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‘Supernatural’ 1511 The Gamblers reminded fans why they love it

It feels SO good to sit down to write a review of my favorite show and be overflowing with love for it, like I’ve been so many countless times over the past fifteen years. We have nine episodes left of “Supernatural,” and all I want is to feel like this – grateful, inspired, in love, dreading the end. The relief is like a physical thing, to feel this way right now, as melodramatic as that might sound.

So, let me do some squeeing, because I’ve missed it!  I enjoyed this episode by Davy Perez and Meredith Glynn so much that I just want to go scene by scene and savor it all over again.

THEN:  (Moment of inappropriate giggling because they actually used the vampire Dean hiss in the ‘Then’ montage. Ahem. Okay, sorry.)

The opening is another musical montage, which seems to be a thing now for the Show, but it works especially well because the song is so damn fitting. “North to Alaska” is exactly where Sam and Dean are headed, and the song actually starts off with the lyrics “Big Sam left Seattle…” and something about his brother, and how perfect is that?

Meanwhile, some poor guy named Leonard is losing at pool and losing his cool and clearly about to die. He loses, gets kicked out of the pool hall, falls in the dirt and can’t find his now-broken glasses ala the Lord of the Flies scene I’ve never gotten over and then gets run down by an 18 wheeler. In other words, quintessential “Supernatural””beginning.

As Sam and Dean make their way to Alaska, Sam texts with Eileen and Dean snarks about turning off the sound. Eileen is skeptical about this trek they’re on and so is Sam, but Dean insists they need to try, and is hanging onto hope.

Dean: It’s there, it’s gotta be. Chuck wants us weak, because he’s coming for us, Sammy.

So, on they go (Baby might be down on her luck but apparently she can still drive all the way to Alaska, and the Winchesters are a whole lot better at getting through those Canadian border stops than I am most of the time even with shitty luck!)

Sam’s asleep in the car like he often is in the best fanfic, and Dean of course wakes him like any big brother would, with a slap and a ‘Hey!’ 

Brothers.

Jared Padalecki sleeping in Baby while Jensen Ackles drives

Dean’s stopping for food, because he ate everything they had in the cooler while Sam slept.

Sam: (affronted) We’re on a budget!

Jared Padalecki has such a knack for making even a simple line so funny and so Sam, and I laughed out loud at that. The Winchesters are down to their last $4.60, so all they can get is a cup of coffee and a slice of pie.

Dean: Two forks?

Dean Winchester two forks for my pie

I laughed again, realized I was thoroughly enjoying the episode, and became practically euphoric at the realization.

Sam gives Dean grief about not being able to have cheese and Dean gives him an affronted look right back.

Dean: Dude, Lactaid!

Me: This episode is everything!

Much of the episode – dialogue included – really did read like fanfic, and that is my highest compliment.

Dean turns his 1000 watt smile on the waitress and they find out there’s a “magic pool hall” in the middle of nowhere and that people like poor Leonard don’t come back from it.

Sam: Now we know the down side – it might kill you.

Dean is much more optimistic.

Dean: This is my game – hell, our game!

He reminds Sam of all the memories they have of playing pool.

Sam: (frowning) Yeah, because we had to eat!

Me: Yep, definitely have read that fic.

Sam Dean Winchester inside diner

Meanwhile, although the Impala apparently made it all the way to Alaska, she now has a flat tire in the parking lot, so their luck is still bad.

Dean at least knows how to fix a flat, and the Impala pulls up to the pool hall in the middle of nowhere, Lurlene’s. This too is classic “Supernatural,” a ramshackle building constructed in the midst of nothing else. It’s an instantly recognizable look and I’m going to miss it so damn much.

Impala outside of run down pool hall SPN 1511

Dean to Sam: Relax, we might actually have some fun.

Sam: Right…

Evie the bartender introduces them to Pax (Stephen Huszer, also an SPN alum), the hottie manager, who puts a battered coin on the table.

Pax to Dean: Go ahead, touch it.

Pax to Dean Winchester go ahead touch it

Me: Where is that gif, fandom?

Dean does, and it apparently measures his luck.

Pax: About average.

Dean: Sounds about right.

Dean Winchester on luck Sounds about right with average

Small quibble: That is not right, their luck has been way worse than “average” or “normal” or any of those things since Chuck intervened. The show can’t quite make up its mind how it’s considering what Chuck did to them, but it only makes sense if he cursed them with bad luck and that seems to be what they’re saying the majority of the time, so that’s what I’m going with. It also makes no sense that all their other learned skills were wiped away and they can barely walk down the street without dying, but both Sam and Dean remain really damn good at playing pool. But I’m not gonna quibble, just gonna go with it.

Dean: So when I win, can we split the luck?

Quintessential Winchesters.

Sam is still skeptical and doesn’t want Dean to do it, knowing what can happen if you don’t win.

Dean: I’ve been slinging pool cues since before you were born!

Sam: When you were four? What, between nap time and snacks?

I burst into laughter again, thanks to the awesome dialogue and Jared’s perfect bitchfaced delivery. As Robbie Thompson would say, Brothers, man.  This is how you write brothers.

Dean refuses to be deterred, however. He gets serious for a second.

Dean: Look, you’re better than me at just about everything. I’m not mad – I’m proud. But I can wipe the floor with you when it comes to pool.

Again, I loved that dialogue. Only a parent figure can thoroughly recognize that your child is better than you at something and feel not an ounce of envy or resentment, but just pure pride and joy. That’s the part of Dean that helped raise Sam, and whose identity is defined by being Sam’s big brother. That line, so simple – and so perfectly delivered by Jensen Ackles, who completely understands this about Dean – rang so true that it made my eyes water.

Sam understands too, and reluctantly agrees with his big brother.

And then we get another scene that is straight out of fanfic – Dean and Sam in a pool hall, Dean getting clueless players to take him on by pretending to be bad at pool.

Dean to Sam: I dunno, Sammy, I’m a little rusty…

Sam Winchester hustling pool hall for a game
Winchester Brothers hustling up pool people

A woman seemingly takes the bait and the game is on. Sam watches from the bar while he chats with Evie, still trying to figure out exactly what’s going on here.

Evie: Everyone wants something…. And no one knows when to walk away.

After Dean wins one game, Sam shares what he’s found out.

Sam: This place sucks you in.

Dean understands, but wants to maximize gains and minimize losses ala “Dad’s favorite Paul Newman movie, The Hustler”. Sam doesn’t really remember, and it’s a call back to their childhoods and a reminder of just how much Dean worshipped their dad for most of his, and how Sam’s view was always just a little bit different, in part because he had Dean as a parental figure too.

Sam agrees to one more game.

Also, Dean looks about ten years old here.

Sam Winchester agreeing to another pool game
Dean Winchester talking smack with sexy cowboy

Dean takes on the cowboy, PBR (pro bullrider apparently).

The cowboy asks his name, and Dean smirks, pure Dean Winchester like we haven’t gotten to see much recently.

Dean: My name is Dean Winchester. And I’m gonna kick your ass.

My name is Dean Winchester and Im going to kick your ass

He chalks his cue, shares a look with Sam, and they play. Eventually Dean has what looks like an impossible shot to make, and the cowboy says “double or nothing says you miss that shot.”

Dean: (assessing) You tryin’ to hustle me, Rodeo?

But the cowboy calls him on his cockiness, and Dean narrows his eyes and agrees. He pops the cue ball right over the ball in the way and makes the shot.  Sam and Dean exchange a look and Dean smirks.

Dean Winchester making a hard pool shot
Dean Winchester smirking at sexy cowboy SPN

What makes this scene even more ridiculously hot is that Ackles did that shot himself – in ONE TAKE. (Thanks to VFX wizard Adam Williams for that info)

Seriously, is he actually Dean Winchester now??

The cowboy, defeated, takes his coin and walks outside. Sam and Dean follow him out, because that’s who they are. Turns out now that he has no luck, he’s dying of cancer again, coughing up blood and lighting up his last cigarette after playing and winning an extra year of life. Sam and Dean are both clearly disturbed by this, the cost of Dean’s win apparently. Sam wants more time to figure this all out, whereas Dean reminds him that “we’re in a fight with God” and wants to get going to fix the bigger problem. They compromise on Dean taking Baby out for a spin to see if her luck is any better. (It’s not, and he doesn’t even get out of the parking lot).

Sam tries to talk the other patrons into leaving and taking what luck they have, but he’s unable to convince anyone. Even the guy who seems to be playing for more luck for his favorite football team mutters, “Just one more game…”  Frustrated, Sam takes a look at the coin closely and – Smart Sam figures it out! It’s the goddess Fortuna (played to perfection by Lynda Boyd, a ““Supernatural”” alum from a prior season as a Djinn), skimming luck from the clueless players. And hottie manager? Turns out he’s her son.

The Winchesters use Pax as leverage, Dean holding a knife to his throat, telling the Goddess she’d better come out or they’ll kill her son.

Which is….alot of hotness in one frame tbh.

Dean Winchester holding knife to Pax throat SPN

Fortuna: You probably could, his daddy was human… sorry, baby, but I can make more sons.

Ouch.

Fortuna is not interested in playing Dean again, saying she’s already read him.

Fortuna: You’re just a beach read – sexy but skimmable.

Dean (narrowing his eyes and looking like anything but skimmable): Lady, I’m Tolstoy.

Dean Winchester to Fortuna Lady Im Tolstoy

Me: Damn right.

Fortuna smiles and turns to Sam, looking suddenly very interested indeed (and who can blame her, with Sam in that single layer black shirt and that slight scruff and that hair and….sorry…).

Fortuna: This one here, he could be interesting…

Dean is immediately in protective big brother mode, stepping out with a warning “No no no, uh uh…”

But Sam nods.

Sam: Fine. Yeah, I’ll play. But for the lives of everyone in here.

Sam Winchester agrees to play pool to save lives SPN

Fortuna does not agree, and Sam has to agree to her terms. Sam and Fortuna rack them up and begin to play, and the music makes it seem like we really are back in time in ‘The Hustler’, camera switching back and forth from close ups of Sam and Fortuna to lining up cue sticks and balls in the pockets.

Damn, Sammy.

Is it hot in here?

