Lost Girl: Season 2
With all the supernatural content that is flooding television, film and even literature most fans of the genre have become inundated with the subject matter. Although I’ve enjoyed tales like this for quite a long time I feel overwhelmed but such content. This holds especially true considering the abysmal paradigm shift it has undergone lately. The predisposition to the overly emotional and heavily romantic direction the supernatural has taken recently is too much of a departure from the vicious monsters that populated the creature features we grew up enjoying. As with most generalizations there are exceptions that deserve to be noted. In this arena that example that works better than the rest from the point of view held by traditionalists like myself is the Canadian supernatural crime series ‘Lost Girls’. In a rare marketing strategy the first two seasons received their domestic DVD and Blu-ray releases barely a month apart. Only recently has the series become part of the lineup for several of the domestic cable providers resulting is a bolus of popularity. The distributor has made it easy for the newer fans to catch up before the start of the upcoming third season. I admit that when I first heard about a basic cable show about a succubus, a creature that employs lust to feed off the very life force of her victims, I had several reservations. Considering the overplayed trend of emo-horror my trepidations of pandering to Goth tweens and teen girls was manifested. I now realized this was prejudicial; after only a few episodes I was hooked as a fan. The reason this show ranked significantly higher than much of the current supernatural genre on some analytical level seems to escapes me. For some reason the series struck a chord with me; I really enjoy watching it. Sure there are the obvious elements that include a casted containing a lot of attractive young women but I am at an age where that is not enough to be this ardent a fan. There is a deep mythos contained in the series that provides a strong, textured foundation. It is reminiscent of many fantasy or science fiction novels that required an appendix to delineate the rules governing the characters and situations in the story.
About a year ago Bo (Anna Silk) discovered the truth about her nature; she is a succubus, a supernatural creature that sucks the life out of her partner during any moment of intimacy. Sex and even passionate kissing is a death sentence for the man, or woman who becomes involved with Bo. Her touch can instantly seduce anyone making them easy prey for Bo’s carnal feeding habits. This revelation came as part of a much more expansive disruption to Bo’s life. As a succubus she is part of a much larger community of creatures collectively referred to as fae. Within this group there are a myriad of specials and Bo has just begun to discover the vast diversity of her kind. The Fae are divided into fundamental denominations; the classic divider of Light and Dark. Bo refused to declare an affiliation choosing to remain independent, along with her human best friend, Kenzi (Ksenia Solo) they go into business as a sort of fae detective agency help members of both sides. This plot device provides the writers with a significantly wider canvass for the episodes by blurring the line between good guys and bad. Bo has become attracted to a couple of significant figures in the light community; Dyson (Kris Holden-Ried), police lycanthropic police detective and Lauren (Zoie Palmer), a human medical doctor researching the Fae under a mandate provided by the powerful leader of the Light side, The Ash (Clé Bennett).having a bisexual protagonist certainly broadens the dating pool.
The second season picks up shortly after the explosive first season finale. This is a literal description as the cliffhanger was the staple bomb going off in the Light headquarters. Bo had gained a suitable degree of control over her abilities so that making out is not necessarily fatal. She has also connected with her mother, another succubus, Aife (Inga Cadranel), who has switched her affiliation between Light and Dark and is dubious by nature. With the Light side in chaos Bo suddenly finds she is called upon to protect the established fae who have guided and protected her. As an unaffiliated fae Bo is in the unique position to maneuver between both sides. The new situation provides several changes to the succubus. Bo’s moral position is changed Bo to establish close relationships with others finally ending her isolation and challenging her complete self-reliance. Kenzi figures heavily in this reawaking Bo is experiencing.
It was while watching this second season I began to understand the appeal the series held. This is the classic ‘hero’s journey played out against an emotional landscape rather the more tradition trek through dangerously unknown lands. Bo has learned her legacy and found a way to her destiny. She has to go through the process of self-discovery in order to fit into this strange new world. The tradition bestowal of abilities is there along with others that can help guide her path. Crucial to this is the figure of a wise mentor to show the way and provide the correct amount of advice. This role falls to the proprietor of a fae bar, Trick (Richard Howland). He is ancient, vastly powerful and extremely knowledgeable in fae physiology and lore. His establishment is a neutral zone for all fae, sort of a supernatural Casablanca. The series still deserved its place in the emo-supernatural category but unlike the dominant members of the ilk ‘Lost Girl’ embraces its emotional aspects talking it into a different direction. Having the main narrative presented through the point of view of a succubus there is a perfectly natural infusion of intimacy and the accompanying emotional components; it is intrinsically part of the nature of this seductive creature. The emotions and sex appeal is not contrived as is the case with most portrayals of vampires and werewolves in the popular media today. The intricacies the writers wove into the fae culture provide an analogy to the human world with its politics and back room deals underlying the official hierarchy. There is an odd relationship between the Light and Dark faction; an uneasy truce that has been worked out over centuries of hostilities.
By accepting the emotional and sensual nature of the subject matter the show runners were free to better explore the interdependencies of the characters. Bo, new to the fae world, allows for an organic exposition to bring the audience into this complex universe. The result is the ease in which the viewer can accept the supernatural premise and focus on understanding the characters, the importance of friendship a crucial need for loyalty is vital to both the episode’s story and the pervasive themes that carry the season. Bo and Kinzi is that of sisters. They argue over trivia matters but are always there for each other. This is a grounding relationship that provides a pivot point that permits the other interactions to change while giving the audience a constant to hold on to. The series is still evolving creating well-earned anticipation for what is to come.
Uncut Footage Not Seen On TV