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  • Andrew Dabb Writing the Supernatural Season 11 Finale. What Does This Mean?

    Yesterday, SPN Producer Jim Michaels tweeted some news that threw the fandom for a bit of a loop.  For the first time ever, a non-showrunner will be writing the season finale.  The task this year has been passed onto head writer Andrew Dabb.  He will be writing episode 11.23.

    Why isn't Jeremy Carver writing the finale? 
  • Congratulations Pour In For Supernatural Scribes

    With the news of all the changes on the writing staff, people are tweeting congratulations from around the web.
  • CW Cancels Jeremy Carver's Frequency

    The CW canceled two freshman shows today.
  • Faellie's Recap - "Free To Be You and Me"

    Faellie was kind enough to let me share her recap and opinions of "Free To Be You And Me" from her livejournal site,  If you would like to share this recap, please link to this site or Faellie's livejournal.  Thanks so much Faellie for another unique viewpoint!  Happy reading everyone

    Eat It Twilight

    Then: Sam's addicted to demon blood, Jessica's dead, Dean is Michael's vessel, Castiel's been resurrected and is looking for God, who is not on a tortilla. Sam and Dean have separated.
  • First Look At Frequency From Supernatural's Jeremy Carver

    We have the trailers for Jeremy Carver's new series Frequency.
  • Frequency Preview: Interview with EP Jeremy Carver and Main Cast Members

    At Comic Con back in July, I got to attend the press room for the new CW show "Frequency."  The show is run by an old friend to many of us in the "Supernatural" fandom, Jeremy Carver.  This is the show he actually left "Supernatural" to produce.  "Frequency" has it's grand premiere tomorrow, October 5th, at 9 pm after "Arrow."  
    I'll admit, I was tickled to see how excited and passionate Jeremy was about his new project.  He was asking all of us for feedback, both nervous and excited that this idea of his was finally getting seen by the public eye.  After all, he first developed this for NBC and a year after it was rejected, it was picked up as a pilot for The CW.  Then came the best news you can get as a producer, "Frequency" was picked up as a series, earning a 13 episode order.  The reception I heard from those that saw the preview at Comic Con was very good.  It made me mad that I wasn't able to see it! (Comic Con gets way too busy for journalists).  I'll finally get my chance tomorrow. 
    As part of our ongoing series of featuring "Supernatural" prominent alumni moving onto other shows, I present the preview of "Frequency."  
  • Interview with Supernatural EP Jeremy Carver - Comic Con 2015

    What can you say about Jeremy Carver when he talks about what's coming for the show.  He says things that aren't inaccurate, but they might not mean what is said word for word either.  All depends on the meaning of the word!  Anyway, this interview is short, but he does give a nice little preview of what might be coming, including a spoiler for Sam that might have been interesting if Jared hadn't given us more details in his interview!  But still, there is relevant information in here, so for those that don't want to watch the video, or want to truly analyze the words that have been said, I have the full transcript below the interview. 

  • Recap - "A Very Supernatural Christmas"

    It's been my goal to clean up and improve my Season Three recaps as I can.  I so far have only fixed "Mystery Spot," so in honor off the holidays here's my new and improved recap for "A Very Supernatural Christmas."  Enjoy!


