Spoilers follow for Wynonna Earp Season 3, Episode 6, “If We Make It Through December.”
We bid adieu to Jolene, Queen of the Hypnotic Pastry, last week and although I’m glad we can rest easy for a whole two seconds now that Waverly’s life isn’t in immediate danger, I can’t help but think about the stupendously massive spread we would’ve been treated to if she managed to stick around in Purgatory until at least January…
Well that’s enough of those pesky hypotheticals. Merry Earpmas in August! Wynonna opens this week’s episode, titled “If We Make It Through December,” with how I open my everyday life – looking longingly at herself in the mirror rocking a Christmas onesie, wondering when this aesthetic will become the next fashion trend. She and Mama delightfully banter amongst themselves throughout the opening and Doc decides to live out an actual dream I believe many Earpers have, wherein he busts onto the scene wielding a relatively healthy-looking tree he chopped down with his bare hands. If Mama isn’t a fan of the Holliday splendour, I will gladly volunteer as tribute.
Nedley has the ultimate “getting-too-old-for-this-shit” moment when he encounters a fully-grown adolescent chasing after what he believed to be “Santa” – actually being Bulshar in a raggedy cape. The kid clearly bypassed every Christmas season because anyone with half a morsel of Christmas cheer would know Santa wouldn’t be caught dead wearing a fedora.
As folks deal with the presence of Bulshar Clause, we’re treated with the reveal of Waverly’s parentage. Particularly, how Mama’s relationship with Julian paved the way for the angelic Waves we all know and love. Initially, Mama decided to take the Tywin Lannister route of adult child rearing – that is, a parent gutting the absolute hell out of a freshly-killed animal as he/she bestows wisdom upon their curious offspring. Thankfully for my gag reflex, we instead got a summery flashback of a happy pregnant couple that featured a tiny sprinkle of adultery and abandonment. Waverly experiences an obvious bout of existentialism as she wonders about this mystery figure she had no idea existed until recently, along with the notion that she is a friggin’ angel!
On the flip side, Doc and a mustache-less Jeremy have a heart-to-heart about Jeremy’s romantic prospects, and watching Doc attempt to decipher modern-day references could truly work as a spin-off on its own. Jeremy chooses the “be direct” approach to relationships, which takes us to what I assume is a direct copy of a Santa’s Workshop where we find Bulshar’s victim from the beginning of the episode and – gasp! – Park Ranger Robin! I guess the kidnapping trees needed a few extra hands for the workshop (or they’re controlled by Bulshar – either sounds plausible.)
Wynonna awkwardly flirts with Charlie Fire Services as “The Sound of Silence” plays within the walls of Nedley’s brain. She and Mr. Services head back to HQ with a cup of blood-soaked snow waiting to be analyzed by Jeremy. We ultimately learn that Bulshar needed descendants of the first families of Purgatory to be separated and alive from other residents for some nefarious purpose. Both the missing kid and Robin derive from families who simply can’t get enough of Purgatory, thus we’re treated with a sequence where the two watch as Bulshar force-feeds a screaming man (whose ancestors betrayed him one time at Band Camp) a peach core and green slime. We all know this is the rightful punishment for those who don’t eat their vegetables.
The crew brainstorm ideas on how to rescue the abducted, with Haught producing the key to finding them because she is just that amazing. Wynonna also high fives herself after declaring that she’s watched Carrie (1976) because everyone else left her hanging (clearly because they were too enthralled by her fabulous taste in film). In stellar Earp fashion, she and Charlie rescue those kept by Bulshar to a montage set to a techno version of “Jingle Bells,” something I never thought I needed in my life until today. Although I am all for Wynonna sharing the mistletoe (and then some) with a hunky firefighter, it’s a bit heartbreaking seeing the growing tension between her and Doc. I guess the whole concealing-a-vampire-wife thing can cause some strain in a platonic relationship. Jeremy and Park Ranger Robin kiss and plan a date for “leftover tofurkey burritos” and although he is ridiculously cute, that… sounds absolutely disgusting. A stellar facial structure cannot make those words combined together sound appetizing.
