Season 2, guys. Season 2. “The Fair Folk” had a lot of plot threads to juggle, and most were a crucial turning point for our characters and their relationships. It served a great deal of development in these areas across the show, which is perhaps why it was so enjoyable. That and Shadowhunters finally brought to life an iconic chapter in The Mortal Instruments series.
Following last week’s tense racial standoff, newly-appointed Head of the Institute Alec sent Jace and Clary to observe the Seelie Queen for any evidence of greater involvement in the vendetta that landed seven Shadowhunters dead. At home, his focus was building stronger Shadow World relations by using his new position to invite New York’s Downworld representatives to the first of what he hopes are weekly cabinet meetings. Here for it.
Meanwhile, Luke found a way to get face time with Valentine through the help of a mysterious unknown caller, Maryse returned to check in on her children and mend fences, and Sebastian proved helpful, supportive, and entirely all too knowing in several ways, which naturally means he’s too good to be true. The reveal of an unknown person bound and gagged in his closet really drilled it home.
Save for Clary, our Shadowhunters this episode felt smarter. Alec and Sebastian worked well together as a leader and first guard, exchanging quick words and understanding like the educated Shadowhunters they’re supposed to be. It’s been a little bit of a peeve of mine over the course of this series, the way they all know what they’re dealing with, yet allow characters like Clary and Simon to somehow twist what needs to be done to their misguided mundane sense of duty. This episode, Jace knew everything about the Seelie Court and how to survive it, and he did his very best at keeping everyone in line. But it was destined to go pear-shaped as soon as Simon played the boyfriend card and insisted he accompany Clary, despite the fact that it was a sensitive political mission he had no right being a part of. Clary – who should know better by now – passed off Jace’s firm stance as him just being Jace, and this naivety and arrogance on both her and Simon’s parts ended up devastating all three of them. Good job, guys!
There’s something deeply unsettling about a little girl who smiles and delights in the pain of others. The Seelie Queen’s chosen child form had an innocence that belied her cruelty, her persuasive powers, and how adept she is at moving pawns into place without giving herself away. Lola Flanery was riveting to watch and impressive in the amount of dialogue and presence she had to convey. She’s also beautiful, and that gave the Queen an added touch of magic.
Doing what she needs to ensure the survival of her species, her manipulations this episode were in the hopes of recruiting Simon and his Daylighter status as an ally. Unfortunately, that meant Simon was forced to live his nightmare, the one thing he’s been worried about all along – that he won’t be enough to keep Clary for himself now that Jace is no longer an impossible option. Having Simon and Jace’s lives hanging in the balance was one thing, but Clary herself knew exactly what the Queen meant when the moment really landed – the confusion, the heavy looks, the way she’s been taking Simon’s hand and running every time Jace so much as blinks. Girl has been in denial and that kiss with Jace finally brought it home.
It’s one of the show’s more beautiful moments, brought together by multiple elements – music, acting, writing, directing – and complex in how utterly destroyed all three of them were by the end. Jace and Clary melted back together like a meant-to-be, and Simon was powerless to stop it, or deny it. Clary’s been the one thing he’s never doubted, and Alberto Rosende’s little-boy-hurt face when that blind belief failed was heartbreaking. Jace, on the other hand, has been denying his feelings for Clary of late, and Dominic Sherwood’s naked, haunted expression as Jace’s own denial finally gave way was an incredibly powerful bit of acting. Jace doesn’t want to hurt anyone, but he wants. Dom’s work this season has been nothing short of amazing.
I’m not a fan of love triangles, but Clary and Simon have made such a sincere go of it here, which is an adjustment to the canon I actually appreciate. And Jace is fascinating to watch when he’s hurting, loving Clary enough to want what’s best for her and respecting Simon enough to let it play out on its own. None of this, for me, has sucked to watch.
Alec and Magnus (John Medland/Freeform)
In trying to appear as impartial as possible, Alec requested that Magnus leave the boyfriend title at home (he finally used the word, guys) and attend their cabinet meeting as a neutral warlock representative. It’s the professional thing to do, but Magnus appeared a little rattled by the request. I’m not quite sure what’s fueling it – his current lack of self-confidence? Coming second to Alec’s job, again? His own need for comfort and support?
Whatever the reason, he let it go enough to support Alec with a good grace. Greeting each other with a handshake, the two of them looked like they were enjoying themselves at, dare I say it, roleplaying the formalities of business associates. It was very brief, but it gave a rare glimpse at how they may interact when we don’t see them – bantering, meeting each other measure for measure, flirting. I like seeing it. I wouldn’t mind more of this at all.
