Sneak peak before the next episode!
Saturday, January 26, 2013
Beauty and the Beast Season 1, Episode 10: On Thin Ice
OMINOUS RECAP Vincent is going to become more bestial!
There was a car crash! Catherine was hurt! Cliffhanger involving the
possible-but-highly-unlikely-death-of-the-main-character! Evan may know the big
secret! No-one can act!
Cue the sad music, because we’re going in. Evan
approaches Vincent and Catherine who is bleeding messily on the road. As Evan
gets closers, Vincent runs away in a blur of mist and light effects.
Evan races into doctor mode, giving the tearful and
panicking Heather instructions to help him with dramatic and messy roadside
surgery to restore Catherine’s collapsed lung. They rush her to hospital
Catherine wakes in hospital and a nurse fills her in on
what happened, or the injuries she sustained including the amazing doctor who
saved her life. Catherine gets a goofy grin imagining it was Vincent – and in
he comes masquerading as a doctor to tell her it was Evan who saved her life
(dramatic sad music… why?) Vincent angsts that though he could pull the door
off the car, even with his medical training he couldn’t pull back the beast and
help her like Evan did (way to make her near death all about you, Vinnie). She
reaffirms that she loved Vincent and accepts everything he is, even with his
changing DNA. Hey boyfriends who could lose it at any moment and kill you are
romantic these days. He leaves before Evan comes up. But as Vincent leaves, the
chatty nurse spots him, recognises him and calls his name – forcing him to
hide.
Catherine and Evan have their cutsey meeting (with lots
of funness – though for reasons unknown, Catherine draws Evan’s attention to
her being pulled out on the road) and in comes the nurse, Alex, agitated,
wanting to ask Catherine about the doctor who visited. The nurse sits, shaken
as she says Vincent Keller is supposed to be dead.
Vincent returns to JT who is busy studying the manimal
DNA and Vincent, seeing smiling in his home (smiling?! Do you not know this is
an angst only zone?! Enough of this shameless mirth!) tells JT about seeing
Alex and how we he ran from her – like he did 10 years ago and never
reconnected with her (because of the whole Beast thing). At least JT’s
girlfriend, Sarah, knows something about evolutionary science and may be able
to help with JT’s research. He leaves and Vincent gets a text from Catherine
saying not to come to the hospital, it’s not safe.
So he goes to the hospital (yes, of course he does. And
is there a reason why Catherine couldn’t text “my nurse recognised you?” rather
than an ominous warning), where Heather is taking Catherine for a walk, but ducks
out for hangover meds giving Vincent chance to talk to Catherine about Alex.
Catherine is sure to tell Vincent just how very very very upset Alex was thinking
she saw him. Because we need more angst.
That night, Alex gets in her car, closes the door and
finds Vincent sitting next to her. He tells her he was part of a secret special
ops group, knows too much and had to fake his own death to protect his friends
and family from being killed when his enemies came hunting for him. And he says
that Catherine is a cop he had been assigned to as a handler. Alex says she
loves him and it’s apparent she hasn’t moved on; he tells her to. They end with
Alex asking if she’s going to see Vincent again.
Tess visits Catherine and she feels guilty for not being
there when Catherine was attacked. Turns out she wasn’t there because she and
Joe, boss Joe, married boss Joe, had a few drinks and got… not quite sexual but
close. But Tess doesn’t want to be the “other woman” even if Joe is having
marital difficulties. Catherine does some facebook stalking of Alex but Tess
takes it to the next level and checks if she has a police record – she doesn’t,
but she had repeatedly reported being followed, people breaking into her house,
tapping her phones and emails, though the police found no evidence of it and put
it down to her being paranoid (but Tess and Catherine aren’t surprised since
she reported it to precinct 86 which is, apparently, not very assiduous in
their work)
The Vampire Diaries, Season 4, Episode 4, Episode 11: Catch Me if you Can
Mat runs for his life through the woods, chased by an
angry vampire. Which catches and bites him! Yay, excess character removed!
But Jeremy shoots the vampire with a crossbow. Damn it,
Vampire Diaries, don’t tease like that. Flashback
to the bar where Klaus has had his mini massacre and Jeremy is not willing to
go along with killing all the noobie vamps and Klaus can’t compel him, a hunter
to do so. Klaus agrees – but he can compel all these many vamps to kill Matt
(yay!) unless Jeremy saves him (boo!). Damon is Shocked And Appalled by this
since he never agreed to have Mat imperilled. Oh look, making a deal with an
Original Vampire doesn’t go to plan. Why, I am surprised. This has never ever
happened before, truly.
Back to the present and the newly nibbled on Matt, Jeremy
wants to get Matt to the lakehouse and safety and Damon agrees to slow the
noobie vamps – which he does by killing them. Which completely wastes them
being turned – how about super-speedy DAMON get Matt to the boathouse and
Jeremy kill the noobie vamps? Elena joins the protect Matt party (damn it,
Elena just has to be part of everything) and she, Jeremy and Matt make it to
the boathouse where no vamp can enter without an invite.
Next day when the noobie vamps have either left or BBQed,
Elena scolds Damon for the plan and killing innocent people (I believe this is
because, as Jeremy is her brother, she doesn’t want to have sex with him – so the
innocent people he kills matter, as opposed to the double or treble digit death
counts Stefan and Damon have totted up). She reiterates not wanting the cure
anyway and now they need a plan to keep Matt safe at nightfall (building they
can’t enter without being invited? Sounds like a good plan to me). Damon
presents the plan of him and Jeremy going hunting for baby vampire, problem
solved.
Alas, we have to check up on Stefan (the shirtlessness
makes it tolerable) and Rebekah (nothing makes her tolerable) reading his diary
(oh, I know what it says! “angst angst, Elena, waaaah, Damon raaawr, angst
angst, foolish plan, angst). And he’s
totally done with Elena, but their team (I shall call it Team Whiney) is in a
severe disadvantage next to Klaus, Damon & Co (Team Sexy) and Team Shane
& Bonnie (Team Extras) so Rebekah has a plan (oh dear). Shane revealed that he knew about
evil!immortal!Silas’s headstone while being waterboarded last week and Rebekah
thinks if they grab it they can make Team Extras join Team Whiney.
To Team Extras where Bonnie is still upset that her spell
nearly killed April (I’m upset about that as well – I thought we’d finally
killed off the pointless character but, alas, she lived). When she gets irritable she also starts fires
(or mood lighting) but Shane reassures her with some worrisome looking
hypnotism. Which is when Sheriff Forbes (Founderella, Caroline’s mum), comes in
and handcuffs Shane for… reasons, and tells Bonnie to ask her dad (Dead Mayor
Walking) about why.