While Sam plays, Dean talks, telling Fortuna that they’re cursed by God – the real God. She has no affection for Chuck either, saying that humans initially praised the sun and moon instead of Chuck. He was pissed until he realized he could create those other gods to take the blame whenever bad things happened, and that’s still the case. And she’s still resentful.

Fortuna: God hides behind whatever religion has the best syndication deal.

Ooh, pointed, Show.

Dean tells her that they intend to go up against God, no matter the odds.

Fortuna: And when you lose?

Sam: We lose swingin’.

He looks at Dean before he sinks an 8 ball in the corner pocket.

Sam Winchester looking at Dean while sinking holes in pool
Dean watching Sam Winchester sinking balls in holes

Fortuna:  You’re good.

Sam: I learned from my brother.

Sam Winchester to fortuna I learned from my brother

Me: Where are my tissues???

Fortuna is now intrigued by the brother’s preposterous plan, and offers another game, double or nothing, because to defeat God they’ll “need the luck of heroes.”

Sam agrees, but not for heroes’ luck.

Sam: Not for more luck. For them. You have to let them go. Give back the luck you stole.

Fortuna: They don’t matter!

Sam: They matter to me.

Jared Padalecki clenching jaw for Dean

Dean: They matter to us.

The brothers exchange a look, and Dean nods his agreement. They’re 100% on the same page.  Sam and Fortuna play again, the atmosphere even tenser than before. She sinks ball after ball, ending with “8 ball in the corner pocket”.

The ball goes in, and Dean sags in defeat momentarily, eyes closed. Beside him, Sam hangs his head, knowing that she won.

Dean Winchester sad his ball went into wrong hole for Sam
Sam Winchester watching Deans balls in pool hall

Dean (regaining some defiance): Well, we had to try.

Fortuna: That was stupid.

Dean Winchester talking to Fortuna about trying

Even though they know they’re probably going to die from bad luck soon, Sam and Dean are determined not to just leave all the others behind. They decide to try to find a way to save them and kill Fortuna, but before they can get in the car, the pool hall door opens and the other patrons come slowly streaming out.

Winchester Brothers outside of pool hall with Impala Baby
Winchester Brothers watch people come from pool hall 1511

Evie: She shut it down.

Sam: Why?

Evie: Because of you. She’d thought your kind had gone extinct.

Sam and Dean: Our kind?

Evie talking to Winchester Brothers 1511

Evie: Heroes. Like the old days.

There’s a brilliant shot looking up at the Winchesters, and inside I’m screaming YOU ARE GODDAMN RIGHT THEY ARE BIG DAMN HEROES, LOOK AT THEM!

Evie tells them that Fortuna had some parting advice: Don’t play his game, make him play yours.

The coins glow when they hold them, and when they get in the car, Baby purrs to life.

Dean (grinning at Sam): We’re back, baby!

Dean Winchester smiling at Sam were back baby

I half expected Sam to grumble “don’t call me baby” lol

They drive off, the Impala roaring up the road, all seeming like it should – which feels SO good.

Without any manipulation by Chuck, the Winchesters have been heroes all along. Even when he took most of their luck and skills away, they were still determined to save people, and willing to risk their own lives to do it. It’s not anything Chuck gave them or could take away from them; it’s who they are.

And that makes me happy. That’s my Show.

Meanwhile, Castiel returns to the bunker looking for Sam and Dean and finds the note Sam left him (which kicked off a fandom fury about the show’s insistence on spelling Castiel’s name wrong with double s at the end) and also made me laugh because why didn’t they text him or something? I love Sam’s note on the library table.

Cas: Alaska??

Sam Winchester note to Cas about going to Alaska

He answers one of the phones left in the bunker, and it turns out to be a small town sheriff’s deputy looking for Agent Watt (presumably one of the Winchesters). Cas says this is another agent, and comes up with “Agent Lizzo” which made me giggle. Cas has good taste in music, clearly.

The deputy says he was instructed to call that number if they ever spotted a certain someone: Jack Kline.

Close up on Castiel’s face as he registers the name and reacts, murmuring softly, “Jack…”

Castiel learns police are hunting down Jack for killing doctor

Misha Collins did a fabulous job of putting so much emotion into just that small moment. In fact, everyone really brought their A game to this episode, and as a result I felt so much more emotion too.

The small town deputy (who also did a great job and was immensely likable in just his few minutes onscreen) sends Cas a video of why they’re looking for Jack. Cas watches in shock as Jack attacks and kills a doctor and then calmly sits down and eats his heart.

Me: Ewwww

Video showing Jack attacking Grigori doctor then eats his heart SPN 1511
Castiel trying to hunt down Jack from Grigori

Soon Cas is on Jack’s trail, searching the doctor’s office, unceremoniously yanking off padlocks and finding a Grigori suitcase and sword. The plot thickens.  Jack, a little ahead of him, tracks another Grigori – but ends up captured himself. The Grigori, enraged that Jack is killing his kind, begins to torture Jack, who refuses to answer his questions. Ouch.

We find out that the Grigori doctor that Jack killed was feeding on the souls of people he was supposed to be healing (so clearly a bad guy) and that this Grigori apparently prefers children, so extra clearly a bad guy. We also find out that Death told Jack to go after them.

Grigori doctor feeding on children from Jack SPN

Just then, Castiel appears and kills the bad Grigori guy.

There’s a moment.

A Moment.

Cas standing there, staring at Jack kneeling and bound.

Castiel (softly, like he’s almost afraid to believe it): Jack?

Castiel finds Jacks kneeling and bound up SPN

He unties Jack and helps him to his feet, and then sweeps him into a hug. Both Misha and Alex Calvert brought all the emotion to the reunion, so much so that I started to tear up again. It has been consistently clear that Castiel has loved Jack like a son, and that his death was a significant trauma for the angel. His joy at having Jack back in his arms was palpable.

Castiel happy Jack is back in his arms again SPN 1511
Jack crying in Castiels arms Supernatural 1511

Back at the bunker, Dean and Sam return from Alaska. Dean complains that they didn’t win any of the scratch off lottery tickets they picked up, but Sam points out that the Impala is running fine and their credit cards are working again. Oh, and Dean ate back to back double cheeseburgers without side effects.

Sam: She thinks we’re heroes – that we don’t need shortcuts.

And that, Show, is right where I like them!

And puts all this luck versus normal versus whatever to rest once and for all. They’re the Winchesters. Just let them be who they are.

Castiel appears, and Sam and Dean realize right away that something’s up.

Dean: Cas?

Jack walks out and stands next to Castiel, as Sam and Dean gape.

Jack (with signature wave): Hello.

Jack with Castiel giving signature wave to Winchester brothers
Sam Dean Winchester realize real Jack is back 1511
Real Jack comes back to Supernatural Gamblers

Sam: Jack?

Cas: It’s really him.

That’s enough for Sam. He crosses the distance between them in two long strides and sweeps Jack into a hug. Sam has felt paternal about Jack for a very long time, and grieved his death as a son, so his relief is clear – and Jared lets us see it.

Jack Alex Calvert holding tight to Sam Jared Padalecki
Sam Winchester hugging Jack tightly SPN 1511

Dean steps forward next, clasping Jack’s neck and looking hard into his eyes, searching. Jack, for his part, looks full of yearning, wanting Dean’s forgiveness and love, still full of guilt.

Dean hesitates, turns to look at Cas, who looks like he’s trying to convey all his faith in Jack in one silent expression. Satisfied, Dean looks back at Jack.

Dean Winchester staring intently in Jacks eyes SPN
Caps by @kayb625
Dean Winchester glancing at Castiel while holding Jacks head 1511
Castiel hoping Dean Winchester will have fait in Jack
Jack hoping Dean Winchester can redeem him Spn 1511 Gambers

It was a short scene that didn’t need words because all four actors can say so much without any.

Dean has struggled with forgiveness – of both Cas and Jack – after the death of his mother at Jack’s hands. I will never ever think that isn’t understandable, and how just about any human would feel if someone killed your mother, by accident or not. I still think he is entitled to his anger and the complex feelings that he has as a result.

He had accepted and loved Jack as a son, and he trusted Cas to tell him the truth about all things, and so Mary’s death left him with conflicted and overwhelming emotions, including anger. That’s okay. That’s completely understandable. But here he makes a choice to go forward with forgiveness, for both Cas and Jack. To accept Jack again and to trust Cas again. It was much more believable and meaningful here – understated, not dramatic, and all the more powerful because of that.

In the last few episodes, Dean has made it clear that he trusts Sam completely, accepting his assessment of a future without Chuck with “that’s good enough for me”, and here he shows that he trusts Castiel too, with the same acceptance. That sets the stage for the four to go up against Chuck united in these final nine episodes.

The four have beers at the map table and talk about where Jack has been and why.

Jack: Every day, I wanted to come home. But I couldn’t. My grandfather will try to kill me. Again. He’s afraid of me.

Jack Alex Calvert drinking with Winchesters talking about fear
Jack Everyday I wanted to come home SPN 1511

Apparently eating the hearts are just the beginning of what Billie has instructed Jack to do, in order to make himself more powerful.

Jack: If I do exactly what she says, I’ll be able to kill God.

That was where most of us figured the Show was headed, so that didn’t come as a shock if it was supposed to. I’m still not on board with Jack being the one who saves the day at the end of the show, but who knows if that’s where we’re headed, so I’ll just reserve judgment for now.

Jack having to kill and consume to get more powerful has connotations of Sam and the demon blood drinking to get more powerful to kill Lucifer, and we all know how that went, so we’ll see how this goes. What is Billie’s agenda at this point? Do we trust her? Should Jack?

We’re headed into the show’s last ever mini hellatus, which hurts my heart to say. But I like going into it with some questions and some anticipation, after thoroughly enjoying that episode. I tweeted that the episode FELT like “Supernatural” – the suspense, the relationships, the emotions, the tiny bits of humor and occasional ewwws. This show is all of that, and it works so well when that unique combination is there.  A big thank you to writers Davy Perez and Meredith Glynn, and to veteran “Supernatural” director Charles Beeson for making it look gritty and real and very “Supernatural.”

My Show is back – and that means I’ll be on the edge of my seat for the last nine “Supernatural” episodes!

‘Supernatural’ 1510 takes The Heroes’ Journey – Sort of?

