#the writers can kill who they want but not our boi serg

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OMG 'Supernatural' Advanced Thantology sent our Lynn over the edge

I was once again at a convention for last week’s Supernatural episode, so that meant trying frantically to set up the "Family Don’t End With Blood" vendor table (which you can get here if you've not picked up your copy yet) and then running upstairs to borrow a friend’s hotel room to watch the episode. But this time, the hotel actually had the CW – yay!! So I was sitting perched on my friend’s bed watching all by myself, which didn’t stop me from making a lot of noise at times. Sorry, neighboring hotel rooms! ‘Advanced Thanatology’ is an unusual title for an episode, so I wasn’t sure what to expect from this one. Season 13 has been making me pretty happy so far, which means I now go into every episode with all my fingers and toes crossed because I desperately want them to keep the quality up. It’s nervewracking to be a fangirl, what can I say? This episode was written by one of the newer writers, Steve Yockey. And guess what? My finger and toe crossing worked! This is the fifth episode of the season and the fifth one I liked. Woohoo! We start with an unusually long opening sequence, in which a few foolish kids play out the horror film genre stereotype of ‘never do this unless you want to die’ behaviors. It was scary as hell, so I appreciated that, even though I admit that part way through I started mumbling ‘where are Sam and Dean, come on!’ I know, spoiled Supernatural fan. I just want my boys! The actor playing Shawn, Seth Isaac Johnson, did an amazing job portraying his character’s terror though – and Alisen Down as his mom totally broke my heart. Someday I really am gonna send a gigantic fruit basket to Supernatural’s casting agency, because not only are the regulars incredible, most of the guest cast is too! The mom and son pair who were this week’s side characters served as the emotional push for Dean’s building sense of failure to go over the edge, because they portrayed fear and grief and loss so vividly. Shawn initially escapes, but he makes the other stereotypical horror film mistake of bringing home one of the creepiest things I’ve ever seen – a plague mask from the haunted house of a deceased demented doctor. I was honestly afraid I’d have nightmares that night! Kudos props department, kudos. Meanwhile, once we do move into the Sam and Dean portion of the episode, I’m once again deliriously happy – because Sam and Dean are still talking! And talking about emotional things! And being emotionally savvy and considerate of each other!  Once again, I have the relationship between the brothers that I signed up for loud and clear on my television screen, and that makes me one very happy fangirl. It’s clear that something is up with Sam from the first scene – he brings Dean a beer to have with his breakfast PBJ. Weirdly, Dean says “no, I’m good” and as Sam continues to be kind and considerate, Dean finally demands to know what’s going on with his brother. (Though actually, Sam is often kind and considerate, he’s just not usually so overt about it). Sam suggests that they work a case, “just you and me.” He notes that it’s been a while since they’ve done that, which induced me to start yelling “Yes yes yes!” at the hotel television probably too loudly. They leave Jack behind watching Sam’s fantasy DVD collection, and Dean rallies to some of his more Dean-like behavior by questioning how Sam ever got laid. (Which made me smile just thinking about how many fans were watching and thinking just the opposite about Sam’s geekboy side, btw…) So Sam and Dean put on their fed suits, climb into the Impala and head off to try to save some kids. Iconic Supernatural, and happy fangirl. The scene where Dean goes upstairs to talk to the traumatized Shawn was reminiscent of one of my favorite early season episodes, Dead In The Water. Lucas could also only draw what he’d seen, too traumatized to talk. That episode showed us the depths of Dean’s empathy for people who have been traumatized, especially children, and the depths of his own childhood trauma losing his mother in the fire. It was incredibly touching to see how Dean talked with Lucas, getting down on his level and sharing some of his own past in a willingness to be vulnerable that we hadn’t seen much of before. In this episode, Dean tries again, similarly empathic towards Shawn. You can see that Shawn senses it and wants to open up, but he’s too terrified, drawing that horrible mask over and over and over. We always learn a lot about Dean in those moments too. Dean: I know what it’s like to see monsters…you see them in your dreams. Oh, Dean. He’s the poster boy for PTSD but just keeps shouldering on, same as Sam. The boys leave without much success, which doesn’t help Dean with his increasing depression and sense of failure. Sam, in keeping with his determination to try to make his brother feel better by whatever means necessary, suggests they go to a strip club. Dean (and me) are sort of incredulous, and he reminds Sam that the last time Dean bought him a lap dance, Sam used the time to try to convince the young woman to go to nursing school. Sam sheepishly protests that of course he likes strip clubs, but Dean doesn’t seem to be buying it. (Also, it’s called the Clam Diver? You really went there, Show!) Sam: It got great reviews! I love you, Sam Winchester. Dean finally confronts Sam about why he’s doing all this for Dean – letting him be Agent Page, ordering him chili fries… (Awww, Sammy, you’re the best brother ever) Sam: I’m just trying to be nice. Dean: Why? Sam: You know why. And Dean does. See, that’s what I’m loving so much about this season – the show has remembered that the brothers know each other. Like, really know each other. They’ve grown up together and worked together most of their adult lives too; they’re both family and partners. They get each other. Sometimes Show forgets that, which makes me a cranky fangirl. But not this season! Sam points out that Dean is not fine, that he doesn’t believe in anything at this point, and that is not Dean Winchester. Sam: I just wanna help. Dean insists he’ll fight his way back, that he’s done it before. With bullets, bacon, and booze. Lots of booze. Sam (and all of us) are skeptical. Meanwhile, Show breaks my heart with another scene between Shawn and his mother. She runs in when he has a nightmare and soothes him, and he manages to say “okay” when she tells him to go back to sleep. You can see what that means to her, the sudden flare of relief and hope and so much love – her baby is getting better.  Again, Alisen Down did an amazing job. But then, she tells Sam and Dean, when the house got suddenly cold (NOOOOOOOO I screamed at the tv), she came in to his room to close a window, and he was gone. You can see that Dean is almost as devastated as the mom, that sense of failure burgeoning. Dean: I shoulda pushed him harder to talk. Oh, Dean. This is really not what you needed right now. Next thing we know, it’s morning and Sam Winchester is waking up – and looking ridiculously hot. Sorry, shallow I know, but woah. Rumpled with a bit of bed head and clad only in a tee shirt Sam Winchester is just plain hot. Either they went to the strip club and Sam came back early or Dean went alone, but there he is passed out on the floor snoring away – Jensen Ackles’ comedy genius and willingness to make himself look silly very much in evidence – still in his fed suit, disheveled with a pink bra tangled around his neck, his tie as a headband and what is that draped across his face? The imagination runs wild. Mine does, anyway. Longsuffering Sam takes the keys and leaves Dean to sleep it off, and is able to convince Shawn’s friend to tell them where the boys were that fateful night. (Yes, we not only get kind Sam and hot Sam in this episode, we also get smart Sam!) When he comes back, Dean is awake (sort of) and happily piling on bacon from the free buffet. Which is totally what I do with free hotel buffets, just saying. I pause for a few minutes to ponder just how someone who’s hungover and rumpled and wearing sunglasses inside can look so UNBELIEVABLY HOT. I mean, seriously? More Ackles’ comedy chops as Dean consumes lots of bacon, some of it falling out of his mouth. The face he makes when he looks around to see if anyone noticed before eating it anyway is priceless. I wonder if that was scripted or an Ackles ad lib. My guess is the latter. Sam at first questions what Dean is doing, and Dean grumbles ‘What happened to being nice to me?’ Sam pulls out a beer, and Dean immediately softens. Dean: You are forgiven. The Winchesters go to investigate the deceased demented doc’s very scary old deserted house, which means we get gorgeous flashlight-lit scenes by the brilliant Serge Ladouceur. Once again, this episode got really scary really fast – the doctor appears behind Sam, tosses both the boys across the room, and then approaches a trapped Dean with an electric drill pointed right at his face. I legit screamed at the top of my lungs in the hotel room because OMG was that a terrifying scene, filmed brilliantly. AAAAHHHH!!! Sam to the rescue (add heroic Sam to the list), temporarily vanquishing the ghost and then giving his brother a hand up. It’s those little moments that illustrate their relationship, Sam’s need to make sure Dean is okay and Dean’s quiet thanks. (Thank you, Steve Yockey, for that). I was totally squicked by the row of masks they find in the doctor’s former operating room and couldn’t wait for the boys to burn them. They’re able to get rid of the ghost (with great visual and sound effects from the VFX wizards), and I look at my clock and think huh, it’s way too early for it to be that easy. Uh oh. Sure enough, it turns out the house is full of ghosts – of all the people the doctor killed. Dean, now pushed way too far by his perceived inability to save anyone at all, is desperate to save these trapped spirits. He pulls out a small kit (from the same doctor who helped him kill himself temporarily in Appointment in Samarra, according to the Superwiki, with kudos to the continuity folks) and says he’ll go to the other side and find out where the bodies are. Sam (and me) are understandably shocked. Sam: No no no no, Dean, you’re talking about killing yourself! Dean’s depression (with a generous dose of unwarranted self-loathing) have put him in a very desperate place because he impulsively jams the needle into his chest and immediately seizes up in pain. Poor Sam, totally against the plan, nevertheless grabs his brother and soothes him through the death, holding him as he falls to the floor. (Because that’s exactly what Sam would do, and thank you again Mr. Yockey for knowing that!) Jared did an amazing job in this scene, conveying Sam’s barely contained terror that something will go wrong and he won’t be able to bring his brother back as well as his unbelievable courage in forcing himself to wait the three minutes that Dean asked for. I felt for him so much as he lined Dean’s body with salt to protect him while he’s defenseless, then sat over him vigilant and so horribly anxious, needle poised over Dean’s chest. He pats Dean repeatedly, reassurance for both of them that he’ll be okay. That must have been the longest three minutes of Sam Winchester’s life, and Jared shows us all of that. He also shows us Sam’s anger at his brother for taking this ridiculous risk, which would have to be there too. Sam: (leaning over Dean’s body) Stupid! For sure. Meanwhile, Dean ignores his reaper (as he often does) and finally finds Shawn – and realizes that he is indeed dead. You can see what that knowledge does to Dean, how it amps up his sense of failure even more. Even this kid he couldn’t save. Dean: I’m so sorry. As the three minutes comes to a close, Dean finds what he needs to know and returns to Sam and his body on the floor. Sam stabs the needle in and then waits – but there’s no response. Here’s where Jared really killed me, because it was like Mystery Spot all over again – and it had to be like that for Sam too. Sam: (desperately) Dean! Hey, Dean! Wake up! No no no…. nononononono! My heart absolutely broke for Sam. I think I had to grab some of the hotel tissues, in fact. I wish I hadn’t known that Lisa Berry was coming back, because the reveal that Billie is now Death would have been so amazing. Even spoiled, it was an incredible scene – Lisa pulls off the gravity of being Death perfectly, an imposing figure with her long leather coat and her ring and that scythe. She’s both gorgeous and terrifying. The entire scene between Dean and Billie was off the charts amazing. Lisa and Jensen have the same sort of chemistry that Jensen also has with Julian Richings, the original Death on Supernatural – he always looks torn between being in awe and wanting to be a smartass. And Death always looks torn between wanting to quash this brash human and being reluctantly fascinated (and maybe a little admiring) of him. All of that came through between Lisa and Jensen too. When Billie asks what Dean wants in exchange for some intel about the rift between universes, she’s clearly shocked that instead of asking to go back to his life, he asks for her to free the ghosts. At that moment, he cares so little for his own life and feels like such a failure, all he can think about is to save those poor people. Billie recognizes how significant this is right away. Billie: You’ve changed. Maybe you’re not that guy anymore, who always thinks he’ll win no matter what. You tell people you’ll work through it, but you know you won’t. You can’t. Boy, did she ever hit the nail on the head. I guess that’s the perceptiveness that comes from having a literally universal view on – well, on the universe. Dean doesn’t dispute her take on him either. There’s just no fight left in him, and it terrifies me. Dean: It doesn’t matter. I don’t matter. I couldn’t save mom; I couldn’t save Cas. I can’t even save a scared kid. Sam tries to fix it, but I just keep dragging him down… Billie: You want to die. Dean looks so vulnerable, looking up at Billie, lips parted, eyes blinking. There’s so much emotion there that he’s fighting back and he looks so lost. Billie: I see you, and your brother. You’re important. You have work to do. I was so riveted I was barely breathing through the entire scene. All the kudos to Lisa Berry and Jensen Ackles, because woah. And to writer Steve Yockey for putting in that call back to one of the most iconic lines in the show – it defines the show. We got work to do. And it’s still true, more than twelve years later. (Oh, and how thrilled was I to hear that one of the way Dean Winchester possibly died was ‘burned by a red haired witch’?? Rowena mention, yay!) Billie snaps Dean back into his body, and he wakes up to a desperate Sam still trying to revive him. Sam: You okay??? Dean: (trying to catch his breath) Yeah… Sam: (reassuring himself) You’re okay. He has to repeat it in order to believe it, after what must have been a horrible scare. The brothers lean against the Impala as the ambulances take the bodies out of the house and dig up the ones that were buried. My heart breaks again when they bring out Shawn’s body and his mother says goodbye, cradling her son’s face between her hands and looking utterly devastated. I needed to grab tissues again – it was actually hard to watch, it was so poignant. Of course, it hits