Jeremy and Damon go hunting the noobie vamps at the bar
and find that they’ve all already been massacred by Kol, the Aussie Original
(it comes and goes though. I like to think that Kol’s accent is deliberately
created to represent someone with centuries of different accents effecting his
speech, but I rather think it’s an Australian actor aiming for an English
accent with the help of a South African language coach) got there first and
wants to talk to them. He wants everyone
to stop looking for the cure because he’s worried about Silas; seems Kol has
come across Silas worshippers in the past who believe Silas will bring about
the end of time and he’d really rather time didn’t end, being immortal and all.
So he murdered them (this may have been to stop Silas or just because that’s
what Kol does for shits and giggles).
Of course, the Hunter’s Curse stops him killing Jeremy,
so he decides to rip off his arms instead (actually, when it comes to problem
solving, Kol may be the most efficient of the Originals). Damon attacks him to
give time for Jeremy to run before Kol quickly gets the upper hand.
Back to Team Whiney, Stefan and Rebekah search Shane’s
office. Stefan is pouty, Rebekah is nostalgic and they find Shane’s herbs.
On to scenes that may be remotely relevant – Sheriff Frobes
is questioning Shane watched, via camera, by Bonnie (because highschool
students often get to watch police interviews) and her father, Mayor Rudy Hopkins
(Dead Mayor Walking). Bonnie protests Shane’s innocence and thinks her dad’s
just trying to keep her away from Shane, but Dead Mayor Walking points out
April told them what Shane did and Rebekah said Shane had confessed to her.
Bonnie decides she should be the one to interview Shane because we’ve stopped
even pretending Mystic Falls has a legal process. Bonnie tells Shane Rebekah
lied about him and Shane reveals that she actually told the truth (but covered
his mouth from the camera – hah, like anyone even remotely cares about chain of
evidence here).
Friday, January 25, 2013
Agatha and the Airship City (Girl Genius #1) by Phil & Kaja Foglio
Agatha leads a quiet, but frustrating life as a lab assistant, working for the brilliant, but eccentric Spark that runs her town, her dreams tortured by inspiration she could never quite reach. In the past, most of Europa was a patchwork of small kingdoms controlled or supported by Spark scientists and their armies of monsters, machines or combinations of both – but much of that changed when the Baron created his empire, absorbing the little kingdoms.
And the day came when Agatha’s town went from being a nominal, self-governing part of the empire to being fully under the Baron’s control. In the take over, Agatha found herself moved from her home to the Baron’s own floating castle. There she sees ever more of the Baron’s forces and the eccentric creations of Sparks across the continent – as well as develop some contact with the Baron’s son, Gil
But she also learns far more about her past, her talents and her past frustrations, opening up vats new possibilities but also putting her in considerable danger, and demand.
I’ve started reading a lot of Steampunk because there’s so much I love about it – the aesthetic, the slightly whacky technology, the glorious stylishness of it, the fun, proper and quirky characters, the wonderful combination of completely out there concepts mixed with Victorian sensibilities; it’s immense fun, it’s beautiful and it is incredibly imaginative and creative.
And on those grounds Girl Genius: Agatha H and the Airship City is the very epitome of Steampunk. But not just Steampunk – that whole genre of over the top adventure novels is perfectly included and lampooned in this book. The hero with his contrived, dramatic language and over the top heroics, who never ever dies and sees everything in clichés! The evil geniuses and their completely out of their mind nefarious schemes! The plucky girl side-kick (I wrote a hundred of my favourite lines from this book and stopped because I was quoting nearly the entire book. But when Othar suggests that Agatha set him free as his ‘Spunky girl sidekick’ her response, as someone who has been round Sparks all her life just has to be quoted:
“I’d rather not end up being the Easily Duped Minion Who Sets the Insanely Dangerous Experiment free. Or the Hostage Who Ensures the Smooth-Talking Villain’s escape.”
“Ah…”
“I don’t have any proof that you really are Othar Tryggvassen, or that you’re really human.”
“Err”
“This Girl Sidekick job doesn’t call for a lot of smarts does it?”
Seriously I have a separate book of quotes I wanted to sue for the review because there were so many awesome exchanges like this. The Baron who is effortlessly and awesomely competent and evil and sets things up to constantly test himself and his son (poor Gil. Who also keeps getting flack from Agatha and everyone else over someone he killed, despite his constant protest “he threw a bomb at me!”) including taking a fight with the intrepid hero into a neighbouring room because they’d destroyed everything interesting in his lab. He’s just one of several characters I love – the evil baron, the long suffering heir-in-training and possible love interest, Gil and definitely the strangely dangerous creatures, the Jagermonsters. In fact, when compiling quotes? I could have confined myself entirely to what the Jagermonsters said or did and still be creased with laughter.
Supernatural Season 8, Episode 11: LARP and the Real Girl
We have a man who has taken a list of every geek
stereotype and checked them all off arguing with another man called Lance over
a game. While he sleeps, a black mark in
the shape of a tree appears on his arm – and then he’s woken by the sound of
horses. Each limb is violently pulled to a different corner of the bed and rope
weals appear around his wrists and ankles. Oh this is gonna be messy. His limbs come off.
Move to Sam and Dean driving with Sam being mopey. Again.
Dean tries to comfort him and prop him up and suggest a night off (ugh – you know
my usual rant about Sam’s drama constantly needing support while Dean always
has to suck it up and deal. In fact, for the hothead he’s so often the
peacemaker between these 2). The phone rings before Sam can build up a full
head of whine; it’s Garth, he has a tracker in their phones like he has with
other Hunters so he can assign cases to them if they’re close. Sam thinks it’s
creepy, Dean thinks it’s clever. It’s a case of the guy ripped limb from limb
(Sam says in the whiniest way possible).
Time to impersonate federal agents to examine the dead
man (Ed)’s apartment, lots of blood, lots of the sheriff snarking over the
geeky paraphernalia all around. A neighbour heard the horses but it was
obviously dismissed, Sam sees the tree on Ed’s body and they check the angry
threats from Ed’s friend Lance. Some of which are rather… melodramatic. And
geeky.
They go to question Lance in the police where he’s
breaking down in tears and explaining that the texts weren’t from him,
personally, but his LARP character Greyfox the Mystic to Ed’s LARP character.
And the conflict they had was entirely in game not in real life.
They check out the website of the LARP group to check the man’s story and they discover that the “ruler” of Moondor, the chief is Charlie, their old contact back in season 7 (who was a most awesome character).
Meanwhile in the interrogation room, Lance gains a tree
symbol on his arm, coughs up blood then bleeds out messily from his eyes. Damn,
you know these murdering monsters never ever consider the poor cleaning staff,
do they?
