Like one of those LMN movies where Justine Bateman or Nancy McKeon is victimized by social workers, Vivarin and Merlin decide after a few minutes of horse-riding that this family needs to be continuously divided into smaller and smaller pieces, so they split Rogaine and Arthur up. There's some of that ugly crying where you don't even care why they're crying, you just want them to shut up, and Rogaine says something weird and rambling about how Arthur should hold his breath in the dark, and that means she's with him or something. Vivarin and Merlin could give a care as there is some more hysterical goodbye-saying. Vivarin's attention is not fully on the proceedings here, being more concerned with the gigantic cloak/dress she's wearing, a bulky blue number which is like a rag-rug only quilted, like a picnic blanket she wears on her head. Merlin is thinking about how, from some angles, Arthur's hair looks less like a recreation of the Bo Derek style as attempted by someone on acid, and more like a mullet, and he is wondering if that's a Sword in the Stone shout-out since Arthur at one point in that movie is turned into a mullet, or similar fish. Finally Rogaine and L'il Arthur, having squeezed out the last non-drop of emotional non-drama from this scene, submit to their separate fates, Arthur to be educated by Merlin in God knows what, stuff like "Being Avalon's Bitch 101" or "Vivarin Is Always Right," I imagine, and Rogaine to become a priestess at the Harvest Home Womyn's Collective with the supremely uninterested Vivarin of the Lake.
Back from commercial, Vivarin and Rogaine ride through the forest to the tuneless moanings and yodellings of Loreena McKennitt. Vivarin decides to "play nice" after all the emotional abuse by giving Rogaine an interminably long speech about the Goddess and how she is all around. She points at the landscape of the "forest," which looks more like a stretch of New Mexico highway (although I just found out that this whole thing was filmed "on location" in Prague, which as this has nothing to do with British history I must assume it is meant in a more technical sense, as in "Prague is a location and we filmed there") and says that this is the face of the Goddess, blah blah blah Wiccakes. More moaning and yodelling as we arrive at the Lake of the Harvest Home Womyn's Collective, which really is chock-full of the eponymous Mists. As they are rowed across the lake, Rogaine feels the power of the Collective one more time.
Remember how, even when Rogaine saw her father die, she still had to see Uther's puddle-dragon tattoo to know that he wasn't her father? She puts that incisive attention to detail to work again as she points at a large building with a giant CRUCIFIX on top of it and remarks that Avalon looks like a Christian monastery. Vivarin gives her a look and tells her that she's looking at Glastonbury, where nuns are manufactured, and that "[The Harvest Home Womyn's Collective] is behind it, beneath it, deeper in than this." Rogaine and I roll our eyes, but not where Vivarin can see us, and I quietly wonder about the last time Vivarin got laid and when that probably was, because that was some D.H. Lawrence kind of talking. Vivarin waves her arms around and the Mists part, revealing a painting of an island. Rogaine, sitting in a canoe on a bluescreen soundstage, attempts to figure out where she's supposed to be looking as she breathes, "How beautiful," while giving the strong and correct impression that there is actually nothing there.