It's All About Controlling The Situation...

Welcome back Warehouse 13 and Haven, two kooky paranormal procedurals. I wish you'd both been on tv when I was a teenager.

Warehouse 13 is so much fun. Basically, there's a giant warehouse in Denver (go figure), where 'special' artifacts are stored. Each item has somehow become infused with an aspect of the owner's personality. Gems include:

-Jimi Hendrix's Guitar... releases lightning-like bolts of energy when played.

-Sylvia Plath's Typewriter... sucks then life right out of you.

-Mahatma Ghandi's Sandals... the wearer becomes so zen, their heart stops beating.

Yes, bit of an historical slant in there. Young 'uns can feel like they're learning something, and the know-it-alls get a chance to nod smugly (that would be me).

Warehouse 13 isn't a subtle program. There's a lot of quirky humour to offset the highly dramatic moments. The editing is sharply paced (you can almost imagine someone yelling, "move it along, move it along" in the edit suite). Sound effects are blunt and bold, almost old-fashioned. The show has that back-in-the-day Saturday movie matinee feel. Each episode scoops you up and takes you along for the ride that's always a rollicking adventure: a little like a fairground rollercoaster.

Our obligatory mismatched procedural pair are played by Joanne Kelly and Eddie McClintock. Both actors have been around the traps for years, bit part after bit part. (Kelly was brilliant as arrogant vampire Bianca in The Dresden Files, while McClintock's been around for so long, I remember him portraying Nina Van Horn's punk boyfriend in an episode of Just Shoot Me!). Suffice to say, these two consummate professionals play nicely off each other.

Supporting characters include Artie, who runs the warehouse and Leena, who runs the local bed and breakfast (she also reads people's auras and occasionally helps out at base camp). Then there's Claudia, the sassy teen techie genius who brings a youthful zest to the series.

A taste for those who've never caught the fun:

This season adds another agent to the Warehouse mix. Steve Jinks, aka Jinksy, is played by Aaron Ashmore. Jinksy is a gay Buddhist who can tell when people are lying just by looking at them. On his first assignment, the character admits to already missing his old enforcement job, ie, mainly the chance to shoot at things.

In a word, the new guy looks AWESOME, but I may be biased because of my inherent Ashmore love. Firstly, I'm a sucker for identical twins. (His brother is also an actor, Shawn Ashmore, and starred in the X-Men movies). Secondly, Aaron was great in both Smallville & Veronica Mars. He always gives the impression of quirky humour onscreen, a fitting energy for the Warehouse crew.

Haven is an odd little creature. I think of the show as being 'older' in tone than Warehouse 13, possibly because the material is a lot less lighthearted. The humour is subtle, more wry. Based on a Stephen King story, it chronicles the adventures of a town called Haven. Turns out some of the citizens aren't as normal as they might seem...

The program is shot in Nova Scotia, one of my favourite places. The location really adds to the visual impact, because it films quite coldly? The stormy skies, rough seas and grey days all help to create an uneasy atmosphere.

The story? FBI agent Audrey Parker (Emily Rose) comes to town on a case, and ends up staying. She joins the local PD, working the 'special' cases with partner Nathan Wuornos (Lucas Bryant). A lot of strange things happen in Haven, mostly because of the Troubled, a name given to citizens with particularly uncomfortable paranormal gifts.

The procedural partnership at the core of the series is definitely the strongest factor in Haven's favour. Rose and Bryant have so much chemistry onscreen. Their interaction alone is enough to make the show worth watching- not only because of the quality of their performances, but also because of the nuanced writing. These two characters are incredibly well-rounded.

Like Warehouse 13, you'll need to suspend some disbelief. For example, the first episode of season two sees Audrey and Nathan driving around with pieces of the (former) police chief in an esky. Before you think, YUCK, it was really a pile of rocks under the lid. He kind of broke down in an original way...

I'm not a fan of Eric Balfour, who plays Duke Crocker, the local no-gooder forced now and again (despite his natural instincts) to be a bit of a do-gooder. I remember when Balfour played Jessie, the first friend fatality in the original season of Buffy, way back in the day. He's passable here, but nothing to write home about. Haven's strength is definitely the leads.

The writing can be erratic, and some of the support cast is a bit subpar, but thematically, Haven is a lot more harrowing than Warehouse 13. There's murder, death, madness and regret constantly on the hop in Haven, which makes the episodes intense enough to overcome any clumsy production moments.

