Wow. What can I say?  I’m still having numerous happy fan girl fits over how great “Baby” was.  How brilliant is the idea to do the whole episode from the point of view inside those four doors?  The whole episode felt like we were right there for the whole adventure, as if we were an exclusive member of the family.  It was an exciting and emotional ride.  There's a certain comfort that comes with the Impala.  She’s just as much our rock and our comfort as Sam and Dean’s.  I love the Men of Letters bunker, don’t get me wrong, but adventures should always include Baby.  Baby breathes life and personality and is truly an SPN Family home. 

But the episode thrilled my inner critic as well.  It’s one of the best episodes of the series, and definitely the best episode of the post Kripke era. “Baby” was more than an episode. It was a grand and bold achievement in filmmaking. Every single scene  pushed the envelope and took us into territory we had never seen before, but it still managed to stick with the core premise, family.  It reminded me why I fell in love with “Supernatural.” Two brothers, a classic car, and the open road. There was humor, camaraderie, heart to heart talks, MOTW action, and in the end three battered and bloodied heroes that saved the day drive off in the distance to the next adventure. That is "Supernatural" in a nutshell.

“Baby” could have easily failed, but luckily “Supernatural” has the right minds that are willing to take on a creative challenge.  Robbie Thompson wrote an epic script, but the script isn’t what sells the episode. It’s the entire production. The acting and editing was extraordinary.  There wasn’t a musical score in this episode, adding to the realistic feel of two guys on a road trip because it took away the melodrama, leaving only the classic rock in the background to enhance parts of the story.  When the brothers talked, the conversations were earnest and real. 



But the real coup came from director Thomas J. Wright, who took shooting scenes to whole new level. How so much story could be captured in the confines of the indoor car space is beyond me, but it was an epic achievement. That limitation opened up extraordinary possibilities. The opening car wash scene is brilliant. While I smile at the visual of Dean washing his car in shorts, this is Baby’s POV. She doesn’t notice Sam and Dean in gratuitous ways. No, she just enjoys the suds and the water from the hose as both her companions take care of her and talk shop. It’s a family thing, and she is every bit a Winchester as Sam and Dean.

Wright with his creative vision went places that I didn’t think was even possible. Because of the limited POV we got longer scenes.   That also added to the realism of the situation, because we weren’t cutting back and forth to the B plot in real life.  The fight sequences were long and that let us see more of the schematics.  Surprisingly, that just made the sequences more entertaining.  I loved watching what Dean went through when dealing with a severed head and body of a monster that won't quit. When watching the whole thing play out, it's really quite madcap. 

Misha Collins was absolutely great in this episode and he literally "phoned it in" (credit for that joke goes to Misha himself). The framing was ideal!  Castiel talked lore through the phone, which was sitting on the dash while we watched through the back window Dean have with his encounter with the monster Deputy. While Dean struggled in the background from a surprise attack,  the main focus falls Castiel and the phone. It's hilarious!  It drastically changed the way a fight sequence is done. Oh, but it is also the perfect setup for a Dean Winchester zinger. "I did shoot the Deputy." Nice shoutout to "Jus In Bello”!

But it didn’t end there.  It just kept spiraling.  The head ended up on the hood of the car pressed against the windshield, staring and hissing at Dean.  No problem, one click of the windshield wipers takes care of that!  But thanks to brainstorming with Castiel, the head can’t stay on the ground near the body.  So let the trusty green cooler have some action too!  Dean not only finds a place to put the head, but also gets a nice picture to send to Castiel.  Yes, that’s a lot to take in for one scene, and it’s all perfect.



Think about it, exactly how do you shoot fight scenes inside a 67 Chevy? I have no idea how they pulled it off, but those were easily two of the best fight sequences we’ve ever gotten. The choreography was inspired and no doubt it involved a lot of perfect timing and coordination. I found it really smart to hide a lot of the violence by showing Dean punch his attackers with the seat obscuring the view. Again, it's the way Baby sees things, with less brutality but she still gets what's happening behind the scenes.  Ditto with the earlier scene with Sam and his female guest.  We get to imagine what happened behind that seat because that’s the way Baby sees it.  I know that doesn’t help fan girls who wish for shirtless scenes, but this wasn’t the episode for that.  

