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Review: Bridemaidzilla rampages on Mohawk Girls

Written by Carolyn Potts

… And reaching the penultimate episode of the season, Tracey Deer (creator, executive producer) and Cynthia Knight (executive producer) provide us viewers with a solid episode entitled “Bridesmaidzilla.” We start this installment with Zoe (Brittany Leborgne) now questioning her own mental health. She is still caught between a need to maintain her controlled good girl persona and the desire to let loose and submit. Her distress has now reached a point that she has sought the help of a counselor, albeit for a VERY short session.

Before we jump into the festivities celebrating Lollipop (Devery Jacobs) and Trumpet’s (Kevin Loring) impending nuptials, we are given what I call “the lesson of the week” for non-First Nations viewers. First we visit Anna (Maika Harper) at the university studying with a couple of her “white” classmates. As we have seen before, Anna is caught between cultures. She now represents the “Mohawks” instead of the “white girl with brown skin,” and she is now defending the very people who deny her her “Mohawk-ness.” This suggests an authenticity no doubt many people of mixed race can relate to. Anna again addresses a few of the more commonly held stereotypes of First Nations culture (the “rez” is scary, the oft times misconstrued history of scalping, and the need for FNMI people to “get over it and move on”). Then we pop in on Bailey (Jennifer Pudavick) who is out on yet another first date. This week’s challenger for the right to be Bailey’s prince is Rashid (Fajir Al-Kaisi), the gentleman she met speed dating during “Dating Mohawk Style” who is, ironically, from India. Deer and Knight also use this setting to briefly touch on a few more stereotypes: the despair commonly associated with life on the reserve, and the myth surrounding FNMI predisposition for alcoholism. By the way, Rashid fails to measure up. Bring on the next contestant!

Meanwhile, Lawrence Bayne returns as Caitlin’s father flying in from Stoney to attend Lollipop and Trumpet’s wedding. He has, it turns out, been in town for a couple days enjoying the bachelor parties and has not bothered to contact his only daughter Caitlin (Heather White). Caitlin’s disappointment in her father is once again clearly visible (I have to say that Heather White has, over the course of this premiere season, owned the most complexly crafted character of the show. Ms. White has this remarkable ability to suggest a bevy of emotions with a single glance that I feel many actors lack).

Finally the ceremony begins just in time for Zoe’s alter ego, Bridesmaidzilla, to take control. Her commanding nature sets the scene for the comic conflicts that so often occur at large family events. We have up until now only explored Zoe’s identity as a newly realized submissive. Now we finally come to realize why it is so hard for her to submit to this trait (I know, a bad pun). Zoe spends her time herding wedding guests throughout the festivities to ensure the perfectly orchestrated wedding. Sadly, her hard work is overshadowed by her need to control, and the wedding guests revolt against her bitchiness.

We return for a final look at Caitlin, once again left to make a silk purse from a sow’s ear. She is caught between her need to be loved, and the men in her life that seem incapable of giving her that love. Both her father and Butterhead (Meegwun Fairbrother) choose to continue their poker game, leaving Caitlin and Butterhead’s daughter (Kahsennonkwas Luna Berry Deer-Toelle) to dance the father-daughter dance together. Once again we can see Caitlin put aside her heartbreak and do her best, this time for the little girl she recognises in herself who was all too often disappointed by her father.

Meanwhile, Anna, who has been taunted all evening by yet another gaggle of competitive women vying for Thunder’s attention, decides to forgo her three-month waiting period. Team #Thana sneak off to do the deed.

We conclude with Zoe’s/Bridesmaidzilla’s meltdown. She explodes from the pressure her public and oh so proper, face has created. Unable to enjoy any part of the evening, she lashes out at the guests she tried so hard to please yet again. Regrettably, this devolves into the now cliché food-fight so often relied on for comic relief in these tension filled moments. It does however fit the storyline, and is appropriate for Zoe to do so, but I feel this bit was both predictable and ultimately detracted from an otherwise strong performance.

So, tell me what you think. Will Anna regret her impulsive decision to sleep with Thunder? How will Zoe recover from her public melt down? How will Caitlin cope with the betrayal of both of her men? Let me know in the comments.

Mohawk Girls airs Tuesdays at 9 and 9:30 p.m. ET on APTN.

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Review: Dating Mohawk Style on Mohawk Girls

Written by Carolyn Potts

“Dating Mohawk Style,” as the title suggests, is yet another 22 minutes that revolve around, you guessed it, dating. But wait! Hold onto your hats! I guarantee you have not seen a show quite like this one. Tracey Deer pushes the boundaries for primetime TV  in this installment and does so in hilarious fashion (I will, however, try to keep this summary PG).