It’s caught on CCTV and Dean notes that they have none of
the normal signs – EMF, sulphur, nothing – but Sam spots Lance looking at the
mark on his arm.
Since the only other thing the victims have in common is
LARPing, they head to the group to go talk to Charlie. Where they hit the
instant snag with a LARPers that doesn’t believe they’re FBI agents and
believes they’re just LARPing the wrong genre. Having a lot of experience
mocking up costumes, he spots their fake badges (now if only all of the many
many police they met were half as competent at checking up on them). Instead they’re left to interview as one of
the Queen’s new squires – where she is duelling the competition in LARP duels.
Her speech is rather put off by spotting Sam and Dean.
She is not happy to see them, having to completely change
her identity after her last encounter – she now goes by Kerry. After speculating about being a monster magnet
she decides them being there means monsters are here and since she doesn’t want
to die, she’s out of there – drops her crown on Dean’s head and starts to walk
out. Dean stops her by telling her about
Ed and Lance.
She recognises the tree as a celtic magic symbol (in a
video game anyway) and we find out that her “army” is shrinking – many of the people
who LARPed as 4 of her guards had hospital worthy accidents lately. While none
of them had real life enemies, they had lots of in game enemies and she points
to the 4 factions in the LARP. Since that weekend is the battle to see who gets
to be monarch, the other three factions have a vested interest in taking her
down. They’re briefly distracted why Dean points out better tactics for her
forces on the battle map. Sam begins to moot the possibility that one of the other
factions got their hands on real magic while Dean redeploys her siege engines
(to her approval). Dean thinks Charlie should run somewhere safe while they try
to find out who’s behind it but Sam wants her to stay because she knows the
setting better (even Dean points out that keeping civilians safe is normally
Sam’s focus). Charlie decides to stay – she may want to run but she’s “queen”
and, besides, she’s tired of running and she likes the life she’s built.
Sam gets a call from toxicology saying Lance’s symptoms
point to him being killed by belladonna (both Dean and Charlie leap to the porn
star, not the poison, derailing Sam a little) but there was none in his system –
just as Ed died by being pulled apart and having rope burns without any actual
ropes.
American Horror Story: Season 2, Episode 13: Madness Ends
It’s the last American Horror Story of the season – let’s
see what they drag out of their bag of shock for this last instalment.
Bloody Face Junior stalks the halls of modern, ruined
Briarcliff, listening to Lana’s book on tape about the asylum – and seeing
hallucinations of Lana saying how much she hated him and Thredson saying how
much he wanted to be a father to him (and blaming Lana) interspaced with odd
figures from the Asylum when it was working. Which is when the pointless modern couple (do
I have to look up their names?) arrive
– yes the ones from the very first episode.
Only now we see the scene from Bloody Face Junior’s
perspective – including him being in the arm-eating-cell when they try to look
through the flap. He puts on his mask and, when Leo puts his arm through the
flap he hacks it off with a big, heavy knife.
Cut to a much older, modern day Lana and her new partner,
Marianne. And it’s clear Lana has been very very very successful. She’s hosting
a television interview in her fabulous house in preparation for a fabulous
award she’s about to win. She’s confident (even enough to mention her plastic
surgery), snarky but she will not talk about Bloody Face, she won’t let his
fame continue and she won’t give him one more second of air time.
Instead they talk about (and cut to) Lana, in the past,
taking a camera crew back into Briarcliff. She also reveals her motives weren’t
altruistic – she wanted to move to television and for that she needed visuals,
not just words and “crazy people” made for good television (because American
Horror Story hasn’t used the mentally ill as shocking background colour enough,
it seems.) We cut to her report where she goes through Briarcliff exposing
filthy and horrendous conditions and neglect (when her cameraman gets emotional
or upset she chivvies him back to action without a blink). After interviewing
an orderly, she forces him to take her to see Jude. Jude is in a terrible
condition – and Lana helps her leave, ensuring everything is caught on camera.
Except it didn’t happen – that’s what she wanted to happen but when she got
there, Jude was gone. She did succeed in shutting down Briarcliff though.
They break for Lana to get a drink – and it’s Bloody Face
Junior who hands it to her. Someone needs to screen the interns better.
Cut to the past again and Lana goes to see Kit, they hug
and he’s joyful that she shut down Briarcliff. Less so that she’s brought a
camera crew to film their meeting. And she wants to ask questions about a “Betty
Drake”. Her questions are aggressive to say the least. Kit won’t talk to the
camera so she turns it off and shows Kit some documents she found in Briarcliff
– of Kit getting a “Betty Drake” out of the Asylum. The name that Monsignor Tim
gave Jude after he faked her death.
After Alma died Kit visited Jude frequently, he knew he couldn’t shut Briarcliff down or lead everyone out – but he could help Jude because she didn’t belong. We see a touching montage of his visits, coaxing her back to awareness and, with the overcrowded conditions, no-one cared when he took her out. When asked why, he says he needed someone to forgive, to move on. We see the flashbacks of him bringing her home to his house, with the kids, detox (from the extreme drugs they used in Briarcliff), kindness from the children and then her interacting with them (they apparently loved her even though she “barked” at them at times). She had relapses and lashed out, thinking she was still Sister Jude – but the freaky Alien Kids calmed and comforted her. Seriously, I think I’d take the freaking out ex-nun over the creepy, creepy Children of the Corn.
After the Village of the Damned kids did their thing,
Jude was healed and able to teach the kids how to sing and insist they break
gender roles (teaching the boy how to sew and giving the girl trucks to play
with rather than dolls). Eventually she fell ill and on her death bed shared
some very wise words of wisdom with the kids (to Julia: “never let a man tell
you who you are or make you feel like you are less than he is” to Thomas “never
take a job just for the money, find something that you love. Do something
important.”) Jude says “she’s come for me” which Kit doesn’t understand – but when
he tells it to Lana, she does. Shachath comes for Jude and Jude says she’s
ready.
Ok, Jude turned out fantastically, amazingly awesome and
that’s one of the more beautiful death scenes out there.
Next part of Lana’s interview – Cardinal Howard;
Monsignor Timothy. The Cardinal avoided Lana’s interview requests repeatedly
until she cornered him with Dr. Arden’s files. Faced with the consequences of
his actions he commits suicide, something many people blame on Lana but she
blames on his guilty conscience. She
says he was a liar and lies scarred his soul – which segues into her confessing
she lied about her son dying in childbirth and that he’s still alive out there.
We see her giving up the baby and Lana says she prayed that someone else could
be a good mother to him.
