Things are shaping up to be interesting this season. So far, the entire Bo Rangers crew has been separated. Kenzi (Ksenia Solo) is shining outside the shadow of our favorite succubus, Bo (Anna Silk). It’s also nice to see everyone have their own unique motivations outside of the typical weekly mystery.
Dyson (Kris Holden-Ried) returns to the scene of the crime. Bo disappeared and Tamsin (Rachel Skarsten) drove him off a cliff. He stumbles upon a child-version of Tamsin (Ava Preston). It looks like Valkyries have near infinite lives and Tamsin has just been reborn as a snarky preteen. Kenzi spends the entire episode babysitting TamTam. It’s great to see the chemistry between them. It makes Tamsin a more likable character. She also accidentally flushes Kenzi’s stash of Jubilee cream. It looks like Kenzi is becoming an addict to sparkly Fae powers. Over the course of the episode, Tamsin grows into a teenager and it looks like she’ll be fully grown soon.
Dyson goes on the hunt for a tracker to find Bo. He ends up at a beauty shop. It turns out the Fae they’ve been tracking has been kidnapped by his girlfriend. Clio (Mia Kirshner) pops up at the right moment to help Dyson and Hale (K.C. Collins) but not before Hale gets wacked with a special perfume that makes him irresistible to women. This is ironic since he’s been super annoying with his pining over Kenzi. Luckily, it works and he and Kenzi share some hardcore making out.
Dyson’s search seems like a fool’s errand because Eddy (Benjamin Ayres) can’t help him find Bo because he’s been a prisoner for centuries. Clio pops up again, very sketchily, to help Dyson find Bo. Meanwhile, Vex (Paul Amos) aka Avatar, the Last Mesmer has been kidnapped by the mysterious Una Mens. It appears that their idea of bringing balance to the Fae involves a ton of violence and destruction. They are punishing Vex for the missing Morrigan (Emmanuelle Vaugier). They decide that as the last Mesmer he has too much power to live. He promises to get them Bo. He calls Clio and negotiates for Bo’s rescue.
The whole episode Bo is trapped on a mysterious train. When the spell broke last episode, it looks like her memory returned. She subdues the Wander’s random chambermaid and escapes from the train. This is great because the train subplot is pretty lame and uninteresting.
Lauren (Zoie Palmer) is living in Bumblef**k, Nowhere as a really bad waitress. Despite multiple doctorates, she can’t seem to bring plates to tables without making a mess. She also has an insanely flirtatious boss, Crystal (Ali Liebert). Crystal catches Lauren saving a Fae choking in the diner and Lauren spends the episode trying to remove the evidence. It looks like there’s some lady lovin’ in the near future.
Trick (Richard Howland) is being super sketch. It’s unclear what happened between him and Aife (Inga Cadranel) last episode but it ended with some blood on a photo of Bo. Hopefully, she will be around because she is one of the best characters on the show. However, since Cadranel is a cast member on Orphan Black, she may only be available for the occasional guest spot.
Kenzi’s Best Line of the Night
Shhhhh! It took like 5 Avril Lavigne songs to get Baby TamTam a ticket to playtime land. You wake her, Sk8er Boy, you’re dealing with her.
It looks like Trick may not be as above board as we thought. The more we see Trick on his own the sketchier he seems. Could he be evil or even the Wanderer?
It looks like Kenzi and Tamsin are going to be besties. Hopefully, being raised by Kenzi Tamsin will become a snarkier member of the crew.
Dyson will inevitably save Bo but at what cost? Will his interdimensional escapades mean he’ll lose his powers or get killed?
This Una Mens cult will not fare well for the Bo Rangers. It looks like they want Bo, Kenzi and Lauren. They seem to be the big bad of the season.