the Winchesters just as hard. Sam asks Dean what happened back there, why the shot didn’t work, why the ghosts are all gone. At first, Dean tries to avoid talking about it, the way he most certainly would have last season. But this is Season 13 – and this is what I love about Season 13. Sam doesn’t leave it! Dean: We’ll talk about it later. Sam: No we won’t! You know that. I actually screamed out loud in my hotel room: That’s right Sam, you know you won’t!! And then they DID! Sam: You okay? Dean: No. Sam I'm not okay, I'm pretty far from okay. You know, my whole life, I always believed that what we do was important. No matter what the cost, no matter who we lost. Whether it was Dad or Bobby or... and I would take the hit. But I kept on fighting because I believed that we were making the world a better place. And now Mom… and Cas and I -- I don't know. I don't know. Sam: So you don't believe anymore. Dean: I just need a win. I just need a damn win. The boys climb into the Impala, and an awesome song by Steppenwolf begins to play, reminding us that “it’s never too late to start all over again, who says you won’t be back again.” Sam dozes, Dean drives, a scene so iconic to Supernatural it made me tear up. And then the phone rings. You can see on Dean’s face the shock of what he’s heard, and then they’re parking in an alley (a glowing cross prominently displayed) and at the phone booth? Is Castiel. He turns around, and we see Dean’s look of shocked disbelief – and maybe a bit of hope. I was so worn out from all the emotions I wanted to just collapse onto a hotel bed that wasn’t even mine, but instead, I hurried out into the hallway to get back to the vendor room. Multiple hotel room doors opened at the same time, and Supernatural fans spilled out into the hall, everyone going OMG OMG OMG. It was a moment. So we’re pretty much five for five, Show. Let’s keep this winning streak going. The Supernatural 1306 Tombstone trailer is above to check out. Check Our Our 2017 Holiday Gift Guides: [abcf-grid-gallery-custom-links id="50643"]

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Ouch! Supernatural Gets Emotional with Twigs & Twine & Tasha Barnes

Sometimes it’s downright painful being a Supernatural fan! But I don’t mean that as a complaint—this is part of what the Show has always been. Two weeks in a row that were painful is tough to take, there’s no doubt about that, but there was a lot to appreciate in this week’s episode. Even the painful was just done so well! Grudging admiration, Steve Yockey, for the writing, Richard Speight Jr., for the directing, and all the actors for conveying the pain so brilliantly. Before I do an actual recap, here are some of the reasons for my grudging admiration. First, I love when an episode is a mirror for the Winchesters. This is a tradition going back all the way to the beginning, something Kripke liked to do and made work extremely well. Sometimes the mirror is a little too large and obvious, but in this case, I didn’t think we were too pounded over the head with it – or maybe I just enjoyed the pounding. Which sounds really wrong. Max and Alicia, the witch twins, were immediately seen by fans as a mirror of Sam and Dean in their first episode. Their closeness, the way they talked at the same time and finished each other’s sentences, the way they squabbled but clearly always had each other’s backs – all of that reminded us of the Winchester brothers. Sibling pairs often are used in the show as a mirror for the brothers, so that wasn’t a surprise. It was a surprise to see them back in another episode! A very pleasant one. Even in the limited time they had onscreen in their first appearance, they made a big (and positive) impression on fans. So yay for Show listening! There were several scenes where the parallels were made explicit, including Sam quoting Dean as he tries to convince his brother to come to the aid of Max and Alicia. The call back to the pilot made me smile, and had the intended effect on Dean too. Sam: Their mom’s on a hunting trip and hasn’t been home in a week… Dean: (in the pilot): Dad’s on a hunting trip and he hasn’t been home in a few days… I know not everyone enjoys the call backs, but I really do. I do a lot of research on fandom and the psychological impact of being a fan, and one of the things that makes us feel good is the familiarity of our favorite shows. We respond emotionally to our favorite television shows differently than we respond to any old show – they have more impact, actually creating some of the same physiological  and psychological reactions that we have when we sit down with an old friend to chat over a cup of coffee or a glass of wine. So all the small nods that reinforce our familiarity with a show increase that emotional impact. The phone call that Dean makes to his mother is also a call back, to the early episode aptly titled “Home”. In that episode, one of the first times I noticed how unique this show is and how unafraid the actors were to really “go there”, Dean calls his Dad and pleads for a call back, his eyes watering and his lip wobbling as he admits he doesn’t know what to do. I can’t watch it without my eyes watering too. In this episode, Dean doesn’t get as overtly emotional—his relationship with Mary isn’t as long standing and intense as his bond with John was—but he once again pleads for her to call him back and admits that he feels “spun out” and over his head.  I’ve had many conversations with Jensen about how the emotion in those scenes is not something he has to create, it’s something that happens organically. That’s clear by the small, unconscious tells – like a hint of Ackles’ Texas twang coming out as he tries to hold back the emotion from his voice. Those little things, and the way these actors are fearless in letting their emotionality come through, are what make this show so special and so impactful. Second and relatedly; the acting. Ackles and Padalecki knocked it out of the park with their empathy for Max and his repeated, brutal losses of his family—something the Winchesters can relate to with every ounce of their being. All three of the Banes family members were also incredible--Alvina August as Tasha, Kara Royster as Alicia, and Kendrick Sampson as Max. Alvina made us love her even in a short amount of time, which meant her children’s anguish over her death was incredibly painful. Kara showed us once again Alicia’s badass bravery but also her great love for her mother and her brother. And Kendrick Sampson nearly killed me by portraying Max’s devastation so powerfully that I could feel it in my gut. And it hurt! Sometimes I love this show so damn much even as I’m sobbing on the floor scrambling for more tissues. Not sure what that says about me. The BMoL story line ran parallel to Sam and Dean’s throughout the episode, which can sometimes give me whiplash from going back and forth. In this case, director Richard Speight Jr. and writer Steve Yockey made it seamless, and actors Samantha Smith and David Haydn-Jones made it snap with tension and intrigue. There was never a second of this episode where I felt like I had a chance to catch my breath, let alone think about making a sandwich! Smith’s slowly dawning realization of the colossal mistakes she’s made, and Jones’ portrayal of Ketch’s complicated feelings for Mary losing out to his indoctrination and psychopathology were fascinating to watch. And yes, also painful! And third, some big kudos to Richard Speight for the brilliant directing and gorgeously shot scenes, Serge Ladouceur and his team for the beautiful lighting throughout, Jerry Wanek and his team for infusing the twigs and twine theme throughout the episode (even in the wallpaper!) just so we could be even more creeped