While a majority of this week’s Wynonna Earp is spent on the Bulshar victims’ rescue, the progression of Wayhaught’s arc is executed brilliantly throughout. Both Waverly and Haught experience immense character growth not only with their relationship but individually as well. Providing justifiable growth for a loving fictional couple is a daunting task and the showrunners have continuously nailed it every week. Waverly’s interactions with Bobo throughout the series have been riveting to watch because you never truly know if he is to be trusted or not. As we’ve seen throughout the series, Waverly clearly understands this idea and, although her curiosity gets the best of her, she doesn’t allow herself to be hypnotized by his words. She processes what he reveals about himself threatening Ward and, though Bobo claims he will let her know where Julian is if she frees him, she refuses. Now that Mama chose to release him, my distrust for both he and Mama is amplified and that just excites me! Haught manages to score the promotion she has deserved since season one and we didn’t need to endure a 10-minute standoff with her questioning Waves as to why she hasn’t had her mind blown by the news. The two have evolved beyond needing to analyze every possible thing wrong with the other – they’re a regular, loving couple who communicates and apologizes when they’re in the wrong. PLEASE give us more!
We end off on Doc and Wynonna getting off with their respective partners. Wynonna is treated with the romantic setting of a Christmas tree farm while Doc visits with a distraught Countessa who endured the wrath of Bulshar’s bee keepers. If there’s one thing we’ve known for sure about Doc Holliday throughout Wynonna Earp, it’s that the man loved being immortal. After experiencing life as a mere lowly mortal, he agrees to apparently be turned by Countessa – meaning we could potentially see the Hollidays on vampire adventures for the next few centuries. Bah humbug, yet another day in Purgatory!
“If We Make It Through December” featured the development of numerous characters and it only worked to make me adore this season more and more. After spending two seasons establishing the foundation of the Wynonna Earp universe, we’re now witnessing the complexities that come with everyday life – managing relationships, professional achievements, learning you may be a different species than what you initially believed you were – just typical day-to-day components that occur during one’s existence. The episode is essentially the climax of what has been festering in Nedley’s psyche since the beginning of the series: that he’s tired as Hell and isn’t going to take it anymore. Thankfully for us, he can continue binging the 27 seasons of Pretty Little Liars as Sheriff Haught continues protecting the residents of Purgatory alongside Waverly, who simultaneously belts out beautiful ballads while taking down bad guys with her trusty shotgun.
My 3 Favourite W’s of the Episode
I would now like to turn your attention to my 3 Favourite W’s for this episode of Wynonna Earp. These consist of favourite Wynonna Insult, Wayhaught Moment and Waverly Expression – the three pillars of any Wynonna Earp episode.
Wynonna Insult: “Queen of the Damned, meet King of the Dense.”
Wayhaught Moment: The sheer adorability that was the opening few moments with Waverly comforting Legola — er, Nicole — with her journey to Clausehood was frankly too much to handle. Also Nicole saying she always knew Waverly was an angel. Ugh, they’re so great.
What did you think of “If We Make It Through December”? Let us know in the comments below.
Follow Ghezal Amiri on Twitter.
Honey Bee is a revealing look at human trafficking in Canada
Honey Bee director Rama Rau may be known to Canadian audiences mostly due to her acclaimed work in documentary, including League of Exotique Dancers (2015) and No Place to Hide (2015) – the former profiling aging burlesque dancers and the latter taking a focus on the world of cyberbullying.
But though Honey Bee marks Rau’s narrative feature debut, her instincts honed in documentary filmmaking remain essential, as much of the film is shot as though it were a documentary feature.
“I think that was key in telling the story, for me,” Rau said. “The actors were never acting – they were always in that state.”
Much of the film’s dramatic power is supplied by lead actress Julia Sarah Stone, who plays Natalie, an underage truck stop sex-worker on a journey of survival.
“She was literally the crux of the film. She was everything,” Rau said. “When I saw her audition, and I looked at a lot of auditions, I really wanted her to be in my film.”
Rau spoke with The Mutt about Stone, transitioning from documentary filmmaking and the too-infrequently discussed prevalence of human trafficking in Canada. This interview has been edited and condensed for length.
THE MUTT: So tell me about Honey Bee.
RAMA RAU: It’s about a girl groomed from the foster home system and put into a human trafficking ring. She thinks the person grooming her is her boyfriend. That’s how they get young girls from the foster care system in Canada. Then, she’s caught in a police raid and sent to a farm and the movie really begins there, her coming to terms with what has happened. A lot of it is her finding herself.
TM: What were your first thoughts when you initially read the script?
RR: I was a bit shocked, to be honest. I was stunned that these things happen in Canada. I wondered if I wanted this to be my debut feature. But it’s never frightened me to go into the underbelly of society. But films have the power to open up areas that we don’t normally talk about. I also said as a woman director I can bring a certain perspective to it. And I found my way into the story, and said, “This is how I’m going to do it, and if you’re OK with it, I’m happy to work on this film.”
