Michelle Lovretta (a.k.a. M.A. Lovretta) is the creator of Lost Girl. She was commissioned to write the Pilot by Jay Firestone and Prodigy Pictures Inc. The original pilot that sold the series to Showcase is Vexed and was used as Episode 1.08 of Season 1.
Lovretta was co-Showrunner and co-Executive Producer together with Peter Mohan during the first season of Lost Girl.
Along with the original Pilot, she also wrote It's a Fae, Fae, Fae, Fae World (1.01), Oh Kappa, My Kappa (1.03), The Mourning After (1.10), and Blood Lines (1.13) for Season 1. She wrote Something Wicked This Fae Comes (2.01) and I Fought the Fae (and the Fae Won) (2.02) for Season 2.
After Lost Girl was renewed for a second season, she left the series to work as a producer and writer on The Secret Circle (2011-2012), and continued to be credited on Lost Girl as co-Executive Producer until episode Barometz. Trick. Pressure (2.13). She returned for Season 3 as the writer of Delinquents (3.10).
Prior to Lost Girl, she was writer and Executive Producer on Instant Star (2004-2005). Writer credits include Relic Hunter, Mutant X and The Associates; and made-for-TV movies Sorority Wars (2009), Playing House (2006).
Michelle Lovretta was nominated for a 2011 Gemini Award for Best Writing in a Dramatic Series, for Lost Girl episode Blood Lines; and nominated for a 2006 Gemini Award for Best Writing in a Dramatic Program or Mini-Series, for the made-for-TV movie Hunt for Justice (2005), a docudrama about Louise Arbour, the Chief Prosecutor of the International Criminal Tribunals for the former Yugoslavia and Rwanda.
For the complete history of Lost Girl visit: Lost Girl History.
An Interview with Michelle Lovretta
May 22, 2012. Watercooler Journal
For complete interview:
4. Why did you decide to portray sex the way you do on the show?
Simply put? Because it’s the way I personally see sex, so it’s the most natural and intuitive way for me to portray it. As for the more complete answer, When Prodigy (our studio) asked me to create a show about some kind of bisexual superhero who uses sex as part of her arsenal, my first thought was “hell, yes!” But after that initial excitement came trepidation – it is so, so incredibly easy with a template like that to create something mind-numbingly insulting, anti-female, and exploitative. I wouldn’t want my name on that. And, as someone who respects both the straight and queer communities, I was afraid of alienating either of them in the process… or, of just making neutered, boring TV by overthinking it and being too PC. Gah!! The challenge was to create a fun, sex-positive world that celebrates provocative cheesecake for everyone, without falling into base stereotypes or misogynistic (or misandristic) exploitation along the way. I also really wanted to defend the bisexual community and counter some sad tropes out there (bisexuals are sluts, can’t commit, are just afraid to be gay, yadda yadda) while also valuing and representing female friendships that have nothing sexualized about them at all.
So, I came up with a few internal rules and I moved to Canada that first year to co-showrun the show (with the fab Mr. Peter Mohan) partly just to help institute them:
1. sexual orientation is not discussed, and never an issue;
2. no slut shaming – Bo is allowed to have sex outside of relationships;
3. Bo’s male and female partners are equally viable;
4. Bo is capable of monogamy, when desired;
5. both genders are to be (adoringly!) objectified — equal opportunity eye candy FTW.
We haven’t always succeeded on all fronts, granted. Mea culpa. It’s hard to honor all those good intentions in the chaotic thick of production when manic rewrites and a million disparate studio/network notes need to be addressed. But I can tell you we’ve always tried, and that I believe Prodigy intends to continue supporting those original mandates for the life of the show.
To be clear: I’m aware (and thrilled!) that boiled down to our essence we’re just a fun, charmingly-flawed, quip-happy little series about monsters and heartache, and I make absolutely no claims of Deep Meaning or Super Importance! But, in a way, that in itself is its own little victory: we’re clearly at a point where a main character’s orientation not only doesn’t have to be swept under the rug, but also doesn’t have to be a big damn deal. Bo has lots of sex, with men, women, humans, Fae, threesomes… and she’s still our hero, still a good person worthy (and capable) of love, and that’s a rare portrayal of female sexuality. Also, a show built around a bisexual lead doesn’t have to BE about her bisexuality — orientation can just be an interesting element of a story, and not the story itself, and that’s the central spirit of our show. I consider that “I’m here, I’m queer, and it’s no big deal” approach to a main character still fairly rare and wonderful, at least in North America. It’s also rare to have a female lead who is so honestly sexual, without judgment. I don’t profess to be striking any new ground, here — I’m just saying that this is ground I’m very happy and privileged to be building on. In short: however long Lost Girl lasts, and however popular it does or doesn’t become internationally, I think the single element I will remain proudest of is just that we’ve been able to create and put out into the world a sex positive universe where a person’s sexual orientation is unapologetically present and yet neither defines them as a character, nor the show as a whole.