In the 70s she tracked him down at school where we see
him being bullied with anti-gay slurs and Lana intervenes quite gloriously. It
was the last time she saw him – and, of course, during this Bloody Face Junior
is watching and listening. Lana never had kids –it being a different era for
lesbians – but became godmother to Kit’s kids, and Kit remarried. The kids did well become professors and top
surgeons (your doctor is an alien! Yay?) – but Kit got pancreatic cancer; but
didn’t die, he disappeared. The aliens collected their test subject – and the
kids insisted there be no funeral because there was no need.
A Weapon Is Not a Strong Female Character
One of the reasons that fans continue to regard Buffy the Vampire Slayer with a sense of epic nostalgia is that in many ways, she broke the mold for what a female protagonist has historically been . With the introduction of Buffy, we moved from having women featured as desperate damsels in distress waiting to be saved, too arse kicking in control female protagonists, though it would three seasons, before Sarah Michelle Gellar learned to deliver a decent kick or punch. What at one time was extremely liberating, has become limiting, in that now the arse kicking archetype has become so common that it has become trope laden. Now we have these arse kicking protagonists, with absolutely no depth, to the point where they have become cardboard cutouts.
And we can see why slotting your female characters into this role is so tempting, especially since the role of ‘woman,’ (particularly White womanhood) as some precious, special object to be protected and preserved but with little actual capability in her own right is still very prevalent in the genre - and wider society. We have a number of female protagonists in the genre who are treated as special by all and sundry for no apparent reason, such as Bella in Twilight. Or because they have the Chosen One Woo-woo, which doesn’t really give them power, but makes them oh-so-special and desireable. Like Elena being the doppleganger in The Vampire Diaries; Sookie’s fae blood in True Blood (and the books); Chyrsabelle’s special comarré blood in Kristen Painter’s House of Comarré series; Anna Strong’s chosen one status in Jeanne C Stein’s series (note: until book 6); Tessa’s shapeshifting in Cassandra Clare’s The Infernal Devices - these women have special natures that make them desirable as possessions, but don’t give them any particular power or strength in their own lives. They’re desirable trophies, something to value, something to own - but their special nature is passive. It just adds to the endless trope of the woman being the damsel to rescue, the hand to win, the prize to be contested.
So from this, the woman who can kick arse and take down everything around her seems awfully attractive.
If you closely examine this new archetype, it is clear that these women have been reduced to weapons, with things like dead parents tossed in to give a veil of characterization. In M.L.N. Hanover’s Black Sun’s Daughter Series, Jayne (Pronounced zha-nay and yes, for some reason the author thought this was a good name) spends most of her time travelling around the world to look for riders to battle. This has become her special mission, which fits because she is little more than a weapon, with the social skills of a concussed penguin. There is also Mira from Jocelynn Drake’s Dark Days Series. Yes, Mira is the oldest vampire in the Americas and can set people on fire with her mind, but when she is not fighting or intimidating someone, she has no idea what to do with herself. But hey, why have quiet time when you can threaten those stronger and older than you? Kellie Independence wins everytime. Sabina Kane of Jaye Wells’s Sabina Kane series, is an assassin (nope, none of these women can ever have a career that involves desk work) who struts through life with pride over the vampires she has killed. She would much rather fight and kill, than have a conversation and always has a punch ready for any superior who crosses her. This is all explained by the fact that Sabina is a half breed (half mage and half vampire). Laurell K Hamilton’s Anita Blake, is perhaps queen of this trope, with the ability to spawn a new super-power every week (or, rather, pull a new super power out of her vagina since they all manifest during sex); her constant power creep making her the most powerful of them all and vanquishing all enemies without any real development. This is only a small example from a genre that is far too overwhelmed with this kind of protagonist.
Thursday, January 24, 2013
To Walk the Night (Kat Richardson #1) by E.S. Moore
Kat Redding is known as Lady Death to the vampires. Armed
with silver, illegal since the Uprising when vampires and werewolves drove
humans into virtual hiding at night, she preys on the predators, saving the
lives of the Purebloods, the untainted humanity, as much as she can.
But Kat is one of the tainted herself, a vampire
desperately struggling to control her own hunger and anger. A drive that she
cannot restrain and still has her leaving bodies in her wake; even as she tries
to prey on the human predators, she cannot escape the truth that she is as much
a killer as the ones she hunts.
And then came the Luna Cult, knowing more than they
should, with an offer for her. A chance to take down a Vampire House she would
normally consider too big to tackle, and save innumerable lives in the process.
But it involves working with the werewolves of the cult, people she continues
to see as enemy. Or, perhaps worse, people she is beginning to see as people.
There are a lot of vampires out there now and it can be
hard to find a book that doesn’t follow some very predictable patterns. So I was
very happy to see some of the original nuances that this book brought, The
Taint that turns “Purebloods” into vampires or werewolves, the problems with
mixing the Taint, the vampire houses, the Uprising causing humanity to pretty
much cede the night to the Tainted: there’s a lot of elements here that make it
very different from most vampire books. There’s an originality that makes it
fascinating and a world I want to explore. The world building is also very
solid and consistent with some decent development – not only do people stay in
after the curfew but there are other problems as well, like college campuses
being only a quarter full because they were hit first as an easy source of
quick recruits by the vampire houses. Things like this, extra details, extra
considerations of what other effects would come from an event like the Uprising
really add a lot of meat to the world. It gives it a realness and makes the
events more authentic rather than just useful story points the author makes up
as they go along.
The story itself is also an interesting one and one that’s
perfect for the first book in a series. It gives us a chance to explore several
of the main characters (albeit not as much as I would like in one case as I
mention below) as well as the world setting , all without much in the way of
info-dumping (though we do get a fair bit of monologuing). The pacing is decent
(except, again, for that monologuing) with plenty of action strung together
without it just being action without plot. There was also plenty of twists with
mistrust of the Luna Cult and then the revelation of the Luna Cult’s splinter
group. From that there are still plenty of unanswered questions that beg to be
answered in the next book – which is a hook in and of itself.
Dark Angel, Season 2, Episode 8: Gill Girl
Max gets an urgent call from Logan – catastrophe has
struck. He sounds panic, there’s crashing and things breaking and the phone
goes dead. Naturally Max launches into action, crossing the town to reach his
penthouse and finding it in disarray. Logan is on the floor – with a little
girl.
Turns out it’s his cousin’s sister’s daughter and Logan has been stuck with babysitting and needs help because he can’t handle the child. He needs help (I’m going to give the show the benefit of the doubt and assume it’s Max’s day off and she isn’t actually blowing off her job so she can babysit)
This ends up with Max telling the Little Mermaid story to
Britney – in a totally natural segue to today’s transgenic. Cut to a group of
fishermen pulling up their nets on shore and discovering they’ve snagged a body
(something they consider more irritating than shocking, which is another of
Dark Angel’s wonderful hints about what society has become that it did so well
in the first season). But when examining her they find she’s alive – and she
has gills in her side.
