Spoilers follow for Wynonna Earp Season 3 Episode 11, “Daddy Lessons,” and Season 3 Episode 12, “War Paint.”
Wynonna Earp‘s third season has come to a mighty end and I truly need the strongest damn taco Taco Bell has to offer to calm my feelings.
The two-parter finale, entitled “Daddy Lessons” and “War Paint” (both appropriate titles), begins with Wayhaught inspecting a dead Charlie Fire Services. After Doc murdered him with love during last week’s episode, everyone remained hush-hush on letting Wynonna know about her handsome fireman’s demise. Bulshar’s threat over Purgatory looms, so when Haught gets called away to assist in the town’s evacuation, Waverly is left alone hovering around a naked dead man. She does what many of us would do in this situation, which is to gently caress the carcass’s chest. Unfortunately for you and me, we’re not Waverly Earp and we do not possess the healing powers of this angelic force of wonder. Her touch brings him back to life and Evanescence subconsciously plays in the background.
An evacuation alarm blares over both of the town’s speakers, so of course this means two dumb-dumbs wander into Shorty’s under the ruse of looking for their dog in order to drink all the booze while everyone rightly runs for their lives. Angry Vamp Doc spots them and I honestly condone any form of punishment for dumb-dumbs like these that don’t take loud alarms seriously. Glamouring them in order to be a nice dinner for Doc and Kate? Should’ve taken that truck down to Austin for their tacos! I will say that both of them feeding on one person is not a great idea. Taking a cue from my True Blood knowledge, she would drain way too fast without enough ample time for her body to regenerate that lost blood. Duh.
Wynonna finds Waverly near the mysterious danger steps in the woods and kinda-sorta kidnaps her because Waverly needs to be protected at all costs, damn it! Wynonna tasks a barefoot Charlie to drive her prophetic sister out of the Ghost River Triangle, while Haught can barely get a word out (because she saw this dead naked man about 15 minutes prior). While Waves and Charlie bond over their love of strange greenhouses and Haught’s talents, Wynonna encounters a merry band of revenants that are now aware she’s Peacemaker-less. They offer an insanely-sculpted Melanie Scrofano as fealty to Bulshar, who sits on an Iron Throne whenever he eats dinner. This is probably one of the only things I like about him.
Wynonna encounters Mercedes, who utters my favourite comeback of the entire season: “I won’t do that, I keep fighting.” / “Yeah we know, sweetie. Your eyebags have ‘fighter’ written all over them.” Hot damn. Wynonna offers herself to be Bulshar’s lieutenant, but he rejects the idea by yelling in her face because we all know he’s super jealous of her stellar eyeliner skills. Bulshar’s guyliner does not make the cut. Not even the honourable mentions. It is truly heartbreaking seeing Wynonna’s sheer desperation to protect Waverly and her family, so much so that she’s willing to set aside any pride or disdain she has for Bulshar by begging on her knees to the man wearing an oversized fedora. She ultimately deduces that if she manages to touch Bulshar, she can harm him, because he hates having to dry clean his suede suits. She also kicks a revenant’s ass while wearing a corset because she is Wynonna. Freaking. Earp.
We ultimately learn that Charlie is Waverly’s father after a series of flashbacks that occur whenever she touches him wearing the impenetrable ring. Vamp Doc storms the greenhouse they are hiding in, craving the sweet taste of Charlie’s (well, Julian’s) angelic blood. He has been angrily perturbed throughout this episode, what with the glamouring rule-breakers and shooting Fire Chiefs. To be fair, I can only imagine the taste of an angel’s blood is reminiscent of a cold glass of Dr. Pepper on a sweltering summer’s day, so I understand his desperation. Threatening Waverly Earp, however? That’s a no-no. Julian Falcon pushes Doc unconscious and sprouts wings, because I suppose a bell was rung near the vicinity of the greenhouse.