And even with its flaws, Haven is television storytelling worth watching. The series arcs, especially, catch your attention. As an audience member, you want to know why everyone's Troubled, who the hell the cult with the tatts are, and whether or not Audrey is actually her own mother (that's a quite clever ongoing series storyline, I must say).

The truth is, I'm not a fan of straightforward procedurals, but when the law-abiding stuff gets mixed up with the supernatural/paranormal, suddenly we're talking the television version of a successful souffle. What a recipe! All the law enforcement jargon manages to ground the edgier elements, stopping the material from floating off into the realm of the truly unbelievable (and therefore unrelatable).

Both shows are also set to kick butt on the guest star scale. This season Warehouse 13 gets its Trekkie on, with appearances from Kate Mulgrew, Jeri Ryan and Rene Auberjonois (That's Captain Janeway and Seven of Nine from Voyager, and Odo from Deep Space Nine, for the uninitiated). On Haven, expect to see WWE star Edge pop into town, as well as Jason Priestley, who will both act and direct.

Flashback Blog: Why The Whedonverse Rocked So Hard

There are two types of people in this world—ones who love Buffy The Vampire Slayer, and ones who don't (poor souls).

The web is awash with sites devoted to the quirky teen program that became a pop culture phenomenon. From fan pages misspelling a number of characters' names, to the complex musings of Buffy'd up academia, little has been left unsaid.

To be honest my inner teen would love to blog a slightly hysterical rant, something along the lines of "OMFGangelishotbuffykicksassxandercracksmeupozwasmyfavourite" or  something like "ilovegileswillowissocutecordeliamakesmeLMAO". Likewise, my inner philosopher wouldn't mind putting her thinking cap on, maybe apply the infamous Tipping Point approach to the Buffy cultural experience.

Instead, I'll simply comment on why audiences were enthralled, or more accurately, why this audience member, who hates horror and scary stuff, loved the show so much.

Maybe I've left my run a little late, but it can be argued the show still impacts today's scripted television output. A number of Buffy writers have since scribed for successful programs (Mad Men, Torchwood, Game of Thrones, Gilmore Girls, Lost, 24), while other tv writer's cite Buffy as a strong creative influence. Buffy spoofs and tributes also continue to pop up...

Besides, like a fine wine, Buffy gets better with age.

BEST BITS

*The inherent humour, often peppered with on-the-money cultural references. Everyone was so witty! The cultivated flippancy offered some release from the seriousness of the themes, but was slickly abandoned when the story crossed over to more dark and complex material.

(Not many scripts are consistently, cleverly funny, yet somehow able to transition smoothly to serious moments without losing the audience. These transitions were always beautifully handled by the Buffy writers, and were in no way jarring).

*Like Clarke Kent, Buffy soon learnt secret identity does not equal super cool. Not to mention, the pay's less than minimum wage...

*Interesting cinematography that often tried for a more filmic approach (ie use of long shots) despite budget restrictions.

*The character's personal growth. Some shows drag their character through many adventures that never seem to realistically reshape their psyches (here's looking at you, Gossip Girl). In the Buffyverse, everyone changed, partly as a result of living on the Hellmouth, partly because they were growing up. Willow went from nerd to black magic addict, Riley went from soldier to borderline fangbanger, while Buffy went from living, to dead, to living, to dead. Oh, and to living again.

*The way the show took modern teenage scenarios, and added a supernatural twist to the 'lesson' portion of the story. For example, underage Buffy drinks spiked alcohol at a frat party, and wakes up chained to a wall, about to be sacrificed to a demon. Talk about lesson learnt. In another episode, Willow meets a guy on the web, only to discover her new boyfriend is a demon loose inside the internet. (There's a worst case online dating scenario for you).

*Buffy's bob cut that nobody liked except me. (Gellar tried to make her hair less blonde as the series went on).

TIMES I CRIED

Yes I am that much of a girl. I'm not talking category five, red alert kind of emotional outpourings, like heart-wrenching sobs... maybe more mini-tears?

-Buffy killing Angel

-Buffy breaking up with Angel

-Oz leaving

-Tara dying (oh yeh. Um, spoiler?)

-Jenny dying

-Joyce dying

There's no denying Sunnydale had a high mortality rate. Basically, love and loss were the cornerstone of Buffy-inspired emotional empathy.

