever/whatever tried to choke her? Was she unlikable when she let Kenzi go without protest? Was it “unlikable” of her to have been devastated by Kenzi’s departure and to feel momentary doubt about her prophesied role as the Chosen One? Is it “unlikable” of her to feel insecure and scared? Was her empathy for Mark “hateful”? Her courage after being shot with an arrow? Her encouragement that Dyson step up and be a father?

        I could go on but my point is there is far more nuance to Bo’s character than your sweeping condemnation suggests.

        I’m with Valksy – I like Bo’s complexities. It’s her striving — in spite of her own failings and vulnerabilities and despite the powerful external forces marshalled against her — to live the life she chooses (which includes having a loving family around her) that makes her interesting, admirable, inspiring. I’m enjoying the greater story arc. I want to find out what happens to Bi, and how Bo responds. Does she face down her father? Is she able to prevent the destruction of Faes and human kind? Does she preserve her own basic humanity or succomb to the dark? And yes, is she ultimately able — after she has saved the world — to settle into a committed mature love relationship? I care about her as a character. That she’s beautiful, and sexy, and badass and all that doesn’t hurt! That’s NY bottom line which I ackniwledge is very different from YOUR bottom line.

        This may seem like a silly question — since your focus is on our subjective responses to Bo as viewers — but would you say Lauren thinks Bo is unlikable, hateful, selfish, self-involved, amoral, cowardly, whiney? If not — clearly she does not –then why not? Is she just a glutton for punishment? Or does she take the bad with the good, and balancing those, maintain a deep and abiding love for Bo?

  3. Tristen says:

    Again, I think both of you are over thinking Lost Girl and that is your right. I stated in my first comment that it is no longer Bo’s journey why I I watch Lost Girl, it is all the other characters (good and bad). I have no desire to psycho analyze Bo.

    I think just because a fictional character like Lauren loves Bo unconditionally, does not mean the fans have to too.

    You know … It is ok for many of us to no longer like Bo. Just like it’s ok for me to now like Dyson and his storyline more then Bo’s.

    We all like different things. I’m just stating my own opinion. The show is wrapped and what will be will be.

    • Mahlers5th says:

      Ad hominem circumstantial constitutes an attack on the bias of a source. This is fallacious because a disposition to make a certain argument does not make the argument false.

      “We alllike different things. I’m just stating my opinion.” I think we can agree on that. I’m stating AND trying to defend my opinion.

      • Mahlers5th says:

        SorryTristen – that was more crytptic than I intended! Somehow my complete reply got cut iff. Here it is:

        “You’re both overthinking Lost Girl…”
        I’m tempted to launch into a defense here, and to address the unspoken opinion floating in tje stratosphere that Valksy and I are so besotted with this show, so blind to its faults, so eager to please the production team, that we have twisted ourselves into knots trying to make sense of a senseless story arc and to justify every questionable creative decision, however misguided and destructive. Essentially you’re saying (maybe not you personally, Tristen): “You would say that, wouldn’t you? Because you’re both total Lost-Girl ass-kissers.” There’s really no way to respond to that sort of ad hominem circumstantial attack except to point out it’s an ad hominem attack — an attemot to dismiss the validity of our arguments by implying that we’re biased.

        “We all like different things. I’m just stating my own opinion.” Fair enough, and I’m glad to hear you phrase it that way. I’m stating my own opinion, too, but also trying to offer concrete reasons from the only source we have — the story itself — why I feel the way I do (specifically, why I don’t see Bo as a selfish, arrogant, insensitive asshat. I also don’t see her as perfect.

  4. SBSneech says:

    Thanks ladies for another fine read. Bo’s always been my favorite character on Lost Girl. She’s impulsive, stubborn, loyal, pure of heart, desperately trying to find her way. And yeah she fucks up…. a lot!

    Since we’re letting it all hang out here, I have a comment or two.