    What a better way to celebrate this special holiday season than to re-experience the twisted, gory, heart-wrenching, fast-paced, cynical, and downright brilliant version of Christmas the Supernatural style. Kripke and Company are a bunch of sick bastards, and we love them for it.
    This episode contains an overwhelming attention to detail so it’ll be impossible to overlook most of these elements that made up one of the most outstanding episodes of the series. It went all out, beyond the usual great writing and acting, giving us several unique camera shots, extreme set decoration, a brilliant cast of supporting characters, loads of eye catching background details, and even a clever cover story as to why Ypsilanti Michigan was looking so lush in December.
    The writer of this episode, Jeremy Carver, gives us his first solo script here, and I must wonder how many Andy Williams Christmas specials he’s seen in his lifetime (I assume enough to drive him crazy). As with his other masterpiece, “Mystery Spot”, this script is very diverse, offering snappy and outrageous (in a good way) dialogue, a multitude of jabs at the history of Christmas culture, a progression of scenes going at a wild yet seamless pace that blended laugh out loud moments, powerful emotional ones and very disturbing ones.  Plus, it ruined Christmas. What could be better?
    The directing on this episode is phenomenal as well, coming from J. Miller Tobin. This was his second outing for Supernatural. Considering his first episode was the stellar “Born Under A Bad Sign”, he already had an excellent track record with this show. What he did with this episode was nothing short of incredible.
  • Recap: "Mystery Spot"

    It's no secret that my favorite episode of all time is "Mystery Spot". It was one of the very first reviews I ever wrote for blogcritics, and after going through it for reposting here, I found that review wasn't very good. This episode is so good, so spectacular in its detail, that it deserved its own full recap. This is by far my longest recap ever, and there are tons of pictures in it, so it isn't dialup friendly. Enjoy!


    The best episode of the series. There, I said it. Every single element that goes into making an episode clicked into high gear in this one and through an extremely fast paced and very unpredictable story everyone delivered big time. I'll make my argument, even though many have already told me I'm nuts.

    Not only was "Mystery Spot" the best episode of the series, but it's one of the best written episodes for any TV show out there. Since my other favorite episode of season three is A Very Supernatural Christmas, Jeremy Carver owns me. In both scripts, this new staff writer offered stories with a dark humor edge, creative and intriguing plots, sharp and humorous dialogue that greatly energized the already incredible chemistry between the main characters, yet also managed to impress with deeply emotional and sentimental moments. That's a really fancy worded way of saying he rocks.

    For this episode in particular, combine the flawless script with the brilliant directing of Kim Manners, some of the best set decoration and special effects of the series, and the usual top notch acting and we have an episode to be listed among the best. Jared especially took his performance to outstanding new heights, delivering his best episode to date by nailing Sam's long ordeal with incredible range and versatility. Of course the script demanded it, but he rose to the challenge brilliantly.

    Sure, it was a Sam focused episode, but considering Sam's character has lacked deep exploration for two and a half seasons, this was both a welcome but very frightening glimpse into how dark he can become when pushed. Uncorked Dean last season was scary, but Sam in sociopathic killer mode was downright terrifying.

    Any time a television show goes out of its way to do revealing character studies, I'll be the first to sing its praises.? Without character development, without seeing these people evolve either positively or negatively in the stressful circumstances set upon them, we all end up with TheBrady Bunch every week (yes, I'd love to see Dean Winchester nail Marcia Brady).

  • Recap: Supernatural - Sin City

    Before I get started, I beg for a few paragraphs of self indulgence to get an issue off my chest. This is something that has been stewing for a while now, but considering it's still happening during repeats, well, I just feel like bitching. If you just want the episode review, please skip down to the next heading.

    Ahem. Enough throwing Gossip Girl in my face CW! If I see another promo for Gossip Girl obscuring my view of a Winchester, I'm driving to LA and smacking Dawn Ostroff myself. I'm not in your target demographic and have no interest in your all teen network. I wouldn't even be watching this silly network if it wasn't for Supernatural, Smallville, and Reaper being pitifully stuck on it, left to flounder on their own while all I read is about is how the ninth ranked show is the greatest thing since sliced bread. Last week The CW only aired two original shows, Friday Night Smackdown and Farmer Takes A Wife. They were one and two respectively in the ratings last week, but Smackdown (4 million) is going away in September and Farmer Takes A Wife barely drew 2 million. It was almost beat out in the ratings by a Supernatural rerun (1.83 million), one that aired for the third time. Their precious Gossip Girl barely cracked a million on Monday. How is that the most buzz worthy show on the network?