BEST BADDIES

Faith, Spike and Angel (on a soulless day). When they were bad, they were EVIL... yet somehow, still riveting viewing. You really cared about the three regular baddies on Buffy. They were multi-faceted, made a lot of morally bankrupt choices, but deep down, all were in some way redeemable.

BEST EPISODES BY FAR

I'm keeping this for a whole other blog (I can't help myself).

BEST QUOTES

Come on, there are entire BOOKS dedicated to this!

THE ROMANCE

Why don't we start with a Baker's Dozen? Angel and Buffy. Angel and Darla. Xander and Arnya. Willow and Oz. Xander and Cordelia. Buffy and Riley. Willow and Tara. Spike and Druscilla. Harmony and Spike. Buffy and Spike. Giles and Ms Calendar. Giles and Olivia. Spike and Anya.... & the list goes on.

For some reason, romance in the Buffyverse (generally) kicked ass. I cannot put it more succinctly. From healthy relationships, to very, very unhealthy partnerships (who can forget Xander and the bug lady?), Whedon & his crew really knew how to write the many different facets of love.

WORST BITS

*I bought the dvds as they came out. Single eps, then group eps, then 3 disc half-season sets, etc... unfortunately, now I want the whole Buffy TVS In One Pretty Box collection, instead of the bits and pieces I've acquired. Like a miscellaneous tea set of vintage crockery, I try to think of them as charming, but really, it's ultimately unsatisfying.

*The last season. It doesn't exist, do you hear me? Bad fan fiction that leaked over from an alternate reality. In my world, there is no Season 7 of Buffy The Vampire Slayer. THERE IS NO SEASON SEVEN.

*There is also no excuse for the massacre that was the introduction of Dawn. Apparently, the character was meant to be a lot younger than the actress they finally cast: perhaps this is why she came off as ridiculously immature and almost unwatchable. Buffy being a single child was part of the show's premise, an aspect that shaped the character. Trying to shove a little sister in there just didn't work.

*Buffy's mum Joyce, in early seasons, is little more than a one-dimensional mum puppet, more startlingly Stepford than the well-programmed robot wives from that movie. In fact, she accidentally ends up dating a robot in one episode. Personally, I think he was probably surprised to learn his true love wasn't also mechanical.

*Angel's straggly hair in the flashbacks.

IN SUMMARY

If you love Buffy, watch it again. If not, well... watch it again!

Also, the spin-off series Angel isn't included in this blog, 'cause that's another nostalgic topic for another rainy day.

For anyone wondering about the image at the beginning of this blog, I had a Buffy theme party once and hung the walls with images and articles about BTVS pulled from magazines.... (yes, now might be a good time to delete me from your facebook friend's list). I wore a black wig, floor length old-fashioned dress and carried a porcelain doll. (If you don't recognise that as Druscilla, I'm surprised you even read this far!).

Druscilla: "I'm naming all the stars."

Spike: "You can't see the stars, love. That's the ceiling. Also, it's day."

Druscilla: "I can see them. But I've named them all the same name... and there's terrible confusion."

Buffy The Vampire Slayer, Season 2, Episode 14.

Finally, I thought I should finish up with some words from the Buffy master himself, creator Joss Whedon:

The Sky is Falling

First Stargate Universe, now Falling Skies. Apparently, when it comes to science fiction, (television) writers are phoning it in these days. Way to give the genre a bad name.

To be fair, kudos for attempting to make a post-apocalyptic program. Hats off for thinking outside the box, sidestepping another sixties show or rehashed procedural. However, there's a reason scifi is described as the thinking man's genre. Mediocre scriptwriting isn't going to wash.

Unfortunately, Falling Skies airs on the same network as The Walking Dead. I've blogged before about the horror of that show (and by horror, I mean the atrocious scripts, not the zombies). Falling Skies carries on the dubious nouveau tradition of join the dots apocalyptic storytelling.

Here is the trailer for the show. I'll admit, I was worried after I caught a glimpse. It definitely lacks the kind of zest I was expecting. Miracle of miracles, somehow I managed to hold onto a shred of my initial optimism...

...till I actually watched the pilot.