    It’s absolutely true that the writers have dropped the ball and made a mess of Bo and the show in general. It’s true Seasons 1 and 2 were the best so far but let’s be real here for a moment.

    Bo has been unfairly judged from the moment we got a whiff of the possibility of an intimate relationship with Lauren. She could have endless missteps but as long as she remained faithful (sexually and emotionally) to Lauren it would be overlooked. Hell even I’m guilty of it.

    I disagree with Mahler that Lauren is the mature adult in the relationship. Lauren hasn’t learned to communicate honestly with Bo.

    Lauren broke up with Bo, never giving her the opportunity to address Tamsin’s confession. She left the Light and Bo with the intention of never returning. She has sex with Crystal and Evony. When Bo reappears in 405 and professes her love, Lauren rejects her again. She doesn’t talk to Bo. She talks at her. But Lauren’s lack of communication skills seemed unimportant to most fans and she was given a free pass.

    Meanwhile from the second Lauren asked for a break Bo takes complete responsibility for her transgressions and begs Lauren to allow her to try and fix it. When Bo realizes Laurens left the Light (without saying a word to Bo I might add) seeking freedom, Bo honors her wishes and doesn’t search for her at Taft’s lab. Last season Lauren makes it clear to Bo she’d rather stay with the Dark than reconcile with Bo. Yet when Lauren waltzes in to her bedroom at the end of last season, having the audacity to question Bo “you choose him?”, Bo replies “I chose you and you broke my heart”.

    Bo has always chosen Lauren. Always.

    “We get Lauren or we get dead.” Not good enough for most of us apparently.

    Why are we so hard on Bo? She’s a succubus. Has been from the very beginning. Her story is of self-discovery, learning and accepting who and what she is. Would we be more sympathetic of her indiscretions if she came home to Lauren every time crying begging for forgiveness? We want her to deny her nature. Yet would you ask Lauren and Kenzi to deny their human nature? No that would be absurd but when it comes to monogamy and infidelity, we judge Bo as human. Not fair. We expect her to deny her nature “if” she loved Lauren enough.

    Bo fed on many people in season 1 and 2 and we were all fine with it.

    I agree the writers have been ambiguous with regards to her feeding and could have done a better job charting her course of self-discovery. They left us with the impression that Doccubus had reconciled at the end of last season only to watch an inexplicable change of heart. I’m still waiting to hear who the hell The Wanderer is!

    Truth is we all stopped watching for the complete story somewhere between the end of season 3 and last season. We don’t watch for “the other characters.” We don’t really watch because we’re interested in Bo’s journey. Well I am just like Valksy and Mahler but we’re in the minority.

    We watch because we want to see if Bo and Lauren ride into the sunset together. That’s the truth. If it wasn’t the truth we all would have left long ago. Even those that claim to have left the show confess to checking in to “see how it’s going.”

    We can intellectualize it all we want. It’s the love story between two women that keeps EVERYONE here and on all the other sites and podcasts and blogs.

    I’ve seen scenes between Bo and Lauren discussed and dissected at nauseous. Their facial expressions, who touches who first, was there tongue or not, where were their hands. Bloody hell but try to delve into what possibly motivates Bo and that’s going to far. Seriously?

    And since I’m here already making a stink, Lauren is the most popular character because she’s the one the most vocal fans identify with. Sexy, smart, lesbian. We all want to be her. The fact that Zoie Palmer was rumored to be gay only fueled her popularity.

    I can’t help but wonder if Anna Silk would have won more fan awards if her sexual orientation were different.

    Bottom line is if Doccubus were together we would grin sheepishly when people would point out plot holes. We wouldn’t care. That’s the truth.