out than we already were, and the special effects wizards for making those violet eyes and all the other effects look anything but cheesy. And to Lou Bollo and his team for pulling off another epic fight scene worthy of the epic fight scenes in this show that have come before. [caption id="attachment_45848" align="aligncenter" width="600"] Photo: @sleepypanda[/caption] So yeah, I really liked this episode even if “enjoyed” wouldn’t be quite the right word. Let me walk through what happened, so I can point out more of what worked and possibly a few minor quibbles (because when does a review not have quibbles??) Unless it’s a Robbie Thompson episode. Then I plead for your indulgence. The episode begins right where we left off last episode, with the boys waking up the next day and trying to figure out what the hell happened with Cas (pretty much the way I felt after the last episode too). Dean draws a line between Castiel’s profession of faith in Lucifer’s child (and presumably his decision to knock Sam and Dean out and leave them in a playground) and the things Cas has done before with good intentions—for the right reasons, as he says. If you read my last week’s review, Dean and I were clearly on the same page. Dean: Last night, I didn’t recognize him. The boys are clearly worried about Cas. Meanwhile, Sam unwraps the broken Colt – and I actually leapt up to my feet and screamed! I was so devastated by its seeming loss last week, and so ecstatic to see that the boys haven’t given up hope on her yet. Dean: Can you fix it? Sam: I hope so. Me: PLEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEASE!!!!! At first I was surprised that it wasn’t Dean trying to do the fixing, since he’s the mechanical wizard who’s always taking apart the guns and putting them back together. But I assume this isn’t exactly a mechanical problem. Go, Sammy!! We’re re-introduced to Max and Alicia, and immediately the parallel is set up with Sam and Dean. They’re bickering, lovingly, as siblings do. Max: You’re being dramatic. Hah! I just talked about that same accusation being thrown at Dean by his sibling in last week’s review. Maybe it really is a sibling thing. (Actually that accusation might have been thrown at me by my brother a time or two, come to think of it…) Sam convinces Dean to help them by quoting Dean’s way of convincing Sam in the pilot, and off they go. Before he leaves, Dean makes that poignant phone call to Mary, leaving a voice mail just as Dean did for his dad in ‘Home’. The next scene of all four siblings together is awesome. Max is already one of my favorite characters, in part because Sampson pulls off both being a powerful witch and being a charismatic person. Max is also another queer character for the show, happily announcing that he got the hot bartender’s phone number. Remember the early seasons when Dean might have been uncomfortable (and we were uncomfortable with Dean’s discomfort)? Dean and Sam join Alicia in their affectionate ribbing, and then Dean wants to do some male bonding with Max over the grenade launcher. Seems like such a small thing, but I don’t think it is. I loved that scene so much, and love Sampson’s portrayal of Max. Alicia and Sam have their own bonding moments, which I got distracted by for a few moments by Jared’s glorious hair tossed by the wind. Anyway, we find out that the twins are hunting a borrower witch, which yay for Yockey keeping canon! Alicia and Sam connect over feeling like their siblings shared a special bond with their single parent. Alicia: Magic, it’s their thing. Sam: Dean and my dad had that bond with hunting. It was also interesting to have an outsider pov on Mary from Alicia, who wryly notes that Mary “doesn’t seem like much of a hugger.” I’ll say. The foursome arrive at the place they track Tasha to, which is a beautiful Vancouver house or something standing in for a bed and breakfast. This show has ruined me for idyllic bed and breakfasts in the countryside – I’d just be waiting for someone to kill me! I need to give Yockey and Speight some love for the wine scene too. And probably Ackles, for holding his wine glass in his fist so awkwardly, making it crystal clear that Dean isn’t used to drinking wine without ever saying a word. And Sam giving his brother his own glass of wine when he goes out to grab the food from the vegan restaurant. Sam: Dean, drink. (pats his brother on the knee affectionately—again one of those small nonverbal moments that say so much, and that every single person in the fandom picks up on. And appreciates) Dean: Yes. (pours Sam’s wine into his own glass happily) That was just such a Sam ‘n Dean scene—the kind I’ve been missing so badly all season. Thank you Steve Yockey! We already know at this point that Tasha isn’t really Tasha, but I have to say, that twig doll was pretty damn real! She had all of Tasha’s memories, and she certainly seemed warm and loving and wise. I liked watching her and Dean observing Max and Alicia squabbling, both of them with such fond looks on their faces. Dean is so wistful, it hurts my heart. He loves knowing that Max and Alicia had what he and Sam never did—a loving mother with them to raise them. And you just KNOW that he’s wishing that for Sam, most of all. Oh, Dean. Where are my tissues? Tasha and Dean talk about mothers too—a theme of Season 12. Tasha on moms: You think they’re perfect, then you grow up and realize they’re just people. This was one of the few times in this episode that I scratched my head. Show is really wanting us to go down that road, I guess—of saying that Mary is imperfect because of course all of us, moms or not, are imperfect. I’ve been worried about this all season, that they took us so far in the opposite direction that it’s going to be very difficult to spin us around and make us say oh well, Mary was pretty awful to her boys but hey, no one’s perfect. Why did you make it so difficult, if that’s where you wanted us to end up, Show?? I honestly don’t know if I can go where you want me to. And it’s not because I think moms have to be perfect—god knows, I’m not, just ask my kids. But this went so far away from perfect! Moms don’t have to be perfect, but they don’t have to be callous and hurtful either. We get another nice little slice of “yes these are the Winchester brothers I know and love” when Sam returns with the takeout and motions Dean to come with him. Dean: I know that look. What’s up? Nothing more Winchester than nonverbal conversation and reminding us that’s how well they know each other. Sam and Dean check out the basement where that creepy guy emerged from as they arrived (and I forgot to say how much I adored Jared’s awkward little wave—he has so much talent for doing comedy that doesn’t get used very often! I laughed out loud and had to replay that moment a few times). Nothing funny about this scene though—they find Tasha’s dead body. That’s horrible enough, but what happens next absolutely broke me. Max sees the light on and comes down the stairs. Sam and Dean (breaking my heart in pieces) try to shield Max from seeing his mother, instinctively wanting to keep him from that unbearable pain even though of course he’ll have to know. And oh my god, Max’s face when he does see her. Kendrick Sampson acted the HELL out of that scene! Max (brokenly): I… I just… He breaks down in sobs, and so do I. Sam and Dean, watching, are clearly devastated too, remembering their own traumatic losses, including their dad. Jared and Jensen were amazing in this scene too, again with all those little seemingly inconsequential nonverbal reactions that are anything but. At separate times, each of them scrubs a hand over their face, like they can’t quite decide how much emotion to let show there. Again and again, they look at Max and then turn away, like it’s physically too painful for them to watch his pain and empathize with it so thoroughly. God, that was a hard scene to watch. And absolutely masterful –from all involved. Dean and Max confront the witch, while Alicia tries to help her “mother” and Sam gets beat up by the twig doll hotel guy. The witch needs time to do some serious exposition, so she puts Dean and Max under a spell that freezes them. Dean looks distractingly pretty during this time, so I don’t mind so much that there’s a lot of exposition going on. Max, on the other hand, looks devastated—he’s forced to actually see his mother murdered. That trauma contributes, I think, to him considering taking the witch’s deal, but Dean tries to talk him out of it. Dean: No, your mom is gone. It’s awful and it sucks but… The witch silences him, though Max does hesitate. Meanwhile, for some unknown reason nobody has told Alicia that the twig doll is not actually her mother, so she’s not much help to Sam as he gets tossed around like a ragdoll and then strangled (shades of early SPN!)  