    I hate The CW. I hate how a brilliant, incredibly crafted show, with its fantastic acting, top notch writing, great directing and jaw-dropping story telling, not to mention critical and fan acclaim, is stuck with a network that insists on shooting itself in the foot. I saw the overall ratings statistics for all of the networks for the 2007-2008 season compared to 2006-2007, and with the exception of Fox, everyone has double digit declines. The CW, however, has declines in all demographics of 20% or more, making it easily the champion for most bleeding of viewers. Their precious 18-34 demographic lost 26%. This is the coveted market? They've thrown all their network resources toward a target demographic for a 26% decline? All networks are reporting increases in advertising upfront dollars except The CW. They stayed flat. Face it CW, most cable stations are kicking your butt in the ratings and revenue department right now, let alone other networks.

    This network, no matter what image they like to project, forgets that Smallville and Supernatural are their top two scripted shows, yet they continue to alienate viewers by telling us we want to be watching teen trash instead. Reaper drew much higher ratings than Gossip Girl but almost got cancelled. Smallville is likely in its last year, or it should be considering it's clearly run its course, so I beg you Warner Brothers and ABC Television Studios, for all decency and fairness, find Supernatural and Reaper a new home and let this network crash and burn with their elusive and fickle teen demographic.

    Review Now

  • Review - "A Very Supernatural Christmas"

    "A Very Supernatural Christmas"
    --Robin's Rambles by Robin Vogel
    This episode would be on my top 10 list of favorites. It's a really sick episode with a heartwarming brotherly ending, filled with really terrible sick, funny stuff, including terrorizing children, which is SO cruel and wrong for a Christmas episode. Plus we learn where Dean got his necklace, watch Sam get his forefinger nail pulled out and I cry buckets more than once. I laugh, I cry, I wonder how the censors allowed this episode to be shown at all, to ANYONE!
    The word "SPECIAL" in tacky 70's colors spins toward the camera, followed by "A SPECIAL PRESENTATION". I used to see that all the time, and it brought such warm memories into my head. A year ago, eager little Stevie greets his grandfather at the door and assures him he's been a good boy this year. Well, says Grandpa as they pass a beautifully decorated Christmas tree, maybe you'll get presents, then. Later, an open-mouthed, excited Stevie spies from the staircase as Santa (Grandpa dressed as him) arranges gifts around the Christmas tree from a huge sack. Loud, strange sounds from the roof cause Santa to look up in concern and Stevie to declare, "Reindeer!" Soot starts falling into the fireplace; Grandpa-Santa goes to look up there. As Stevie watches, Santa, amidst the sound of crunching bones and cries of pain, is grabbed up the chimney. A bloody boot falls to the floor. "Santa?" says Stevie uncertainly.
    A Christmas ball lights up and explodes. The screen gets snowy. In the middle of the screen, we see "A Very" in red letters, "SUPERNATURAL" in blue, "Christmas" in red. A mini Santa hat falls down and hangs crookedly on the first A in SUPERNATURAL. The word "very" flicks in and out and finally goes out. We hear bells. 
    This is a very creepy opening!
  • Review - "Long Distance Call"

    "Long Distance Call"
    --Robin's Rambles by Robin Vogel
    A man stands in his study, nervously drinking. His phone, showing caller ID SHA33, keeps ringing; it's a woman named Linda who professes her love, asks if he loves her, yet he keeps hanging up on her. Finally, unable to tolerate the phone calls, he destroys the phone--but it rings anyway! Done, he takes a gun from his desk drawer, looks up, says, "You win, I'm coming," presses the gun under his throat and fires, blood and brain matter spattering the phone.
    Sam walks across a rainy square to meet Dean, who is seated on a bench and has just spoken to Bobby about a case of a banker blowing his head off. Sam objects--they're trying to get him out of his deal! Dean reminds him they've tried everything, gone everywhere, they can't find Bela or the Colt. Sam wants to summon Ruby, but Dean finally tells him she confessed she CANNOT save him. Sam's angry Dean kept this huge secret from him; Dean wants to know who has been keeping secrets from whom, Sam walks away, hurt. Sam agrees they'll go to Ohio and take the case.
  • Review - "Mystery Spot"