    • Mahlers5th says:

      “It’s absolutely true that the writers have dropped the ball and made a mess of Bo and the show in general. It’s true Seasons 1 and 2 were the best so far but let’s be real here for a moment….”
      I’m in the minority of people who actually liked the Dawning and the unfolding mystery of the Wanderer in Season 3, culminating in Bo’s abduction. Season 4 left a lot to be desired. I’d stop short of calling it a complete disaster because there was much good mixed in with the bad. Uneven seems a fairer assessment. “In Memoriam” was wonderful IMO and fact that it was followed by a clunker in “Sleeping Beauty School” doesn’t take away from its strengths. “Waves” was also very strong, as were most of “End of a Line” and the season finale, to name some of my favorites. To show I’m not a COMPLETE EA shill, I found ep 408 a little tedious — except for the car wash scene and the wonderful scene with Lauren, Vex, and Dyson getting drunk. Even relatively “bad” episodes have some good! The mirror scene didn’t bother me on first viewing but on the big screen, I realuzed I’d been wrong. Some new characters worked better than others. Cleo was wasted, Una Tilda was delicious, and Rainer…well, n’en parlons plus. Have to wonder how we all would have felt about season 4 if whoever cooked up that character had thought better of it and left him out of the brew.

      I’m “confessing” to all this because in spite of it all, I remain hooked by the multi-season story arc. I haven’t always understood where they’re taking us, and there have been many indecipherable hanging chads along the way, and a few major plot developments introduced and dropped (Pyrippus?!) but I’ve enjoyed trying to puzzle it all out, and believe the basic direction — Bo struggling to define herself and live the life she chooses against the combined pressure of father’s influence and destiny — remains intact. If season 5 ends with no clear resolution of Bo’s relationship to her father, no definition of what that life is that she chooses, and no attention to all of the tensions inherent in the relationship between a Fae Goddess and a human doctor? I’ll be very surprised and very disappointed. So, no, I haven’t been in it JUST for Doccubus. But would I have watched in the first place without Doccubus? Probably not, but that’s precisely what makes Lost Girl unique.

  5. Brash says:

    Tristen, I don’t know you – but I love ya.

    Valksy and Mahler’s, that is a well crafted post. It is well thought out, well structured, and clearly argued. Yet, it does not adress the singular issue of Bo’s current problem;
    Her succubus nature is as intact as it was in seasons 1 and 2.
    Her attitude regarding her nature is what has changed.

    In seasons 1 and 2 we liked Bo, we cheered for her. After season 2 she became a cold, distant, and self-serving person and we liked her less and less as the show went on. We were told she was “devolving” and we all though we would see “Dark Bo” and we were excited. But all we got was a Bo that became more self involved and more distant from the gang and from viewers.
    And she never came back.
    That is why fans are dissapointed or angry or disengaged. Bo is no longer a sympathetic character. It is not just the way she treats Lauren, although that is a large point of contention. It is how she treats Tamsin, Dyson, and everyone else she interacts with. She is callous, uncaring, and unsympathetic to their needs. Note that I did not say wants. I don’t care who wants to bang whom. I am talking about NEEDS; what drives the characters in the story. What does Tamsin NEED from Bo to move her story forward?
    (Personal note: I don’t give a damn about the winged harpy)
    What does Lauren NEED? What about Dyson now that he has a son? She knew he needed emotional support & honesty and yet she slunk away with her dirty little secret.
    How tween Bella of you, Bo.
    After 5 seasons, Bo is still a teenager at heart.
    So, no Valksy/Mahler’s, I strongly disagree that it is some kind of psychological trauma/Daddy issues from beyond the grave that is causing Bo’s problems. Bo is an immature person at heart and she has not grown in 5 years, daddy issues or no. She is just handling her problems like a teen and many fans are tired of hand-holding her while she does it.
    And Sneech, The plot holes could fit the Titanic. I disagree with the notion that Doccubus shippers might let it slide if they were together. Viewers don’t like Bo right now regardless of pairing. Period.
    I have a feeling viewers might be wishing Lauren would just kick Bo to the curb and be done with her. I know I do.