She finally comes to his aid, only to be stabbed to death by the twig doll that’s not really her mother. How heartbreaking was it that when she saw her “mom” stand up, Alicia happily said “Mom!” right before she killed her. I gasped out loud when Alicia went down, truly horrified. Dean managed to break the witch’s spell long enough to shoot her with witch killing bullets, and when she dies, the other twig dolls disintegrate. Too late to save Alicia though. Sam yells for his brother, his anguished “DEAN!” ringing down the hall. And then Kendrick Sampson destroys me all over again, as Max sees that his beloved sister is dead. It was such a call back to All Hell Breaks Loose Part 2, the scene that kept me crying for literally an entire week when Sam dies in Dean’s arms. Max has such a similar reaction, rushing to his sister’s side and leaning over her sobbing. Max: Please, no, hey hey, no no no… It’s what the Winchesters say when one of them dies too –they always say “hey, hey” when trying to talk the other one out of leaving them, so when Max said the same I totally lost it. Nobody told me I’d need THAT many tissues! Sam and Dean are thinking the same thing; they look at each other pointedly as Max cries. He sends them away, and they respect his wishes and go. In the car, Sam tries to reassure his brother that he did the right thing, that he saved Max (his soul anyway). Dean: Yeah, he seemed super saved. Dean is so sad about how things went down, saying that they had a loving family, “the kind we should have had.” Dean: Sam, we do terrible things all the time to save each other, that’s what you do for family. Who am I to stop him? That’s pretty much Supernatural in a nut shell, and it’s why I love this Show. Hearing Dean say that just made me even MORE emotional. There’s a great music cue as Max does the same, putting his sister’s heart in the twig doll and bringing it to life. Alicia’s body burns as the twins leave, twig doll Alicia as mystified about what’s happened as Sam was when Dean sold his soul to bring his brother back to life at the end of Season 2. Oh, the call backs, my heart can’t take much more of this! Meanwhile, in the second story line, Ketch is torturing what at first looks like Mary but is in fact a shape shifter. Mary is watching, and her phone rings. Mary: It’s Dean. Ketch: And?? That sets up the beginning of the end for Mary and Mr. Ketch’s unlikely romance, if you can call it that. He takes every bit as much pleasure in torture as we would have expected him to, and Mary sees that side of him for the first time-the brutal side that his charming exterior has covered up. It’s telling that Mary refers to the shifter as “he” and Ketch corrects her to “it.” That’s what the BMoL – and every torturing regime ever—does in order to be as brutal as they are. They dehumanize, see anything other as “it” so they can torture with impunity and without regret. Mary is as put off by seeing this as Dean was when he was hunting vampires with Ketch. The Winchesters can be ruthless, but most of the time (if they’re not demons at the time or whatever) they don’t take pleasure in it. Afterwards, Mary is angry. Ketch, on the other hand, wants to jump into bed and work off all that adrenaline. (Ewww). Mary shuts that down pretty quickly, and Jones does a good job showing us, again with those subtle nonverbals that all these actors excel at, that Ketch is hurt by the rejection. And for someone as ruthless as him? That is not going to be a good thing. He taunts Mary that she’d better call Dean, or “he’ll think Mommy doesn’t love him”. Ouch. On the nose there. Mary finally gets Dean’s message, and leaves Dean the voicemail she should have left him way back in Episode 2 or 3, telling him that she’s sorry she hasn’t been there for him and Sam. Mary: But I want to be. I will be. I miss you boys. I love you. Me and everyone else watching: uh oh, that sounds like the sort of voicemail people leave when the show is about to kill them off. Ketch has been careful, even sending emails as though they were from Mick so Mary won’t get suspicious. But Mary is a hunter, and she’s smart, and soon enough she finds Mick’s body in a storage container and a room full of hunters’ photos and stats that make them look like the next intended targets. Ketch tries one last lie about Mick. Ketch: An accident, with a werewolf. Mary: (incredulous) A werewolf shot him in the head? Ketch: It’s not impossible… Me: actually laughing out loud. Nice dialogue, Steve Yockey! We then get one of those epic fight scenes that Supernatural is known for, thanks to Lou Bollo’s amazing stunt choreography and the willingness of the actors to always give it their all. They throw each across the room, get in punches and kicks. Ketch is still not entirely ready to give up on her, which really says something about the effect she had on him. He says he can keep her safe, if only she plays nice. Mary: I don’t play nice. I’ll say. Mary breaks his arm and brass knuckles him in the nuts, leaving him on the floor as she walks out. Nope, not that easy! Ketch tasers her and she falls flat to the floor. Meanwhile, Dean and Sam are driving away. Sam falls asleep, leaning against the window in the passenger side while Dean drives and keeps an eye on his brother, just like in all the best fanfic. Then Dean checks his voicemails. He gets to hear the one from Mary, which I’m glad about; so often in this show, the most important voicemails never get heard. Then he hears the one that tells him to call her, that they’ve got a problem. Dean to sleeping Sam: Sam, wake up, it’s mom, something’s wrong. SAM! Me: Why is Sam not waking up??? Is something wrong with Sam? (Probably not, this was just a fitting transition to the next scene, but it worried me) We end with a splash of water on a bound Mary’s face as she comes to. Ketch: (ominously) Remember Mary, I gave you a chance. And then we see the person NONE of us ever wanted to see again (but expected nevertheless). Lady Toni (with her goddamned notebook again): Now Mary, let’s begin. [caption id="attachment_45875" align="aligncenter" width="640"] Caps by @kayb625[/caption] Talk about callbacks! This episode may not have been enjoyable—in fact it was downright painful to watch at times—but it was incredibly well done. Kudos to all—writer, director, cast, crew. I’m full of trepidation as we start careening toward the finale, but that’s just Supernatural, isn’t it? For more Supernatural, check out our new book, Family Don’t End With Blood: Cast and Fans on How Supernatural Has Changed Lives, available now here! Check out next week's Supernatural 1221 There's Something About Mary.