Brotherly Bonding

“Baby” was a huge and long overdue reminder of what we love about this show, and a lot of is was accomplished through the one thing that works the most, the brotherly bond.   Often as fans we speculate what sort of talk happens between the brothers in those long road trips. This gave us the perfect idea. Did anyone notice that the brothers didn’t arrive for the case until 20 minutes after the episode started?   Have we ever gotten to see the process of what happens when getting there?  We’re usually left to wonder how they travelled across country so fast.  The music, the eating in the car, the banter?  Do you remember the days of Sam and Dean on a road trip, having fun, laughing, being honest with one another? I had completely forgotten until I broke out my DVDs of season two earlier this summer. 

“Baby” proved once and for all it isn’t all doom and melodrama for these brothers. They still take little pit stops to questionable places for R&R. They still pick up diner waitresses and get laid in the back of the Impala. They still needle one other for their exploits through the use of classic rock. These brothers may have been through a lot, but they aren’t dead.

The only thing about the “Night Moves” scene that would have been more perfect is if we saw them singing more of the song together.  I won’t quibble though for I’m doing back flips with excitement over what I got.  I can’t believe that Sam had never used the back seat of the Impala for “personal release” before, or at least in the company of Dean. He was actually afraid Dean would get mad, but no, big bro went another way.  This is the taunting and fun loving big brother we adore, breaking out the appropriate cassette tape to both show his pride and to give baby bro a hard time. I love that because of his exploits “Sammy” has graduated to “Samuel.”   It’s Dean’s way of announcing baby brother is a man now. It’s funny too, because he got back the same correction, “Sam.”  While Dean is pontificating the words of the greatest writer in rock (amen to the choice of Mr. Seger), Sam gets the snappy comeback. 

Sam (singing along with the song): Out in the backseat of my brother’s 67 Chevy.  “You started it.” 
Together: “Working on our Night Moves…” Thud, happy convulsions, me. 

“God helps those who help themselves.” For one, thank you Mr. Thompson for reminding the world that Dean does indeed read.  It’s an interesting use of the proverb since it’s supposed to be a statement of self-initiative.  “John” responded to Sam saying that they’ve turned out okay, “That was on you boys, you did that, not me.”  The message was clear, only Sam and Dean can stop The Darkness and Sam shouldn’t be waiting for signs or any kind of help.  It is rather compelling evidence that its Lucifer, isn’t it?  The “Who are you?” question means Sam knows something is up. Also, kudos again to Mr. Wright for the gradual close ups on the faces of Sam and “John” as they went back and forth.  It really added something spooky, proving this isn't a normal thing.



Did Sam have a dream or a vision?  One could easily argue that Lucifer is reaching out to Sam in his dreams.  He’s done it before.  Or maybe it’s Michael, of course I’m saying that just to make the twist less predictable. Or maybe it's both.  Or maybe its God as Sam hopes.  But we know that when any version of John Winchester shows up telling Sam what he wants to hear, that ain’t John Winchester. (Welcome back to SPN Matt Cohen!) The visions (or dreams, whatever we want to call it) mean that Sam is indeed getting help from the great beyond.  

I loved the talk that happened afterward, when the brothers were settled into their bench seat beds for the evening. No doubt there have been hundreds of nights like that. The things that they have talked about. No, I can't imagine talking about dreams and visions are always the topic of discussion, but I like that it was a chance for them both to come clean with each other.  I’m not surprised that Sam didn’t talk about being infected until now.  Judging by his reaction to the dream, he was still trying to reconcile what happened in his own mind.

It's been a while since we've seen both of them address at length (and I LOVED that it was a long conversation) fears and feelings about the current situation. Sam is clearly turning to faith while Dean believes they are alone in their mission to fix things. It's a call back to the epic journey of season two. It feels oh so right that Baby is there in the middle of it.  Also, how interesting is it that Dean dreams the same dream about his Dad every so often and Sam dreams about Mary? Sam didn't know Mary. It explains while he feels so connected even though he never grew up with her.

This whole experience has Sam soul searching and the Impala chats in this episode  really reinforced that. Maybe he was still buzzing over finally getting some after three years (??????) but is Sam truly wanting something more than the one night stand? How adorable was it that he offered his phone number to Piper?  He truly isn’t a one night stand kind of guy, even if he knew what she wanted.  This isn’t unlike Dean at the end of season five.  Sam is hitting a certain age and has to think, “Is this all there is?”  It’s a stark contrast to the “I love hunting” speech just a few episodes back (by the same writer nonetheless).  I think he still plans to hunt, but maybe there is more to life than just hanging with your brother.  He has needs.  He did go back to the diner later when they were penny hunting and talk to the waitress during the first brilliant fight sequence in the car (was it the same one or someone else?  I couldn’t tell).    

