This is the first Bo-centric episode of the season. Anna Silk is back from maternity leave and feistier than ever. “Lovers. Apart.” is surprising because it focuses on characters that rarely get their own storylines. Lauren (Zoe Palmer) is still in hiding. Meanwhile, Evony the Morrigan (Emmanuelle Vaugier) is back with a vengeance. It looks like this episode, is focused on the Bo/Dyson/Lauren threesome and where they all are in the wake of Bo’s disappearance last season.
Bo & Dyson
The episode begins with Dyson (Kris Holden-Ried) and Clio (Mia Kirshner) on the train having just missed Bo. It’s unclear where in the infinite number of dimensions Bo could end up jumping off a moving inter-dimensional train but that will not be explained later. Dyson is suffering from transcendental sickness which happens to normal people who dimension jump. Apparently, there are no booster shots, so consider this before making any trips to the fourth dimension. Clio is able to heal him and use a piece of Bo’s dress to track her.
Bo, loopy from hanging with Dr. Who, lands in an empty cabin in the woods. The house belongs to Ian Jenkins (Lochlyn Munro) a family man with a daughter, Julia (Chloe Rose), who is a bizarro version of Kenzi. It turns out this family has a secret. Bo tries to save bizarro Kenzi from her father who bears a disturbing resemblance to Scott Peterson. However, as usual, Bo is mistaken.
It turns out a body jumping Fae cleverly named Jumbee, is trying to kill every member of the Jenkins family. Bo leads bizarro Kenzi right to her. As ususal, Bo is conveniently rescued by Dyson. Bo, ridden with guilt, tries to stop Jumbee so she gets succubus-ing. When she steals some chi she ends up face-to-face with the mortal Jumbee (Neema Bickersteth). It turns out she was thought to be a witch, she’s actually an elemental Fae. She and her interracial lover are murdered and separated. Dyson and Cleo find their remains and Dyson and Bo recite wedding vows to put Jumbee’s soul at peace.
It’s a great moment for Team Dyson fans to see Bo and Dyson finally together. They may be part of a throuple with Lauren but something just feels so right about Bo with Dyson because they fell in love in the first episode. It’s also worth noting that Lost Girl does not shy away from diversity and having Jumbee as part of an interracial couple. Although, it would be helpful for the audience to know what time period she’s from. It seems to have elements that could tie it to slavery or colonial times which isn’t particularly clear. #missedopportunity
Clio inevitably betrays Dyson. However, Bo’s fried brain was healed by Jumbee so she royally kicks Clio’s ass because they don’t need her anymore. Apparently, unbeknownst to the audience, they’ve been on Earth in our dimension this whole time. It seems weird that no one took issue with Jumbee being a Fae and mating with a human.
Meanwhile, at the Lace-front Diner, poorly-wigged Lauren is connecting with fellow waitress, Crystal (Ali Liebert). The two ladies bond, mostly because Crystal wants to get freaky with Lauren and in a huge surprise, she actually gets to. This is a new Lauren who isn’t scared to get a little wild. However, Lauren does get scared by a call to the diner so she hits the road. Crystal surprises her in her car and betrays her. However, in a bizarre twist of fate, Dyson and Bo drive right by not realizing Lauren is getting kidnapped. Oh Snap!
Evony is back with a random eye patch. It looks like now she’s the MoRRRigan now. #badpiratejokes She looks like she has a renewed sense of purpose after being enslaved by Vex. She kills a few people with her power to inspire people to turn into puddles. She gets Massimo the Druid (Tim Rozon) to give her a new eye and reveals that they have a long history. Does this mean she will take advantage and take over Kenzi’s drug debt?
Best Lines of the Night
Bitch, I think your brain broke. - Bizarro Kenzi
When you’ve been in power as long as I have, everyone’s a child. -Evony
Don’t disappoint me like Chanel Number Goo, did. -Evony
[My Boots] might make this homeless person’s nightey thing your rocking look like an actual fashion choice. -Bizarro Kenzi about Bo’s Damaged Outfit
The very first moment of Robot & Frank is kind of a groaner: a title card flashes before the woodlands of upstate New York informing the audience that the film is set in “the near future.” At once the golden rule of show-don’t-tell is broken while the time-sensitive ambiguity of the information can come off as careless and frustrating. But Robot & Frank is for the few of us out there with enough patience to last beyond the initial five-second frame of a movie.