    The point is this:
    The purpose of the HERO is to serve and sacrifice (Campbell). She may suffer self doubt and she may fail in a variey of challenges, but the hero always owns up to the failure and learns from it.
    But the one thing the hero NEVER does is change into another archetype – Never.
    Bo, post Yawning, has transformed into the Trickster Archetype; the one who is the source of Chaos, confusion, destruction, and upheaval.
    That archetype is typically (though not always) a servant of the villan.
    The writers seem to have taken a risk & tried to do too much with Bo’s character & it did not work.

    So at this point Bella, I mean Bo – can have Jacob, I mean Dyson or the immortal Edward, I mean Tamsin. And Lauren? I think there might be a lovely little cupcake shop in her future – without Bella, I mean Bo.

    • Mahlers5th says:

      Brash, with all due respect, I think you confuse opinion and preference with fact here. Just a few examples:

      1. “Bo is no longer a sympathetic character. It is not just the way she treats Lauren, although that is a large point of contention. It is how she treats Tamsin, Dyson, and everyone else she interacts with. She is callous, uncaring, and unsympathetic to their needs.” Could you provide some direct “textual” evidence for this? I tried to offer a counter-argument in my thoughts about 504. Please refute those point by point, if you disagree. I changed my mind about the mirror scene in 407. I’m not utterly inflexible!

      2. “What about Dyson now that he has a son? She knew he needed emotional support & honesty and yet she slunk away with her dirty little secret.” Is that how you read the last scenes between them? Bo – indifferent to what Dyson was going through? only interested in her needs? Was it crystal clear that what he needed in the monent was complete honesty from her? Didn’t you detect shame in Bo’sdemeanor? And does her shame about sleeping with Mark explain — not justify, I mean explain — her need to conceal it for now? Don’t we all hide things we’re ashamed of? You seem to condemn her for some of the very qualities that make her human.

      3. “The purpose of the HERO is to serve and sacrifice (Campbell). She may suffer self doubt and she may fail in a variey of challenges, but the hero always owns up to the failure and learns from it. But the one thing the hero NEVER does is change into another archetype – Never. Bo, post Yawning, has transformed into the Trickster Archetype; the one who is the source of Chaos, confusion, destruction, and upheaval.” I read that three times: Bo is the source of Chaos, confusion, destruction and upheaval. And each time came away wondering where you saw evidence for this? I truly want to understand, and apologize if you’ve made a specific, detailed argument for this assertion elsewhere. If so, point me to the link.

      • Brash says:

        Mahler’s, I respect your opinion, but you can’t have it both ways. Bo is human when you want to see her that way, and Fae when you want. “Respect Bo flaws, she is trying to be human…Bo is a product of her Fae Biology, she is a Succubus that needs sex to live…Supernatural Fae Daddy Darko is messing with her mind…”
        Your opinions are just opinions as well. And I do not believe I am confusing preference and opinion. I would PREFER Bo not be an asshat, but the FACT is, she is an asshat.
        I will not refute your assertions nor justify mine “point by point.” That would take all day. But I’ll address your 3 questions:

        1 Bo is not a sympathetic character. I don’t believe it requires a deep analysis of each episode to see her disinterested demeanor in the emotional needs of others in the episodes other than 5/1.
        2 Yes, I condemn her for lies regarding her sexual liaisons. There are two reasons; first, she slept with Dyson’s kid and that is a fact she should be up front about if this is the “clear headed Bo with a purpose.” Second, if sex is just sex or a feed as you assert, then it’s no big deal and she should be up front with Dyson about it.
        3 You really don’t see Bo as the center of Chaos? Bo is more Fae than ever (Chaos), she brought back the candle(Chaos), all of the Fae around her are acting on their darker impulses(Chaos), Bo herself is behaving like a base version of her old self in the way she feeds, interacts with humans and Fae, and the careless attitude and reckless manner in handling of her cases and clients(Chaos). If you don’t see it already I don’t think anything I have to say will change your mind.

        Since you prefer to approach Bo from a Psycho-analytical point of view, I will reference Maslow’s Hierarchy of Needs (also in response to Kedrie’s post). It is what a person needs to lead a happy, fulfilled life.