This info gets passed on to Ames White (remember him?)
who sets his agency to find her
Back at Logan’s, a much happier Britney leaves with her
mother and, before she goes, she kisses Max then kisses Logan. Seconds later,
Logan begins to feel feverish and weak, a rash appears on his arm and face;
they quickly decide that the virus Max is carrying was transmitted through
Britney’s kiss Max calls Asha and they rush the unconscious Logan into
hospital.
In desperation, Max goes to the chapel to pray and beg
for Logan’s life. A moment later, Asha comes in to tell Max that he’s going to
be all right. Turns out Logan caught chicken pox off Britney, despite his
childhood immunity (what? He’s exposed to the disease and within hours he has
rashes and is passing out? What kind of mutant super virus is this?) Logan goes to see Max but she’s spooked and
won’t let him near her, or drive home with her., her panic over him possibly
having the Manticore virus frightening her badly.
Meanwhile, at Jam Pony, Sketchy and Alec end up inviting
Normal to come to a strip club with them to avoid being saddled with a last
minute delivery. When they get there it’s clear Alec is both a regular and
doesn’t bother to remember the names of the girls there – and they find the “mermaid”
in a tank. As she swims back and forth, Alec’s X5 vision notices the barcode on
the back of her neck.
At home, preparing for a bath she tells Original Cindy
that she went to the chapel and believes she got a miracle – Logan’s Manticore
virus being turned into chickpox (I rather think Logan touching something Max
has touched would result in Logan being dead several times over by now. The
miracle would be that he’s not already dead). She doesn’t want to ruin the
second chance. Which is when Alec arrives to tell her about the mermaid. At the
same time, White gets a report of where she is as well and is told there’s
already a man onto it.
Switch to the club where we see a man going into the club after having ripped down a poster of the “mermaid” and Alec and Max following him in. Except Max can’t go in – no women allowed in unless they’re dancing and there’s a line out back for women who want to dance in the club, they show up each night hoping for a chance. She’s reluctant but Alec talks her into it. She goes round the back and there’s a large crowd of women vying to get in, showing their bodies to the bouncer in the alley. He turns the women away, saying they’re full. Max walks up to him, removing her t-shirt (she has a tank-top on underneath and yes the camera pans up and down and settles on her backside) and she walks past the bouncer, he doesn’t stop her, just watches her looking faintly stunned.
Inside Max shows the mermaid her barcode and they
communicate with Manticore hand signals (the mermaid talks using whale song).
Max finds Alec with a dancer (who he shoos off when he sees Max approaching
with massive disapproval) and starts to yell at him for being distracted when
he points out someone he’s pegged as White’s man – the one we saw go in before
them, with no drink and no girls. Max pretends – awfully – to be a dancer with
Alec. They snark back and forth, Sketchy and Normal leave since Normal blew all
his money on dancers (which we got a montage of) and they see Max pretending to
be a dancer.
Syfy Q&A with Richel Nichols, Victor Webster and Simon Barry from Continuum
Obviously, the first season has already been shown in Canada so our episode by episode recap has already finished with us waiting for season 2. Since this interview is with Syfy, they've taken pains to avoid spoiling it for new audiences.
Gary Morgenstein: Here to talk about the time traveling police drama
are stars Rachel Nichols and Victor Webster, and creator and Executive Producer
Simon Barry.
Jamie Ruby: There is
obviously a lot of great technology on this show. There’s Kiera’s suit, she can
review her memory, etc. If you could like take a real version of one of the
technologies from the show, what would it be and why?
Rachel Nichols: That’s the
best question for me because I would take my Multi-tool. It’s small. It travels
well. It does legitimately anything I could possibly need it to do in any
situation. And I've started reading scripts for Season 2, and the Multi-tool
does just a whole bunch of new and different things pretty much every time we
see it. So I would definitely take my Multi-tool.
Victor Webster: I think I
would have to take her super suit. I don’t want it tailored. I don’t want
anything. I just want to hang it up on a wall and look at it.
Rachel Nichols: Oh, I thought
you were going to wear it, but okay. Good. I'm glad we cleared that up.
Victor Webster: Maybe every
Tuesday. Maybe on a Tuesday night, but that’s it.
Simon Barry: I would
definitely take the CMR chip because I have a terrible memory and I need as
much help as I can get.
Jamie Ruby: Simon, how
did you come up with the idea for this series and how did the rest of you
become involved?
Simon Barry: Well, the
idea for me came out of a really pragmatic approach to trying to get my love of
Sci-Fi really into a pipeline of television production that was feasible. So
time travel is a really great vehicle for that because you can have a very
large mythology in a big universe, but still be set in the present day world,
which obviously is more production-friendly.
So it
was a pragmatic decision at the beginning, but then once the mythology and the
characters starting coming together, of course it grew beyond that into a much
more passionate process for me in terms of the many characters that the show
presents, and also just some of the bigger themes that we are trying to explore
in the show.
And
then the first step was to find a Kiera, and we worked very diligently to find
the right person for this part. And when Rachel presented herself as an option,
we were thrilled and jumped on the chance to work with her right away.
And
once we had cast Rachel, we basically built the cast around her, and Victor was
a great fit and I can’t really - I'll let the guys tell you about it from their
perspective, but it was a very quick.
Rachel Nichols: My story is
very long but yet very interesting. One of my best friends in the entire world
got the script to me. She was the first person that reached out with a script. She
said, “I have a friend and she’s got this script that she’s casting and I hope
I'm not stepping on anyone’s toes, but I think you'd be great for it,” and she
sent it to me and I loved it. And - which is very unorthodox. Usually you don’t
get a script from your best friend that’s amazing that you immediately want to
do.
And
then my team was absolutely completely on board and they loved the script, and
they loved the fact that a friend of mine had found it. We just went sort of
full steam ahead, and it happened very, very quickly just prior to the holidays
last year when we were closing the deal. Suddenly, I was moving to Vancouver
for five months on January 5th I think it was last year. So, it was a very
interesting process for me. Unorthodox for me, but thrilling at the same time. And
very fast, so that was fun as well.
Victor Webster: Well I got a
call on a Wednesday asking me if I'd like to come to Vancouver to do a chemistry test with Rachel,
and I hadn’t read the script yet. And I was a little hesitant at first, and
then I read the script and I was like, “Absolutely.”
Got
on a plane for a chemistry test with Rachel on Friday and then got a call I
think that weekend that I would be moving to Vancouver. And then, I think Monday I was on
a plane to Vancouver
for six months. So, it all happened really, really fast.