TM: What were those specific elements you wanted to bring to the film?
RR: I knew I wanted it to be totally told from the perspective of Natalie, from her POV. I knew I wanted it to be a very personal film. In documentary, we use handheld cameras a lot. We literally run behind our characters. I wanted that sense of urgency in this film. We kind of blurred the lines between fiction and fact. I wanted to go so deep into the story, so the audience never knows, “Is this a real story, or is this a person acting? Does this really happen in Canada?” [There was a scene where] and we ran behind [Natalie] like we were a camera crew.
TM: This film is obviously so based on character and Natalie’s experience. Do you think approaching things with that documentary mentality, did that help you capture small character moments?
RR: Yes, absolutely. I think that was key in telling the story. For me, the actors were never acting, they were always in that state. I encouraged them to be that way for as long as we were filming. I think they really took that to heart. They really lived their characters, and that was so rewarding for the camera because the camera picked up every little twitch of the cheek and movement of the eyebrow. I think that really lent to the authenticity. I even told Ryan (Steven Love), I want you to not talk too much to the women and I want them to hate you by the end of the film. So it’s really beyond method acting, it’s really living and being that character for that period of time.
TM: Having someone capable in the lead is obviously very important, because you need someone who is able to deliver that authenticity. How important was it having Stone in that role?
RR: Oh my god, she was literally the crux of the film. She was everything. I know she did so much research. I think she really carries the film on her shoulders. That’s why I had to choose such a strong actor like Martha to offset Julia’s stunning performance. I got so lucky in getting such great actors. God knows what I would have done if Julia wouldn’t have been able to deliver, because the film is totally based on every nuance of her face.
TM: Why would you recommend people check out the film?
RR: I think human trafficking in Ontario is not talked about enough. I think people watching this film will find a way into thinking about it. It’s not a news item. It’s more of a story of a girl who has been through the sex trade and has been bartered like a piece of furniture. I think we need to give these girls a voice. Since documentaries on these subjects can’t be made because it brings a lot of danger to their lives, these sort of films based on social issues is what opens up peoples’ minds to these sorts of issues. That’s why I think this film is crucial for people to watch if we have to tackle things like human trafficking in Ontario.
Honey Bee opened in select theatres on Sept. 20 and will be available on Video on Demand on Dec. 10.
Director Rob Grant on the tension (and dark comedy) of HARPOON
Adrift on the seas on a luxury yacht, three friends find themselves stranded without food or supplies and quickly realize their survival is less than assured. An official selection at International Film Festival Rotterdam 2019, Harpoon made its Canadian premiere at the Calgary Underground Film Festival (CUFF) April 28. The film will release on VOD in Canada on October 15.
The Mutt spoke with director Rob Grant prior to the film’s screening at CUFF 2019. This interview has been edited and condensed for length.
THE MUTT: Can you tell me a bit about the genesis of Harpoon?
ROB GRANT: I had a great relationship with my producers (Knuckleball director Michael Peterson and Kurtis Harder) from a film called Fake Blood. I pitched Mr. Peterson on this idea that was a mix between Polanski’s Knife on the Water but by way of Seinfeld characters on the boat. I grew up in Vancouver, and the original idea was, “Well, I spent a lot of time on a boat, we could go take a boat out to the ocean and try to isolate ourselves out there.” Once a budget came into play and the idea grew, suddenly we were shooting the interiors of the boat in a set in the middle of freezing winter in Calgary, and shooting the exteriors on a boat in tropical Belize down south.
TM: Was it difficult for you to balance those comedic elements and still find a way to ratchet up the tension?
RG: It was very difficult, and there were a lot of discussions about that. When you have to give the elevator pitch, you have to say: “This is the genre and this is what it means.” But I subscribe to the logic that in life you can feel in one moment that you’re in a love story and the next minute in a horror movie, and that’s the way real life actually works. But it seems a little more rigid in movies. We were aware of potentially disrupting viewers’ experiences of watching the movie. (We thought) a movie could, or should, be multiple things at once. We’re willing to accept that there’s going to be some audience members that are going to reject that as a movie experience, but we wanted to try it.
TM: Can you tell me more about those influences you mentioned? I’m curious about how you mixed something like Seinfeld with more traditional thriller elements.
RG: Hitchcock’s Lifeboat was definitely in there, as well as Polanski’s Knife in the Water. But I had to still find the dark humour in it, and Seinfeld came up specifically because as much as we all find the Seinfeld characters enduring, they’re very much in it for themselves. They’re worried about their own outcomes. So I tried to use a lot of that. As much as these people like to say they’re looking out for each other, the second it becomes a survival story they’re all kind of in it for themselves. Paul Thomas Anderson’s Magnolia was another one, not only for mixing drama and humour, but definitely because the narration was less focused. It sets up what’s going to happen without speaking to much on the nose about what you’re about to see.