As Bulshar enlists Bobo to assist him in his fight against acceptable fashion choices, Wynonna manages to rile up the merry band of revenants to fight against him. Waverly returns to the Homestead where Wynonna learns her vampire baby daddy murdered her ex-boyfriend, was then resurrected by her angelic sister and is also said sister’s father – but thankfully her hair is looking end-of-this-world fantastic!
There is one pairing we haven’t seen much of this season, and that is Haught and Kate. As she nurses Kate’s gunshot wound, Haught expresses her fear for Waverly’s safety. It’s quite compelling seeing how much these two genuinely adore their romantic counterparts although both relationships differ immensely. Bulshar’s minions interrupt their bonding session and stab Haught, causing her vanilla-dipped donut blood to permeate Kate’s nostrils. She attempts to walk it off, but as it turns out, an open wound can do wonders for your health – so she passes out while reciting Casablanca quotes. What a woman. Julian saves her life but warns a “price must be paid” – to which I ask, why can’t it ever just be free?
Waverly encounters Bobo in his best Rhythm Nation getup, because we clearly need more reason to question Bulshar’s affinity for outdated trends. He asks Waverly to set him free when the time comes. Julian lets Waverly know he used up everything he had to heal Haught, so it’s basically up to Waverly to save everybody… yeah, thanks dad.
The Bulshar showdown officially begins. Minions with riot shields arrive in Roman formation, revenants sacrifice themselves, it’s fun for the whole family! Charlie/Julian experiences death a second time when he’s stabbed through the back by the forces of Bobo and Bulshar. Waverly utilizes her powers by frying Bobo’s brain because she is Waverly. Freaking. Earp. The celebration is superbly short-lived as Wynonna realizes Bulshar has broken the Earp curse by hijacking her blood, making it possible for him to enter the Garden.
With all the chaos and impending doom sprinkled throughout the episode, we take a moment to watch Wayhaught share a touching moment on the balcony that made me lose my marbles. For the first time in Wynonna Earp history, Waverly explicitly states that she loves Nicole Haught and the couple essentially becomes engaged using the ugliest ring on Earth. Dominique Provost-Chalkley and Kat Barrell’s subtle mannerisms are so damn phenomenal; their chemistry together is simply immeasurable.
Jeremy conjures up a crypsis that possesses the ability to go undetected when hanging around Bulshar’s fashionista minions. Wynonna and Waverly head off to stop the apocalypse, because this is how the sisters are forced to spend their weekends. They manage to embody Agent 47 by sneaking past the guards utilizing the beautifully-smelling crypsis and come face-to-face with Bulshar.
Wynonna retrieves Peacemaker in the form of a big sword thanks to Waverly’s ingenuity, and she stabs the ever-loving snake out of Bulshar. Of course he wouldn’t be Mr. Ballsack if he didn’t do something shitty, so he takes a bite into Wynonna’s neck, leaving me to think she becomes Bulshar 2.0… WynShar? Thankfully Vamp Doc saves the day by sucking the venom out of our super heroine. Our other super heroine, my beloved Waverly Earp, is another story…
The concluding moments of the episode make me furiously envious of all future Wynonna Earp viewers who are able to immediately click “watch next episode” rather than wait for however long we need to wait for more.
Waverly becomes trapped in a barrier Wynonna can’t get through and is ultimately tree-napped to the beyond. Doc follows her into the Garden and we’re all left wiping the ugly cry off our faces. Wynonna returns to the Homestead, where the word “VALDEZ” is mysteriously etched into the hallway, before heading over to Shorty’s. Nedley reveals everyone in town has disappeared except for them, which can only mean one thing: the pair cock their guns like they’ve never cocked before and prepare for a battle to get them back. I conclude my recap using the delicately brainstormed phrase used by our beloved former sheriff: fuck yeah.