To summarise extensively, aliens have invaded Earth. Falling Skies starts six months after Invasion Day and follows a ragtag bunch of rebels. Our protagonist is a history professor turned soldier. One of his kids has been captured by the aliens and 'harnessed', which seems to involve mind control via a big slug-looking thing attached to your spine and brain.

Okay, there's a few, teeny-tiny issues here. Things like plot, narrative, characters, and moments that are just plain nonsensical. Boy, have we got some logistical problems...

Here's a dozen factors that stood out in the pilot as, hm, questionable* at best:

1. For some reason, these technologically advanced aliens can't seem to 'see', let alone find, roaming packs of humans numbering in the hundreds. Apparently they've have never heard of heat seeking goggles. But later in the episode, a baddy sets off a handful of flares, which does draw them in. UH HUH.

2. We all know trolleys are unreliable, taking ten minutes to manoeuvre down a supermarket aisle. Why exactly you'd attempt to roll a full trolley down the middle of a road covered in car wrecks and chaos at night while being chased by an alien remains one of the pilot episode's great mysteries...

3. There are civilians and soldiers (although most of the soldiers are more just anyone who picked up a gun, from what I can tell). Some soldiers are disgruntled at having to drag the civilians around. Now the million dollar question- why exactly are all the able-bodied men and women labelled "civilians" not being trained to fight, even on a rotating roster??

The answer is, apparently there's no room for grey. The scriptwriter's cling to this easy black and white conflict, created courtesy of a rigid, caste-like system comprised of Soldiers and Civilians. (Oh, there is a thirteen year old boy who totes a gun on patrol, while other grown men stay back at base camp dishing out soup and fixing clothes). In summary, MAKES NO SENSE AT ALL.

4. The resistance is constantly on the look out for ammo, yet they waste bullets en bulke. When a renegade fighter tells them to shoot out the alien's legs first before shooting them in the head, I couldn't work out why they didn't carry swords, and just chop off the heads, instead of piling round after round into a near corpse? Extravagant, much??

5. On that note- why do none of our brave soldiers seem to carry knives or machetes en masse? I know, a machine gun is better, but since the soldiers are often shot or incapacitated before capture, a few massive knives strapped to the body aint gonna hurt!

6 Everyone's been on strict rations for a few months at least (as in, water-y oatmeal for brekkie and soup-y slush for dinner) so the cast should be majorly LEAN. Yet somehow, the civilians include a LOT of healthy, portly types who look like they've been sneaking off to a secret Krispy Kreme location.

7. At the beginning of the pilot, the commanding officer splits everyone up, making it clear all scientists will travel with him (ie, offscreen). This is a BIG disappointment. I wanted to see the research into the alien technology, how the scientists were forced to work outside of their disciplines, the possibilities of biological warfare, etc... instead, a lot of screen time is dedicated to a family dynamic that's not very diverting to watch.

8. Our protagonist is a history professor who spends the entire episode quoting past moments in history when the underdog rose up and won. This quirk remains charming for all of two minutes. (If he keeps up with these rousing stories, he's bound to get taken out by a round of friendly-fire).

9. Everyone is dull. Seriously. The main characters are lazy, sloppy cardboard cut-out stereotypes you've seen a dozen times before. By starting the story six months in, there should be some major post traumatic stress going on. The effects of a unique longterm scenario like this would provide psychological fodder for decades to come. Not with this crew, though. Their reactions are dumbed down and over-simplified.

10. Decimated cityscapes are always represented on tv by piles of cement rubble and a scatter of small, eternally-burning fires. It's like there's a budget backdrop shop offering a special somewhere, it's all so neat. Where are the corpses and rats? Plus, it's been six months. Would these little fires still be burning so tidily??

11. I know the aliens are a less-than-subtle metaphor, and it's only the first episode, but honestly, whatever happened to the old adage, Know Your Enemy?? Nobody seems really interested in understanding the aliens, their goals and psychology (if only to defeat them). They're two-dimensional baddies, which also makes the basic us vs them mentality difficult (and boring) to watch.

12. It's good to know that even while the good old US of A is falling to an alien invasion, women will continue to wear push-up bras, skintight jeans and long hair hanging loose. Sure, they've probably got nits by now, and you might think all that hair on your face would be annoying in combat, but you'd be wrong. God Bless America.

*Just to note: I'm all for suspension of disbelief, but the actual basis of a program HAS to be solid. I can shrug off a few dodgy script points while watching a series, but the IDEA of it, needs to feel... relatively plausible. Instead, Falling Skies premise tilts toward farcical, more's the pity.