Last week’s “Supernatural” episode, the ironically titled “The Heroes’ Journey”, was one of those episodes that made me laugh at first, but then kind of disturbed me. Not simultaneously, luckily. I was tempted to just write up the things I giggled at when they were happening and try to shut off my higher cognitive functions to prevent any other feelings, but it turns out I’m just not built that way. So to everyone on twitter who advised me “not to think too deeply about it”, my apologies. Maybe just read the first part of this if you don’t want to think too much and just enjoy the amusing parts.

I really enjoyed the first part of the episode; I went into this one just looking to be entertained.  Most of us knew the premise was something about Sam and Dean having “normal people problems”, which sounds pretty innocuous and has the potential to be funny. After all, Jared and Jensen are gifted at comedy, so maybe this would be a chance for them to exercise those comic chops as well as a chance for me not to gnash my teeth. And for a while, that worked. My first tweet of the night was “OMG I’m loving this episode!”

The beginning cage match sequence was unusual. It was impressively choreographed and the music and slo-mo and direction were interesting. The problem is, it was three whole minutes long out of the 42 we get in an episode, and I don’t give a damn about whoever those two monsters are, so I got antsy even as I could appreciate the artistry of the scene.

SPN 1510 opening cage match with possessed man Sam

Then we’re following Dean to the Quik Mart with jaunty piano music that lets us know things are going to be weird. It’s clearly a terrible horrible no good very bad day as Dean’s Charlie-guaranteed credit card doesn’t work, he’s got a toothache, and he gets a traffic ticket at his habitual spot. Meanwhile, Sam is cooking dinner for them at the bunker and burns the whatever in the oven and then inexplicably tries to pick up a pot of boiling pasta without oven mitts and spills it all over. Dean comes home calling for Sam, and Sam trips up the stairs to the kitchen. Then starts sneezing his head off, snot everywhere.

Dean Winchester suffering toothache stuffing grilled cheese in mouth
Sam Winchester sneezing hard snotting everything

Jared and Jensen pull this off like you’d expect, as in they’re hilarious, and I was amused – I thought it clearly must be a curse since it was so over the top, one thing after another far outside “normal”. Garth calls and asks for their help, and they start driving to his house – and Baby craps out. Noooooo not Baby! Dean, who it’s established knows how to take that car apart and put her back together again, seems to flood her and then doesn’t even look under the hood, which is….weird. But, again, cursed, right?

They get to Garth’s, and he and his wife have an older daughter and young twins (sort of like Ackles in real life!)  Garth hugs Dean, saying “you smell so good” (this nod to Dean’s attractiveness  is no doubt a meta-commentary – since it’s what everyone who has ever had a photo op with Jensen Ackles walks away saying)

Jensen Ackles hugging newly gay DJ Quaals on Supernatural set

Garth introduces Sam and Dean to his twins, Sam…. (“I named him for you, Sam”) and…. (Dean waits expectantly)…. Castiel.

What? That wouldn’t be part of the cursed thing, would it? Has Garth ever even met Castiel? He has always had a strong bond with Dean, so it would have made sense to name a twin after him. That seemed sort of unnecessarily cruel to Dean, and his little hurt face made me sad faced too.

Sam Dean Winchester happy to see Garth DJ Qualls

Those babies are adorable though and the behind the scenes photos of Jared and Jensen juggling babies is beyond adorable.

The next scenes were the most amusing ones of the episode for me. Bess gives Sam a secret concoction to cure his cold, which turns out to be mostly cayenne pepper, and we get treated to Jared Padalecki rolling around on the floor and licking his own shirt sleeves. He really commits to making us feel the pain of the pepper but it’s also over the top hilarious.

Older daughter: Mummy, the giant’s crying!

The babies start to cry, and Sam pauses to reassure them, “Big Sam is OK!”

Sam Winchester licking shirt sleeves after peppers

Meanwhile, Garth takes Dean to his basement dentist office and manhandles him into the chair.

Dean: You’re very strong…

(This is also a theme, stay tuned)

Dentist Garth diagnoses 17 cavities and puts Dean under with nitrous oxide – which means we get treated to a totally random but thoroughly enjoyable for me tap dance number with Dean and Garth decked out and dancing. I’d heard about this scene already, so I was expecting it, and maybe that’s why I could just go with it. I know there were quite a few people who found that scene either cringe-worthy or just completely out of place, but I went with it. Jensen and DJ both apparently busted their butts to learn the routine in no time at all, so that the dance stand-ins that they brought weren’t actually needed. I swear, Jensen Ackles can do EVERYTHING well. Including tap dance on the map table. It was a gif feast, seriously.

Dean Winchester about to tap dance under nitrous oxide dental time
Jensen Ackles tap dancing in white suit hat

Then it was commercial break time.

So for the first part of the episode, I was going with it, and even smiling. Clearly Sam and Dean were cursed with horrible luck by a pissed off Chuck and Jared and Jensen are making the best of it for some comedic excellence.

Then there’s a discussion, Garth asking: Who did you piss off?

Sam: God?

Bess: I’m sorry, what??

Garth says he knows what’s wrong with them.

Dean: We’re cursed?

Garth: No. Normal.

Me: What?

Winchester Brothers hanging with DJ Qualls and Bess
Dean Winchester reacts to Garth Bess talking about heroes

Garth talks about how it sucks to be a hero, using as an example “Fifty Shades,” which he and Bess apparently love.

Sam (wryly): Who’s the hero in that?

Honestly, that was the best line of the episode. Jared delivered it perfectly and I literally laughed out loud, because GOOD QUESTION!

My brain started to kick in around this time though, stuck on ‘wait, they’re not cursed, this is supposed to be… normal? This is Sam and Dean as they normally are? Not knowing to use oven mitts or look under the Impala’s hood?’  Is that supposed to mean their skills were just Chuck all along and not them? Wait…

Hurt werewolf dude wakes up and Sam turns the puppy eyes on him to get him to tell them what happened.

Werewolf dude: Wow, look at those puppy eyes. That never actually works for you, does it?

Sam Winchester giving puppy dog flirty eyes to a werewolf SPN 1510
Dean Winchester reacts to Sam giving puppy flirt eyes to werewolf

Sam looks so hurt, and Dean looks shocked.

By this time I was getting more and more alarmed, because is Show really trying to tell me that Sam isn’t even capable of using the puppy eyes he’s used forever without Chuck making it work on people? That was never Sam being a skilled interrogator? (And a natural with the puppy eyes, which he’s probably been using on his dad and Dean forever)

Sam and Dean insist on going after the monster fight club without Garth, since he has a family to take care of, though Garth is worried about “normal” Sam and Dean being able to do anything. And rightly so, since apparently now they are beyond helpless and have retained none of the skills that John taught them or that they’ve used to save the world a time or two.

As helpless and bumbling as they’ve been rendered by evil writers, however, the Winchesters are still hanging onto their courage.

Dean: This is our job, it’s what we do.

Sam: What he said.

Those are the sort of things that Sam and Dean have said before, and I love it when they say them, but it started to not ring true in the context of this episode. Is it what they do? Or is it what Chuck has made them do – or even worse, what only his added powers allowed them to do?

Dean eats seven grilled cheese sandwiches and then doesn’t think to take all the weapons in the trunk into the monster haven because apparently a lot of the Winchesters’ smarts were also just Chuck pulling the strings and suddenly this is not nearly as funny as it was.

Dean does have a bit of fun with the grenade launcher, which I did enjoy – mostly because I bet Jensen Ackles enjoyed it too. I’m grateful for those moments, and again, gif bonanza!

Dean Winchester excited to play with long hard launcher for Jared Padalecki
Dean winchester holding Jensen Ackles long hard grenade launcher SPN

Sam’s exasperated face though. Honestly, I’m laughing just looking at Ackles and Padalecki in these caps and the faces they made in this episode!

But then as soon as they walk in Sam trips over a bucket. Really? After all the times we’ve seen them sneak around seamlessly, silently and efficiently, communicating with just hand signals and being totally badass? You want me to believe that was Chuck and not them? That without him manipulating them like puppets they can’t make it across a warehouse floor?

Then Dean gets sick and just drops his weapons and runs off to find a bathroom. Dean who has kept on fighting bloodied and broken and half dead, but now he’s sick to his stomach and he runs away?

So, they get caught — because apparently they would always have been caught if not for Chuck. The fight club proprietor says they’ll fight the Mighty Maul, but together.

Guy: I don’t wanna break up the team.

He says this sarcastically, and it comes off like a jab at fans, who sometimes complain when the Winchesters are separated. This is a meta episode, after all.

There’s an ad for the fight between Maul and the “merciless Winchesters,” which was creatively done.

Dean Winchester with Sam mug shots for monster mayhem
Winchester Brothers monday monster mayhem 1510

But apparently the merciless Winchesters can no longer pick a lock.

Me: WTF??

Dean: I broke a nail!

Me: No really, WTF? Who are these people?

By this time, my amusement had faded, as you can probably tell.

Sam: Could we ever pick locks, or was it just Chuck all the time?

As both Winchesters sit there looking glum, Dean breaks out one of his inspirational pep talks. Again, it played very differently than it usually does in the context of both the meta and the current reality the Winchesters are living in – in which it doesn’t make a whole lot of sense the way it usually does.

Dean to Sam: Not everything we did was because of Chuck. It was us. The blood, the sweat, the tears, man. That’s us. We’ve been doing this our whole lives. We’re the best in the world. So I say we go out there and kick some ass!

Dean Winchester talking Sam into fighting monsters SPN 1510
Dj Qualls excited at blowing up Supernatural warehouse 1510

It’s the kind of thing Dean Winchester has said many times – and because this is a fantasy genre show, we believe it when he does. We are meant to believe it. That’s part of what makes this show so powerful and so inspiring to real people who count on that in this messed up world. But by telling us that actually the Winchesters are not capable and competent and highly skilled – that they are not the big damn heroes we believed them to be – Dean’s speech falls flat. We don’t believe it – why would we? We’ve been shown that they’re not able to succeed without Chuck. They don’t even know how to use oven mitts! Sam nods, but he clearly doesn’t believe it either.

The family theme, Jay Gruska’s brilliant iconic musical score that I love beyond measure, plays in a weird guitar variety – and it doesn’t land. It almost seems like a parody of what that theme usually means and the emotions it usually evokes. And that kinda broke my heart.

The main event is announced, the Mighty Maul versus – “You know them, you don’t like them – the Winchesters!”