This season of Wynonna Earp has left me in a glass case of emotion. From saying goodbye to our fierce Sgt. Dolls to bonding with Mama Gibson, cooking with Jolene, experiencing Christmas in August, drinking with WynHaught, witnessing potato licking, learning about Waverly’s parentage and Haught’s upbringing and finally placing charges against Bulshar for his egregious style violations, we’ve witnessed some majorly crucial developments. I cannot wait to see what is in store for next season. Though I leave all my faith to the showrunners, I have a plea for the television gods: please, oh glorious entities, let Waverly Earp and Nicole Haught come out of this in one piece so we can all swoon over the Wayhaught wedding we’ve been craving since the second ever episode.
My 3 Favourite W’s of the Episode
I would now like to turn your attention to my 3 Favourite W’s for this final pair of episodes of Wynonna Earp season three. These consist of favourite Wynonna Insult, Wayhaught Moment and Waverly Expression: the three pillars of any Wynonna Earp episode.
Wynonna Insult: “I bested your mom.”
Wayhaught Moment: Waverly Earp and Nicole Haught make me melt regardless of what they’re doing, but declaring their adoration for each other right before going into an apocalyptic battle to save humanity? Be still, my already-in-a-depleted-state heart!
What did you think of the finale? Let us know in the comments below.
Follow Ghezal Amiri on Twitter.
The titular stars of ‘Jessica Jessica’ come of age in their 30s
One morning, two best friends both named Jessica wake up and find themselves having very different mornings – one, Jessica H (Jessica Hinkson) wakes up after a one-night stand while the other, Jessica G (Jessica Greco) finds herself despondent outside an ex’s house post-breakup. And though neither of them find themselves in traditional romantic partnerships, it’s clear the central grounding relationship in their lives is their deep friendship, one that persists throughout the humorous and often confusing time period that is one’s modern-era late-30s.
Jessica Jessica was written by Greco based on a “sort of mashup of anecdotes” she and Hinkson told each other over the course of their real-life friendship, often over brunch. These real-life escapades often made them laugh at (and with) each other, leading the pair to realize they wanted to work together and begin creating content out of their stories.
The resulting 12-minute short, which premiered on CBC’s Canadian Reflections Nov. 15, has gone on to take home a number of awards at a variety of festivals, including the Best Screenplay award at the 2018 Vancouver Short Film Fest. Greco spoke with The Mutt prior to the film’s CBC screening to discuss the origins of the short film, writing about one’s 30s and of the importance of female friendships. This interview has been edited and condensed for length.
THE MUTT: Where did you and Jessica (Hinkson) meet, and why did you decide to start working together?
JESSICA GRECO: Jess and I met a million years ago in theatre school in New York. She was living on the west coast and I was living back in Toronto and we met in New York and after school we went our separate ways. It wasn’t until many years later when she moved to Toronto that we reconnected here. So we’ve known each other and became friends as adults, because we were kids when we went to theatre school. I think chemistry is a big thing. In this industry you always want to work with your friends but you’re at the mercy of being cast opposite your friends. It was the sheer desire to work together, knowing we probably wouldn’t get the shot if we waited around for someone else to do it. So we made it happen for ourselves.
TM: Who are your influences in comedy and what’s the aesthetic of this film?
JG: I mean, the aesthetic was really important. We wanted it to be beautiful, like Sofia Coppola dreamy visuals. We wanted to tell a coming of age story, but a coming of age can happen at any time. So we had this idea of making this beautiful watercolour sparkly coming of age story and snuck in all these dirty jokes that no one expected. It’s kind of subversive, this mashup of a sex comedy meets a beautiful auteur’s version of a female-driven short. As far as influences, there’s so many… like the first ones that come to mind, of course, are the Tina Fey, Amy Poehlers of the world. The first guy I found funny was Michael J. Fox. In terms of great standup, I think Iliza Shlesinger is amazing, John Mulaney. There’s all kinds of great sketch comedy out there. Even locally, the Baroness von Sketch Show. Aurora Browne, she’s amazing.
[Next to read on The Mutt: Our interview with Baroness von Sketch Show’s Aurora Browne]
TM: What unique and modern perspectives did you want to express in Jessica Jessica about being in your late 30s?
