Lost Girl Case Study

1199 Words 5 Pages
Lost Girl places overt sexuality into public discourse to problematize casual sex as dangerous, deadly, and illicit. In addition, the desire to term Bo a “succubus”, which is as a subspecies of Fae, indicates the urgency society experiences to classify and analyze sexual behaviors, especially with the advent of medicine and psychiatry’s invested interest in sex acts. On page 43, Foucault writes, “Nothing that went into his total composition was unaffected by his sexuality…It was consubstantial with him, less of a habitual sin than as a singular nature…The sodomite had been a temporary aberration; the homosexual was now a species.” Bo is singularly defined by her title as a succubus. What once may have been simply problematic or “sinful” behavior …show more content…
This is an element of the show that is demonstrated when Bo is studied at great lengths by the Fae’s in-house doctor, who, not entirely by coincidence, eventually become Bo’s female love interest. The purpose of the study is to try and help Bo achieve a level of functioning where she can engage in sexual intercourse with a person without killing them. The Fae want to temper her sexuality to make it safe for the general population. There is no argument that sexual intercourse resulting in death is to be avoided at all costs. However, if one considered Bo’s ability to kill her lovers as hyperbolic and simply representative of society’s need to warn against the overall dangers of overt sexuality, the act of trying to control Bo’s sexuality is proving her sexual nature to be inherently abnormal and undesirable.
Another aspect of Lost Girl that speaks directly to Foucauldian theory is Western reliance on a culture of confession. The introduction to Lost Girl starts with a montage of scenes from the show with a narrative voice-over of Bo
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Gay marriage is now legal, homosexual couples are featured on television as parental figures, as seen on the television series, The Fosters (2013), and the public is seemingly more willing to accept same-sex couples. This aspect of modern-life is highlighted in Lost Girl by never terming Bo as “bisexual” or drawing the slightest amount of attention to her tendency to have relationships with both men and women. She is simply “Bo,” sexual-orientation aside. In an interview with GayCalgary Magazine, Rachel Skarsten explains what she feels distinguished Lost Girl in its approach to romantic

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