Spoilers follow for Wynonna Earp Season 3 Episode 8, “Waiting Forever for You.”
Last week, we were treated to some much-needed Wynhaught adventures while Mama said adios to the clan in hopes of finding her angelic baby daddy. We were also given the Earpiest of Earp gut punches with Wynonna’s official rescinding of Vamp Doc privileges. This week provides some rather appealing discoveries that only work to further your hunger for more from the Ghost River Triangle.
Wynonna Earp has never been one to shy away from reversing the gender stereotypical norms we all know and have become sick of. “Waiting Forever With You” starts out at Shorty’s, with Wynonna assisting Jeremy with his pool stick handling skills. This is, of course, a scenario traditionally used to showcase a male’s ability to teach a woman how to play – rather than, I don’t know, not getting all up in her in order to teach her how to get a ball in a hole. She effectively utilizes birthing language to get her pointers across (since she certainly has an intimate relationship with that pool table) all while wearing a “Lasagna Del Rey” T-shirt, because we obviously need more reasons to adore Wynonna Earp.
While discussing Jeremy’s love life, Wynonna continually busts out Vamp Doc innuendos that could fill up Charlie Fire Services’ apparent big ol’ hose he has in his possession. Wynonna reveals she has been ignoring his texts which, of course, causes Jeremy to immediately call Charlie over as he and his biceps wander into the bar. As they awkwardly yet adorably decide to make dinner plans, Bulshar continues his reign of despair by resurrecting his barbecued ex with a hair of gold, Constance Clootie.
Countessa attempts to soothe over Vamp Doc’s newfound vamp woes by bringing him a fresh human being to feast on. That notion does not go over well for the man who literally chops down his own Christmas tree. Doc decides he must go hunting in the woods, because he is Doc Holliday, which causes him to attack Park Ranger Christopher Robin as he’s discussing Party Of Five spoilers with Jeremy over the phone. Now, normally when a friend lunges toward your love interest in an attempt to gorge on their flesh, you could rightly construe that as a negative development. But mid-feed, Doc realizes there’s something wrong with Robin, whose blood tastes of molding Earth. We’ve all been there.
Jeremy interrupts the delightful dinner date between Wynonna and Charlie (which featured promises of chicken balls, eggs Benedict and a great wall of spaghetti and meatballs?!) to warn her about Vamp Doc’s attack on Robin. She enlists the help of Charlie (who is apparently okay with turning away a heaping helpful of dough at Purgatory’s finest restaurant) to hold Doc back at Shorty’s, as Wynonna discusses the effects of blood-sucking on moustache upkeep with Countessa. The two share a warm whiskey as Countessa recounts the history between her and Doc Holliday, claiming that he was, in fact, the one who (figuratively) turned her. We later learn she took on the mantle of blood-sucker because Constance cursed him with the gift of immortality.
If there’s one thing Wynonna Earp excels in, it’s in the treatment of its antagonistic figures. Regardless of how ridiculous a name Bobo del Rey is, his insistence of calling Waverly an angel was not necessarily because he was a super creep (though he certainly has his moments), it was because this name has ultimately shown to have some merit to it. Countessa isn’t the most honest being to step into Purgatory, but because of how compellingly these characters are written, we’re well aware that Doc is certainly not the town’s beacon of morality either. The viewer is effectively given the option of feeling torn between whether they 100 per cent root for their favourite character or not.
On the flip side, Constance Clootie busts onto the scene at Shorty’s, where Doc/Charlie briefly team up to stall the salty witch on a mission to fetch something of grand importance for Bulshar. They ultimately take the charred-up mother of Norman Bates, intending to throw her down the well Doc and Bobo once called home. She manages to commandeer Doc’s beloved Charlene (because they parked it a full football field away) and hysterically flips off the two men as she drives off, leaving them alone and in the cold. She interrupts Countessa and Wynonna’s big tiny sword stand-off but refrains from harming them, because she’s still on the prowl for that special something.
As the supernatural continues to reign supreme against those four, Wayhaught treats Jeremy and Robin to a BGD (Big Gay Dinner) and honestly, we would all be lucky to share a big gay anything with one of the finest fictional couples in television history. Jeremy is understandably shaken up by the whole Doc-is-a-forever-living-vampire-who-bit-my-boyfriend thing and he tries to convey his horror to Haught, who is in a constant state of bemusement with everything he says. Robin asks Waverly if she ever wonders how a potato feels when it’s in the ground, a question apparently not as frequently pondered as I initially thought. Waverly is so distraught at the prospect of a man simply licking a washed potato (shout-out to this now-iconic Wynonna Earp moment!) that she storms into the room where Jeremy and Haught find Bulshar’s ring delicately placed in a biscuit. This despite the fact that he stowed it away in BBD’s finest vault towards the beginning of the episode. Bulshar’s ring is clearly hot for Haught.
The crew find a shirtless Robin in the barn, pleading that they must keep fertilizing the soil because his green thumb takes precedence over anyone else’s sensitive nose. A disheveled Constance continues the theme of interrupting in this episode, as she makes her way into the Earp barn. Waverly pulls a Waverly and surprises us all by Falcon-punching Constance using the power of Bulshar’s ring (and somehow managing to not have her finger burned off). As it turns out, the “thing” Constance has been in search of was a tarot card Bulshar (previously known as Sheriff Clootie) so desperately needs. When she returns the card to him as he’s hanging out in the woods by himself, the most horrifying moment of Wynonna Earp comes in the form of Bulshar laughing joyously at the top of his lungs. What a monster.
Through a series of linked tarot card readings and utterances of the phrase “Bulshar’s Wang,” the crew deduces that he is on the lookout for the Garden of Eden, to which Robin ominously declares that he already found. Wynonna and Vamp Doc have a heart-to-heart in the barn where evidently the magic literally happens, because just a mere few hours ago, a resurrected “bitch kabob” was Wilhelm-screamed out of her mind. Just as Wynonna reveals Bulshar’s plan for paradise, the crazed demon suddenly appears and blows what I’m certain are evil dandelion remnants at the former couple. Ah, yet another glorious day in Purgatory!
“Waiting Forever With You” turns the Bulshar narrative up to 11. With just a few episodes remaining this season, episode eight provides a number of major callbacks to seasons past that all worked toward this Bulshar summoning. Whether it was with the resurrection of Constance Clootie, the importance of the “Lovers” tarot card that appeared at the end of episode three or the reminder of Juan Carlo stating GRT was a sanctuary, I have a sneaking suspicion the remaining four episodes are going to be a thrill ride I am more than prepared to buckle up for.
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: “You’re not gonna talk me out of shooting you with your fortune-tellery adjective… ad-verbs… nouns…”
Wayhaught Moment: I will never not love an accidental proposal. If and when we finally witness the exquisite Wayhaught proposal, I truly hope Haught provides a princess cut for Waverly.
Waverly Expression: Five words, everyone: “Robin just licked a potato!”
What did you think of “Waiting Forever With You”? 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