If you do want to catch some quality humans vs aliens conflict, go old school, and chase up a few episodes of the nineties classic, Space: Above and Beyond.

That, my friends, is how it's done.

A Taste of the Strange

Lately I've sampled a slice or two of television shows focusing on weird and wonderful characters; unexpectedly quirky flavour mixes, the entertainment equivalent of pizza dipped in fudge sauce. If you love a tv menu where all the programs are topped with lashings of loopiness, these specials might appeal:

Misfits (British).

An odd little British gem about a group of youths sentenced to community service. After a bizarre storm, our less than stellar young citizens discover they all now possess a different 'gift'. In contrast to the slick production values favoured by Americans, this program's take on the supernatural scene is gritty, violent and believably awkward. The script is irreverent and often hilariously funny, making the adventures of this motley crew irresistible viewing.

Wilfred

The American version of this show is only now set to launch, so this is as much prediction as recommendation- but I really enjoyed the original Australian series, and I love Elijah Wood. Wilfred US should be great, looped-out viewing. Basically, the main character sees his neighbour's pet as a man dressed in an enormous dog suit. Yep, where everyone else sees man's best friend, he sees a bloke in a bad costume, making for a truly surreal (viewing) experience!

Ugly Americans (animated).

This cartoon takes the idea of illegal aliens to a whole new level. In an alternate dimension version of New York, our protagonist Mark works at the Department of Integration, helping strange creatures adapt to life in the Big Apple. The problems are endless, and endlessly BIZARRE. Also, Mark's on/off affair with his boss Callie (who's a TAD demonic) brings new meaning to the term dysfunctional. Not for those with a weak stomach, you'll either love or hate the oddball series.

Bored To Death

If you've never caught an episode, make time to indulge in this quietly cult series. A bored guy pretends to be a Private Investigator, thereby livening up his life a little. Frankly, who hasn't been tempted to try the life of a PI once in a while? (Oh, just me, then?). It's like he's starring in his own procedural. Sometimes bordering on almost too hip, it's still enormously fun. The main character is a writer, which allows for a certain level of believable eloquence.

The Immediate Future (of television, that is!)

What to watch, what to watch? It's fun when American networks try on new shows. Of course, after an episode or two most of them are rejected, but at least we get to enjoy the whirlwind for a few weeks.

Here's a dozen standout newbies, along with links to some dazzling trailer action. Vetting a show based on a minute thirty or so of footage is bit like judging a book by it's cover- hardly an informed decision, but hey, you work with what you've got...

(I didn't write much about the previews, because I know I'll blog about the best of these at a later date!).

1. Awake

Brilliant premise, brilliant trailer. Just the idea of someone living like this gives me chills. Must-watch show of the season.

2. Terra Nova

The latest scifi series from Steven Spielberg and Brannon Braga. Fresh scifi blood's pretty scarce on the (tv)ground at present, so a lot of genre hopes are pinned on this one.

3. Scandal

I like this kick-ass chick. She's a crisis management lawyer with presidential contacts. The writing quality seems relatively promising, overall.

4. New Girl

Sitcoms in the vein of Friends are de rigeur. This light, fun take stars Indie Golden Girl Zooey Deschanel. Enough said.

5. Alcatraz

If you like Lost, you might like JJ Abram's latest effort- with Sam Neill! I think there's enough requisite spookiness for me to give it a chance.

6. Pan Am

Here's a flashback to old school stewardess glamour. I'm not really into this sixties-based television trend, but Christina Ricci is fantastic.

7. The Finder

A spin-off of Bones, so the writing's bound to be good. (Also glad the guy from Happy Town got a new show).

8. The Playboy Club

Lovers of Mad Men are bound to give this one a chance. Apparently, the sixties are SO in right now. I'm still trying to wrap my head around the allure?

9. Apartment 23

I really like Krysten Ritter, and am glad she got her own show. She just manages to bring so much sass to her small screen performances.

10. The Ringer

Not quite convinced Sarah Michelle Gellar has chosen the right vehicle for her tv return (the premise sounds dubious), but I will watch this out of Buffy-based respect.

11. Grimm

Obviously inspired by Supernatural, but it is from the executive producers of Buffy and Angel, so I'm in. Just hope it gets the chance to run a whole season.