You have to wonder about Dean too. I'm sure it felt really good for him to get out and “make mistakes” so to speak at another dive bar, but even he was hoping to find that specific companion. He was looking for his "Heather." It did get me wondering, what would it be like if Sam and Dean both tried to take on relationships while living the hunting life? Ask me a couple of years ago I would have never wanted to see that. But now, I'm wondering if it's a worthwhile experiment.  I’d like to see them have more.  No, I'm not talking about domestic bliss with a Lisa or Amelia. No, I'm talking about having normal companions that pop into the bunker once in a while. After all, Netflix only goes so far.  A big twist to the dynamic really couldn’t hurt.  But they have to save the world first.  Again.

The Not So Usual Monster Hunt

In all this gushing, I have even touched upon the heart of the story, which is why we even had a MOTW.  I always love it when a MOTW story ties into the overall arc of the season and this one did perfectly.  Suddenly a dormant creature, who’s name I didn’t get but Ghoulpire works, is trying to recruit an army because The Darkness is coming.  It’s the same thing John in the vision said to Sam.  Why are the monsters as scared as the angels and demons?  What is it about these people that we don’t know?  That’s why I wish each episode would give us answers.  I’ll be very disappointed if this fear of the Darkness gets addressed maybe in the midseason finale and then not again until episode 16 or 17.  But hey, that’s a quibble I’ll save for next week.  Right now, my bliss is still riding too high.  



Yep, not a scene was out of place, not even the valet driver and her friend that decided to take a joy ride with Baby.  It strangely ended up serving a purpose when the purse was lost in the back seat, a purse that just happened to have the copper pennies they needed.  Do you think it was a twist of fate, a higher power intervening, or heck maybe even Baby herself?  Whatever it was, it ended up saving Dean’s life, and technically Sam’s as well.   It also makes you wonder how many stories Baby could tell if she could talk. How many times has a valet taken her for a joyride?  Does she find such escapades thrilling, or they are what they are? How many of those backseat trysts have happened in her lifetime? What other adventures has she experienced when Sam and Dean weren't around, or even when they were sleeping in the Winchester motel? At 48 years old and counting, I'm sure there's a lot that she’s seen that no one will ever know.  

Best Quotes and Other Touches

I laughed when Dean was spraying the car with water and then the next scene it’s raining.  “Figures,” he said.  Yes, I always wash my car before it rains too! 

Dean: Where’s the beer?
Sam: Underneath the smoothies.
Dean: Where’s the rest of the beer?

“Time heals all wounds, especially good times.”   (Put that on a t-shirt!) 

Sam: Even Swazye wouldn’t come to this place.
Dean: First off, don’t use Swazye’s name in vain. 

“Oh, mistakes were made.” 

“Don’t ‘Night Moves’ me.” 

“Digging into the lore. Is that what the kids are calling it these days?”

“Is everything a Bob Seger song to you?”

“When has death ever stopped a Winchester?”

“Welcome to the Winchester Motel.  We don’t have cable, but we do have room service.”  (Hands Sam a beer).  

Sam: Goodnight Jerk.
Dean: Goodnight Bitch.
(Yes, that was the sound of millions of fangirls shrilling.) 

“What’s a Netflix?”  Or how about Castiel not processing how Orange can be the new Black?  Dean’s comment on binging was too dead on.  

Dean:  Let’s go home.
Sam:  You know what? (touches the dash).  We are home.  

“Baby” falls into “instant classic” territory, which is  truly a rare thing for this show anymore.  This is a “Mystery Spot.” This is “A Very Supernatural Christmas.”  This is a “Changing Channels.” This is a “The French Mistake.” Overall grade, an A+. I do not give that grade lightly. I haven’t given that grade in years.   As a matter of fact, the last one I gave was season eight’s “Sacrifice.”  That was around the same time (slightly after) when Sam last got laid.  Sam shouldn’t have gone that long and we shouldn’t have either.  We have needs!  Thank you, thank you SPN for this very precious gift.  

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