Proprietor guy: Oh, and boys? Shirts off!

Another meta nod at the fandom, who often clamor for Sam and Dean (and Jared Padalciki and Jensen Ackles) to show some skin. It could be an affectionate poke, but at this point it doesn’t feel like it. It feels like the writers are tired of hearing that (and the ‘don’t break up the team’ and a few other things I could guess at).

Garth arrives just in time to save the day, and breaks Sam and Dean out of their cages.

Dean (again): You’re so strong! So strong…

So, in case you didn’t get it clearly enough, without Chuck’s extra added mojo, the Winchesters are comparatively weak, and they are not the heroes here.

Garth blows up the entire warehouse, which was surprising to me. I mean, he’s a werewolf and Sam and Dean and all of us are okay with him living. Where is that nuanced understanding when it comes to the other ‘monsters’ in there? I don’t have any great fondness for anyone who thinks cage fighting is a great way to spend an evening, but apparently they were doing it voluntarily for the money, including Bess’s cousin. So why blow them all up? Did they have humans in there being held against their will (other than Sam and Dean, who walked right in to shut it down)? I guess I will assume that they did but we hadn’t been shown that, so I was a bit surprised. I thought they were going to take down the organizer dude but not blow up the monsters fighting because they needed the money.

Dj Qualls excited at blowing up Supernatural warehouse 1510
Winchester brothers see Garth blowing up warehouse SPN 1510
Dean Winchester cant remember mighty mauls name for bare knuckle fight

Anyway, Mighty Maul survives. Dean can’t remember his name and calls him all sorts of names that start with M and it reminds me of all the times we couldn’t remember the name of that random young woman from the tunnels who inexplicably became the leader of the AU hunters. Another fandom call out?  Maul tosses Garth across the parking lot, and Dean and Sam face off against him. My heart went out to them – nearly helpless and yet they’re still standing there, fists up.

Winchester Brothers ready to fist up Maul giant SPN

Dean: Sam, did you believe me when I said we could win this thing?

Sam: No.

Dean: Me neither.

Me: Ditto. Also? I hate that nobody believed it – including those of us watching.

Sam and Dean are woefully outmatched, ineffectually punching with no effect. Dean gets kicked in the nuts and choked (and tries to tap out, which actually works!) Ackles made that moment funny, and my guess is that was an adlib. At least Jared and Jensen were clearly enjoying being able to make fun of themselves in this episode.

Maul trying to attack Jared Padalecki 1510
Maul choking Dean Winchester out for Garth SPN Heroes Journey

Finally, Garth saves the day again and kills Maul.

Dean grabs his crotch and waddles away: Does my voice sound higher?

Back at the house, Sam and Dean hold Garth’s adorable babies, Dean saying that “this Cas keeps looking at me weird.”

Sam: So kinda like the real Cas.

Dean Winchester thinking baby is like Castiel with star 1510

Sam adorably waves goodbye to the kids, and Garth walks them out.

Jared Padalecki with Jensen Ackles holding cute babies SPN 1510
Courtesy adaav

In case you needed it spelled out:

Sam and Dean: You saved us, Garth. That’s being a hero.

Garth: I guess I learned from the best.

Me: Apparently not! These guys are apparently not the best after all.

Dean Winchester to Garth you saved us thats being a hero Supernatural
Garth hugging Dean Winchester tight your the best hero SPN 1510

They decide to go to Alaska to look for the cure for bad luck, which didn’t make a whole lot of sense after the episode kept telling us that they were not cursed with bad luck, but just reverted to their normal selves sans Chuck help. Which is it, Show?

They look back to see Garth and Bess dancing to “Werewolves of London” which was a nice sendoff for DJ Qualls and one of the memorable characters “Supernatural” has brought to life.

Dean: I always thought I could be a good dancer if I wanted to be.

Sam (thoughtful): You were awesome at the Macarena.

They drive away….sort of… as the Impala craps out again.

Dean: Sonofabitch!

Baby Impala stalls out on Winchester Brothers 1510
Caps by @kayb625

I did like part of this episode, and I really wanted to just enjoy all of it. After all, I’m one of those people who has liked the so-called meta episodes in the past – and the ones played for laughs. Adored The French Mistake, liked Changing Channels, I think some scenes in Bad Day At Black Rock are laugh out loud funny (Sam setting the motel room on fire, anyone? I lost my shoe?) Jared and Jensen are gifted at comedy. And some of this episode, particularly the earlier parts where we didn’t know yet what the apparent explanation was for what was happening, made me laugh too.

But here’s the thing — there’s a big glaring difference between those episodes and this one. While they all in some way traded on Sam and Dean being laughably incompetent, it was in the context of another universe or another reality entirely. It was an AU, or it was a rabbit’s foot curse, or it was a Trickster setup. We could laugh at our heroes without feeling uncomfortable about it, because in their own universe (the one we’re invested in too), they remained utterly competent and heroic.

That is not what happened in this episode, and that’s why it eventually didn’t work so well for me. Instead, the Winchesters were rendered incompetent in their actual world – their past competence and heroism was recoded to be not something real, but instead something that Chuck manipulated them into. It wasn’t their years of childhood training and hunting experience that made them the badass heroes we love them for being – no, it was just Chuck handing them their successes on a silver platter. Making it easy for them. What does that do to every heroic thing they’ve done? To every time they went up against all kinds of monsters and managed to prevail? Even worse, what does that do to Sam and Dean being the inspiration for real people in real life to “always keep fighting” like the Winchesters? All that is in jeopardy if Chuck was just making it happen.

The meta episodes of the past also worked so well because they stepped outside the universe of the show somehow to comment on it – The Real Ghostbusters was a fan convention, but for the book series “Supernatural” not the television show, allowing that distance so all the meta-commentary could be made. Same with Hollywood Babylon – they could comment on the business and the show from within the make-believe film set and show. In this episode, there was no displacement – this was Sam and Dean, in their usual environment. Just as incompetent people.

At first glance, the premise for this episode seems pretty witty – call Sam and Dean out for being unrealistically quick at picking locks or defeating five monsters when there’s only two of them or driving across the country at light speed. Or having perfect white teeth and always gorgeous hair even when they’re living out of the Impala for days on end. The problem is, we all know the show is not realistic – this is a fantasy genre show, after all. But you mess with that from within the canon of the show, and what does that leave you? A tattered suspension of disbelief, which is what allowed you to be inspired by the show and the characters to begin with. Nobody thinks it would be a good idea to examine Luke Skywalker and Han Solo’s realism on all those insane flight runs because that would have destroyed their heroism that we agree to buy into when we fall in love with a show like this one (or that one).

If we really go along with what this episode seems to want us to believe, nothing about the Winchesters (or their dad or their mom or Cas and their other friends) is special. Without Chuck pulling the strings, they’re too stupid to use oven mitts or know how to drive the car they’ve rebuilt from the ground up (because clearly that was just Chuck’s knowledge). Even Sam’s puppy eyes aren’t his own brilliant invention – that’s Chuck too.

Making Garth the hero who has to save the rather bumbling Sam and Dean is also a departure from most of the show’s canon. It’s almost like the goal is to knock down these preternaturally heroic and handsome main characters that everyone is crazy about (in real life). (It’s totally what Freud would say about this episode’s underpinnings). Hah! They’re not really so special, that was all Chuck. Instead, it’s Garth, the not preternaturally handsome or physically imposing man, who turns out to be the strong one, the victorious one (both in the fight and in getting the girl).

I like Garth and love how DJ Qualls plays him, and I enjoyed him in this episode, but that puts Sam and Dean in the stereotypical position of the jerk of a football jock who ends up being shown to be kinda pathetic and who we’re all supposed to hate (or laugh at) while we cheer for the Garth-esque character.  There are countless shows with this exact plot. The problem is, I don’t want to feel that way about Sam and Dean – they are the GOOD guys. I’m uncomfortable watching them be ‘taken down a peg’ like this. And I honestly wonder if we can put them back up where we had them before.

Here’s how I’m going to do that. This episode would have worked fine if the boys were under another curse, similar to Bad Day At Black Rock. It could have been hilarious without the undercurrent of disturbing. Chuck could just leave them in a perpetual state of having a ‘no good very bad day’ and the results would have been the same – but it wouldn’t have negated the entire basis of the show so far. I’m going to head canon that this is exactly what’s happened.

Chuck didn’t take away his bestowed skills and good fortune – that was all the Winchesters – instead, he cursed them with constant bad luck. So now they have to deal with that and STILL be the badass competent hunters we know them to be. They’ve never had it easy – they’ve learned everything the hard way – so that would totally work. I’m going with it for now, that Chuck wanted them to think they were reset to “normal” and that all their successes and skills so far have just been granted by him.

What has always been inspiring about the Winchesters is that they are ordinary human beings who have managed to do incredible things because they’re well trained since childhood, extremely competent and skilled, and they always have each other’s backs. That’s the whole point of the show and why it has been so powerful for so many people. I’m not walking that back and I really hope I never have to.

And who knows, maybe that’s what Show is eventually going for anyway. Sometimes they like us to tear our hair out and gnash our teeth, only to find that the worst case scenario isn’t what actually happens. Fingers crossed!

Let’s just smile at this…

Jared-Padalecki-with-Jensen-Ackles-holding-cute-babies-SPN-1510

And now I’m just gonna go watch that tap dancing scene a few more times. We have less than 8 hours left to spend with these characters, and I want to enjoy every second that I can. Now, let’s see what “Supernatural” 1511 The Gamblers has for us!

‘Supernatural’ 1509 returns with The Trap and plenty of anger

“Supernatural” returned from its very last mid-season hiatus with an episode that fans waited for with a wide range of emotions, which is probably going to be par for the course for the last eleven episodes of the series. I have mixed feelings every time an episode airs, because it’s one episode closer to the end, and because it’s one more chance to take the show somewhere I may not want to follow, knowing there’s no time for that to change anymore. This is not an easy thing, staying with a show you’ve loved for fifteen years to the bitter end! It feels like an emotional and psychological risk, which is something I’ve never experienced before with television.

I’m actually really looking forward to next week’s episode, which will be a ‘funny’ one – at least in parts. I feel like I need a break from all the angst and stress! To think, this used to be my stress reliever!