We begin this lighthearted look at Mohawk relationships with Caitlin (Heather White) planning a candlelit evening for Butterhead (Meegwun Fairbrother). Sadly, he remains “Blockheaded Butterhead” and refuses her romantic overtures, leaving Caitlin to explore alternative solutions to her dilemma. Team Thana (Maika Harper & Kyle Nobess) follow up on last week’s “What’s Your Number” and lay the blood quantum system beast aside. Thunder agrees that there are failings within the system, and despite Anna’s 48.2% Mohawk blood, he finds her to be an incredible woman that he wishes to be with. Bailey (Jennifer Pudavick) is still without her prince and so Leon (Alain Chanoine) proposes that she attempt speed dating. Caitlin admits to the girls that she and Butterhead are currently not having relations which leads to Anna shocking the girls with her three-month rule. Meanwhile, Zoe (Brittany Leborgne) sets up her profile on AltMontreal.com, a fetish dating site.

Now that we are all caught up, dating advice flies from every direction. Danny (Jess Nobess), Caitlin’s assistant at the hair-shop, supplies her with his explicit instructions to ensure a man remains satisfied, and Caitlin gives Anna her five rules for Dating Mohawk Style (nothing terribly different from Non Mohawk Style but hilariously lampooned by Maika Harper and Kyle Nobess). Meanwhile, Zoe comes to learn the rules of a proper submissive partner from one of her many interested potential Doms.

The subplot in this episode (and our weekly lesson on Mohawk culture from Tracey Deer) involves Anna and Thunder. Anna is still fighting to fit in (an interesting use of the punching bag as a reinforcement of her struggle). She is reminded time and again that she is different, and more precisely, an outsider. This time Deer employs the Thana storyline to demonstrate there are many ways to be Mohawk. The blood number is not the only means, nor is behaviour. Reverse racism exists. The phrase, “No one can possibly know what it is like to be a Mohawk unless you grew up here,” is the commonly held attitude that our Anna is fighting to overcome in her quest to belong.

Which brings us to the climax of the show (pun intended). Following Danny’s advice, and desperate for some action from Butterhead, Caitlin coordinates an evening involving both Butterhead and bestie Zoe. Zoe and Butterhead share some of their more intimate secrets as Caitlin keeps the drinks flowing. Her plans for a “healthy compromise” do however go awry, and the evening ends abruptly as her victims recoil in disgust (I simply adored Meegwun Fairbrother’s facial expressions in this scene!), leaving Caitlin alone once again.

Will Thunder and Anna be able to iron out their cultural differences? Will anyone discover Zoe’s unconventional persona? What is in store for Butterhead and Caitlin? Can Bailey ever find her prince? Let me know in the comments below!

Mohawk Girls airs Tuesdays at 9 and 9:30 p.m. ET on APTN.

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TV eh B Cs podcast 10 – Doug Slater’s Designs on Television

Doug Slater

Doug Slater has been Set Designer on Lost Girl, Orphan Black, and Flashpoint. He’s worked as a Set Designer or Art Director on The Listener and Nikita and on such films as Resident Evil: Retribution, Total Recall, The Thing, Devil, Death Race, Lars and the Real Girl, 16 Blocks, and Dawn of the Dead.

He’s currently working on the upcoming science-fiction series Dark Matter and talks about how The Brady Bunch led him to design the deck of a spaceship.

Listen or download below, or subscribe via iTunes or any other podcast catcher with the TV, eh? podcast feed.

Want to become a Patron of the Podcast? We’ve got a Patreon page where you can donate a small amount per podcast and get a sneak peek of each release.

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Review: Blackstone ends with uncertainty

And just like that, Blackstone‘s Season 4 finale was upon us. Unfortunately, we didn’t get a lot of closure.

Instead, “There Will Be Blood,” written by Damon Vignale and Ron E. Scott, had more of a mid-year finale feel rather than season-ender. An eight-episode run will do that, especially when compared to 13 or 22 instalment seasons. A part of me wishes Scott had tied everything up nicely and there was resolution on all sides, but of course life isn’t like that, so why should a TV show like Blackstone?

If there was some sort of happy ending, Gail would be it. She’s been on quite the journey, diving back into alcohol and pills and managing to lose custody of Wendy in the process. After seeing Dr. Crowshoe, she’d begun to turn things around, mending fences with Greg, Leona and the community by helping organize the Elder Feast and she was front and centre during the blockade against Shale. Sadly, it doesn’t look like Wendy will be returned to the ladies anytime soon: by episode’s end Darrien had scooped her up and escaped down the highway in a stolen car.

Speaking of Shale and the oil drilling, that was cleared up by episode’s end. Sort of. After stopping Shale from drilling on Blackstone land, the company had made an agreement with Daryl and Andy to test on their private land, meaning the Frasers could be in for a windfall of cash the band will never see, unless the old treaty is called into question. It’s not all good news for the Frasers, however. Alan suffered severe burns thanks to a Molotov cocktail thrown at the blockade and his status was unknown. I imagine Season 5–if one is ordered–will see this as a wake-up call to Alan to perhaps return to Blackstone and become a valued part of the community, perhaps even chief.