Kyle Nolan: The first
season finished airing over six months ago in Canada. What’s it like for you
guys now going into this brand new audience that hasn’t seen the show yet?
Rachel Nichols: I think that
it’s one of the most exciting things because it came out in Canada. It started
airing in May and obviously did very, very well and then went to the UK for Syfy and
did very well. And then the mechanism of Twitter is fascinating because it just
- you have access to all of these people who want to know what you're doing and
what’s going on.
And
I've had such a response from people all over the world from the show coming
out, and especially people in the States saying for so long, “When is it going
to be in the States? When is it going to be in the States? We don’t want to
steal it or burn it or, you know, take it off the Internet. We really want to
see it.” And now everybody’s getting their wish, including my parents who
didn’t have cable until a couple days ago when they realized they were going to
have to buy it in order to see me.
But,
it’s something that’s been well received and I obviously think that’s going to
happen here in the US.
And so, it’s really - it’s something very exciting to think about. And finally,
the fans that have wanted it for so long are getting exactly what they want.
Kyle Nolan: Rachel, in all
of your scenes with Victor you guys are always in the same room, but all of
your scenes, at least that we’ve seen so far with Erik are all separate from
each other. Can you talk about the differences in working with your co-stars?
Rachel Nichols: Oh,
absolutely. Yes. Victor and I are always together. I mean, I've got to do my
own sort of - and sometimes Alec being in my head is also in those scenes with
Victor. I'm sure it won’t come as a shock to you that working with an actor
actually in the room with you in a scene is easier than working with someone
whose voice is just in your head.
But
as far as Erik Knudsen is concerned, I've never met an actor who was more of a
giver because I work every day, and a lot of - and Alec’s voice usually works
every day and Erik Knudsen on the days when he was not working would come to
set and read all of his lines off camera.
What
was really important for both of us because then we can hear how the other
person is talking in those scenes, even if we can’t see them and it’s not just
you know a script supervisor just reading the lines. Because you know, Erik’s
character and my character are very, very connected on an emotional level. He’s
the only person really that’s a true ally that knows my story and can
understand it, and he is my best friend.
Carlos
is another version of a best friend for me, but he is someone that I'm
technically lying to every day, and that’s very, very difficult for me. That storyline
progresses throughout the season. By the end of Season 1, there are a lot of
questions about how I'm going to be able to navigate that very tenuous
situation in the next season.
Joshua Maloney: Rachel, a few
minutes ago Simon said that the cast was really built around you. What was that
sort of like for you as an actress? And, what can you say about this cast?
Rachel Nichols: It was really
exciting. I've never been the first person hired on any job ever I don’t think.
And you know, I loved the script and I loved all of the characters from the
very beginning, and they immediately started casting people.
I
mean my deal was done just prior to the Christmas holiday last year, so I was
home in Maine and they were just going full steam ahead in Vancouver casting Liber8
and the rest of the police force, and Inspector Dillon, and Erik, and Carlos -
I met - I think you heard I met Victor for a chemistry read on a Friday and I
think Victor was completely moved into Vancouver by Sunday so that he could
work on Monday.
Wednesday, January 23, 2013
Chosen (Anna Strong Chronicles #6) by Jeanne C Stein
This book had a lot of sex and mediocre action. I like that Anna says quite explicitly says that she loves having sex because to often, when it comes to women, there is a lot of shaming for enjoying sex. The problem is that for a good portion of the book, Anna is having sex and for a time, I wondered if I had accidentally stepped into a slightly less graphic Anita Blake book. The frequency of the sex felt like nothing more than filler, in large part because The Chosen is so short on plot.
After spending five books building to the point of Anna becoming the chosen one, you would think that the climax would be epic but instead, it all just sort of fizzled out. The Chosen reads as nothing more than an opportunity to introduce two new antagonists, since Stein decided to unceremoniously get rid of Williams. Anna did however develop the ability to sniff evil (yes you read that ridiculous super power correctly) and walk through fire. If anything, this served to make the vampires in this series even more indestructible and ridiculous. I get that vampires can survive in the daylight but was it really necessary to have them sunning themselves in the desert? The vampires in this series seem to be vampires in name only.
For the first time in the series, Stein gave us two women who Anna could tolerate. When Anna goes missing yet again, David brings Tracey Banker in as a new partner to the firm. Rather than alienate David, Anna is actually nice for change. There is also Lance's housekeeper Adele, who exists simply to serve. Just when I was starting to be relieved that finally Stein had bothered to include a female character Anna liked, the antagonist changed from Williams and Underwood to Judith Williams. I suppose we can't have too much female solidarity.
Being Human (US): Season 3, Episode 2: (Dead) Girls Just Wanna Have Fun
We start with a very upset man questioning the ill
Vampires-of-the-Corn about his son. They don’t say anything – but he sees the
wolfhead on the wall and goes berserk, staking all of them. He goes to the head
and wails over it, swearing to find who did it and to kill his sons, daughters
and everyone he loves and even worse if anything happened to his sister he will
teach the leeches to run when they see a pure bred. I suspect we may be dealing
with the
father of Brynn and Connor, the pure bred werewolves.
Aidan, meanwhile, is in very poor shape, dragging himself
to the crashed car and lapping up any blood he can find, including the bottles
of blood Atlee managed to salvage last episode.
At the house, Sally, Stevie and Nick are embodied,
apparently alive again (and Nick and his living girlfriend, Zoe waste no time
in taking advantage of his new found tangibleness). Nick and Zoe leave – but when
Stevie starts to leave sally and Josh remind him that he can’t see anyone he
knew from before he became a ghost. He assures them he isn’t, he wants to hitch
hike across the country. Which Josh thinks is a great way to be chopped up into
little pieces. Sally agrees with Josh and points out with no money and nowhere
to stay he’s going to be homeless and resorting to prostitution (not her
language). Since he got out of limbo, he’s sure he can handle it and Sally
presses him to take $200 from Josh at least (I love the look Sally and Josh
exchange – looks like that underscore their friendship more than anything
else). Sally and Stevie say their goodbyes and Josh gets a phone call.
And drive to pick up Aidan! Who Sally greets with a big
hug which he accepts before he has a “hey wait, fleshy human sally” moment. “Is
she possessing a twin we didn’t know she had?” (oh I love when these three get
together – so much better than apart). More hugging and great emotion. Sally tells
Aidan all about the blood magic with massive glee, Aiden freaks out and Josh
insists they not talk about this in the parking lot. Oh and Josh is human!
Back home and Josh is planning a big reunion dinner (and
Aidan has shaved his massive beard) but Sally wants to go out and hit the town
instead and there’s lots of fun back and forth (Josh can fit 10 minutes of
dialogue in one facial expression).
