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As the fourth season of Lost Girl comes to a close, we try to unravel once and for all who’s who, what’s what and how it all fits together. As I’ve noted, the last couple of episodes there’s a lot of loose ends to tie up, and a lot of them don’t tie so easily together, so it will be interesting to see how the show handles them. Whether its Bo’s father the ancient evil, or the druid with severe to excessive mommy issues, let’s just say there’s a lot at stake for just one episode of Lost Girl.

We pick up from last week’s show after Bo and Rainer bonded (got married) and inadvertently opened the door to Hel to allow Bo’s father, the Pyripuss, to come through the porthole to our realm. Trick and Rainer set aside their differences (sort of) to get the heroes ready for the big fight coming, which includes, but is not limited too, all the evil dead returning to the Earth in advance of the Pyripuss’ arrival.

Trick tells Bo the story. Basically, her mother Aife was flaunting the then newly minted Blood Laws by killing Dark Fae, and the Blood King had to make an example of her. Trick thought they’d kill her outright, but instead they played match-maker for the Dark King, and the result was Bo, a succubus who could take chi from one person, AND take it from multiple people at once and redistribute it too. The evil druid Massimo interrupts the info-dump and though the three heroes tried to fight him, the combined might of the Una mens made him more than a match, and in one, tremendous piece of anti-climax, Massimo kills Rainer.

Massimo’s plan is basically to make his mother proud, which given the fact that his mother’s The Morrigan means he’s got more than an uphill climb. Evony herself is still dealing with being made human by Lauren’s “miracle snatch” and she’s less than impressed by her son’s attempt to slay all her enemies, which he’ll never do because he “totally sucks.” Interestingly, Massimo’s oedipal complex seems to have nothing to do with the coming Pyripuss-orchestrated apocalypse. That’s fine, not everything needs to be tied together, but I think its symptomatic of the big problem with this season, that a lot of story was thrown at the wall and not everything sticks very well.

So there’s two dangers and two missions: Bo confronts Massimo in order to take him out and save Lauren, who he’s holding prisoner, while Dyson, Tamsin and Trick work to stop the horde of revenants coming out of the porthole. And where is Kenzi in all this? She has an epiphany about her role in the gang, and forgives Bo and stands by her side before going into battle. But what is Kenzi’s epiphany? We’ll get back to that.

Massimo remains tough to beat for Bo, but when Evony shows up Bo finds his Achilles’ Heal (the mythological references are kind of coming fast and furious here). Bo tricks Massimo into sucking out Evony’s chi, which is part of the druid’s Una mens set of powers but like Bo in the beginning he has difficulty controlling it. With Evony down, Bo’s able to take Massimo’s chi to revive her, which also has the benefit of weakening Massimo enough to kill him. “What do you say druid, a little prick to end a big prick,” Bo says brandishing her sword.

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Back at the porthole, the heroes are losing steam against the never-ending horde of revenants, they;re holding their own, but clearly they’re on the losing end. This is the point where Kenzi shows up, and starts to walk into the porthole. Say what? One of the prophecies say that only Bo’ heart is the only thing than can shut the porthole, but all things fae are never that literal, and Kenzi supposes that the prophecy refers to her, not Bo’s actual heart. Bo discovers that Kenzi left her engagement ring from Hale in her pocket, and she races to the porthole just in time to see Kenzi step in with one, last teary look back. Kenzi is killed by the energy in the porthole, but all the revenants are killed in return, and thus the day is saved.

Tamsin, in valkyrie mode, takes Kenzi’s soul to the afterlife. Presumably, she takes Rainer’s too, fulfilling the role she should have performed to begin with when she sent Rainer’s soul to the train on the Blood King’s order. Bo vows to bring Kenzi home at all cost saying she’s “done being scared. No one else will die on my watch. They want me to be afraid, it’s them that should be afraid of me.” Meanwhile, Tamsin returns from Valhalla with a very strong belief that Bo must not be allowed to find the other Hell shoe (“La Fae Époque” reference).

It’s weird for a season finale to feel so disengaged, especially when it features the death of a main character, but “Dark Horse” felt like it was going through the motions, a bunch of set up for other things as opposed to a wrap up of things that have happened. In a sense, this season reminds me of X-Men: The Last Stand, there were two very serviceable plotlines, ones that could have been built out of entire seasons on the their own, but here they’re crammed together it a very sloppy kind of way.

The shame is that I like the Massimo story in theory. There’s something about this idea of The Morrigan having a human kid obsessed with proving his worth to his disinterested mother that works and can be mined for all kinds of nuance, especially the part where he was raised by Vex, but it’s hard to be subtle when there’s about five or six other storylines at play. And not to sound like a broken record, but that Wanderer stuff was so convoluted that it’s almost surprising that the writers were able to make sense of it in the end.

As for Kenzi dying, I think it’s pretty safe to say she’ll be back. You don’t kill two main characters in quick succession without one of them having an out, especially when portholes to the afterlife are involved. (Thank you, Buffy.) It even felt like the show’s own heart wasn’t in selling the idea that this was the end of Kenzi, certainly Hale’s death scene a few weeks ago had a far bigger emotional punch, and with all due respect to the dear departed siren, I would have expected Kenzi’s final farewell be more than one hanky.

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This season of Lost Girl has struggled to deliver something compelling, and seemed kind of unsure about the direction it wanted to go it. When Aife was introduced as Bo’s mother, the show didn’t set-up some kind of elaborate mythology with false starts and too many suspects, it just introduced her. I have a feeling that Bo’s father is going to play an ongoing role in season five, but the rather silly incorporation of Rainer and his equally pointless death flew in the face of the rather cool introduction of The Wanderer in season three.

Even great shows can step wrong occasionally, and that’s okay, the question though is what are the writers and producers able to do to get the series back on track. First of all, streamline the story details, this is 13-episode season not a George R.R. Martin novel. Secondly, get back to what makes the characters who they are; Bo’s rationale for choosing Rainer over, well, everybody, was never full explained and thus not ever believable. If you’re going to do something interesting, make sure it pays off, unlike, for example, Bo joining the Dark. (And if breaking a contract was as easy as ripping it up, out courts would be a lot less busy.)

Finally, just be cool. Lost Girl has been the cool Canadian upstart to the genre. Why? Because it’s had to depend on the characters rather than big stunts and effects, Lost Girl has always managed to skate on the charm of its actors even when those big moments were called for. The gang has still got it, but the writers need to have more faith in them. In other words, Lost Girl has to get back to basics. Fingers crossed for season five.

Category: reviews, TV

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