12. Unforgettable

If I have to include a procedural, it would be Unforgettable. Basically, the protagonist is like a female Sherlock Holmes.

Happy Viewing!

xoxo

Supes Up

A succubus, a pickpocket and a werewolf cop walk into a (fey) bar. Not a joke, but a scene from Lost Girl, the Canadian television series recently picked up by America's Syfy network.

I have a soft spot for Canadian productions. I don't know what it is about programs from the other America, but they seem to stick in my mind. (I would make some jokes at Canada's expense here, but all the best ones have already been laid out by the writers of How I Met Your Mother).

More importantly- I love me some supes. Lost Girl taps heavily into the supernatural zeitgeist. (Hey, if there's room for the paranormal on bookstore shelves, there's room for the paranormal on television screens. Case closed).

Some of us watch supernatural television the way other people watch procedural dramas:

Average Joe's Weekly Viewing

-NCIS

-Law and Order

-Cold Case

Supe Fan's Weekly Viewing

-Supernatural

-True Blood

-The Vampire Diaries

In summary- Joe relaxes with the cops, while I kick back with the fey. Cest La Vie.

Lost Girl's costuming and sets make me think gritty graphic novel, though the content is a little tamer. Despite predictable lesbian overtures and an early threesome (why does paranormal tv equal risque romps these days?), it's clear our heroine Bo's heart belongs to wolf boy Dyson from the get go.

There is, of course, lots of sass. Attitude is de rigeur in shows where the main character's an outsider giving the finger to the Man.

Our loveable succubus Bo (get it?) does just that, by refusing to join a clan. Unlike Aaron Spelling's first paranormal soapie back in the day (ah, Kindred: The Embraced), this time the clan situation's easier to follow. Let me break it down for you:

Light.

Dark.

That's about it.

The debut episode did hammer home the importance of a quality support cast that can compensate for a relatively mediocre lead. It's not that Anna Silk is a bad actress- I just think she's miscast.

The story gives the impression the character Bo is around her mid-twenties. The actress, however, is easily in her late thirties. There's also constant references in the script to Bo's beauty. In all honesty, Silk isn't notably beautiful. She's thin and relatively pretty, but her features aren't that distinctive. She also doesn't have enough onscreen charisma to compensate for the lack.

Luckily, the other two thirds of the lead crew are impressive talents, thereby saving the day.

I love Ksenia Solo (which is why I used a photo of her for this blog, instead of the lead). Solo plays Kenzi, a tough talking teen thief who becomes Bo's best bud. Not only can she act, she has some of the palest blue eyes in the business.

Likewise, actor Chris Holden-Reid, who's face might look familiar from Tudors, also brings it to the table. Granted he's the only cop I know who wears a steampunk kind of leather vest to work, but boy, can he carry it off. Holden-Reid puts in such an understated, yet impacting performance, you can't take your eyes off him.

In the series debut, Bo fights a guy who makes the cast of Gladiator look small. I have to admit I was shocked when our heroine calmly cut the big baddy's throat. I was expecting a whole "I won't kill" rigmarole. No one mentions it again, and Bo seems unbothered by it, which definitely hints at a dark side behind the pretty face.

Just like the now-defunct supe show The Dresden Files, we've got a bar where the fey hang out and a bartender that seems to know more than he's saying. Most importantly, there's also a Private Investigations business to propel our protagonist into action.

You see, outsider heroes always have a heart of gold, but that heart of gold is wrapped in a heavy coating of reluctance, sprinkled with an unwillingness to get involved. Mandatory psyche requirements that inspire audience love, but cause headaches for writers. Who wants to watch a reluctant hero sit around at home?

How to overcome this quandary? Make the main character a PI. Appparently it's the perfect job for cash-challenged tv characters who have problems with authority, but can't resist helping the underdog (for a fee).

Honestly, PI's are the new superheroes. They're also less of a headache for the wardrobe department, since it excuses the need for crazy costumes, while allowing for a lot of black leather.

Overall, Lost Girl is great fun. Sure, the script isn't groundbreaking, but the stories are still well-constructed and the show is definitely enjoyable.

Like Supernatural, where the strength of the story lays in the Winchester's sibling relationship, the growing friendship between Bo and Kenzi looks set to be Lost Girl's backbone.

I'll definitely stay tuned for season two, which is currently filming.