Aidan still has reservations about raising the dead but Josh points out
a) vampire and b) they intended to bring a ghost back, not living breathing
Sally. Josh was more concerned with Aidan – since he couldn’t find him and
every month there were less vampires, he thought Aidan was dead.
Josh has been switching out blood bags in the fridge and even offers to let Aidan feed on him since he’s fully human, but Aidan can’t be sure if any of it is clean of the virus. Aidan tells him about the flu – which Josh had – and how it kills vampires. Lots more rebonding and emotion and a real sense of how much they’ve missed each other. But Aidan’s hunger rises and he has to leave –Josh doesn’t want to let him go, not alone, but Aidan doesn’t (there may also be an issue of Aidan’s appetite seeing Josh as viable) want him to see everything involved in being a vampire.
Meanwhile, menacing pure blood werewolf guy is trying to get
Nora’s address from the hospital – which, naturally, they refuse to give out.
Nora and Josh are getting ready for the evening, Josh
going out with Sally and Nora ready for the full moon – and Nora reveals that
she knows that Josh spends every full moon night sat outside the unit. She tells him that, while it’s a comfort, he
doesn’t have to protect her and killing Ray means nothing if he still lives
like a werewolf. It’s another wonderful, emotional scene. Being Human has been
doing them extremely well this season.
Syfy Q&A: Kristen Hager and Sam Huntington from Being Human (US)
We were lucky enough to have been invited to a press call interview with Kristen Hager and Sam Huntington, from Being Human (US), to discuss the new season. Syfy has sent us a full transcript of the conversation - it's long but there are some gems in there.
Moderator: Our
first question comes from the line of Jamie Ruby with Syfy Vision. Please go
ahead.
Jamie Ruby: Okay,
so first question is for Kristen. Do you feel different now that you’re
considered part of the main cast or is it just more work for you or?
Kristen Hager: Yes,
honestly, I feel the same. It does mean more days on set which I’m all for. So
yes, I mean, yes, I feel the same. Maybe slightly more included. But yes, for
the most part, exactly the same.
Sam Huntington: She’s
certainly acting more important, you know. She’s really taking it to the next
level.
Kristen Hager: Yes,
yes. It’s gone right to my head. I don’t even talk to anyone on set anymore.
Sam Huntington: Except
to yell and make requests that are wild, crazy stuff. Yes.
Jamie Ruby: All
right. And Sam, I wanted to ask you, now I can obviously not - well, right now
I’m tweeting, but I know that - I’m guessing anyway. I guess I don’t really
know, but I’m guessing that they’re not going to keep the season forever with
two humans. But are you - I mean, are you happy getting to just some kind of
play a more normal Josh or are you looking forward to going back to being a
werewolf or does it not make a difference to you?
Sam Huntington: Well,
you know, what’s cool about Josh as a character is, whether or not he’s a
werewolf, he’s a really layered guy. He’s a really dynamic character, so you
know, the werewolf thing certainly is - adds, you know, a huge other layer but
the character itself is really rich. So for me, you know, it doesn’t change
much other than feeling slightly, like, I’m on the outside, you know, looking
in.
Kristen Hager: I’ve
taken your place.
Sam Huntington: Yes,
exactly. Kristen has now taken my place, and she’s making it known, by the way.
But yes - no, I - as I was playing it, you know, the character is - becomes
increasingly more and more feeling like he’s left out and I was oddly feeling
the same way as an actor, you know, I - all these, you know, my wonderful costars
get to do this fun stuff and now I’m, you know, looking in through the window
like the ghost of Christmas past.
Operator: Our
next question comes from the line of Kyle Nolan of NoReruns.net. Please go
ahead with your question.
Kyle Nolan: So
following up on that, Sam, so do you and Meaghan have, like, a former
supernatural character rehab now? Do you have to help each other out?
Sam Huntington: Yes,
we formed a support group and it’s been really helpful. There’re only two of us
so it’s small but I feel like we’ll build, you know, as we look to the
supernatural thing doesn’t go anywhere and I feel like we could really help
people out. I feel like maybe, so just give it some time, you know.
No,
to be honest though, I do now sympathize more with Meaghan in the first two
seasons, you know, with her being a ghost, you know, not being able to touch
anyone, all the restrictions that were on her. I kind of felt similarly once I
got cured of my werewolfism so I definitely felt Meaghan Rath’s pain for sure.
Tuesday, January 22, 2013
Out by Laura Preble
I was extremely wary about picking up this book. I have
yet to read a discrimiflip novel that worked and didn’t end up being really
appropriative and offensive. I find it doubtful they can work due to the
inherent nature of making minorities the evil perpetrators of the very crimes
committed against them. Still, I’m told it is possible, people assured me it
was possible, so I picked up this book when it was released to see if it actually
managed it.
So we have the story of Chris. A straight boy living in a
world where, it seems, just about everyone is gay. Being straight is considered
sick and wrong, condemned by both the church and the state (which are closely
entwined). He tries to navigate this discrimination, as the son of a minister,
and try to find freedom with the woman he loves.
And no, this discrimiflip did not manage it. Not even close.
In fact, I’m sorely tempted to put a trigger warning for homophobia simply for having to discuss the contents of this book.
The author has appropriated every aspect of homophobic
oppression imaginable. We have child bullying, we have demeaning dehumanisation
from the pulpit, we have a horrific description of conversion therapy, we have
chemical castration; we even have concentration camps, actual concentration
camps.
All of these are extreme examples of oppression that have
constantly been used to persecute and destroy gay people and they’re all used
in this book – often graphically – but flipped. The victims of this torture and
even this genocide are now made the villains. Those who inflicted them are now
the victims. It is unbelievably offensive and enraging to see these despicable crimes
that were – and continue to be – inflicted on gay people depicted with gay
people as the perpetrators and straight people as the innocent victims. Even some of the basic language of anti-gay oppression have been callously appropriated by this straight author: we even have straight people being called “queer”. The book's even called "Out"! There really is no limits to the
appropriation in this book and the extent to which gay people are presented as
inflicting exactly the same cruel persecutions that, in reality, gay people
have endured and died from.
To take the history of gay persecution, to take all of
these horrendous things that have been used to victimise gay people and then
mangle them to make gay people the villains makes me choke with rage. I have no
words to describe how offensive this is. I had to stop reading several times because the book was so painfully offensive to read I couldn't keep going
The actual depiction of someone living with a closeted
sexuality is also ridiculously shallow, especially for a young person. Chris
finds out he likes a girl (note: A girl. Not girls. Just the one twu luv that
follows the endlessly dull love at first sight meme that I’d complain more
about if it weren’t such a tiny problem compared to the gross offensiveness of
this book), it’s a shocking discovery. Within the hour he seeks out his friend
to tell her. No, really.