    "Mystery Spot"

    --Robin's Rambles by Robin Vogel

    Sam sits up in bed, awakened to "Heat of the Moment" on the radio. "Rise and shine, Sammy!" says Dean enthusiastically, tying his boots on his bed. "Dude, Asia?" asks Sam. "C'mon, you love this song and you know it!" says Dean cheerily. "And if I ever hear it again, I'm going to kill myself," says Sam grumpily. "What did you say, I can't hear you!" says Dean, deliberately turning up the music. Sam smiles indulgently as Dean points a finger at him and begins bopping his head and lip-syncing to the song, In the bathroom, the brothers brush their teeth; Sam, spreading odd-tasting toothpaste on a pink brush while Dean noisily gargles, grinning at him. Ready to go, Sam stands impatiently in the doorway, wondering when Dean will finish. Dean picks up a black bra. "This yours?" he asks, before finding the gun he was looking for. "Bingo," he says, "now, who's ready for breakfast?"
  • Review - "Sin City"

    "Bedtime Stories"
    --Robin's Rambles by Robin Vogel

    Could you BE more gay? is what Dean asks Sam in the course of this investigation.

    Three hefty brothers argue at a construction site. One is killed by a snarling creature, the other survives the attack.

    A big, fat frog wends its way through this entire episode, hoping, perhaps one of the brothers will kiss it and turn it into a beautiful princess? It never does get that wish, and indeed, is nearly run over by the Impala at this point in the story. Inside the car, Sam and Dean argue; Sam wants to summon the Crossroads Demon and, using the newly revamped Colt, force her to release Dean from the deal. If they screw with it, YOU die, points out Dean. If we don't, YOU die, points out Sam. Dean insists they let it go; Sam reminds him he's not Dad. Dean changes the subject by asking about the psychotic killer. They determine it's not a werewolf, then, posing as Detectives Plant and Page, go to visit Kyle, the one surviving brother, in the hospital.

    Dean tricks Sam into becoming the sketch artist (The things he can do with a pen!) (From Alice - I still to this day laugh my fool head off over this drawing), so Sam takes out a notepad and fakes it as Kyle describes a man. Dean keeps asking about animal characteristics, like long teeth or claws, but he didn't have those, just a tat of Wile E. Coyote on his arm. Dean leaves to question Kyle's doctor while Sam shows the latter the unspeakably terrible drawing he did. œWork in progress, says Sam defensively. Kyle is speechless. When he later shows Dean the drawing, Sam says, œYou couldn't have done any better. The victims' were missing many organs, just not the hearts. It's neither werewolf nor demon, so they've got nothin'.

    In the next scene, a thirty-something couple, lost and hungry, come upon a cute cottage and a sweet little old lady who gives them drugged pieces of pie and proceeds to hack up the hubby with a large, nasty knife. The wife screams in terror. Outside the window, a pretty, dark-haired girl who looks like Snow White watches the gory scene, seeming to enjoy it.

    Back at the hospital, Dean and Sam turn their backs to the law so they won't be spotted. They go to visit Mrs. Watson, the murdered woman's husband, and run into Dr. Garrison, who is also treating Kyle. He's concerned that his whole town is going insane. When the old lady was carving up her husband, I pushed her, explains Mrs. Watson”and she cracked her head on the stove--she's dead, right?”I killed her? Mrs. Watson has no idea why the old lady did this; one moment she was fine, the next, insane. Mrs. Watson also spotted that beautiful, dark-haired girl staring in, so out of place in that terrible context.