TM: I understand there’s some great gore and effects in Harpoon. What was your approach to that, and what effect do you think that has?
RG: I’ve explored the effects of violence in cinema with Fake Blood, and this was an extension of that. The entire movie, these people speak very casually and aloof about the things that potentially will need to be done without actually considering what that entails until suddenly when it happens. I felt like it would be a good idea to make sure that was extremely violent and horrible, not only because we’ve been teasing up to this moment, but I do believe there’s a certain element that people do not consider the actual realities of having to do something like that. So it’s very shocking, very brutal, it’s like, “ha ha ha this was all funny to discuss” and now that it’s happened it sucks the wind out of you. That was a very intentional decision.
TM: What do you think Harpoon does in a unique way when compared to other similar films? What do you hope the audience walks away with?
RG: I hope when people leave the cinema that it wasn’t the movie they were expecting, that it was a little bit of a different take. I do think it’ll challenge them depending what their expectations are. I just hope they’re expecting something interesting in the genre, and that they’re along for the ride.
Harpoon will be released on VOD in Canada on October 15.
There Are No Fakes is a shocking journey into the world of art fraud
Some of the best documentaries of the past two decades involve hard left turns – films that begin in one direction but end in another due to events that unfolded during production. There Are No Fakes, directed by Jamie Kastner, joins that select company of documentary as its comedic opening slowly morphs into something much darker.
There Are No Fakes centers on the work of Norval Morrisseau, the Indigenous Canadian artist of the Bingwi Neyaashi Anishinaabek First Nation, sometimes referred to as the “Picasso of the North”. Morrisseau, who died in 2007, sought to remove forgeries of his art from the marketplace, establishing the Norval Morrisseau Heritage Society in 2005.
After Kevin Hearn (of Barenaked Ladies fame) buys one of Morrisseau’s paintings, he starts to doubt its authenticity and discovers a bizarre feud consolidated around Morrisseau. It’s this conflict, and the dark secrets hidden beneath it, that form the backdrop of There Are No Fakes.
Kastner (The Secret Disco Revolution, Free Trade Is Killing My Mother), who was friends with Hearn in high school, learned through conversation about Hearn’s ongoing lawsuit surrounding the Morrisseau paintings. It became clear to Kastner that such a story would be perfect for his next project.
“It was almost unbelievable. There was so much crazy stuff in this story, I couldn’t quite believe it,” Kastner said. “I told him if I was going to proceed with it, though we were friends he would have no editorial control. As a journalist, I would be talking to both sides, and he agreed.
“I went off on my own doing my own kind of digging and research. Lo and behold, everything he told me and then some turned out to be the case.”
As the story unfolded and as Kastner continued to meet a succession of larger-than-life characters, he found himself shocked at what he uncovered. Bringing footage back to his editor provoked a similar reaction.
“He’d say, ‘Holy f***!’ Then I’d do another one, and he’s quite an even-keeled guy, and he’d say ‘holy f***,’” Kastner said. “So it was a series of ‘holy f***’ moments. I tried to recreate that experience for the audience.”
Documentaries can often unfold much as expected, with a known story dictating the outcome of the production. But given the fluid situation surrounding the events of There Are No Fakes, Kastner followed the story as it led him, knowing he had been handed an incredible gift.
“It’s definitely a privilege and a responsibility (to tell this story). You’re dealing with the legacy of one of our most important artists,” he said. “You wind up dealing with very serious issues of abuse of different kinds, so I felt a real responsibility.
“You have to handle it very carefully as a documentary filmmaker. It really is so unique and unusual and special and horrific and inspiring and a whole range of things that you don’t usually get in one film.”
There Are No Fakes made its world premiere at Hot Docs 2019, receiving highly positive reviews. Kastner said the film provided fascinating insight into the legacy of Morrisseau, touching on multiple problems still at play in Canada.
“It’s a very dramatic story. People can’t believe that they’re real people. They seem like characters out of some HBO series or something,” Kastner said. “I think it’s a very entertaining, edge of your seat, jaw-dropping type of story that happens to be a documentary.”
There Are No Fakes will screen at multiple locations throughout Canada in July 2019. For more information, click here.
Next to read on The Mutt: Tantoo Cardinal propels Falls Around Her in first leading role