Spoilers follow for Wynonna Earp Season 3 Episode 10, “The Other Woman.”
Bulshar found what he needed to destroy humanity at the end of last week. This week’s episode, titled “The Other Woman,” showcases the crew’s desperate attempts to not allow it to happen.
We open the penultimate episode of Wynonna Earp’s third season (before next week’s two-part finale) with a flashback to Purgatory’s days of yore. The days when candles assisted with one’s sight while they wrote on flammable pages and when mustache upkeep was non-existent. Here’s where we see a pre-Bobo Robert Svane and Padre Juan Carlo anticipating the hand-off of a 1880s-era Peacemaker in the form of a wicked big tiny sword (as Wynonna affectionately calls them). When we flash forward to the present, Wynonna downs a coffee that should effectively give her coffee cancer, but since her body has survived worse, a quintuple-shot latte is a walk in the park.
Waverly and Jeremy brainstorm any possible way to defeat Bulshar (who holds the key to opening up the actual Garden Of Eden by the way – no biggie) as Bobo works his best America’s Next Top Model pose in the background. He grows agitated at JerWave’s various modern-day analogies for the demonic spirit and reveals that “he took her book.” The “her” in this situation lead Haught and Doc on a mission to retrieve a journal once held by a woman named Maeve who was burnt at the stake, because people are the worst. When the duo encounters her spirit, she does what any of us would probably do in that situation – try everything in our power to get close to Officer Nicole Haught. Where you and I might buy her a fruit basket, Maeve instead possesses her and Haught experiences life as a teenage girl AGAIN – for some, myself included, this is a fate worse than death. Doc is tasked with killing either Haught or another human vessel in order to allow Maeve to move right into their fresh body in exchange for the journal needed to defeat Bulshar. Ah, remember the joyous times when Doc’s biggest worry was what name he was going to call his usurped pink hot rod?
In the meantime, Wynonna and Charlie Fire Services share a heart-to-heart after she finds him rooting around the Earp barn in order to make repairs to an object she didn’t realized she owned. While I tend to constantly poke fun at the handsomely dull firefighter, I have enjoyed the relationship between him and Wynonna this season. The WynDoc dynamic has been quite strained recently, so it’s been nice seeing how Wynonna adjusts to a semi-normal-yet-not-at-all-serious/somewhat-serious dating life. Surely their argument towards the beginning of this episode will not have any major lasting repercussions as the episode goes on…
As the growing fight against Bulshar’s erroneous fashion crimes continues, a new member of the team rises up in the form of Kevin. TV fans, particularly my fellow Canadians, will squeal with delight when they see former Lost Girl star Anna Silk take up the mantle as the woman with the trusty hazmat suit. Wynonna Earp showrunner Emily Andras worked on the sci-fi/fantasy series for the duration of its run and it is no surprise when familiar faces pop up here and there on her own series. I think the world would’ve briefly stopped spinning on its axis if there was a sequence between Kevin and Jolene (portrayed by fellow Lost Girl alum Zoie Palmer) this episode. We can all dream.
Kevin’s official title is “representative of a long line of ambassadors tasked with looking after the balance in the world.” She seemingly manages to do the impossible in this universe (where the impossible occurs quite frequently) and out-quips the Quip Master herself, Wynonna Earp. She solidified her position in my list of all-time favourite Wynonna Earp characters when she asks my beloved Waverly if her bangs are the reason why she doesn’t have a boyfriend. That’s just silly – we all know every human being on Earth would give their right arm for Waverly’s love, regardless what style of hair she had on her head. Kevin also eats pickles straight from the jar. Now THAT is what I call charm.
She tasks the Earp sisters with retrieving Bulshar’s severed arm from a “totally unstable” and collapsible uranium mine in order to synthesize a weapon against him. Waverly and Wynonna are obviously both completely in. They encounter a previously one-armed (now two-armed) radioactive demon Wyatt Earp once trapped in said mine. His reattached arm happens to be the Bulshar arm they’re looking for. When Wynonna becomes disarmed (I’ll be here all week, folks) after touching his neck, Waverly takes the figurative and literal gloves off. They lure him into the Gardner house, where they all spend a few minutes congratulating Mercedes on her beautiful face. Waverly learns Bulshar’s ring controls his severed arm, so she gets Clint to force choke himself. I have to say, I’m a little disappointed a Darth Vader reference wasn’t made.
Back with DocHaught, Jeremy joins in the fun as we learn Maeve’s spirit can hop from body to body, molesting those she comes in contact with. I’d like to take this moment to say that Kat Barrell shines as the possessed spirit. We’ve all seen how Barrell handles the hysterics involved with being drunk Haught (“you’re going too fast and I’m too drunk!”) – but possessed Haught? She embodies teenaged ghost witch. When Doc ultimately finds the journal they’re looking for, the hot-tempered spirit of Maeve sets the house ablaze. This means the only firefighter we’ve seen all season will probably show up – and would you look at that! Charlie Fire Services arrives to save the day, and in this instance, that means being bit to death by Vamp Doc and having a distraught Haught threaten to shoot him with wooden bullets.
As the episode concludes, we learn that not only is Waverly the champion of all our hearts, but she is the key to defeating Bulshar. She must sacrifice her own life by sealing the gate to the Garden and, ultimately, turning into stone in order to save the rest of humanity. Wynonna breaks down at the prospect of losing her sister and, honestly, I feel you, girl. Now I realize the well-being of the many may possibly outweigh the lives of a few… however, in the words of Skeeter Davis: don’t they know it’s the end of the world? It ends when Waverly Earp ceases to exist!
As the clock winds down on season three of Wynonna Earp, I have to give the most major of props to showrunner Andras and the writing crew for their treatment of these characters. Throughout my recaps, I’ve consistently praised the direction this season has taken in terms of how we see the development of each respective character from the first season to now. Wayhaught have grown immensely both as a couple and as individuals, while Doc Holliday is a freaking vampire. We’ve seen Wynonna make impressive personal strides, whether it be seeing how Dolls’ death ultimately affected her or opening up to Haught, yet one factor has remained consistent throughout her character – Waverly Earp is the most important person in her entire life. Though she would give up her life in a heartbeat to save others, she refuses for her sister to have the same fate.
I have no idea how next week’s two-part finale will pan out, however Andras tweeted “don’t breathe” when describing it, so… it should be completely fine.
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: “And I’m fairly certain that if you weren’t such a douchebag, we could hang.”
Wayhaught Moment: There was an unfortunate lack of Wayhaught being in the same room this episode. To be fair, Waverly had to track down a severed demonic arm while Haught was busy being possessed so we’ll just forgive this one.
What did you think of “The Other Woman”? 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.