    The brothers go to check out the cottage, where there is lots of EMF but no sulfur. Sam proposes a theory: fairy tales. Couple hiking through the woods, HANSEL AND GRETEL. Three brothers arguing over building a house and the Big Bad Wolf comes along. . . THREE LITTLE PIGS. supplies Dean”but I thought everyone lives happily ever after in those stories. Grimm stories were like the folklore of their day, explains Sam, full of sex, violence, cannibalism, it got sanitized over the years. Dean says they need to do research now, and isn't happy. They find no missing or dead child matching the description of theirs. Sam tells Dean about Lilian Bailey, a British medium from the 1930's who would go into trances and her thoughts and actions were completely controlled by spirits. The ghost puppet master, says Dean--you think that's what this kid is doing?--sending wolf boy and grandma into trances, making them go kill-crazy? Could be, says Sam, kinda like a spirit hypnosis. Fairy tale trances?--bizarre even for us, says Dean. They come across the croaking frog and stare down at it. "Yeah, you're right, that's completely normal," says Sam. "All right, maybe it is fairy tales," agrees Dean, "totally messed-up fairy tales. I'll tell you one thing--there's no way I'm kissin' a damn frog." Sam points across the street at a pumpkin on the porch. Dean reminds him it's close to Halloween. Remember Cinderella, says Sam, with the pumpkin that turns into a coach (a mouse skitters across the porch in front of the pumpkin) and mice that become horses? Dean gazes at his brother as if he's totally insane. "Dude, could you BE more gay?" he asks. Sam gives him a look of skepticism and doesn't respond. "Don't answer that," says Dean. The frog on the ground huffs, making itself look even bigger than before. The brothers break into the house across the street. "Who knows, maybe you'll find your fairy godmother," teases Dean. They separate, one going left, the other right. Hearing a noise, they take out their guns. They find a blond girl handcuffed to the kitchen stove--her step-mom freaked out, screamed at her, beat her, chained her up. While Sam searches for tools to free her from the handcuffs, Dean spies the little girl and calls Sam's name so he can see her, too. She turns and walks away; Dean follows her through a couple of rooms. "Who are you?" he asks. Like a ghost, her form pulses, then disappears. In her place is a red apple. Dean picks it up and gazes at it, more perplexed than ever.

    The brothers discuss the apple. SNOW WHITE, suggests Sam. The wicked stepmother put her into a coma with a poisoned apple. Dean recalls the porno version of that story, and how VERY wicked the wicked stepmother was. (Why doesn't she have an IV?) They learn that Dr. Garrison has a daughter, Callie, who's been comatose in the hospital for years. Dr. Garrison sits beside her bed reading”shocker!”

    THE BROTHERS GRIMM: COMPLETE WORKS AND TALES to his daughter. At the same time, a seemingly nice man with a tattoo of Wile E. Coyote on his arm appears to be helping an elderly woman load her groceries into her van. Instead, with a snarl, he pushes her inside the van and begins to beat her viciously, the little girl solemnly watching. Climbing into the driver's seat, he screeches away.

    Sam and Dean enter Callie's room, where he father is reading "Little Red Riding Hood." Callie is 18 now, raven-haired and beautiful. After Sam carefully expresses how sorry they are, they manage to get Dr. Garrison to answer questions. Callie has been here since she was eight--swallowed bleach. They never figured out how she got her hands on the bottle, but his wife found her and got her to the ER, where he was on call. Dean asks if Dr. Garrison's wife was Callie's step-mother. Dr. G is surprised he knows that; Julie, who passed away last year, was the only mother Callie ever knew, and his daughter is now all he has left.

