The cinematography of this episode was a winner. The haunting shots of the church; the trippy flashback vertigo; the death of Juan Carlo. It was all done spectacularly.
Have I mentioned how good Melanie Scrofano is?; As glad as I am Bobo's back (which is a pro!) I hope Willa either rots or never throws baby-teddies across thin ice again.
The raw argument between Nicole and Waverly. It was very organically done by Barrell and Provost-Chalkley—yet again. Chemistry like theirs just keeps evolving.
There really wasn't much. The curiosity surrounding why Wynonna didn't want to know anything about the twins was a little disconcerting, if understandable.
The Waverly/DNA storyline needs speeding up—full details on that document, please! It can tell us so much than just birthright—especially species-wise...
‘Wynonna Earp’ goes right back to the beginning as the mysterious Juan Carlo suggests Wynonna gets her facts over her assumptions, and even changes the future.
We knew there was something off about Juan Carlo—but we didn’t know what. Theories on our roundtable have been interesting, but it’s this episode he’s revealed as the helper from afar. He helps Wynonna (Melanie Scrofano) delve into the past of Purgatory where we see new sides to Constance Clootie, Bobo/Robert (Michael Eklund) and Doc (Tim Rozon).
Meanwhile, Eklund and Tamara Duarte may duel to steal the show. Upon Doc’s suggestion, Rosita tries her best to join the other Earp girls by throwing a baby shower. It basically calls for some WayHaught-style pool game, a ‘Baby Bash’ and shots (Nicole, be careful).
But nothing is as simple as it sounds. Especially not in Purgatory. The Women in Black devour Juan Carlo; ‘Robert’ is really not as evil as he was. And Wynonna discovers, though history would agree, that Wyatt was kind of an ass.
Back in real-time, Nicole (Katherine Barrell) breaks Waverly’s (Dominique Provost-Chalkley) heart when she finds out she’s kept the DNA files from Waverly. It’s all very Delphine from ‘Orphan Black’. We know Nicole did it for Waverly’s good. But what right does Nicole have to decide for her?
As Bobo rises(!), Wynonna and Dolls finally reconcile their romance, and Waverly recalls everything about Bobo…we barely thought about the third ring/seal. Holy smokes. Bring on the next one!
Melanie Scrofano is an absolute trooper. To do what she does in ‘Wynonna Earp’ is magical—and her new-found understanding of the past was a brilliant transition of the sets, etiquette, costumes and characterisation.
The acting authorities must accomplish what Scrofano has done this season. Holding up a highly emotive story, firing off one-liners with impeccable comedic-timing, and unmasking Wynonna’s vulnerabilities in such an organic way. Scrofano’s Wynonna grows and twists and it’s beautiful. And, because of a little teaser clip we saw, she also does a back-flip whilst pregnant.
Now c’mon and say that’s not amazing.
But what Scrofano excels at on-screen is this constant, haunted presence. As we’re transported to the past and Wynonna sees the truths of Wyatt, Doc, Robert/Bobo, Constance and Juan Carlo, we are just as mystified as her. Without a doubt, Scrofano is our eyes as we reveal bit-by-bit the mystery behind Purgatory.
However, when we mean ‘haunted’ we really do. We feel as if Scrofano is carrying the weight and pressure of the world on her unappreciated shoulders. Nobody in Purgatory really sees Wynonna as the hero we all see her as; we must remember this. Yet she fights. And she fights. Because she is ‘good, and strong, and everything you’re not’—she is an Earp.
Between this and the last episode, Wynonna and Waverly, we ask: who are other people to decide for the person in question? Here we have a heartbreaking example of Nicole’s pure intentions backfiring.
Ever since last season, we’ve been wondering about Waverly’s past. Firstly, we’re glad Wynonna didn’t let Ward and Mama Earp call her “Welcome” (seriously). Secondly, if your heart didn’t break for Nicole and Waverly this episode (even if you’re not a shipper) you are cold. Constance-cold.
From the moment Waverly tells Nicole she sent off for DNA samples, you could tell Nicole was hiding something. It’s a tip of the hat to Barrell, who emotes so much through very little. Also, a notorious trait of Nicole’s is surely that she cannot lie to Waverly. So during Rosita’s ‘Baby-Bash Shower’, when Waverly discovers that Nicole’s been hiding the file, her explanation is:
Nicole: Because I love you.
