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.
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CUFF 2019: 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 will make its Canadian premiere at the Calgary Underground Film Festival (CUFF) April 28.
The Mutt spoke with director Rob Grant prior to the film’s screening at CUFF. 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 makes its Canadian premiere at the Calgary Underground Film Festival April 28. For tickets, click here.
Click here to read our roundup of 9 Canadian films playing at CUFF 2019.
CUFF 2019: The story behind Uwe Boll, the so-called “worst filmmaker” ever
Director of the critically-maligned video game adaptations Alone in the Dark, House of the Dead and BloodRayne, Uwe Boll has long held a unfavourable reputation in the film industry not only due to the perceived quality of his films, but also due to his antagonistic response to his online “haters.”
But a new documentary, F*** You All: The Uwe Boll Story, seeks to better understand the firebrand filmmaker, diving into Boll’s past through a series of interviews with colleagues, critics and Boll himself.
The Mutt spoke with F*** You All: The Uwe Boll Story Vancouver-based director Sean Patrick Shaul prior to the film’s Alberta premiere at the Calgary Underground Film Festival April 27. This interview has been edited and condensed for length.
THE MUTT: How did you first become acquainted with Uwe Boll?
SEAN PATRICK SHAUL: I first met Uwe Boll on the set of Assault on Wall Street. I worked as a crew member with him. Seeing him work was so fascinating. The way he directed was like no one I had ever seen before. He was such an interesting guy. That was almost 10 years ago and I ended up working on a TV show that was shooting in his restaurant. That was how I came across the idea for the documentary. The idea was to look at someone who is widely known as the world’s worst director. It was more asking, “Why was he considered that? How did he get that title, and whether or not he was.”
TM: As his persona on the internet developed, did that mesh with what you knew of him? Did you feel he was being portrayed in a way that was inaccurate?
SPS: I had seen some of his movies and I understood the reputation he had. He also fuelled that himself through the internet, engaging with all of these trolls and these critics. He takes it head on, which is fun to watch. But I had no idea what he would say when I pitched the documentary to him. Within five minutes, I realized we had a lot in common. He was excited about the documentary, excited to have that side told of it.
TM: How does Boll feel about being referred to as the “world’s worst director”?
SPS: He thinks it’s very unfair, which I guess I would agree with. Art is subjective, so it’s hard to say whether something is good or bad. But I think he’s also aware of the type of movies he was making. He didn’t think he was making The Godfather. He knew these were video game adaptations movies, so his expectations were low with those. But he has made more personal films (since then), but he already had this black cloud following him around. It stalled his career in that way. I thought that was really interesting – he made 32 movies, but by his fifth movie, people had already written him off.
TM: Why do you think Boll feels the need to respond to his trolls and his critics online?
SPS: I think he’s a very proud guy. He’s aware of his accomplishments and I don’t think he can let a comment like that go. If someone has the motivation to go after him online, he has the equivalent motivation to fire back at them. He hasn’t really calmed down on that too much. I think he’s currently banned from Twitter for going after trolls. It’s kind of tongue-in-cheek for him when he goes after these people. He enjoys it, he likes engaging with them. It became part of his personality. As much as it hurt his career, it also helped his career in a way.
TM: In spending time with Boll, what surprised you about him as you got to know him better?
SPS: Before, I thought he was kind of an asshole, from his online persona, I thought he was just kind of a jerk. Through meeting him, I realized he’s a super sweet guy, he’s a really, really genuinely nice guy. He cares about films, he’s a real film guy. He knows all of the classics, he’s seen all these foreign films – he’s a real cinephile. But there’s something about him not being able to pull that off. All his favourite movies are the classics, but for some reason he can’t make those films himself. He was kind of handcuffed by all these tax loopholes and funding schedules, that he would have to pump these films out in a certain timeframe to get the tax credit. There’s a lot of reasons his earlier films turned out the way they did. They didn’t turn out the way he envisioned.
TM: Given that he knew the documentary wasn’t going to be all positive, why did Boll want to participate?
SPS: I think he just wanted someone who was looking at the larger picture instead of comparing him to a Tommy Wiseau or a Ed Wood. He wanted to explain himself a bit. The articles and the small kinds of podcast interviews don’t really give him enough time to explain himself, or they ask the same five questions. Almost every headline is “world’s worst director” – I think he wanted to look at something deeper. But he wasn’t shying away from that title. I told him early on in production that we’d be definitely looking at that angle and talking about it. He was more than happy to look at it. Most people would want this buried, but he looked at it head on. “I have that title, but let’s look at why.”
F*** You All: The Uwe Boll story plays April 27 at the Calgary Underground Film Festival. For tickets, click here.
Click here to read our roundup of 9 Canadian films playing at CUFF 2019.
Acquainted takes a raw and honest look at modern love
In Acquainted, a new romantic drama from Toronto-based director Natty Zavitz, high school classmates Drew (Giacomo Gianniotti of Grey’s Anatomy) and Emma (Laysla De Oliveria of The Gifted) reunite with each other at a bar and instantly connect, discovering they share some serious chemistry. Problem is, the pair are both in serious, long-term relationships.
The script for the film was partly inspired by the deterioration of Zavitz’s last major relationship, said producer Jonathan Keltz (Entourage, Reign), who also plays Allan in the film.
“(Zavitz) sent me the script almost four years ago and I just connected so deeply and was so blown away by his script,” Keltz said. “(I was blown away) by how defined his voice was. I was completely moved by it.”
Inspired by films such as Richard Linklater’s Before Sunset trilogy, Acquainted is an honest look at relationships and adulthood, exploring the subject matter with introspection. Keltz said the film examines fidelity and infidelity from a judgement-free place.
“The characters are not villains or victims. It’s a raw and honest look at being in relationships, to have these type of things happen and how to deal with that,” he said. “The relationship with the self and the seeking to find out who you really are is really what’s crucial to the building of a relationship with somebody else.
“It’s about taking the time to do that work that puts you in the best position to be a partner with somebody and to be an adult in this world.”
Many of the cast and crew on Acquainted have worked in Toronto’s film community for years, making the set of the film a reunion of its own.
“In front of the camera and behind the camera, (the film involves all) kinds of amazing artists. It’s really a Canadian film and a Toronto film,” Keltz said. “It’s not trying to either hide that or beat you over the head with that.
“I think that’s done in a very unique way, and in a way that is both Torontonian and Canadian but also universally and commercially viable.”
Keltz said he thought the film would be emotionally affecting to audiences, offering perspective that could help to contextualize modern love and relationship.
“I think this is a really raw and honest and beautiful film about what it means to be in love, to be heartbroken, to be devastated, to be inspired and to try and build a life for yourself and figure out what that means,” Keltz said.
Acquainted is now playing at Cineplex Movies Yonge and Dundas in Toronto, International Village in Vancouver and at Landmark Cinemas nationwide.
Next up on The Mutt: With maturity and depth, An Audience of Chairs reflects on mental illness