So, here are the things I liked and the things that didn’t work too well for me. It was a kickass ‘The Road So Far’. I watch those beginnings and am always in awe of just what a remarkable show this is. We also had an amazing Shaving People Punting Things video the week before, which made this next string of episodes look truly epic. I think sometimes those editors get the show better than anyone!

Anyway, the episode was split into two story lines, as it so often is. Sam and Eileen wake up tied to chairs, captured by Chuck. I’ve said before that I thought Chuck had a hand in manipulating Sam and Eileen and it turns out that yes, he put her in Sam’s path and made that spell fall out (that was obviously too much of a coincidence) and let Sam being a good person do the rest. What an awful thing for Eileen and Sam to find out. How do you have any hope of sorting out which of your feelings are real and which aren’t? Worse yet, did you really have agency (and the capacity for any kind of consent) when you acted on those feelings? Chuck really is a bad bad guy. I’m still confused as to why Sam looked so conflicted about his relationship with Eileen the entire time, though. Side effect of Chuck’s “nudges”? Was he somehow sensing the interference? We may never know.

Chuck’s explanation is particularly cruel.

Chuck: I couldn’t see you. I needed eyes and ears on the inside… well, eyes.

Ouch. If you wanted to turn Chuck into an irredeemable villain, Show, that’s a good way to do it. So vicious and pointed. Rob delivered it perfectly; I could appreciate that even as I literally cringed hearing it.

I love that Eileen shot back, “Screw you.”

Shoshannah Stern delivers the line with all the venom and badassery it warranted.

Yeah, screw you, Chuck! (But not you, Rob, I still adore you)

Chuck in Eileens body to tormet Sam Winchester in Supernatural Hurt

Meanwhile, Dean is worrying about not being able to reach Sam, not knowing that Sam and Eileen are captured. I also love that Eileen almost did screw Chuck over by managing to place a call to Dean (more badassery). I’m assuming her phone has a convert to text feature because Dean kept yelling “Eileen?” into the phone.  Unfortunately, Chuck realizes and picks up.

Dean: Chuck, you dick!

Chuck: Bye, Dean.

Dean tracks Sam’s phone, and smart Winchesters make me happy. Cas is also doing something smart – making Leviathan bullets out of Borax.

Dean: We need to go!

Cas: To Purgatory.

Not what Dean meant; he’s understandably focused on saving Sam and Eileen. They argue, and Dean says he’s not leaving Sam, because he’s Dean.

Cas: Stop being so stupid!

I was taken aback by that. Castiel (Misha Collins) in this episode is written as had-it-up-to-here, bristling with anger and resentment. We don’t always see Castiel’s emotions come to the surface, but I think he’s every bit as angry as Dean has been, to the point where he’s harsh and sometimes cold. It’s not the “badass Cas” which we’ve seen before, it’s as though he’s so angry that he’s put up a wall.

The episode had a lot to say about anger, but not all of it was easy to decipher. We saw Dean’s anger come spilling out in his initial fight with Cas, in which he lashes out with some hurtful things. Everyone expresses anger differently, and in this episode we saw Castiel’s anger too. I think he walked out on that fight with Dean because it was just too painful, but it was also clearly because he was angry. Otherwise he would have picked up Sam’s phone calls. His response to anger is to withdraw and then to put up a cold shoulder and refuse to be reached, literally or figuratively. Maybe I can’t stop my psychologist brain from kicking in, but this is a familiar pattern. One person goes on the attack, spewing hurtful words, then the other withdraws and puts up a wall. Both are expressions of anger and intended to hurt. Often one of those people is very afraid of abandonment; in this case, that applies to both of them, so the withdrawal and stonewalling is an effective counterattack (that probably impact Dean’s later breakdown).

Cas points out that they have no way to kill Chuck and that going to Purgatory and doing the spell is the way they’ll save Sam – and the world.

Surprisingly, Dean goes along fairly quickly, which I didn’t expect. I had a little trouble with that instant capitulation, much like the scene in the tunnels in Season 13 when Dean tries to go after an in-peril Sam and Cas stops him. Dean seemed a little too easy to convince here too. However, Cas does have a point, so maybe Dean just reluctantly agreed. The pacing (or the editing?) was wonky in this episode, so perhaps some things that were meant to be conveyed just didn’t come through.

Back to the casino (isn’t it interesting that Chuck has taken up residence at a casino? He loves rolling the dice and playing the odds, especially when it’s with other people’s lives.)

Chuck digging god bullet out of Sam Winchesters shoulder SPN 1509

Chuck does a lot of dialoguing in this episode, which Rob Benedict pulls off quite well. He decides to dig out the god bullet in Sam’s shoulder that he realizes is keeping him weak, but hesitates. (I at first thought it was because it would hurt Chuck too, because isn’t that exactly what we’ve been told in canon? But no, that’s apparently been discarded, because Chuck calmly plays guitar while Sam has a knife dug into him). For some reason, Sam thinks it would be a good idea to taunt God while he’s holding a knife to him, ridiculing Chuck for not being able to get his hands dirty.

Sam: You just like to watch.

Chuck holding up knife to tormet Sam Winchester SPN Hurt
Sam Winchester reacts to chuck using eileen to hurt him

Oooh, Sam. Good one. But still not sure it’s a great idea…

Eileen joins in and calls Chuck pathetic, which made me start yelling at my tv, stop it you two, why do you think taunting him is a great idea while you’re both tied to chairs and he’s God? Predictably, Chuck gets pissed and just makes Eileen do it. What did they think, their taunts were going to talk Chuck out of it??

[Also, am I the only one who started singing when at one point Chuck exclaimed, “Come on, Eileen!”]

Sam, even when being tortured, keeps reassuring Eileen, telling her “It’s okay, I know it’s not you.” This scene was one that did work for me; that really rang true for what Sam would do, even as Jared showed us his pain so vividly, and Shoshannah Stern did a fabulous job showing us Eileen’s agony at having to hurt someone she cares about.  I’ve said before that Jared portrays Sam’s pain incredibly well — it feels so real that it actually hurts.

Meanwhile, Chuck plays guitar and looks like Rob Benedict. Eventually, he gets frustrated.

Chuck: How are you still like this? Defiant…

Then he figures it out – what’s apparently keeping Chuck weak and keeping him from being able to dig out the god wound is – Sam’s hope?

That doesn’t make a whole lot of sense to me. Why would Sam holding out hope be keeping Chuck weak and the bond between them functioning? I had to do lots of mental gymnastics to make any sense out of that, and the only way it makes any sense at all is if Sam shot Chuck to create a connection they could use, and then when he gave up on that idea and didn’t want the connection anymore, it went away. That Sam had some sort of control over keeping the wound open and active because he was the shooter, despite, as Sergei said, “wounds want to heal.” But that was never established. (There are some truly superb mental gymnastics out there about Prometheus and hope keeping evil contained but hoo boy if I have to go that far out, Show is doing something wrong)

For whatever reason, Chuck believes it, and sets out to eradicate Sam’s hope. That was a process that many fans found very hard to watch, me included.  Sam is the one who often carries the hope in the show, and it’s that hope that has inspired so many “Supernatural” fans, both in terms of Sam and in terms of Jared Padalecki’s “Always Keep Fighting” mantra in real life. To see it devastated was….. devastating.

Sam watched, helpless, as Chuck handed him a pocket watch and told him to dial into the future. At first what Chuck shows Sam is not so bad. Future Sam, Dean, Cas and Eileen ready to have a pizza and movie night in the bunker.

Then Jody calls – bloodied, hopeless. Overcome by too many monsters (this is a theme….)

Jody calling Sam Winchester for help surrounded by monsters and bloody SPN

Jody: She’s dead. Claire’s dead.

Most of us had seen that in the preview and assumed it was Claire, so it didn’t carry the emotional punch it might have, and nobody expected Kathryn Newton to come back, busy as she is, but Kim Rhodes gave it all the emotion that Jody would doubtless feel. It got to Sam, that’s for sure. Once again, Jared showed us all Sam’s pain, this time emotional.

Sam (watching): No….

I was happy to have Kim Rhodes back on my tv screen, and she showed us Jody’s hopelessness clearly.

The next future leap, as Sam turns the magic watch forward (interesting touch btw), shows Sam and Dean in the Impala, bloodied and fast careening toward the hopelessness Chuck is cultivating in Sam. Unable to save people, Castiel gone.

Magic watch in Sam Winchesters hands SPN
Sam Winchester driving having turned magic watch forward SPN

Dean: (sadly) The monsters are winning (this is a theme…)

By the time Sam turns the pocket watch to November 2021, Dean has lost hope.

Dean: It’s time. Time to stand down.

Cas apparently took on the Mark and went crazy and Dean had to lock him in the Malak box, and everyone they know is dead, and they can’t even save anyone anymore. Only Bobby and Jody are left, with a death wish since she lost Donna and the girls.

Dean: And since you lost Eileen? You too.

Sam: What happened to Butch and Sundance? What happened to goin’ out swinging?

Dean: We lost, brother.

Dean Winchester to Sam We lost brother SPN

That scene hurt, especially the reference to going out like Butch and Sundance, which for many years is how Jared and Jensen talked about the show possibly ending.

But, like Sam in the present, that scene also didn’t ring entirely true to me. So much of what the show has been about is not giving up. Is this really what would happen, or is Chuck just manipulating what Sam sees? I mean, he’s God, he can clearly do that if he wants to. Why would Sam believe that this is a true glimpse into a future that’s inevitable if they cage Chuck? Why would we as viewers believe it when the showrunner/writers in real life have repeatedly yelled “writers lie” and so has Chuck himself?? This is the epitome of an unreliable narrator, after all.

Sam Winchester driven to give up by CHuck SPN

Sam protests to Chuck.

Sam: This is a lie! The Dean I know – the Dean who raised me – he’d never give up. No matter how bad things got.

I agree with Sam, Show.  Also, that line made me tear up for real.

The last future scene is apparently the end for the Winchesters – the stop watch won’t go any further than December 9, 2022.

Supernatural stopwatch december 9 2022 for Sam Winchester
Chuck tells Sam Winchester Dean gave up on him SPN THe Hurt

Sam tells a hopeless and drinking Dean that he’s going to take out that nest with or without him. And Dean, still being Dean, even as hopeless as he is, goes along.

Dean: Then I guess I don’t have a choice.