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Latest story from https://movietvtechgeeks.com/behind-scenes-supernatural-director-richard-speight-jr-part-1/

Behind the Scenes of Supernatural with Director Richard Speight Jr. Part 1

I’ve known Richard Speight Jr. for a long time – a decade in fact! I loved his portrayal of the Trickster and Gabriel on Supernatural, and I’ve always loved talking to him. About the show, about the cons, about the fandom, about the business – Richard has always had the most fascinating insights. He wrote a chapter for our third book, Fan Phenomena Supernatural, which I love (and you can get it here). And it’s always just plain fun to sit down and chat with him, especially as a wonderful way to end a hectic but fun con weekend. Richard talked about wanting to direct early on, so it’s been truly awesome to watch him pursue that dream and be successful thanks to determination, talent and lots of hard work. We don’t get to sit down and chat at the end of cons nearly as often as we used to, but we did in San Francisco. And yes, Richard still has the most fascinating insights – this time all about directing his most recent episode of Supernatural, and the incredible collaboration with cast and crew that has ensured the show’s success. This is Part 1 of a two-part interview: Lynn: War of the Worlds was a huge episode – It seems like (writers) Eugenie Ross-Leming and Brad Buckner often get these episodes where they tie all these plot lines together. Richard: Right. Lynn: What is it like directing an episode like that, with three big reveals and so much plot movement? Does it feel as unmanageable as it sort of seems? Richard: Well, it’s interesting, there’s a double whammy. I mean, Eugenie and Brad write phenomenal scripts, I think they’re very smart writers and they’ve been doing it a long time, they’re very experienced writers in the field. Lynn: Which may be why they give them these complicated episodes. Richard: Yeah, and I dig what they do so I was intimidated by getting one of their scripts. I’m intimidated by all scripts, to be honest… Lynn: Well you haven’t been doing this that long! Richard: Exactly, so everything intimidates me. But especially since Bob Singer is a mentor of mine, they’ve been together for a long time doing great work, so that’s intimidating. And the size of the script was huge in terms of what was involved. This was very challenging because every day was chock full and we moved like a freight train, but I felt like the story was in great shape when I got the script. We didn’t have to have a lot of conversations about ‘what about what about what about’. It didn’t need much massaging, it was kinda ready to go, so I could start working right out of the gate on what I thought the show should be from a shooting standpoint. Lynn: That makes a lot of sense yeah. Richard: And so to me it was as daunting as anything else is, but I think the thing that was most daunting were the fight scenes, because I had several. I had Castiel in the park and then I had the big fight scene in the bar, so those are the ones I kinda obsessed about alot – especially when I had the boys being thrown around in the bar, and Asmodeus throwing Lucifer and Castiel around in the bar. So those massive moments take a lot of energy and time and stunt work. Lynn: I can imagine! [caption id="attachment_52355" align="aligncenter" width="696"] Screencaps courtesy of @kayb625[/caption] Richard: So those were challenging, and kinda weighed heavily on my mind when we were prepping. I love Pellegrino as an actor and a person, so it was exciting to work with him – and really dig Osric Chau, and David Haydn-Jones. Lynn: There were so many people who came back in this episode! (At that point, since it was the end of the con, Mike Borja and Billy Moran of the very talented band Louden Swain stopped by to say goodbye and to wish us happy holidays and a happy new year – there’s a bittersweetness to the last con of the year and everyone going their separate ways for a little while, but I was glad I got to say goodbye too.) Richard: So it was all daunting. It’s hard for me to say that one’s more daunting than another. Because of the odd structuring of Stuck In The Middle With You and the multiple perspectives, that one got to me a couple of times, to get my brain around. Lynn: That makes sense, from a director’s standpoint, a different kind of challenge. Richard: Yeah, exactly. So this one was challenging in the enormity of the story lines going on, but my brain could comprehend everything that was going on in terms of the execution of what they were going for on paper, and it was a matter of just making sure it was done right on film. Knowing all the people I was working with – I’ve gotten to a point where I know Pellegrino well, I know Osric Chau well, I know David Haydn-Jones well, so I had no X factors. I had almost nobody to cast. Lynn: I didn’t think of it that way but yes, they were all familiar. So that made it easier, I’m guessing. Richard: It did, because when I did Stuck in the Middle, I had to find my Ramiel. When I did Just My Imagination, I had to find my Sully. So much was dependent on finding those key players. Lynn: Right, they were pivotal in those episodes. And both were awesome! Richard: That was not the case with this one. I had a little bit of casting to do, but for the most part I knew all my heavy hitters and they were already pre-ordained, you know? Lynn: They were. Richard: So that’s a bit of a relief, it’s one thing you can take off your list. You know those scenes are gonna work from a performance standpoint. Lynn: So there were two things – well, there were a lot of things that stood out about this episode – but one is that this is the funniest I have ever seen Mark Pellegrino be. The scene where he ends up on a city street looking like a homeless guy and keeps trying to intimidate and zap people, to no avail, was hysterical. I was literally laughing out loud. How was it to direct him in that, and how much of that humor was your directing, how much was his acting, how much was scripted? Richard: Well Mark obviously comes in with his very clear ideas of what he wants this to be, but I had blocked it in a very specific way because I was tying it in with the shot I was doing of Osric being thrown out of frame timed to Mark coming into frame, so I had this very specific design of what the shot was. Lynn: Oh right, right Richard: And then I wanted it to be a moving Steadicam shot that sort of kept you in the mood, so it all felt very organic. So all of that performance was Mark doing what Mark does, and my blocking aided that. My goal was to block that scene like what you’d see in a movie, like what you’d see Jim Carrey do. Lynn: Yes! That’s how it looked and felt, exactly. Richard: I wanted it to feel like this is the comedy film version of Lucifer returns to Earth, so I did that and then every take or two, after we got the big one done, I said ‘Mark, when they’re gone, instead of standing there wringing your hands, walk back up the street and try to kill the background artists’. Lynn: Oh, that was your idea? That was one of my favorite parts of the whole episode! Richard: And he thought that was a great idea, so we did one take of that, and you can tell the young lady didn’t know he was gonna do it because we didn’t announce it, I said let’s just keep going, I’m not gonna call cut, and you try to zap a few people as you go up the street.   