In This Means War – a stylish action/rom-com hybrid from director McG – Tom Hardy (The Dark Knight Rises) and Chris Pine (Star Trek) star as CIA operatives whose close friendship is strained by the fires of romantic rivalry. Best pals FDR (Pine) and Tuck (Hardy) are equally accomplished at the spy game but their fortunes diverge dramatically in the dating realm: FDR (so nicknamed for his obvious resemblance to our 32nd president) is a smooth-talking player with an endless string of conquests while Tuck is a straight-laced introvert whose love life has stalled since his divorce. Enter Lauren (Reese Witherspoon) a pretty plucky consumer-products evaluator who piques both their interests in separate unrelated encounters. Tuck meets her via an online-dating site FDR at a video-rental store. (That Lauren is tech-savvy enough to date online but still rents movies in video stores is either a testament to her fascinating mix of contradictions or more likely an example of lazy screenwriting.)
When Tuck and FDR realize they’re pursuing the same girl it sparks their respective competitive natures and they decide to make a friendly game of it. But what begins as a good-natured rivalry swiftly devolves into romantic bloodsport with both men using the vast array of espionage tools at their disposal – from digital surveillance to poison darts – to gain an edge in the battle for Lauren’s affections. If her constitutional rights happen to be violated repeatedly in the process then so be it.
Lauren for her part remains oblivious to the clandestine machinations of her dueling suitors and happily basks in the sudden attention from two gorgeous men. Herein we find the Reese Witherspoon Dilemma: While certainly desirable Lauren is far from the irresistible Helen of Troy type that would inspire the likes of Tuck and FDR to risk their friendship their careers and potential incarceration for. At several points in This Means War I found myself wondering if there were no other peppy blondes in Los Angeles (where the film is primarily set) for these men to pursue. Then again this is a film that wishes us to believe that Tom Hardy would have trouble finding a date so perhaps plausibility is not its strong point.
When Lauren needs advice she looks to her boozy foul-mouthed best friend Trish (Chelsea Handler). Essentially an extension of Handler’s talk-show persona – an acquired taste if there ever was one – Trish’s dialogue consists almost exclusively of filthy one-liners delivered in rapid-fire succession. Handler does have some choice lines – indeed they’re practically the centerpiece of This Means War’s ad campaign – but the film derives the bulk of its humor from the outrageous lengths Tuck and FDR go to sabotage each others’ efforts a raucous game of spy-versus-spy that carries the film long after Handler’s shtick has grown stale.
Business occasionally intrudes upon matters in the guise of Heinrich (Til Schweiger) a Teutonic arms dealer bent on revenge for the death of his brother. The subplot is largely an afterthought existing primarily as a means to provide third-act fireworks – and to allow McGenius an outlet for his ADD-inspired aesthetic proclivities. The film’s action scenes are edited in such a manic quick-cut fashion that they become almost laughably incoherent. In fairness to McG he does stage a rather marvelous sequence in the middle of the film in which Tuck and FDR surreptitiously skulk about Lauren's apartment unaware of each other's presence carefully avoiding detection by Lauren who grooves absentmindedly to Montel Jordan's "This Is How We Do It." The whole scene unfolds in one continuous take – or is at least craftily constructed to appear as such – captured by one very agile steadicam operator.
Whatever his flaws as a director McG is at least smart enough to know how much a witty script and appealing leads can compensate for a film’s structural and logical deficiencies. He proved as much with Charlie’s Angels a film that enjoys a permanent spot on many a critic’s Guilty Pleasures list and does so again with This Means War. The film coasts on the chemistry of its three co-stars and only runs into trouble when the time comes to resolve its romantic competition which by the end has driven its male protagonists to engage in all manner of underhanded and duplicitous activities. This Means War being a commercial film – and likely an expensive one at that – Witherspoon's heroine is mandated to make a choice and McG all but sidesteps the whole thorny matter of Tuck and FDR’s unwavering dishonesty not to mention their craven disregard for her privacy. (They regularly eavesdrop on her activities.) For all their obvious charms the truth is that neither deserves Lauren – or anything other than a lengthy jail sentence for that matter.
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