        The original hierarchy of needs five-stage model includes:
        1. Biological and Physiological needs – air, food, drink, shelter, warmth, sex, sleep.
        2. Safety needs – protection from elements, security, order, law, stability, freedom from fear.
        3. Love and belongingness needs – friendship, intimacy, affection and love, – from work group, family, friends, romantic relationships.
        4. Esteem needs – achievement, mastery, independence, status, dominance, prestige, self-respect, respect from others.
        5. Self-Actualization needs – realizing personal potential, self-fulfillment, seeking personal growth and peak experiences.

        When you study Bo, she has remained a simplistic character, but now she is less nuanced than ever. She must move forward on her own – not be pushed along by others. She is stuck (by her OWN choice) in stage 2 because she fears the loss of love. She has attempted to begin stage 3,but she has not yet fulfilled the requirement of complete loving relationships. She loves others conditionally and tentatively – but not fully. She is not ready to open herself to the possibility of losing anyone, so she doesn’t let anyone in.
        She is no different than she was in season 1.
        Until that changes, she will not progress. With only a handful of episodes remaining, I just don’t see Bo getting to the finish line before the show does.

  6. Keds says:

    Valks and Mahler, you are always very well spoken with your context and episode thoughts. I’m not sure I would ever delve as far or as cleanly. I certainly don’t disagree that there is room for your interpretations, and one can hope that Lost Girl will pull a nice reversal of fortune for the protagonist sometime in the 12 episodes that remain.

    Sneech, while I understand your passionate response to Bo as a character and her defense, you also speak in broad sweeping strokes as to what motivates the criticism of Bo. I disagree that we are all of one mind on this. To Brash’s point, the underlying problem with Bo isn’t about her needs, or her sexual activity requirement (although her choice of partners so far is debatable). It most certainly isn’t because Anna Silk isn’t gay/bi. To tie an entire and once united fan base’s success into an actor’s orientation seems circumstantial and irrelevant. As Tristan stated, the overall journey of Bo is in peril and has been since the middle of S3, when Bo’s actions became reactive instead of proactive. With the exception of the VERY STRONG season opener this year, Bo is lacking in focus and drive. If anything, her character IS the problem, and I would argue that she has become LESS COMPLEX as the seasons have progressed.

    I would also argue that because Bo is female and her power IS her sexuality, there has been a deliberate attempt to undermine her social and cultural ramifications by making her a pawn in her own play. I’ll probably do this badly, but let me make a parallel for a moment.

    STAR WARS– Luke Skywalker, orphaned and fostered, must undo the terrible yoke of his father and bring the balance of the jedi back into the world. His quest to learn of his father leads him to confrontation upon confrontation with his daddy and his big blue light saber is the weapon of choice.

    Imagine Episodes V and VI (Empire Strikes Back and Return of the Jedi) for a moment. Let’s say Luke meets himself in that cave on Dagobah (DAWNING), but instead of realizing how he could easily make that terrible mistake and slide down into power and ruin, he’s afraid of it and doesn’t bother to try to rescue Han or Leia unless he’s forced to. He comes back from the cave experience saying all sorts of creepy force driven nonsense about being THE ONE and BRIDLING THE MASSES and RULING with his Big Blue Light saber? And then nothing comes of that speech. Ever.

    Then! Some Random Jedi that Yoda exiled comes into the scene and Luke is pulled to them irresistibly, and then that Random Jedi tells Luke what to do, and Luke does it, giving Vader an opportunity to blow up the rebel base. Luckily Han sacrifices himself to close the opening, the random jedi is killed, but the damage has been done.

    Later! Obi-Wan Kenobi’s random son mysteriously appears and Luke is compelled to have a light saber duel with him, knowing his training is infantile at best. He continues to ignore the peril Leia is in for commanding a rebellion against the empire, as she receives death threats from all sides.