He certainly can’t do a worse job than poor Victor. Not able to live up to expectations with regard to keeping Blackstone’s financial affairs in order and waffling on the Shale deal, he’s ripe for being unseated.

Jumbo, meanwhile, had earned his way back into Daryl’s good graces. After returning the $55,000 he owed to his former boss, he was hired back on. I’m glad that storyline has been resolved, but I’m not sure where the money came from. Did Jumbo win it back while gambling, or did he kill Jack? That wasn’t clear, unless I missed something last week.

Like I said, I’m a little bummed so many loose ends were left untied by the end of Tuesday’s finale. The girls who ran the prostitution ring  in Edmonton were never caught, Victor’s budding romance never advanced past lingering looks and we never found out if the prison inmate who told Andy he was his son really was. I’m guessing at least one of those will be addressed–along with the other stories left unfinished–in Season 5.

What did you think of Season 4 of Blackstone? What questions do you still have after Tuesday’s episode?

Notes and quotes

  • Where can I get one of those sweet Blackstone jackets like the one Andy wears?
  • “You’re the only person in my fucked up existence who knew me. I mean really knew me.”–Andy at Deb’s grave
  • Every scene in Blackstone means something, including that shot of the oil drilling trucks blowing past a Blackstone member pushing a shopping cart full of empty cans for recycling
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Review: Lost Girl’s Dyson goes dark

Of all the possible reveals I’ve been anticipating and speculating about for Lost Girl’s final season, Dyson turning out to be a long-lost baby daddy was not one of them. Although given Dyson’s possible turn from the Light side, maybe this is setting up some final saving grace for him after killing The Hunter (Aaron Poole, Strange Empire) in cold blood.

After the first handful of episodes were easily making this season out to be all about Bo and her search for her father, “When God Opens a Window” seemed to be taking advantage of the extra episode order by giving us an intriguing look into Dyson’s psyche, post-Season 4’s devastating loss. And judging by his grand speech to the unpleasantly returned Vex and his bloodstained face as he nursed a beer and some memories, things have gotten—dare I say—Dark in Dyson-land.

While it seemed like a pointed reminder to Trick to get him back for sticking Vex with Dyson, in hindsight the wolf’s comments about whom he’d sworn fealty to now have more weight. Was Dyson aware he was struggling with being the good guy when he made that oath, or has doing it finally given him the freedom to act on certain urges? Either way, it’s now apparent Dyson’s allegiance to the unaligned Fae in his life is going to be having an effect on him—especially since Bo clearly knew where the blood was from and didn’t confront him about it. And maybe that’s a good thing, looking at the generations of fighting between The Hunter and the Shifters. Moving away from binaries, traditions and old grudges could make for a much healthier Fae world.

Though I’d feel much better if this ended up being Dyson’s only major transgression—mildly justifiable since The Hunter wasn’t all that good himself. As refreshing as it is to see Dyson take a break from his constant do-gooder ways, now might not be the best time for him to totally descend into evil even if it could make for some interesting relations between Dyson, Bo and her father. Of course, if Mark does end up hanging around, there’s always his own path to redemption by hopefully helping Dyson instead of simply living up to the retelling of Vex’s paternal relationship with Massimo. Forgiveness is all well and good from parents, but as we’ve already learned multiple times this episode between Vex and The Hunter, there are serious consequences to those kinds of actions, however much daddy may love you.

Then again, given Bo’s particular allure for Dyson’s son and the awkwardness it immediately brought on, maybe it’s best if Mark takes off for a bit. In between Tamsin edging in eagerly to help Bo heal, her no strings arrangement with Dyson and the lingering tension with Lauren, I’d say Bo’s got her hands awfully full even if she is a succubus. And after that whole stepmom debacle, I don’t now how much more keeping it in the family I’m interested in seeing.

Besides, as much as shipping has become a fun part of the show, at this point I’m far more excited to find out who our elevator lady is, what that lighting she apparently commands is, and especially what another triskelion is doing on a supernatural show (having been a go-to design for Teen Wolf since the beginning). While the symbol Dyson put together apparently fits a more Celtic look, I’m still anticipating the connection of Persephone and Artemis via the candle to mean we’re headed for a much more Grecian revelation. And if that’s the case, I think it rules out Walsh as Demeter, if her behaviour hasn’t already. Though we may have at least some part of the mystery in our hands now after Evony dropped off a very, very old evil at Lauren’s lab—wasn’t that what we were looking for last week?

Lost Girl airs Sundays at 9 p.m. ET on Showcase.

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