Wow, it’s been a while since I’ve posted one of these! In fact, I didn’t visually review the last seven episodes, and wouldn’t you know it? We have seven weeks left until the season premiere! So why don’t we take a trip down memory lane and see where the end of season 6 took us, shall we? This episode was directed by Mike Rohl, a veteran TV director and master of the helm 8 times for “Supernatural,” including one of my personal favorite episodes, “On the Head of a Pin.”
If this shot doesn’t just scream ominous, I don’t know what does. I love the angle with the shadows on the ceiling above him as he contemplates killing his wife. It feels very Norman Bates in “Psycho” to me.
There’s nothing special going on in the foreground of this shot, really. But I adore all the boats and masts and tower cranes and all sorts of things that are happening in the background here. It’s just really cool-looking.
I like the way this shot is framed, with Bobby and Rufus working on their dead body with another one in the foreground.
Please excuse me while I drool all over this shot as it contains a number of my favorite things. Streaming light? Check. Cluttered foreground? Check. Flashlight-fu? Check. A softly silhouetted Dean barely visible behind a shelf? Check. I didn’t even know how much I liked that last one until I saw this shot.
I cannot get enough of this room and the lighting and I LOVE IT! But this also reminds me of the poem that’s in the Agatha Christie novel “And Then There Were None,” “Ten Little Indians.” Here we have four little Indians all in a row, going to investigate. If you’re not familiar with it, the modern version of the poem goes:
One little, two little, three little Indians
Four little, five little, six little Indians
Seven little, eight little, nine little Indians
Ten little Indian boys.
Ten little, nine little, eight little Indians
Seven little, six little, five little Indians
Four little, three little, two little Indians
One little Indian boy.
Okay, I’m sorry, but this just made me laugh, so I wanted to include it. I mean, starting with Dean and moving left, let’s just look at the gang’s reaction to possible danger, shall we? Dean: serious business. Rufus: serious business. Bobby: slightly off-put but ready for business. Sam: male model face…
…two shots in a row! I cannot stop laughing at how amazingly ridiculous that is! Oh, Sam, your inappropriate male model faces amuse me so. Dean’s just like, “I am a badass mofo.” Rufus and Bobby haven’t moved at all. Sam is like, “Hey, everyone, come see how good I look!” Priceless.
Really, this location is just gold. I demand that they film all episodes there in the future. This is such a cool lighting shot with Sam’s eyes visible and part of his face completely obscured by shadow. Fantastic.
I know some people don’t like rats, but I’m not one of those people. I have nothing against them. So sorry if you don’t like them, but I happen to think this shot is really cool.
This is an amazing standoff right here. I love the symmetry of this shot, with two then one then two, but you can still see them all in between each other. And the red undertone to some of the lights just give the scene such a sinister feel. Really cool. Also, bonus flashlight-fu! Lastly, can I just say how great I think it is that Rufus brought a massive shotgun to a pistol fight?
This right here is classic Dean. He’s sitting back, feet up on the table in what otherwise would seem like a very relaxed body posture, but one look at this face and you just know he’s killing Samuel in his mind over and over and over. I don’t blame Samuel for getting up and leaving because I sure as hell couldn’t sit there and let Dean stare at me like that. (Except maybe I could because it’s kind of hot, don’t judge me.)
Dean has his turn with the awesome flashlight-fu silhouette shot, and now Sam gets his. Really, these are just amazing. I love silhouette shots.
This is either the worst game of “see no evil, hear no evil, speak no evil” or the best game of “hear no evil, hear no evil, hear no evil, hear no evil” ever. I really have nothing else to say about this shot except that it’s hilarious.
I love this shot. I think cemeteries have such a dignified beauty to them, especially in Autumn, and this one is no different. It’s nice to see a Jewish cemetery, too, because you don’t often see those on TV. And if you look closely, you can see stones on top of some of the graves, in keeping with Jewish tradition. I’ve always really liked that tradition and practice it myself whenever I’m able.
And there we have it! Kind of a short review this episode, only 14 shots in all, but there was a lot of dialogue and closeups and not a whole ton of opportunity for amazing establishing shots and things like that. Of course, I probably could have posted 30 shots just in that warehouse alone, but I’m probably the only person interested in looking at that. So, my three favorite are 4, 12, and 14. What were your favorites?