Identity isn’t about who you think you are. It’s not about who others think you are either. A favorite quote from one of my favorite teachers is “I am not who I think I am. I am not who you think I am. I am who I think you think I am”. This encapsulates this season’s relationship between Lucifer and Chloe. Having now seen his “Devil Face”, Lucifer fears for who he is now seen as and this, more than anything effects how he sees himself. Throughout the series, it’s been shown, and even proven, that an angel is changed by his own psychology, such as when Amenadiel lost his wings and when Lucifer lost the mask he gained in his fall. What happens then, when someone pushes harder on the label you’ve already given yourself? And, worse still, is a person that helps to prove all those evil thoughts are who you are?
It was a clever play introducing Eve, appropriately ordering an Appletini, into the mix. She is, after all, the first woman, the first mortal, that Lucifer ever tempted. Perhaps she’s even more, as she maybe the first mortal to ever tempt Lucifer in return. That temptation hasn’t dulled in the thousands of years since they first locked eyes, but how much has changed in Lucifer since they last ran into each other may have created a different relationship. With Chloe’s rejection, that may be exactly what he needs. All the fun seems to have gone out of him, all the wind out of his wings.
This episode is a little different from the rest of the season. It’s different from almost all the series. Roles are changed somewhat and reversed in many ways. With Maze showing a bit of her softer side with Linda’s pregnancy, bringing up some awkward questions about angelic birth. Chloe and Lucifer working to opposite ends of the same case, just with different partners, who both happen to be their former significant other. There’s even a bit of both Decker and Lucifer showing how they have rubbed off on each other that comes out in this episode's police case. Usually the lone voice of reason, even poor Linda is having a difficult time, which results in a bit of a freak-out!
As much as things are flip-flopped, I must admit, this episode sees Lucifer in some of the most Lucifer-like scenes so far in the series. Not just the smooth talking, but an actual chance to cut loose. You might remember that I mentioned in a previous article that the switch to Netflix has helped the series special effects budget jump right up. There’s a moment where the devil finally cuts loose a bit and it’s worth the time just for that. The B-story with Linda and Amenadiel’s impending child has also been a real treat, with some extremely genuine and hilarious moments mixed in with the often-darker primary story.
The story of Eve is something that strikes a chord, with both Lucifer and with anyone that ever felt like they’ve been forced into a situation out of their control, a feeling that our protagonist is all too familiar with. Lucifer is also easy to identify with this episode, at least to anyone who has run into their ex after an extended time, especially if that moment comes after painful emotional turmoil. Managing such feelings while not projecting them onto a former lover is difficult, to say the least, made even harder if they’re willing to look past the current baggage. At the same time, we can feel the anxiety present in Chloe as she manages a life that now includes the knowledge that Heaven and Hell are more than just abstract concepts. While we may not have concrete proof of the hereafter, it wouldn’t be easy to be put into those shoes, so it’s hard not to forgive Chloe even when the devil won’t.
Identity is key to the show of Lucifer and the character. Through the lenses of identity, we can put ourselves into each of the characters, feel how they do, see as they would. Relatable even when the show is eager to jump the rails of reality, throwing the mythological into, what amounts to, a story of love and loss. The angelic into a grounded take on a modern relationship and pregnancy. Lucifer has always been, and continues to be, a grounded tale with wings.