    The plot goes nowhere, and Luke is no longer a forward moving character. Not in 1000 years would any show worth their salt do what Lost Girl has done to their lead…for so long if the lead was a dude.

    One to Six episodes? Sure. That kind of negative reversal is important to demonstrate, important for growth, but 18 episodes? From post dawning till now? With the exception of the finale of S4 (kind of) and the premiere of S5, I’d say Bo has been a vehicle for the plot. I’m not saying this to denigrate the character, or the creative force that strives for better, nor am I saying this to hurt the fans that love Bo. But inherent sexism DOES leave a mark, and it has left a mark on this show, its message and its legacy. There is a thin veneer of feministic movement slathered over some really sexist ideals of character and sexuality.

  7. Valksy says:

    Keds,

    Thank you for the post, I appreciate the debate in this and think it important to keep channels open always. But please excuse if answer seems cursory or brusque, not intended to appear rude, just organising thoughts.

    I admit it has been a lot of years since I saw the original Star Wars trilogy (I admit, I’m not really a fan) but since it is in the past we can appreciate statements like — there was a speech in the movie that seemed important at the time, but was never explained. But with what amount to the lion’s share of a season of Lost Girl still to go, I’m not sure how we can reasonably say the same at this point.

    Yes, the show is in love with red herrings. The concept of “Pavlov’s Gun” is deliberately ignored in order to bamboozle the audience. The show often seems more like a mystery than an adventure show and, to date, I can think of all sorts of explanations (and enjoy doing so) but concede that all we have – still – are theories. Whether this is commendable or infuriating certainly varies – there are times where it seems indulgent, others when I find myself studying websites looking for clues and enjoying the hell out of it (In Brazenwood there were many signs with a runic looking language on it, I spent a fair bit of time rummaging the net for a key because I was fiercely curious about it. I don’t regret this in the slightest, although was never able to answer any questions I had).

    But at this point, with more than 8hours of content to go (excuse me if my math is hideous, it often is) I’m not sure anyone can say what was or wasn’t explained and what was or wasn’t important. As an example, a while ago Mahlers5th and I got interested in episode 106 “Food for Thought”, which involved a human-led experiment into a bio-weapon to exterminate the Fae. At the time I first saw the episode, I didn’t think it mattered much. When we met Taft and his story and operation were revealed, we found ourself looking at 106 to see if there was any sense of foreshadowing, thinking it either a massive coincidence, or a nascent part of Lauren’s story.

    I dont recall clearly what we concluded (again, not trying to be rude just not having a good memory). But the concept of a human-driven weapon – a resistance even – still springs to mind and now Lauren has finally done it (while being “merciful” – mileage varying – enough to simply UnFae the Fae rather than slaughter them) is this part of her story to come? Did it give her ideas (even if little more than being curious – is it *possible* to use her skills to stop them, and should she?). This can’t be answered, not yet.

    Do we assume that the writing staff have a long-term plan and what is happening is playing out as designed. Does Aife’s part in the meta-plot suggest this? Or Trick’s? Or is everything really just coincidental? (I find this hard to believe)

    How do we decipher what is to come and what is or is not important at this stage? What is an obfuscation and what is meaningful?

    Given the cost per minute of making television – something I can’t even begin to guess at – I often question how much of what ever appears on screen is accidental or without intent, even if implementation may vary in success and satisfaction.

    I suppose I just find it premature to condemn a story when there is still a final chapter to see.

    As for whether damage has been done to Bo, and if it can be found to be sexist. I suppose I don’t agree at this time, simply because I’m not sold on her being damaged. I guess I reflect on a classic character like Hercules – with some flaws and plenty of tragedy, and injured by circumstance, but still loved, respected, admired and aspired to.