And that’s just it, isn’t it?
One of the best scenes was Nedley (Greg Lawson) telling Nicole she could be Sheriff. But if she’s opening confidential files (which Nedley didn’t do this episode) can she? Or will her feelings for Waverly always get in the way? Nicole is honourable—definitely. But as Waverly reigns over the story arcs, is Nicole’s growing too? Is this love versus work trait always going to wrestle with Nicole’s heart?
Katherine Barrell and Dominique Provost-Chalkley, as ever, acted the heck out of those scenes. Full-blown credit to Emily Andras too, for writing such a raw push-pull of an incredibly loving, pure relationship. But like anything, out comes the ugliness. Out comes the lies; the deception; the pure intentions backfiring. Nicole tried to do this for the greater good. And she broke everyone’s hearts.
This got so depressing for a review, man.
Is the identity of Juan Carlo finally revealed, and knowing what the third seal is, is it a race against the Women in Black to find it first?
Every single Earper knew this would come to bite us back in the ass. And it has. Waverly’s angst over this—be it the truth or not—has finally come out. With Provost-Chalkley’s tear-inducing performance, we’re partially in the mood to give Emily Andras and her writing team a good shake and ask them through sobs why they’re putting the Earp girls through so much emotional turmoil.
Ever since the beginning, Wynonna and Waverly were tough. Independently, and together. They make a gorgeous team-up and the dazzling chemistry between Scrofano and Provost-Chalkley was always a winning factor. The way the sisterly relationship was written had always been the strongest point of the show by far.
But after a season where motherhood is forced upon Wynonna; as Wynonna balances Nicole as a friend and as someone she feels necessary to watch carefully for her sister; whilst Waverly is possessed for the first half of the season by a demon… all those repressed emotions can surely rear its ugly head. By the end of season one, the Earp sisters had lost Willa and just about nailed their relationship. However, this year outside forces threaten to tear them apart. While Wynonna stresses that the baby is an Earp, and that’s what matters, it’s perhaps time Waverly feels she has to admit what Bobo told her.
However, Wynonna’s single-mother status literally came about because despite Jonas being the father, Wynonna refused to welcome him into the family. He had no Earper qualities about him. Blood does not run thicker than water, as exhibited by Willa and now Jonas. So really, despite the inner turmoil of this plot, do we honestly think Wynonna will think of Waverly as anything but her little sister?
We firmly don’t think so.
FINAL VERDICT: Holy SMASHER, ‘Wynonna Earp’. Season two has elevated itself—and whilst it’s impossible to be perfect, it’s also impossible to be this much fun.
What’s been so incredible about ‘Wynonna Earp’ is that along with its expanding fandom, the show’s quality has risen—exponentially. The scripts are sharper. Direction is snippy. Chemistry has developed deeper (even though it was great anyway); storylines have adapted and shifted. Andras has the clever intuition to adapt her early season two plans, whatever they may have been, to accommodate for the pregnancy storyline. And what a storyline.
It completely defeats the ideas that pregnant ladies can’t do their jobs. In fact, it’s so feminist that we’re going to explode. The layers with which Scrofano plays Wynonna in her state is award-worthy. We’ve always known Scrofano’s been the sturdy backbone of the show. But her bravery and sincerity and dedication is an example to everyone.
The idea of delving into Purgatory before and seeing all our villains—before—is a clever way of using a major flashback. Props to Andras and especially Paolo Barzman’s direction. The flashbacks easily could’ve been cheesy but it wasn’t. Instead, it was haunting and trippy. And just a little to the left of perfect.
That’s why this show kicks balls.
QUESTIONS AND COMMENTS:
- I am this close to exploding in happy tears at Bobo’s return—especially having seen his past.
- Is Doc going to the salt flats? Did I hear that right?!
- She’s having twins!
- The gynaecologist wins this episode and the last for being the most deadass hilarious woman. Ever.
- Dominique Provost-Chalkley gets all my love. This season hasn’t been an overarching arc—it’s been blocks of ups and downs and quests. And at the head of them, supporting Scrofano, Provost-Chalkley upped her game by about two hundred percent.
- The same goes to Katherine Barrell and Tim Rozon, too. Barrell in particular for having a storyline about herself, about an ambitious lady at work, balancing her love life. She is not just a romantic interest. She is her own woman..