That kinda broke me a little. That even without any hope at all, Dean will not let his brother go it alone. That did ring true, and it made me tear up again.

Flash forward to that last day, Dean and Sam barricaded and trapped, bad guys approaching, and at first it does look like Butch and Sundance and I start to get very anxious. Their conversation goes like this:

We’re outnumbered…What else is new?…Like Butch and Sundance… At least we go out together…Go out swingin’.

But it turns out to be a perversion of what we expect (and an ending many people thought might be for real). In actuality, Sam and Dean have been turned into vampires and Bobby and Jody are the ones coming to kill them. Vamp Sam and Dean kill the other hunters with what looks like relish, and… wait a minute! So are we to believe they have turned evil? We know that doesn’t HAVE to happen to vampires. Vampires can be like Lenore or Benny and not kill humans. And anyway, the Winchesters know there’s a cure for vampirism, so huh?? That made me even more certain that what Chuck was showing Sam was not the truth.

I was in the middle of being confused about all that when Jody shoots Sam and Dean turns on her and… hisses? I couldn’t help it, I might have giggled. Those teeth and… maybe I was just on emotion overload at that point? The caps and memes of hissing Dean have been making me giggle all night (thank you, timeline).  Did anyone check out what that looked like??

Dean Winchester sees Jody shooting Sam SPN

At first it made me laugh, but I don’t think they were intentionally playing it that way, and then that made me sad. Remember when Dean was turned before, how agonizing that was for him? How he fought so desperately against it and looked so agonized the whole time? That was dark and despairing and tragic and this was….not.

Anyway, Dean kills Jody with a bite (can’t wait to hear Kim Rhodes’ stories about that scene, knowing how hard it is for her to concentrate when Ackles is close by, let alone on top of her). Then Bobby kills Sam.

Dean Winchester kills Jody Kim Rhodes with a bite SPN 1509

In the present, Chuck tries to reassure a shaken Sam, insisting he still cares about Sam and Dean. Sam’s bitch face in response is priceless.

Sam: I saw your endings. Cain and Abel.

Chuck insists there’s more to it. That the important thing to take from the glimpses of the future are the monsters (it’s a theme).

Chuck: Without me, the dark forces prevail. Everyone you love will die.

Chuck tells Sam Winchester everyone you love will die SPN 1509

Has he convinced Sam??

Meanwhile, Dean and Cas are in Purgatory, which is alot brighter than it was so doesn’t look as scary or frankly as cool. Dean wants to split up, Cas says no, too dangerous – and again, surprisingly, Dean listens, just like that. Dean is usually the one calling the shots, but he doesn’t in this entire episode until the very end, and it’s jarring. Last time they were in Purgatory, it was Cas who split them up, but this time he says no. Anyway, they do a smart thing and stage a moment of cluelessness to trick a Leviathan into attacking.

Or do they?

He gives in mighty easily and offers to take them to the blossoms they need. Dean asks about Benny, and finds out that he’s dead. Killed by his own kind, who ripped him apart. I’m guessing Dean had a lot more reaction than the edited version of the scene let us see, because Benny was important to him, and returned to Purgatory so Dean could save Sam. The guilt Dean would feel knowing he was almost immediately killed… I bet Jensen showed us more than what we saw. Which would have been really helpful in explaining the absolute breakdown Dean has shortly thereafter.

Dean and Cas are still pissy with each other, both still angry and expressing that anger in their individual ways. Castiel says he still feels guilty, that it was his fault the Leviathans got out (and mentions in passing that Purgatory brings out or magnifies guilt). He says he’s sorry. Dean thinks he’s apologizing for killing their Mom, but Cas corrects him, saying sharply that he’s talking about Jack.

Cas: I’m talking about Jack. I already apologized to you (about your mother), but you couldn’t hear it. You were too angry.

Dean: You’re the one who left.

Cas: I left because you couldn’t forgive me and you couldn’t move on. I left, but you didn’t stop me.

In other words, they’re still at an impasse. Still both clearly angry. Still trying to hurt each other in their own way.

Castiel’s anger is understandable if you look at it as a mix of both guilt and hurt. He does regret the part he played in Jack killing Mary, by once again keeping something important from the Winchesters. (Though I did understand why he did it, out of fear of them abandoning him. So much of these characters revolve around that fear!)  I think he does feel guilty about that, and I think Dean’s harsh words hurt him more because he was already feeling those things, so he withdrew. But Dean’s anger is also completely understandable.

When they had that fight, his mother – who he had longed for his entire life and only recently gotten back and forged some kind of relationship with – had been killed DAYS ago. His grief was raw and overwhelming, and it’s a normal human reaction to lash out in anger and try to place blame. We have a great need to try to make sense of overwhelming loss, and that’s part of the process. Did Castiel really feel that Dean should have been over it in two days? That makes no sense at all.  Give Cas more credit than that. Dean has forgiven him countless times in the past; it’s not like Dean refuses to forgive, that’s not his nature at all. Cas knows this – has experienced this repeatedly. Why this time would he expect it to happen instantly?

Anyway, still both angry, they get to the field of blossoms, and apropros of the title, it’s a trap – an angel trap of some kind. Seems Eve and the Leviathans are still pissed at Castiel. I had to scratch my head multiple times at this point, because didn’t that Leviathan guy (Edgar?) say they didn’t respect Eve at all? Also, how did they possibly make up that trap and have that Leviathan follow them and set it up so quickly?? And wasn’t Dean the one who killed Eve? Why would she only want revenge on Castiel?

I don’t know. But the Leviathans knock Dean out, and when he wakes up, in a pretty cool crane shot ala Kim Manners, both Cas and the flowers (I guess?) are gone.

Dean Winchester wakes up Leviathans world SPN

Luckily, they have conveniently just left Dean lying there unhurt for some inexplicable reason, even though we know that Leviathans love to eat people – and angels too, I think. Why would Eve want to talk to Castiel? Also, why is Purgatory now so empty? Wasn’t it a place where Dean had to fight tooth and nail all the time, constantly attacked by monsters? He was unconscious lying there and nothing bothered him? They literally only got attacked that one time the whole time they were there? Unless it was all a setup?

Anyway, Dean heads back to the portal, and then out of nowhere, he is suddenly overwhelmed with guilt and remorse, so much so that he has to lean against a tree. There was no lead up to this; a quick look at the watch still showed almost half an hour left, so there was no sense of desperation. No sense of “OMG where is Cas, I might have to leave him in Purgatory AGAIN and OMG I never even told him I forgive him!” which would have made the breakdown make sense.  Dean wasn’t even at the portal yet, so for all he knew Castiel was sitting there waiting for him (which in fact he was).

I wasn’t feeling any sense of desperation, but Dean is suddenly desperate and sends a prayer to Cas, which quickly gets super emotional.

Dean: You’re my best friend, and I let you go. It was easier than admitting I was wrong.

He’s in tears suddenly as he says it. Overcome even more by guilt, he falls to his knees, confessing that he gets so angry and doesn’t know why, that it’s always been there and that he can’t stop it when it comes out.

Dean: I forgive you, of course, I forgive you. Cas, I’m so sorry.

Dean Winchester crying afraid to lose Castiel The Hurt
Dean Winchester I forgive you Cas Im so sorry SPN

I think it’s the first time that Dean has cried that I haven’t. I get that the goal was to write an emotional reconciliation scene, but that can’t be the goal without the set up that makes it make sense. I could go with it if Dean was faced with the near certainty of leaving Cas behind again, after already feeling guilty about leaving him the last time and compounded by the guilt of sending Benny back there to die. If it felt like Dean’s last chance to forgive Cas, in those last few moments, his desperation and tears might have worked a lot better.

I also didn’t quite know what to make of what Dean said. I could understand him apologizing for the hurtful things he said in their initial fight or for taking so long to forgive, but that wasn’t it. It seemed more like he was apologizing for his feelings, when they were understandable at the time. Like he was returning to his long standing tendency to take 110% of the blame for everything just so people he cares about won’t abandon him. Was this Dean overwhelmed by the ever present guilt and panic of a too often abandoned boy, faced with losing someone he cares about yet again? Castiel seeming to say that Dean should have stopped him from leaving would set off those fears even more – people with abandonment panic are easily convinced they’ve done something to deserve the abandonment, and then they frantically plead that that they’ll be better if the person comes back, and repeatedly say they’re sorry. This started to play weirdly like that.

I don’t know if that was the intention. But really, who wouldn’t be incredibly indescribably angry if they’d lived Dean Winchester’s life?? Who wouldn’t be out of control angry literally days after their mother was killed, after longing for her your entire life? Give Cas credit, writers, he has to understand that. Why would he expect Dean to forgive him 48 hours later?

Dean brushes his tears away and soldiers on.

Finally, with 3 minutes to spare (finally we get that urgency long after we needed it), Dean arrives at the portal and turns to find Cas there after all. His joy is genuine as he pulls Cas into a hug, and again I think of Dean’s deep abandonment issues and that panic he was in when he thought it was happening again.

Dean Winchester finds Castiel at portal SPN
Dean Winchester huggin Castiel tight in woods SPN
Bloody Castiel reacts to Dean Winchester hugging him in woods SPN

Dean still feels driven to apologize even more (that abandonment panic again?), and I’m yelling OMG you have like one minute, stop trying to have a heart to heart right now and go through that about-to-close portal, you idiots!

Cas managed to both escape the Leviathans and to grab the needed blossom from somewhere, which makes me again question the whole thing seeming way too easy, and is that even Cas? He assures Dean that he heard his prayer.

Cas: You don’t have to say it.

That was a line written as an invitation to interpretation. Whether that worked or not, or how much that goal impacted the narrative’s coherence, is up in the air. There’s a beat that you can read meaning into if you want, and then they’re through.

Cas and Dean do the spell, Cas volunteering to take on the Mark because Dean already has. Once again, Dean capitulates oddly quickly. He’s just had a huge breakdown over how much he cares for Castiel, and then he doesn’t protest much when Cas agrees to take the Mark when we don’t really know what it will do to him?

Dean Winchester realizes how much he loves Castiel SPN 1509

Note: that means Sam or Dean will have to destroy the magic ball that they made in order to cage Chuck. They find Sam tied up in the casino, and Dean begins to cut him free when Chuck appears.

Chuck: Hi Dean.

Dean: punches him in the face.

Dean: I had to.

