Monthly Archives: March 2020
Because I’ve always mentioned Sam and Dean in my Rachel Blackstone Paranormal Mysteries, I’m publishing this piece on both blogs.
The End of the Road
By G G Collins Copyright 2020
From the beginning, Supernatural has been about more than two brothers slaying monsters. The series has been researched; a satisfying recipe of biblical, lore and fabrication. Drawn by good storytelling, humor and a bit—okay more than a bit—of stage blood thrown around, it caught the attention of several generations. The two stars (Jensen Ackles and Jared Padalecki) were barely known when the series began 15 years ago, but soon the characters of Sam and Dean became household words. Supernatural took us places we’ve never been before.
The boys have been thoroughly tested. They’ve had visits to the “cage” and been resurrected. They gone black and white and they’ve been on almost every night of the week. And still fans followed. Dean with his testosterone-laden personality and Sam who—except when he lost his soul—was the more sensitive of the two have created a good hunter/maniacal hunter amalgamation. And through all the ups and downs of their relationship and their passion for their work, they have remained family despite a few dissonant separations.
It is the humor and the asides of this horror series that has kept audiences tuning in for more than a decade. Remember Dean on the airplane in Season One? Screaming like a girl! Ackles recreated that scream again in “Yellow Fever” when he was infected with ghost sickness. It’s a classic; the rugged character showing unreasonable fear. And fun.
In their more poignant moments they have showed compassion. Even Dean has that ability on occasion. In “Roadkill” Molly (Tricia Helfer) doesn’t know she is dead and every year she endures her death once again. When they finally convince her, and she walks into the light they become reflective.
Dean says: “…you think she’s really going to a better place?”
Sam replies: “I hope so.”
Dean adds: “I guess we’ll never know. Not until we take the plunge ourselves, huh?”
Sam says: “Doesn’t really matter, Dean. Hope’s kind of the whole point.” (This is my favorite line of the show.)
As the storyline evolved, other characters were introduced. Jim Beaver (Bobby Singer not to be confused with the producer/director of the series, or maybe?) became a father figure for the boys and their go-to guy for lore. “Weekend at Bobby’s” was Beaver’s moment to shine and we weren’t disappointed.
Misha Collins’ Castiel could make a righteous entrance and became the boys’ “wing man.” Collins played both giggling social media addict (“The French Mistake”) and vengeful angel with equal aplomb. Who knows how many tan trench coats he went through. But bloody or not, Collins is always good.
Then came along Mark A. Sheppard as the king of hell. Sheppard milked every scene and we loved it. He’s bad and that ain’t good. He’s that friend you can never trust. Sheppard played him with a sly absurdity that was a pleasure to watch.
In a bit of inspiration, Kim Rhodes was cast as Sheriff Jody Mills. Usually women played reapers, demons and angels, with the exception of their mother (Samantha Smith). But Rhodes was given a meatier role. She had to carefully enforce the law while becoming one of the guys. In the “Time After Time” episode where Dean traveled backward and met Eliot Ness, she was trying to get Sam to rest and said, “Do I have to use my mom voice.” It was the perfect combination of authority figure and mother.
Early on, it was reported that Eric Kripke (creator) wanted to use a classic Mustang as “Baby,” but was informed there wasn’t enough room in the trunk for a body. So chosen instead was the 1967 Chevy Impala. They did get that Mustang in there during the apocalypse Season 5 when the red horseman drove into town in a red classic pony car. Baby is such an inherent part of the show it had its own episode appropriately titled “Baby.”
Throughout the series, we’ve been treated to a plethora of rock ‘n roll music that the boys’ father (Jeffrey Dean Morgan) introduced to Dean. It has made for a rousing soundtrack. And don’t forget all those gaudy motel rooms; absolutely inspired! The person in charge of the wallpaper needs an Emmy please.
And so we find ourselves near the end of the road. It’s been a great ride and while we don’t want it to end, that was always implied; they are hunters after all.
How do I want it to end?
Sam looks up from laptop.
Sam: “There’s a report of an Ōkami in Kansas City.”
Dean: “Hey, aren’t they’re mostly found in Japan?”
Sam: “What do you want to do?”
Dean: “What we always do.”
Boys leave the bunker.
(“Carry On Wayward Son” by Kansas plays)
Fade to black.
As we say goodbye to old friends I can’t help but think of what Chuck/God (Rob Benedict) said about writing the books to be known as the Winchester Gospel.
Endings are hard.