JG: I think there is a real parallel in terms of your late 30s and adolescence, for women specifically. I think your late 30s, you’re looked at by society to make some real serious decisions about your life. Whether you want to have kids, how you’re going to do that, where you are in your career, there’s a real sort of rollover that happens right before 40 for women. I think it happens in your late teens, leaving high school as well. If you haven’t got married and haven’t had 2.4 children and have a regular 9 to 5 job, there’s a whole segment of the population for women that are left out in terms of representation, who didn’t do the thing their mothers maybe did. That story doesn’t necessarily exist, and if it it does, it’s a punchline – unless it’s a side character’s arc of, ‘Ha, ha, she just never gets her shit together, she’s that funny aunt.’ It’s a stereotype, and we wanted to represent women in a different way, to say, ‘No, there’s a whole bunch of us out here. We’re not mothers, we’re not wives, but we’re not failures.’
TM: Humour that comes from an honest place tends to be the funniest stuff. Was that something you kept in mind in the writing process?
JG: Absolutely. It was a lot of fun to do, and it was kind of humiliating and terrifying when your character’s name is your real name.
Jessica Jessica is available to watch now via the CBC’s website.
‘Beauty’ follows the lives of five gender-creative kids
Beauty, a 23-minute documentary directed by Christina Willings, is an exploration into the lives of five gender-creative children as they grapple with and explore who they are and who they want to be. The doc took home audience awards at the Vancouver Queer Film Festival and the 2018 Reel Pride Film Festival Winnipeg and is set to play in Calgary on November 18 at the Marda Loop Justice Film Festival.
The Mutt spoke with Williams prior to the Nov. 18 screening. The following interview has been edited for length.
THE MUTT: Do you think it’s easier in today’s climate for kids to express themselves as being gender-creative, as compared to perhaps 10 or 20 years ago?
CHRISTINA WILLINGS: The narrative that we’re more familiar with are trans and gender-creative people who are older but were never allowed that space as children to truly honour themselves. I think what’s really important about this film, if I may say so myself, the impetus of what I was trying to do was really make a stage for us to honour children expressing who they want to be and exploring who they want to be so that their lives can unfold in a smoother and more authentic way.
TM: And so how are kids allowed to explore being gender-creative today in ways they weren’t able to previously?
CW: I think in some ways there’s more space to talk about gender and play with gender than perhaps we’ve ever seen before. I think we have a window of opportunity to get our toes in the door and push this space open a little wider so that all of us have more room to move when we’re thinking about and feeling through how we want to show up in the world. Also there’s a layer of things becoming fashionable for a while and then going away. I think there’s a element of fashion that we’ll see go and someone else will come into favour and this particular type of exploration will fall out of favour. But I think we do have an opportunity right now to widen this space and keep this space open. Not just for kids, but for all of us to be more generous with and especially when we talk about how gender expression works.
TM: What do you hope people take away from the documentary?
CW: I hope that people take from it is, “Wow, these kids really have a deep and clear sense of self.” For whatever miraculous reason, they feel able to honour that no matter what. I think that it’s time to listen to kids when they say things so clearly. One of the phrases that is often used in these types of conversations is when kids are, “insistent, consistent and persistent,” you really need to pay attention and ask, where do we go from here?
TM: Did certain themes emerge out of each of the five kids’ stories? Or were their individual experiences mostly unique?
CW: Both are true. They all had very individual experiences and there were definitely common themes running through all of their stories. One of the common themes running through all of their stories was that each of them knew from a very, very young age, 2 or 3 years old, that they wanted to start expressing in a way that seemed different from what they saw around them or how they felt people might be expecting. So for me, when I realized that kids had known at the age of 2 or 3, and they start saying things to their parents like, “Something’s wrong. I just have to go back up there and come down in a different body,” that was stunning. That kind of clarity was incredible at such a young age.
TM: Why would you encourage people to see the film?