Chuck: punches him in the face.

Chuck: Me too.

Cas takes down a once again manipulated Eileen (urgh), and tosses Sam the magic ball.

Dean: Smash it! Now!

But Sam doesn’t. Looking anguished, he falls to his knees.

Sam: I can’t.

Sam Winchester reacts to Chuck throwing him Magic 8 ball SPN
Dean Winchester reacts to Chuck hurting Sam SPN The Hurt

Dean: What did you do to him?!

It appears that Sam finally lost all hope, and now as a result, Chuck is free. This is a brilliant shot by Bob Singer, Jared showing us without words just how broken Sam is in this moment.

Sam Winchester loses all hope as Chuck is now free SPN 1509

Chuck smashes the magic ball.

(My best explanation for why Chuck’s machinations worked is that Sam knew that Cas must have agreed to take the Mark when they came in to save him and Eileen, and so he realized that part of what he saw in the future really did come true, so that made him think that maybe it was all true. I say that because I had that reaction – and so did another friend. And thinking about what Castiel’s fate was in the future, when he took the Mark? Sam can’t allow that to happen. So he can’t do it.)

Chuck has his power back, it seems, which makes the whole god gun and god wound and Equalizer thing seem like a lot of plot time only to be resolved sort of easily.  I mean, so much in this episode seemed way too easy, didn’t it? Considering the massive undertaking it would have been to trap Amara, was a simple spell with a blossom from Purgatory really going to contain God?? Just like that? I don’t know, it all seems off….

But that’s okay, because I loved the next scene. Chuck being back at full power should be scary as hell,  but Dean Winchester is not scared. He gets right in Chuck’s face, saying he knows Chuck won’t kill them because that’s not the ending he wants.

Chuck confirms what we all thought, that Sam’s earlier visions were not the future, but memories of different Sam and Deans in different worlds. Who all killed each other.

Chuck: Just like you, they didn’t think they would do it either. But they did. And so will you.

(This makes no sense, btw, in the context of Chuck’s insistence that he cares about them).

Dean, a good half a foot taller than Chuck, towers over him. Unafraid.

Dean: No. Not this Sam. Not this Dean. We will never give you the ending that you want.

Sam looks on, hope sparking as he sees his brother still defiant.

Dean Winchester fighting Chuck SPN 1509
Chuck looking up at Dean Winchester intenese SPN
Dean Winchester glaring down at Chuck SPN 1509

Chuck: We’ll see.

Snap, he’s gone.

That is the Dean Winchester I know and love!

(Also, how did Rob Benedict survive that and not spontaneously combust??)

Sam looks so relieved to hear his big brother say that and to hear that he hasn’t given up hope like the Dean of that future vision.

Cut, back to the bunker, Eileen packing her gear and getting ready to leave. Sam says he wishes she would stay, but Eileen says that after all that happened, she doesn’t know what’s real anymore.

Eileen packing to leave Sam Winchester Supernatural THe Hurt

I can understand how she must feel, and how awful it must be to be used like that. Even though I think there’s genuine affection between her and Sam, they can’t know right now, and that’s awful.

He cups her face and kisses her, saying “I know that’s real.”

Sam Winchester kissing Eileen hard SPN 1509
Shoshannah Stern Eileen with Sam SPN The Hurt

She nods and heads up the stairs.

It would have been a tender scene, and Shoshannah and Jared manage to convey some real affection. Except we know that Chuck has been manipulating both of them. How can either of them trust anything? I’m not sure Sam would kiss her when she has just said she doesn’t know what is real so she can’t do this. I know there were some shippers who were just happy to see it, but again it felt like the goal was to have the emotional moment just for that reason, without the set up that allowed it to make sense. There was also unbelievably dramatic (melodramatic) music that started playing as Eileen slowly walked up the stairs, which threw me totally out of the moment. Just let the emotion come through, Show, for godsakes! These actors can do that. Both Shoshannah and Jared showed us the characters’ conflicting emotions in this scene in a nuanced yet powerful way; they didn’t need the melodrama.

I am relieved that Eileen is still alive, though!

Sam joins Dean and Cas in the kitchen. He’s clearly feeling awful like he messed things up and let Dean and Cas down. Which broke my heart for him, because he was put in the terrible position of having to make a decision about what would be best for the entire universe based on things only he had seen. He was still clearly trying to do the right thing.

Sam Winchester joins Cas and Dean in Kitchen SPN 1509
Caps by @kayb625
Castiel looks as Sam joins he and Dean Supernatural 1509

Sam: This was our chance to stop Chuck. But what Chuck showed me, what would happen if we trapped him… I believed him.

Dean does not hesitate.

Dean: That’s good enough for me.

Dean Winchester thats good enough for me to Sam 1509

I loved this scene and Dean’s resolute loyalty to his brother. There have been times in the show when Dean has not believed Sam – and those times have been incredibly painful for Sam. The look on his face when Dean instantly trusts him is priceless – and damn, Jared knows how to show it.

I’m not sure either of them should be believing Chuck at all, however. He had a clear agenda, everything he does is a manipulation. Why not this?

Sam: So, what now? If we can’t kill him, or trap him…

Dean: Well then, we’ll find another way.

Sam’s look is so relieved, and that touched me. Dean is not hopeless, not in this reality.

Cut to the Empty, and Jack. And Billie.

Billie: It’s time.

SPN 1509 Billie tells Jack its time The Hurt

So here we are, headed into the final eleven episodes. I have to say, I would be on board for Dean and Sam fighting to not do what Chuck wants. To not become Cain and Abel like every other Sam and Dean in every other universe. Exercising the free will that even Chuck realizes they do have. That was teased way back in the middle of the series, that Sam and Dean would go toe to toe, and it never really happened as Sam and Dean. If that’s what the last part of the show will be, I’m down for it. This could be the biggest test of the brothers’ relationship of all.

On the other hand, while I enjoy Jack as a character, I’m not on board for this being the Jack-saves-us-all show. I’ll wait and see, but an ending where someone else swoops in and saves the day is not what I signed up for.

Meanwhile, I’m looking forward to next week’s episode if it allows me to laugh a little. I need it! With the image above, it should give a smile, at least for 1510 The Heroes.

‘Bad Boys for Life’ keep ‘Dolittle’ and ‘1917’ at bay for box office holiday

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Hollywood dusted off two once lucrative franchises for the Martin Luther King Jr. holiday weekend, but only one got the bulk of the theater going action.

Two “Bad Boys” proved to be too good for one “Dolittle” leaving it far in its tracks at the box office. With just under $60 million, “Bad Boys for Life” brought in just a little bit less than the opening weekend for “Bad Boys II” (adjusted for inflation.) That’s rather impressive as it has been over 15 years since the last sequel.

“Bad Boys for Life” starring Will Smith and Martin Lawrence brought in $59.2 million in the U.S. and Canada to score a No. 1 debut entering the Martin Luther King Jr. holiday weekend. The action-packed, buddy comedy returned for the franchise’s third installment after a 17-year hiatus with popular demand to outlast “Dolittle,” starring Robert Downey Jr., which opened at second with a mediocre $22.5 million.

In the new movie, Will Smith and Martin Lawrence reprise their roles as Miami buddy cops, careening through a plot that has something to do with a drug cartel. The sequel offers a plethora of jokes about aging and a great many explosions — though conspicuously absent is the director Michael Bay, who helmed the first two “Bad Boys” movies. “Bad Boys for Life” was instead directed by Adil El Arbi and Bilall Fallah.

Sony Pictures predicted that “Bad Boys” will make around $68 million over the four-day weekend. The film exceeded expectations, building momentum with favorable reviews including an A Cinema Score and a 76% rating on Rotten Tomatoes.

“It’s a great brand with two terrific stars, a beloved franchise and it feels like summertime in January,” said Paul Dergarabedian, senior media analyst for Comscore. He said it was a smart move by Sony Pictures to release the film during January, an unusual month for blockbusters releases but it ultimately “reaped huge benefits.”

Box office experts attest “Bad Boys for Life” succeeded where oh so many attempts to reboot decades-old properties (see: “Men in Black” and “Charlie’s Angels”) failed thanks to the chemistry between Lawrence and Smith. Smith also produced the film, directed by Adil El Arbi and Bilall Fallah.

“These two stars in their iconic and beloved roles is as irresistible in 2020 as it was in 1995, when the first ‘Bad Boys’ was unleashed upon the world,” said Paul Dergarabedian, a senior media analyst with Comscore. “By injecting a bit of fun, it was like summer in January at the multiplex, and who could resist that?”

Also coming well over a decade and a half after Eddie Murphy played the veterinarian in “Dr. Dolittle 2,” the release of “Dolittle” on the same weekend as “Bad Boys for Life” — and its less successful sales — speak to audiences’ inconsistent willingness to trek to theaters for sequels and reboots in the age of streaming. Poor reviews (“Dolittle” currently holds an 18 percent fresh rating on Rotten Tomatoes) probably didn’t help. “Dolittle” was supposed to open last May, though it was delayed twice due to problems behind the camera. Timing in that respect proved unfortunate, given Universal just endured a big-budget flop with “Cats.” 

“Dolittle” barely topped the World War I film “1917,” which claimed the top spot last week. The Sam Mendes-directed war film continues to hold strong with $22.1 million this weekend after going from 11 screens in its first weeks to more than 3,600.

The Oscar-nominated epic wartime film has gained popularity after it won Golden Globes for best director and drama film a couple of weeks ago. Saturday night, it won an award for theatrical motion picture at the Producers Guild Awards, which has gone on to win best picture Oscar 21 out of 30 times, including the past two years.

“‘1917’ is really taking a lot of the oxygen and taking on a life of its own since the Oscar nominations and all of these awards,” Dergarabedian said. “If you haven’t seen ‘1917,’ you’re totally out of the loop for awards season.”

Along with “Bad Boys,” Sony Pictures has two other films in the top 10 at the domestic box office including Oscar-contender “Little Women” and “Jumanji: The Next Level,” which crossed $700 million worldwide.

“Parasite” also enjoyed a boost after Oscar nominations, bringing in $1.7 million over the weekend and an expected $2.1 million for the four days after upping its theater count to 843 venues. Bong Joon Ho’s darkly comedic thriller has generated $28 million at the domestic box office, an especially strong showing for a foreign-language film.