    Sam and Dean put the pieces together: The step-mother poisoned the daughter, put her in a deep sleep. Motive? Could be like Mischa Barton, suggests Dean, SIXTH SENSE, not the OC--keep the kid sick so you get all the attention. Munchhausen's Syndrome By Proxy, supplies Sam, could be. So perhaps Callie's been suffering silently because nobody knows the truth about what Mommy dearest did, suggests Dean. So now, her super angry spirit is lashing out, says Sam. How do they stop her, with Daddy keeping her alive here, and no bones to burn? An elderly lady is brought in, and the brothers overhear that she was bitten by a dog or wolf. Sam tells Dean the last story the doctor was reading to Callie was LITTLE RED RIDING HOOD. The old lady has died; they cover her face.

    Showing their badges, the brothers ask the paramedic for the woman's next of kin--a granddaughter. "Find a way to stop Callie," says Dean, "I'm going to stop the Big Bad Wolf--which is the weirdest thing I've ever said."

    A smiling girl in a red button-down cape spots Grandma's van waiting across the street. She looks both ways before crossing and climbs into the van. "Hey, Grandma," she says, but a leering man turns from the front seat instead. She screams. All the doors lock so she can't escape.

    When Sam tells Dr. Garrison his wife poisoned Callie, he orders him out of the hospital, but when Sam reveals he saw Callie's spirit, that changes the doctor's mind. Sam explains that Callie's been killing people, trying to get his attention, trying to get him to listen to her. My wife loved Callie, insists the doctor. Garrison stands over his now-adult daughter, asks, "Is it true? Did Mommy do that to you? I know I wasn't listening before, but I'm listening now. Is there any way you can tell me? "Doctor?" says Sam softly. Eight year old Callie stands behind him. "Is it true?" asks Dr. Garrison. Sadly, the little girl nods. Dr. Garrison, crying, tells his daughter she must stop what she's doing. It's time for her to go”and time for him to let her go. He kisses her forehead and caresses her cheek one final time. Her monitor goes flat-line. Dr. Garrison turns to see that eight-year-old Callie is gone, too. It's over, for all of them.

    Dean has just enough time to kick in the door and verify that Little Red is OK, hiding from the Big Bad Man Wolf (known from now on as BBMW) before the creature grabs him and tosses him against a china closet. Callie watches the BBMW beat the crap out of Dean, thoroughly enjoying herself. Dean falls and grabs the scissors out of Grandma's knitting basket. He's just about to stab the other man when Callie hears her father calling to her and winks out. With Dean on the bottom, trying to stab upwards, the BBMW is trying to avoid Dean's slashing hand and wrest the scissors away from him. Dean is just about to thrust the scissors into the BBMW's hear when the man comes out of his Callie-induced trance. œSTOPSTOPSTOP! he cries”œWho am I?”What's going on?

    Later, Dean assures Dr. Garrison that the little girl is OK. They're all glad it's really over, and the doctor is the reason for that. (Except for those who died and those who will be unjustly accused, what about them? We never do get an explanation, do we?) Garrison feels he should have let his daughter go a long time ago. œSee you around, says Dean. œI hope not, says Dr. Garrison. "What he said, some good advice," says Dean. "Is that what you want me to do, Dean," says Sam, "just let you go?" Dean doesn't reply, he just looks Sam steadily in the eye and walks away, leaving Sam, alone, gazing after him down a long hallway. (This was SO sad. I felt Dean was being mean to Sam, not trying to see things from his point of view. Sam was hurting, and Dean was just letting him stew in it.)

    Sam, fully dressed, sneaks past a sleeping but restless Dean. At a crossroads, Sam buries a box, stands and waits. The Crossroads Demon, a pretty red-eyed gal in a black cocktail dress appears. "Well, little Sammy Winchester, I'm touched," she says, "your brother has been to see me twice, but YOU--I've never had the pleasure. What can I do for you, Sam?" He pulls the Colt out and points it at her. "Beg for your life," he advises. "We were having such a nice conversation," she says, "then you had to go and ruin the mood." He wants her to be scared, but that's not her style. She notices it isn't the original Colt--where did he get it? It hits her--Ruby, had to be--she is such a pain in my ass--she'll get what's coming to her. "Let Dean out of his deal right now," demands Sam, "he lives, you live, I live--everyone goes home happy, or. . ." He cocks the gun. "You stop breathing, permanently."