Robert’s infidelity seems to have been a blessing in disguise for Maryse. She’s clearer now on the things that really matter, and her demeanor is nicer, lighter, like she’s free of the poison her secrets have grown in her. She’s smiling and laughing, and in trying to make up for the pain she’s caused others, she’s admitting exactly where she’s gone wrong. Huge, huge steps. It would feel a tad too sudden if the last two episodes hadn’t moved the story forward by two weeks (Yes! Time shifts for the win!), but at least we can assume she’s spent a great deal of her time in Idris reflecting on the impasse her family has arrived at. Something clearly had to give.
Maryse has said and done a lot of really awful things – especially to her children – and this episode doesn’t solve it all. But connecting with Isabelle as the mother she has always wanted, and praising Alec’s strength in love (tell your son, Maryse, he needs to hear it himself) is a really strong start. Nicola Correia Damude is always fabulous as the Lightwood matriarch and watching her and Emeraude Toubia bridge that gap with an open honesty and love struck close to the chest. Isabelle’s tearful, “Momma,” said so much about what’s she’s been missing, and it absolutely broke me. I’m not quite sure when she was made aware of her father’s infidelity, but Isabelle and Maryse on the same side feels right, even if I can’t help the feeling that something is coming.
Luke and Maryse (John Medland/Freeform)
Isaiah Mustafa’s Luke had a major role in the events of the episode, and it was focussed on taking Valentine out of the game. I get his motivation – Valentine betrayed him, left him for dead, and killed the woman he loves. But being a player in someone else’s round meant the satisfaction of coming vengeance just wasn’t there. Alec’s harsh condemning of him as the man now in charge had me revolting, and his leniency on Luke was all the more embarrassing for it, even if the reasoning was sound. Luke isn’t some random Downworlder attacking in a blind rage. If anyone has the right to kill Valentine, he does. But the way he went about all of this just wasn’t the wise Luke we all know. He’s clearly at the end of his tether, and the mistakes he’s making may cost him – especially with his work partner, Ollie, sniffing around. What the hell is her deal?
Sebastian and Raphael grinding their teeth at each other was oddly delicious, because, in the end, it really wasn’t about Isabelle. It wasn’t even about Raphael being bad for Isabelle. Raphael recognizes Sebastian as a predator, and now that we know Sebastian is the type to harbor hostages in his closet, it made sense that Sebastian would use Isabelle’s recovery line as a means to manipulate Raphael and his suspicions into walking away. And it worked.
The connection he and Isabelle feel wasn’t founded on anything genuine, and his breaking it off with her was the right thing to do. I do love Isabelle for the way she hopes, but pursuing Raphael for love feels terribly naïve. After everything she’s been through, taking some time to be herself again (and Clary’s friend again!) is exactly what she needs. Their separation also gives Sebastian an advantage. The way we’re seeing how seamlessly he’s fitting in with everyone and how disturbing he is when their backs are turned…I am so into this, and Will Tudor is nailing these nuances like he was born for it.
This episode was packed with lots of little book pieces: Alec hosting meetings with Downworlders, everything involving the Seelie Court, Isabelle knowing about her father’s infidelity – getting to see a fire message, finally! I particularly enjoyed the way the episode book-ended with both Jace and Sebastian playing the same song on the piano, which presents a niggling mystery thread for those who don’t know what it means, and a giddiness for people like me who do.
Sebastian and Isabelle (John Medland/Freeform)
Writer Taylor Mallory’s debut episode demonstrates an excited willingness to pull from the source material, having sprinkled the script with pieces of relevant book canon. She has a great eye – or heart, as the case may be – for really digging into emotions, and a wonderful ability to give each character a tone and history that is not only befitting of who they are but provides a greater insight into the kind of relationships they have with others. I could start to sense a camaraderie Meliorn has had with Raphael over the years (which is a relationship I had no idea I wanted). I could feel the history between Luke and Maryse, almost to the point where I could see them as young friends. The interactions between Magnus and Alec gave me a brief idea of the fun they have when no one is there to witness it. I felt more connected and more familiar with each character than ever before, simply through their words. An amazing skill to have.
Chris Grismer was a seamless addition to the director’s chair, bringing the legendary, ethereal Seelie Court to life and balancing the episode’s multiple plot threads in a way that kept the story ticking without overwhelming. While I am still patiently awaiting the day Malec get the same kind of dedication to detail on-screen, Jace and Clary’s kiss in the Seelie Court was one of the most beautifully painful things I’ve seen in a while. The emotions, the music, the colors, even the soft sound of Jace’s breath, like kissing her made everything inside him calm again. I loved it. I will remember that scene for seasons to come. And I’m not even a goddamn Clace fan.
It was a solid, heartfelt chapter that had our characters acknowledging and learning important things about themselves, and it was a good push forward in the story’s overall development. It’s an episode that doesn’t lessen in quality upon rewatch (I’ve checked) and it will be one I will happily revisit again. And, thank God. Waiting two weeks for the next episode is going to be tough.
Shadowhunters airs Mondays 8/7c on Freeform and Tuesdays internationally on Netflix.