    I suppose I imagine a parallel. Although they referred to Hades as being Fae, we don’t know yet about who or how the underworlds were formed and why these Fae are infinitely more powerful – to the point of breaching the rules of time/space itself. I wonder if part of the reason that Bo is so special and strong is that she is what amounts to a demi-god. (If I was feeling super fanciful I might imagine the creature feature eps early on as being like Bo’s “twelve labours” to establish her as having heroic traits). I also parallel Hercules being driven mad by Hera to the point of killing those he cared about, and continue to wonder at the influences at play on Bo… but this is gleefully wondering down the speculation path again…

    The thing is – that I know I keep returning to – we don’t know. And I don’t know how at ease I am commenting on the quality of the overall story at this time since it’s very much far from over, to the point of there being practically an entire season left.. I know I welcome the mystery and confusion and questions (these articles surely demonstrate this) but that others do not. This is a subjective perception impasse still very much rooted in how people experience the show itself.

    I do wonder how much of season 4 was Bo as a catalyst for Kenzi making a credible sacrifice, with Dyson – in turn – pledging his loyalty. Or how much of it was about Bo delving deeper into Light/Dark as Lauren offers a counterpoint that there is little to choose between them and she opposes the whole system. How much of this is reliant on Bo being how she was for the story? Is it sexist to have done this? To have given Kenzi and Lauren a deeper story of their own? If Luke is the hero, is he devalued in any way by pfaffing around on Endor with Han and Leia? Surely not, they are just a separate, yet supporting, thread.

    But again, I am forced to conclude, how can anyone offer a credible definitive answer, or claim anything further, without seeing how it ends?

    (please excuse any failure to proof..)

  8. voltairesmistress says:

    Thank you so much, Mahlers5th &Valksy, for possibly the most incisive analysis of season 5 and Bo’s character that I have ever read.

  9. Brash says:

    Hey Valksy, we are about to agree on Lost Girl!!! Luke and Bo are the same.
    Both start out as innocent, uninformed people who are unaware of their origins or parents. Both have a “destiny” and are at the center of a “prophecy” and both have a father who is the ultimate dark lord.
    The big difference is that Luke starts out as a boring, white-bread dolt and never changes. I don’t know anyone nor have never heard of anyone who fantasized about being Luke. Everyone wanted to be Han Solo. He was way more nuanced, complicated, and cool.
    Luke started as a boring, laughable goof and he stayed that way all through the trilogy. It was everyone around him that made “His” heroic deeds possible.
    Han was responsible for the Destruction of the Death Star – BOTH times.
    Vader actually defeated the Emperor because…reasons? He felt sorry his kid was such a wuss is my guess.
    Anyway, Bo started out as Han Solo. She was sexy, cool, and badass. But now, she is Luke.

    Have you seen Thumb Wars? https://www.youtube.com/watch?v=XQduN315etk
    In it Oobedoob Scooby-Doobi Benubi talks to Loke Groundrunner after his Aunt and Uncle have been clipped.
    Loke: I guess I can join your rebellion now.
    Oobedoob: Everyone you know is dead, I’m so glad you can tear yourself away…

    That’s pretty much how Bo feels right now. She will get off her behind and go after daddy when she no longer has any other thing to do.

    In all seriousness, I think I see where the big divide is. Some fans (myself included) feel that even if Bo is redeemed in the last few eps, the lackluster writing and snail’s pace leading up to the end was a waste of screen time that could have been better spent.
    Other fans feel that you can’t call it until the last episode airs. I respect that, but I question the quality of what has aired so far in relation to what is yet to come. Even if the last few eps are good – even great – doesn’t it matter that some were not? Doesn’t it matter to the body of the work as a whole?
    If we compare it to the original Star Wars, how many of you are really invested in Luke? How about Han/Leia? I fast forward through all of Luke’s scenes because they are dull and one dimensional.
    Will we, after LG concludes do the same?
    How many of you skip past the Yawning? Massimo’s tantrum? Rainer?
    Yeah, me too.
    I purchased seasons 1 and 2, but I did not buy any others because they were such poor quality I knew I would not watch them. I watched the parts/scenes of 3 and 4 that I liked on YouTube. I will do the same with 5.

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