5. There are many different situations on the show where sex is used. What are the different ways you choose to portray it? And what factors go into that decision?
Because of our mythology, we get to use sex in some unique ways on our show. As a succubus, Bo urgently needs sex when she’s injured in order to heal herself, which can put her in some interesting situations — like jump starting her relationship with Dyson, our male lead. Sometimes we use sex as a plot device or inciting incident that brings her a case. Occasionally, sex is used to explore some sort of social political view, if we can get a good story out of it. Lastly, and most satisfyingly, sex is used just as a natural evolution and exploration of Bo’s emotional relationships.
I think my favorite sex-related moment on Lost Girl just may be episode 104, written by Jeremy Boxen. Bo has a house-shaking threesome with a consenting married couple (“we’re gonna need a safe word”) and then the next morning… wakes up HAPPY. No guilt. No conflicted emotions, or need to turn it into a relationship, or fears that she’s a slut. And her human best friend and walking-Lovretta-analogue Kenzi isn’t judgmental or envious — Kenz isn’t into threesomes, and that’s cool. They accept one another for who they are.
8. Is there anything more you would like to add?
Most of these questions (and, therefore, my answers) have been canted towards sex, so I’d like to clarify that this show isn’t about sex for me: it’s about relationships, and one of the core relationships on Lost Girl is NOT sexual, by design. On a show that deals with female sexuality, I felt it was crucial to also demonstrate that sex and romance aren’t the only ways that Bo measures a relationship’s worth, to give the show balance. Fans may have noticed that Kenzi clarified her hetero orientation at the end of ep 101 — pretty much the only time someone has addressed their orientation directly on our show. That line was necessary because in production I kept running into directors who wanted to sexualize the dynamic between Bo and Kenzi, to make the show “hotter”. I was determined to protect their platonic-yet-epic BFF-ness, so I made sure it was written in as canon. Partly, this was to debunk the gay-panic cliche that bisexual people sexualize everyone, and are incapable of platonic friendship. But there was another, simpler and more personal reason: I think friendship is the fifth element. Truly. I think it’s that substantial and nourishing a thing, so friendship and loyalty are part of the bone structure of Lost Girl, always just under the skin. So, hidden in amongst all the romance and cleavage and threesomes, the Lost Girl Bo and Kenzi relationship is my own little love poem to all the BFFs out there who do it right. I salute you.
Articles and Interviews
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'Killjoys' Boss on Season Finale "Riddle," a 'Dark Matter' Crossover and Season 2 Plans
August 21, 2015. The Hollywood Reporter
'Killjoys' Creator on Avoiding Love Triangles, 'Aliens' Influence
June 19, 2015. The Hollywood Reporter
What if Boba Fett had a TV show? Killjoys is the answer
June 18, 2015. Toronto Star
Women Behind The Scenes Spotlight: Michelle Lovretta
September 5, 2012. NiceGirlsTV.com
Lost Girl - Season 3 - Michelle Lovretta writing 1-> 2 episodes + more details
June 5, 2012. SpoilerTV
In the writer’s room with not-so-Lost Girl Michelle Lovretta
January 13, 2012. Playback
Exclusive: Syfy’s ‘Lost Girl’ interviews
July 30, 2011. Monsters and Critics
- Archive: https://web.archive.org/web/20110827191524/http://www.monstersandcritics.com/smallscreen/features/article_1654086.php/Exclusive-Syfy-s-Lost-Girl-interviews
Michelle Lovretta of Lost Girl (Pt. II) [PODCAST]
November 10, 2010. The Showcase Showcast
- Main Page: http://feeds.feedburner.com/TheShowcaseShowcast
Michelle Lovretta of Lost Girl (Pt. I) [PODCAST]
October 27, 2010. The Showcase Showcast
- Main Page: http://feeds.feedburner.com/TheShowcaseShowcast
Nine Questions with Lost Girl Creator and Writer Michelle Lovretta
September 30, 2010. RGB Filter
Plot Summary for "Lost Girl"
IMDb (Internet Movie Database)
- Lost Girl focuses on the gorgeous and charismatic Bo, a supernatural being called a succubus who feeds on the energy of humans, sometimes with fatal results. Refusing to embrace her supernatural clan system and its rigid hierarchy, Bo is a renegade who takes up the fight for the underdog while searching for the truth about her own mysterious origins. – Written by M.A. Lovretta
- ↑ "Temple Street Productions tapped to produce new series from writer, creator and showrunner Michelle Lovretta (from Press Release)" - Temple Street Productions. October 7, 2013. Retrieved on .
- ↑ "26th Annual Gemini Awards" - Tribute Entertainment. August 31, 2011. Retrieved on .