Everything thereafter is wholly impressive from the engrossing confusion that overtakes the audience when we first meet the on-in-years Frank (Frank Langella) a retired jewel thief struggling with the early-to-mid stages of Alzheimer’s. The story opens with Frank attempting to rob his own house — trapped in the motions of his youthful glory days and at painful odds with his increasing struggles with memory. Frank is alone: his affectionate flighty daughter Madison (Liv Tyler) is off traveling the world only speaking to her father via fleeting video-phone conversations. Frank’s resentful son Hunter (James Marsden whose only flaw here is that his ever-present charm makes him a little hard to believe as an embittered everyman with daddy issues) visits regularly to check on his father but brings nothing but malice and judgment. The only company Frank does have is a friendly librarian Jennifer (Susan Sarandon) the object of his flirtatious affections. Frank’s regular visits to Jen’s library — which is being “reimagined” as a digital cutting-edge social-media-incorporating blah blah blah experience — help to establish his lasting affection for the woman as well as the reality of the world in which this story is set. Jennifer like many in their society is abetted by a robot associate who helps to carry out her day-to-day.
It isn’t long into the film before Hunter decides that a caretaker robot would be the right fit for his father; unsurprisingly this is not an idea to which Frank takes too kindly. At first the highly intelligent android (voiced by Peter Sarsgaard) simply insists on feeding Frank a healthier diet taking him for hikes and employing the mindful activity of gardening. Frank is interested in none of this — except for the robot’s apparent knack for lock-picking. After taking note of Robot’s (he never gets a name) skill Frank decides to get back in the game: with his knowhow and Robot’s aptitude the two can really make a run for some high-profile items like the priceless copy of Don Quixote that the new owners of Jennifer’s renovating library plan on disposing (Frank wants to steal it so that he can give it to her — a sweet gesture if it weren’t so misguided). Beyond the monetary gain from this return to action is the first friend Frank has had in years. He shares stories with Robot relishing in his pal’s unwavering loyalty (he’s programmed that way after all) but lamenting in Robot’s frequent admissions that he is not actually alive.
Therein lies the heartbreak of the story: the affair of unrequited love. While Frank gradually (and begrudgingly — don’t you worry the process is quite begrudging!) comes to care for and cherish Robot he is placed with the new struggle of accepting his companion’s lack of ability to reciprocate any truly genuine affection. Robot is there for Frank through anything. He is “instinctually” driven to protect Frank from harm even if it means sacrificing his own well-being… as he understands he has no being to preserve. And although the self-involved Frank revels in this kind of relationship at first his love for and friendship with Robot becomes a source of deliberate pain in the film: beyond his shattered relationship with his children and his waning mind the sorrow is in Frank’s inability to accept that his closest friend is not really there.
As obvious ties can be drawn between this and the tragedy inherent in an Alzheimer’s sufferer grasping at things long gone the movie also serves as a truly interesting and approachable examination of the science fiction element of artificial intelligence — probably one of the best takes on the idea that film has given us in recent years. Capped with a fun albeit extremely odd performance by antagonist Jeremy Strong (as the new owner of Jennifer’s library) as well as an always welcome visit from Jeremy Sisto (as a crafty law enforcement officer with eyes on Frank… but don’t worry the heist motif never overtakes the film to the point of crime-thriller) as well as some genuinely unforeseen turns of events Robot & Frank is consistently gripping. A rare thing to say about a somber character study. Robot & Frank uses sci-fi as it was created to be used: to say something poignant about the human condition. Jake Schreier's Robot & Frank is not at all something you have to be "into" sci-fi to appreciate; it's simply a story about friendship and loneliness... something all humans (and some robots) can understand.
Ask any of the homeless living in the tunnels and they’ll say that living underground isn’t so bad. They don’t have to pay rent they don’t have to pay for electricity and they can smoke their crack without anyone bothering them. The homeless featured here explain how they survive underground -- usually in graphic detail -- and it isn’t always pretty.
The subjects here are as real as they come: family men and women who reveal in detail how they ended up as drug addicts living in New York’s least prestigious borough.
Singer’s fascinating black-and-white exposé captures the pride these people have in their dilapidated homes and shows how they’ve adjusted to life underground. Firing off questions from behind the camera Singer manages to dig deep bringing one particular homeless woman to tears.