In this society where being straight is illegal and demonised universally from birth, he couldn’t
even keep it a secret for an hour. In fact, he goes home and his sister – in this
ultra gay-normative society – already knows he’s straight! She even has some
subversive literature for him! Yes, within a day of realising he’s straight, he
already has a support net in this overwhelmingly gay world where
heterosexuality is constantly demonised from the highest echelons of
government. As an extra bonus, he meets Carmen, his love interest and she tells
him she is straight in their first ever conversation, in a public café no less.
They’re complete strangers, straight people are tortured and killed with the
full blessing of the theocratic government but she’s going to spill her secret. I boggle how it can even be called a secret if 5 minutes acquaintance are sufficient for the big reveal.
Lost Girl Season Three, Episode Three: Confaegion
This episode opens with Kenzi and Bo fighting with a fae. Apparently, these attacks are being ordered by The Morrigan. It's not long before Bo asks Kenzi what her problem is with Lauren. Kenzi hesitates at first and then says that Lauren is bossy, territorial, and controlling. Bo counters back by saying that Lauren finds Kenzi to be immature, irresponsible and clingy. Bo tells Kenzi, "that in the battle of BFF versus main squeeze, I think it's time to call it truce."
The man that there were fighting has gone back to The Morrigan and she is not pleased that he has been defeated.
Vex has gone to see Lauren to find out why his powers are working. She tells him that there is nothing physically wrong with him and that this must be psychological. Finally, Lauren suggests that this is common in a fae his age, as Vex tries to use his powers to strangle her. When nothing happens, Lauren pulls out some pamphlets to help Vex deal with his condition. After he makes comments about Lauren having trouble keeping up with Bo sexually, she orders him out of her office.
Vex heads over to The Dahl and tries to confide in Trick about his problems but Trick has put earplugs in and hasn't heard a word he said. He then heads over to the pool tables, where Tamsin and Dyson are taking aboutwork. Dyson cuts Vex off before he can even start and says that he is not buying Vex another drink. Tamsin joins in and adds that she is tired of hearing about how the dark fae don't want him and the light fae cannot stand him.
Vex walks off as Bo enters the room. Bo heads over to the bar after Tamsin rolls her eyes. Trick asks what Bo has been up to and Bo assures him that after the issue with the Garuda that the dark and light have decided to work together. When Trick points out that because Bo is unaligned that she is unprotected, Bo pulls out a picture of The Morrigan tied up. Trick advises Bo to talk to The Ash because he believes she needs a break. As they are talking, Vex crashes into Bo and steals her phone because that is where she has the picture of The Morrigan stored.
Bo goes to see Hale, who tells her that she brought this all on herself by handcuffing The Morrigan and taking a picture of her. Bo is not impressed and brings up Dyson's partnership with Tamsin. Hale asks her why she cares and Bo says she does not. When Hale hands her a dedication to the light form, Bo rejects it saying that she is not going to make a declaration out of fear. When Bo starts to leave, Hale calls her back to say that the staff of righteousness is missing and is believed to be in the hands of Mortimar the pawnbroker. Hale agrees to give Bo some security, if she finds his missing relic.
Vex heads over to see The Morrigan and hands over Bo's phone, and she deletes the photograph. Vex is expecting a warm welcome but The Morrigan says that if he really wanted to please her that he should have brought her Bo's head on a platter. The Morrigan suggests that Vex's impotence has spread to his spine and says that she won't have him killed today. She adds, the next time we meet, either you or Bo will be dead.
Bo heads over to Lauren's and when Lauren says that she is just doing some doctor stuff, Bo says that she is interested in her work. Lauren then describes exactly what she is doing and Bo suggests a movie. Bo then tells Lauren that she has the staff of righteousness and that she shouldn't touch it. Lauren asks what she can touch and comes onto Bo, which surprises Bo because she thought that Lauren would be too tired after last night.
Vex is lying on the couch and when Kenzi asks what's up, Vex says it's his arm. Kenzi has no sympathy for him and says that now he gets to know what it's like to walk around like her and that he should suck it up. Vex snarks back, "you know, if I were you, I'd reconsider a career in social work." Kenzi suggests that he stop wallowing for a moment and that they start talking about something that's really important - mascara. Kenzi points out that Vex has amazing lashes. Vex says that it's all in the brush technique and that he picked up a few tips from Leonardo Da Vinci. "Now that was a queen, he was all over David's ass like curry on chips," Vex adds.
Bo interrupts the conversation by entering the room and complaining that she cannot find her cell phone. Vex of course denies knowledge, so Bo demands he shift his butt so she can look under the cushion. I suppose some weird magic happens then because the music changes and Bo pauses briefly. Kenzi goes back to putting on her mascara and Bo says that she wishes she had a makeup buddy and that Tamsin is so mean girl. Vex questions whether Bo rifled through his duffel bag and consumed several yellow pills. Bo simply says that she is going to talk to Dyson and then practically skips out of the room.
Kenzi says, "Lauren's pelt is going to be steamed," causing Vex to ask what her issue is with Lauren. Kenzi replies that "she bi banged Bo", causing Vex to remind Kenzi that Dyson has dropped kicked Bo's heart several times and that she still howls when he comes around. Kenzi quickly changes the subject back to mascara.
Bo goes to see Dyson and says that she does not like Tamsin and asks what she has been saying about her. This causes Dyson to ask if Bo has been drinking. She then asks Dyson if he has fake ID and something crawls down the side of Dysons neck. Dyson tells Bo that she is so beautiful and that he has to go. When Lauren approaches Bo, Bo says, "I think Dyson likes me. Don't tell anyone this but I think I might kiss him." The two wave to each other as Lauren looks on.
Lauren takes Bo back to her place for examination and says that she is stumped about what is wrong with Bo. Bo then tells Lauren that she is really hot and asks if she has ever kissed a girl. Bo then says that Lauren is a boring doctor who does not like any fun, while playing with Lauren's stethoscope. Lauren is getting frustrated with Bo's antics and asks if she has been in contact with anything strange. Bo brings up a guy with a magic stick and then starts laughing
Back at The Dahl, Dyson approaches Tamsin and asks her if she is playing with herself. Tamsin asks if someone spiked his beer and Dyson responds, "this one time it totally happened and I got to be Kenzi - nailed it." Dyson then asks if Tamsin thinks that Bo likes him and that he is going to ask her out on a date. When Tamsin leans over to take her next shot at pool, some kind of creature leaps from Dyson and crawls into her ear. Tamsin start to sing, "Bo and Dyson sitting in a tree." Dyson tells her to shush because people are listening.
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