Lynn: Maybe that’s why it was so funny, it was completely organic! I have this little game I play with Jensen where I try to guess which moments are unscripted, and that’s my theory, you can tell because they have this extra bit of genuineness to them, they just play slightly differently, so you can tell. And they’re often very funny! Richard: Oh, that’s awesome. Yeah, I loved that beat, I put that in the cut, and I was hoping that Phil and Bob would like it as much as I did. Lynn: I’m so glad they left it in, it was priceless! So the other thing that struck me, which is the complete opposite – it played on Thanksgiving, so I’m at this big family gathering and my son’s girlfriend’s family is all there and they don’t know us very well, so they’re trying to be nice with ‘oh let’s all watch this show that Lynn writes about’, so we put on Supernatural. And there are just repeated scenes of torture, with screaming and wailing and people being cut, and I’m looking around going OMG what do they think of me… What is it like directing those sort of scenes? Richard: I don’t really think it’s different than directing a normal scene, to be honest. It all feels very performance driven, and you go over your shots and your design and know what you want it to feel like. The scene with Mark in the cage… Lynn: That was really awful – he did such a good job of making Lucifer look like this ruined, pathetic creature, just in a couple of minutes… Richard: Right, and I almost ruined my day of shooting by over-shooting that sequence. Lynn: What does that mean exactly? Richard: It was such a cool set, it was the teaser for the episode, and Serge [Ladouceur] had these lighting flashes going and the light flashing through and so I just shot the hell out of it and I used every angle I got, I used everything. I had a crane for the top, I had a spin move, I had a dolly move outside the room, just because I thought a) it’s Lucifer caged up, b) it’s the teaser, and c) it was just artistically a beautiful space. Lynn: I think I said that in my review, how can something so horrendous be so beautiful at the same time? Richard: Yeah, and again, it was like I just wanted to capitalize on Serge’s gifts as a lighting guru and be sure that we shot it. Lynn: You got to do a flashlight scene too. I always love scenes of the boys with flashlights, and I know Serge is really good at it, but that seems like a tough scene to shoot too. It’s such low light, but you get to see just enough. Richard: He’s great at it. Lynn: And the fight scene too, there were a lot of very dark scenes but you still needed to be able to see what’s happening. Richard: And that’s what Serge does well. It had to be abundantly clear that the power had been cut in that room, in that building, so there was no source lighting whatsoever, not from the jukebox, nothing. So that was all Serge coming up with where would the moonlight come in, what’s a light source that works and how can he utilize his lighting and my blocking to make that work well? Lynn: We’re so lucky to have people like Serge. Richard: He’s a genius. And btw, one thing I wanted to talk about, because you were talking about Pellegrino and being funny in this episode. The scenes he had with Misha in the diner, in the bar, to me were some of my favorite scenes. Lynn: Comedy gold. Richard: Yeah, comedy gold! And again, I know those dudes, putting them in the room together, letting them do their thing? I loved what they did. My thing was, when I saw what they were doing in rehearsal, I just put gas on their fire. I said go go go go go, do this, don’t worry about overlapping each other, I’m gonna make the sound department work hard because I want this to feel like the indie film of Supernatural. I want you talking over each other, I want you adding what you want – there are a couple of lines that they just added! Lynn: It all stayed in? Richard: It all stayed in, everything they added. Lynn: That’s awesome. I mean, both Misha and Mark were just incredibly funny, their timing was spot on. Richard: One of my favorites was, I told Mark, I said ‘hey answer Misha when he says I’m not Heaven’s joke’, there was no answer so I said, ‘answer him’. So Mark just goes like ‘I’m just sayin…’ Lynn: I loved that, and he’s so good with the gestures… Richard: He puts a button on it, and they were just – it felt more like Steve Buscemi and somebody else doing a gangster movie than it did like CW good looking people having a conversation. They just brought a level of honesty to it that made those two characters connect. And they built a real relationship, those guys, that supercedes ‘I wanna kill you-I wanna kill you’ to ‘hey I know we were gonna kill each other, but put a pin in that, we’ve got bigger fish to fry’. Lynn: And it was very believable, and again, Lucifer is a character that you don’t want a redemption arc for real, but in this episode you felt empathy for that character and you were amused by that character, and then you’re like wait, why am I feeling empathy for this character? Richard: Well, I’ll tell you why. Because you don’t wanna  -- it’s like Lego Batman. Batman isn’t Batman if he doesn’t have the Joker. So if Lucifer is a guy with no powers, he’s not a nemesis, he’s just a guy. So kind of, in a weird sort of way, you don’t want to sucker punch your enemy. You want to kill him at full power, not when his back is turned. Lynn: Right, it would have no impact. Richard: And also his logic was true, it was like ‘look I get it you wanna kill me, kill me later we have a thing we’ve gotta do before we all are toast’. Lynn: The chemistry between Misha and Mark… Richard: It was fantastic! Every scene. In the park, where Mark is coughing and sitting down on the bench, the scene where Mark takes Misha’s phone at the bar, it’s all just great. Lynn: (laughing) It was. Richard: I just loved watching it, it was like making an indie film. Working with those two guys, it was making an indie film. I didn’t need to overshoot it, they did all the work, I just needed to be sure I captured those bits on film and encouraged them to do more, like keep going down that road, keep overlapping, keep those bits you’re playing, keep the looseness, keep it alive every time. Lynn: That’s what you do as a director, right? You see what’s working and you make that happen. So it seems like when you’re directing, you get a vision of what you want it to look like, and it’s often not like the stereotypical television show. Is that something that comes to you after you read the