    She asks if he really wants to break the deal--isn't he tired of cleaning up Dean's messes? Of dealing with his broken psyche? Isn't he tired of being bossed around like a snot-nosed little brother? Sam's stronger than Dean, better. "Watch your mouth," warns Sam. You'll be a tiny bit relieved when he's gone, she taunts--no more desperate, sloppy, needy Dean--you can finally be free. "I said, shut up!" commands Sam. She thinks he protests too much. Dean's an adult who made the deal of his own free will, fair and square, and it's iron-clad. "Every deal can be broken," insists Sam. Not this one. "Fine, then I'll kill you," says Sam, "if you're gone, so's the deal." She's just a saleswoman, and has a boss like everybody--"he" holds the contract, not me--if he wants Dean's soul, he's not gonna let it go--shoot me, if it'll get you off, but the deal still holds, and when Dean's time is up, he's going to be dragged into the pit. "Who's your boss?" asks Sam. "I can't tell you," she says, "I'm sorry, Sam, but there's no way out of this one." Sam gulps, considers, then shoots her, right in the forehead. Light bursts throughout her body for a few moments until she finally falls, flat on her back. Sam stares down at her, forehead furrowed. Somehow, we don't get the feeling he cares that he murdered a human woman along with the demon inside her, just self-satisfaction that he killed a nasty demon who was taunting him.

    1. I loved Jared's former girlfriend, Sandy, as a Crossroads demon. There was a lot of controversy at the time”what did you think?

    2. This isn't one of my favorite eps, I feel sorta meh about it. It just didn't ring my bell, and I can't put a finger on why. I loved the frog, cried for the doc when he had to let Callie go, thought the concept was pretty good. Maybe it was Callie's big boobs as an adult? No IV, which seemed impossible and wrong for a woman in a coma? I just don't know.

    3. I enjoyed Dean's snarkery about the wicked stepmother as a porn movie. That was so funny, especially in this context. Also, teasing Sam about œCould you BE more gay? was hilarious, too. I think of that as a definite shout-out to those fans, and you know who you are.

    4. Did the idea of a child Calllie's age watching all that violence bother you? It bugged me. She shouldn't have watched it, and certainly shouldn't have been enjoying it. I understand, she was upset, frustrated and angry because she couldn't catch her father's attention, but there had to be a less violent way to handle it.

    5. What happens to the poor man who went wolf and killed people? Does the doctor stay behind and explain these fantastic events? Who will believe him? It's all SUPERNATURAL!
  • Review: Supernatural - "Long Distance Call"

    I have to admit, I had my doubts after watching the first time. It wasn't until after a re-watch the next day that this episode earned its favor with me. Maybe because the second time through I could sit down and actually pay attention to details. I should have learned by now that the only way to watch a Supernatural episode is to put the kids to bed, shut the dogs in the laundry room, unhook the phone, and shush the hubby.

    "Long Distance Call" has many merits, but all in all, its purpose was to prepare us for what's to come in the final two episodes of the season. Fans were online very quick to point out massive character and plot inconsistencies, but on careful examination most of this episode made sense. In coming up with an analysis, I found this episode would better benefit from a different format. Instead of rehashing the episode like I've done previously, I'm going to list what I liked, what I disliked, and what things I need to keep in the back of my mind when watching the last two episodes of the season.

  • Supernatural Bits & Pieces April 16, 2016

    Supernatural in the news this week.
  • Supernatural Bits & Pieces April 23, 2016

    Supernatural in the news this week.
  • Supernatural Bits & Pieces February 13, 2016

    Supernatural in the news this week.
  • Supernatural Bits & Pieces January 30, 2016

    Supernatural in the news this week.
  • Supernatural Bits & Pieces March 12, 2016

    Supernatural in the news this week.