CW: I would say that it’s an aesthetically pleasing film. You can’t really call a film Beauty and not try to make a beautiful film. I think it’s fun to watch. It draws you in, slowly, into the lived realities of these really fascinating kids who are compelling in their clarity and their self-knowledge. It has an animated component, which takes us into the kids’ inner realm in a way that I think is really satisfying. So I think you really do get a sense of who these kids are, both aesthetically and through their dialogue.
Beauty plays at the Marda Loop Justice Film Festival at 2 p.m. at the River Park Church Auditorium. For tickets, click here.
“A poem for the planet”: Metamorphosis’ visual meditation on climate change
Metamorphosis, a feature-length documentary from filmmakers Nova Ami and Velcrow Ripper, takes a notably different approach in its examination of climate change when compared to features such as An Inconvenient Truth (2006) or Time To Choose (2015). Ami and Ripper sought to make a cinematic, “almost experimental” documentary, favouring sound and image over more conventional documentary components like talking heads.
“We aren’t putting a lot of tags or text on it. It gives you more stories and ideas,” Ripper said. “The solutions are intended to be design principles, and they’re all very visual as well. And then there’s a soundtrack that is very involved and layered. We make good use of the 7.1 audio space as well as it’s shot in 4K – so visually, it’s really punchy.”
Metamorphosis weaves the work of artists using ecological themes to further illustrate a sort of “visual language,” Ami said, that combined with drone shots and time-lapse footage helps to create a poetic feeling throughout the work.
“(That visual language) allowed us to explore some of those themes that are more conceptual. Like art, the film asks questions and (doesn’t) necessarily spell it out for you – there is room for your own interpretations and your own understanding to come into play,” Ripper said. “It’s a very reflective journey and we hope people will find it a transformative journey – and we are seeing that happen.”
Directors Nova Ami (left) and Velcrow Ripper (right) began developing Metamorphosis after witnessing the destruction of Typhoon Haiyan in the Philippines in 2013. Photo courtesy Grant Baldwin.
Ami and Ripper began developing the film just more than four years ago, around when Typhoon Haiyan hit the Philippines, killing at least 6,300.
“We were talking about making a film together and I had spent a lot of time in the Philippines and my family is from the Philippines, so that really weighed heavily on us. We talked about how an event like that could change a person,” Ami said. “That led to further conversations about how we deal with change in a time of climate crisis, how we resist change, how we move through change. That led to conversations about metamorphosis – the title came up and we decided to explore that theme and how that relates to us at this point in time.”
Four months before Ami and Ripper went into production, they had a child. Ripper said that experience further informed the development of Metamorphosis.
“I think choosing to have a child in this era is in itself a statement of hope. I think it really made us think, ‘What can we do to help create a world that is thriving as he comes of age?’” Ripper said. “So the hope we have is not so much optimistic based on the facts – I think the facts are very, very dire and we are in a time of emergency – it’s based on a kind of heroic hope that we want to do everything we can and making the film was one of our gestures.”
Making the film as two Canadians, Ami and Ripper found themselves approaching the content in a specific context when compared to major American features done on similar topics. Though the United States has received significant criticism for its recent action on climate – such as withdrawing from the Paris Agreement – Ripper said Canada was still “not that well-regarded” on the international stage.
“I think it’s in our culture to want to be on the right side of history, but we’re not there yet. We have a big transition to make,” he said. “We have to do this in a way that protects workers and we shouldn’t be pitting jobs against the environment. That’s a false dichotomy. We have to transcend that dichotomy. We need to respect those fears and address those fears but we also have to create a future – literally.”
The film was co-produced by and distributed by the National Film Board of Canada (NFB)’s Edmonton studio, the North West Studio. Thanks to the footage used and the way the film employs sound and music, Ami said Metamorphosis was an experience best suited to see in the theatre, on a big screen.
“It’s a really cinematic experience,” she said. “It’s a film that sparks the imagination in terms of what’s possible. It’s a climate change film you can go on a date with.”
Metamorphosis plays at the River Park Church Auditorium in Calgary on November 16 as part of the Marda Loop Justice Film Festival. For more information, click here.