script? Richard: Yeah, for me, I read the script several times  and I’m petrified because I don’t know what I’m gonna do, and then eventually the more I read it, the more it starts to be a movie in my head. Lynn: Yeah, that’s what I meant. Richard: And the more it starts to be a movie in my head, then I know what kind of a show it is. And when it’s a movie in my head, then I just write down the movie in my head. I write my shot list based on the movie I see in my head. Lynn: And then you make it happen. Richard: Yeah, and then I make it happen. And the way I direct, it’s like I always talk about how Rob and I come onstage and we just do things that we find funny and maybe the audience thinks it’s funny and maybe they don’t, but we’re laughing…. Lynn: Oh, me too! Richard: That’s how I direct. Obviously I direct with the level of discipline that I want to get the shots done and get the story told, I want the people back in LA to be really happy with those things and I want the story told correctly and efficiently, but I also see it in a certain way. So I go with my gut on these things, I go with my vision of how this should be. And of course I talk to Andrew Dabb. Lynn: It’s sort of like an instinct you go on, then? Richard: Well, it is, I mean it is instinct but it’s instinct based on being obsessed with visual imagery my entire adult life so that I’ve been a movie addict forever. And Andrew is obviously very adamant about what he wants to see in the Show, Bob Singer is very adamant, very clear about what he wants, Phil Sgriccia is very involved. So it isn’t like I haven’t gotten very clear instruction. Lynn: No, sure. Richard: And very clear guidance. I’ll ask them questions and sometimes they say yes and sometimes they say no. And I stick to their answers because they know the show better than I do and always will. But at the same time, I try to trust my instincts when it comes to how to execute some of these scenes, the more I direct. Because I’m seeing something, so that something that I’m seeing, I think is going to work. Lynn: I feel like it seems to be totally working.  Another moment that was so good that it’s now become a meme, is where Ketch comes in eating the sandwich and it sort of falls out of his mouth. Richard: Oh really, that’s a meme? Oh cool. Lynn: Was any of that ad libbing, or how did the sandwich fall happen? Richard: Eugenie and Brad wrote specifically, ‘he speaks, they turn, he’s eating a sandwich’. They wrote that he’s in the room. To me, what was going to make that scene interesting was how do you shoot it? So I made sure that the reveal was one that I thought was funny, I tried to make that funny. Lynn: And it was! Richard: Because Ketch is not a funny character, that is not a funny moment, there’s no comedy that comes out of that scene, but I felt like for Dean to be really put on his heels, it needed to be an obtusely quirky reveal. Which is why I had Jensen crossing that way, there’s no Ketch, comes back there’s no Ketch, looks forward, there he is. So that he’s just, if you watch that scene in one take – which obviously you don’t because there’s cutaway to Jared – but he walks in, walks back, and there’s Ketch blurry. And that’s the other thing, I wanted him out of focus so when Dean turned he’s like What? Lynn: I loved that moment of Dean seeing him and being like WTF, and of course then Jensen played the perfect reaction. Richard: Yeah. Lynn: So you did that multiple times in this episode, it occurs to me. It was an episode that was heavy on villains but in several cases you managed with humor to bring a little bit of vulnerability to them, which of course makes them a million times more interesting. Richard: Right. Lynn: And that scene did that a bit with Ketch. Richard: I did, I felt that he was at their mercy. Lynn: Yes, like Lucifer, beaten down and chained up at the time. So you should feel good that’s a meme. Richard: (laughing) I do. Lynn: There was one scene I didn’t quite understand. There’s a scene where Sam goes to talk with Ketch, just the two of them – and it was the scene that made me think oh, that really is Arthur, because as “Alexander” talks about Arthur, he’s very complimentary and that fits Arthur’s narcissism. But when the scene was over, I wasn’t sure what I was supposed to take from it. Richard: My interpretation of that scene is that, in the scene previous where Sam and Dean are sitting in the Men of Letters discussing, and Sam has done all this research and found all these documents, that he’s – Jensen is not, Dean is not interested, he’s made up his mind. But Jared, Sam, goes down to have the conversation. He’s watched this guy get punched and punched and punched, that scene is brutal where Dean is beating him up… Lynn: Brutal… Richard: We come in in the middle of that scene, he’s already been beaten when we show up to that scene, and it continues through the rest of the scene, and he gives no sign of budging and just sticks to the story which is that he’s Alexander. And I think it’s intriguing – these guys know how to do research online and he’s finding everything that backs up what the guy’s saying. And it’s just enough to plant the seed, the ‘what if’, in Sam’s mind. Lynn: So Sam wasn’t sure? Richard: I think it’s Sam’s version of nice guy interrogation. Lynn: Okay, so that is how I interpreted it too. Richard: Yeah, it’s intelligent chicken. He’s playing chicken, but it’s thinking man’s chicken. Lynn: And I’m gonna assume that Sam came to the same conclusion that I did from what Ketch said. Richard: I don’t think Sam ever thinks – it’s not like Sam leaves and goes to Dean and says this is definitely not Arthur. All he does is display some empathy and let the guy go to the can and the kitchen, which speaks to Sam’s character regardless. Lynn: I said that in my review too, that there was character consistency, which I love because that’s not always the case. Oh, and the FBI phone array, was that something Eugenie and Brad put in there? Richard: It is. Lynn: I loved that because it was such a nice call back to Bobby and the early days of the show. You gave it a nice treatment. Oh, I also thought Farrah Aviva did a great job as the witch. Richard: She did a lovely job. Lynn: One person who you didn’t know, I assume. Richard: No, I didn’t know her. She was great, and interestingly, completely by coincidence before I cast her, she ended up being the photographer who shot Briana’s pictures for the Women of Supernatural calendar. In fact, I cast her, then she shot Briana’s pictures, then she came to work, so it all happened at the same time. Lynn: How weird. I thought she was a strong female character who was gutsy and had courage in an episode that was otherwise very male heavy. Richard: Yeah, she did a really nice job. [caption id="attachment_52370" align="aligncenter" width="696"] Photos: Lynn Zubernis[/caption] Part 2 of Lynn's interview with Supernatural's Richard Speight Jr. will continue...

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