After nabbing six Academy Award nods, including one for best picture, “Jojo Rabbit” also expanded its theatrical footprint and should bring in $1.8 million from 1,005 screens through Monday. The political satire, in which writer-director Taika Waititi portrays a fictional Hitler, has made $23.8 million to date.

In another blockbuster, “Star Wars: The Rise of Skywalker” topped $1 billion globally after five weeks. Walt Disney’s film focusing on the final chapter of the Luke Skywalker saga has also earned more than $492 million domestically.

In just the first three weeks of the new year, overall box office numbers are up nearly 12 percent from 2019 according to Comscore. “Birds of Prey” should continue that upward trend.

North America Box Office

Estimated ticket sales for Friday through Sunday at U.S. and Canadian theaters, according to Comscore. Where available, the latest international numbers for Friday through Sunday are also included. Final domestic figures will be released Monday.

1. “Bad Boys for Life,” $59.1 million, ($38.6 million international).

2. “Dolittle,” $22.5 million, ($17.2 million international).

3. “1917,” $22.1 million, ($26.1 million international).

4. “Jumanji: The Next Level,” $9.5 million, ($17 million international).

5. “Star Wars: Rise of Skywalker,” $8.3 million, ($10.9 million international).

6. “Just Mercy,” $6 million, ($1.3 million international).

7. “Little Women,” $5.9 million, ($6.2 million international).

8. “Knives Out,” $4.3 million, ($3.1 million international).

9. “Like A Boss,” $3.8 million.

10. “Frozen 2,” $3.7 million, ($12 million international).

Entertainment, Training, and Free-Roam Immersion: The Real Future of Virtual Reality

Virtual Reality (VR) has been around for a while, but it has yet to take off fully. Stephanie Llamas of SuperData Research likens VR’s adoption rate to other media: Like color TV, cellphones, and the internet before it, things are bound to start out slowly. Then, an inflection point is hit, resulting in an adoption upswing. Currently, VR is in its infancy, with reported revenues at an estimated $12.1 billion in 2018.

statista graph with virtual reality game sales revenue 2020

But the VR space continues to scale, driven largely by the world of gaming. A Statista graph shows that VR video gaming sales revenue has been on an uptick, starting at an estimated $3.6 billion in 2016, to $5.8 billion in 2017, $9.6 billion in 2018, and $15.1 billion in 2019. This success can be attributed to the release of acclaimed titles like Beat Saber and Fallout 4 VR, and the distinct possibility of even better games means gaming will continue to be one of the key drivers of VR. It won’t be the only one, though.

man wearing free roam virtual reality with white apron mttg 2020 images
Photo courtesy of Pexels.

Enhancing entertainment

Miniflix’s article on the ‘State of Virtual Reality and Film’ rightly notes that “technology and artistic achievement have been inseparable.” The fact that VR is now being used in cinema is a testament to this connection. The groundbreaking short Flesh and Sand (2017) by Alejandro González Iñárritu showed just how VR can enhance film and how it may very well be the future of cinema. Since then, major film festivals like Cannes have adopted VR film screenings, and are validating the technology along the way.

Theater companies like Cinemark and AMC are even bringing the VR experience to the masses thanks to location-based VR, giving people immersive experiences unlike any other. The technology is even being used in actual filmmaking, with The Lion King (2019) director Jon Favreau explaining how VR was used to drive the camera during filming. The result is a technically animated film, but one that feels “like a live-action movie.”

Improving training

Virtual reality is also being used for training. In fact, several F500 companies are now using VR to train the next generation of American workers. Walmart has been the leader in this regard, as it has featured tethered VR devices across its 20 Walmart Academies. But now, thanks to VR’s increasing mobility, the company has rolled out its high-tech training program to more than 1 million associates in over 4,600 stores.

Other companies using VR for training include UPS, Boeing, JetBlue, United Rentals, and Fidelity. The fact that these companies have seen increased retention rates and better productivity after adopting VR illustrates how the technology has found its place in the world of training, where it is “expanding faster than anyone imagined.”

Rise of the free-roam system

While entertainment is and will continue to be a huge chunk of how VR will change the way we consume information, it’s also just one aspect of the experience. In fact, the developers of the HP VR G2 backpack suggest using the free-roam system for architectural walkthroughs, art installations, and other immersive experiences that are only possible with this type of technology. These applications, at least for some experts in the industry, represent VR’s truest form and are now being leveraged accordingly.

Presently, the free-roam system is mostly being used in immersive gaming experiences (often via VR arenas). But the technology is starting to have an important role in futuristic public installations and state-of-the-art enterprise workflows, too. That role will continue to expand once free-roam systems make greater inroads in industries such as tourism and architecture. And although the system is nascent at best, its untapped potential is why it is regarded as the real future of VR.

These Are The Biggest Christmas Movies Of All Time Even Post Holidays

Whatever your personal Christmas traditions may be, there’s a very high chance they include watching a few Christmas movies even long after the holiday season is over. These films are a staple of the holiday period; often espousing themes of family, love, and generosity, Christmas movies make us all think a little about how we behave towards our fellow human beings. Some studies even suggest that watching Christmas movies all year round is good for your health. We’ll reserve judgement on that one, but we do love a good Christmas film.

So, it seems, do the good folks at Betway, who have compiled an awesome list of the most popular and successful Christmas movies of all time. Some of your favourites may be on there, while others may just barely have missed out on the top ten. Whatever your own personal favourite Christmas movie may be, we’re sure you will agree that these ten are some of the most influential classics ever made. Without further ado, here, according to Betway, are the top ten biggest Christmas films ever. Some of our other writers may disagree, so you can what they listed instead.

a christmas carol 2009 jim carrey best holiday movie ever
A Christmas Carol (2009) Directed by Robert Zemeckis Shown: Ebenezer Scrooge (voice: Jim Carrey)

10. A Christmas Carol (2009)

In at number ten, it’s Robert Zemeckis’ animated caper based on the classic 1843 Charles Dickens story. An all-star cast, headed up by legendary comic actor Jim Carrey as Scrooge, makes this movie essential viewing for anyone who wants to enjoy a warm, fuzzy Christmas story. Though the movie didn’t perform brilliantly with critics, it did manage to rake in a very respectable $125 million on top of its costs, so it clearly struck a chord with audiences.

the polar express best christmas movies ever 2020

9. The Polar Express (2004)

Can you believe it’s been fifteen years since the release of The Polar Express? This is another Zemeckis production, and although it garnered its fair share of criticism around what some perceived to be lifeless CGI in the human characters, its classic tale has stood the test of time. The Polar Express hasn’t quite washed its face in the budget department, making $311 million on top of its $165 million budget for a $146 million profit. Still, it’s worth revisiting.

while you were sleeping 1995 best christmas movies ever

8. While You Were Sleeping (1995)

Moving away from animated fare, While You Were Sleeping is a classic romantic comedy-drama with plenty of sentimentality, making it a perfect Christmas proposition. Sandra Bullock collects fares for the Chicago Transit Authority. One day, she saves a man’s life after a group of muggers push him onto the L-train tracks. What follows is a story steeped in emotional traditionalism but no less satisfying for it. The movie managed to make a staggering $165 million profit, so it must be doing something right.

the santa clause best christmas movies ever 2019

7. The Santa Clause (1994)

The Santa Clause is a classic Christmas movie, make no mistake. Tim Allen stars as Scott Calvin, a man who must take up the mantle of Santa Claus after inadvertently causing the real deal to become injured. It’s not a difficult watch as a movie, but it’s full of the kind of festive family joy you want at a time like Christmas. With a budget of $22 million, The Santa Clause managed to reap a $168 million profit. If you haven’t seen it, seek it out; it’s well worth your time.

elf best christmas movies ever made 2020

6. Elf (2003)

Will Ferrell is well-known for creating movies chock full of quotable lines, and Elf is no exception. We are all cotton-headed ninny muggins here, so we’re huge fans of Ferrell’s big-hearted Christmas extravaganza. So, it seems, were audiences; Elf managed to make $188 million in profit, which is a satisfying haul for any Christmas movie. We’re yet to see Ferrell make another foray into the world of Christmas cheer, so we’re hoping that Elf’s excellent performance will one day inspire him to do just that.

love actually best christmas movies ever 20202

5. Love Actually (2003)

What is it about the year 2003 and great Christmas movies? This sentimental feelgood comedy from Richard Curtis…actually isn’t that feelgood. There are a number of subplots that make us tear up constantly (Emma Thompson and Alan Rickman, anyone?), but the optimism and good-natured positivity of Curtis’ filmmaking shines through. Love Actually has grossed $205 million since its original release, which makes it a phenomenally successful film.

how the grinch stole christmas best holiday movies ever 2020

4. How The Grinch Stole Christmas (2000)

Another Jim Carrey creation, How The Grinch Stole Christmas is loved by many and is considered something of a cult classic today. It’s pretty much worth watching for Carrey’s performance alone; it’s impossible to imagine a movie in which Jim Carrey is dull (except perhaps Joel Schumacher’s execrable The Number 23). Despite the source material’s playful tone, this isn’t an animated movie, and as far as we’re concerned it’s all the better for that decision.

home alone 2 lost in new york best christmas movies ever

3. Home Alone 2: Lost In New York (1992)

Ah, that Donald Trump cameo. (Well, except in Canada) It’s surreal to go back and watch the surprisingly great Home Alone 2: Lost In New York now that Trump is the President, but it doesn’t change the movie’s sense of freewheeling fun. Macaulay Culkin is once again electric as Kevin McAllister, while Joe Pesci and Daniel Stern delight as the hapless Wet and Sticky Bandits. This is one of the few cases in which a sequel is almost as worthwhile as the original (more on which in a moment).

dr seuss the grinch 2018 best christmas movies ever

2. Dr Seuss’s The Grinch (2018)

Benedict Cumberbatch can, as far as we are concerned, do absolutely no wrong. That’s a creed he applies to this rather good 2018 animated version of the classic Dr. Seuss tale so memorably brought to life in 2000 by Jim Carrey. The cast here is star-studded; Angela Lansbury, Kenan Thompson, and Rashida Jones join Cumberbatch for the outing, while N.E.R.D.’s Pharrell Williams provides the music. The movie made $511.6 million dollars at the box office, which ain’t bad.

home along movie kevin with play gun

1. Home Alone (1990)

You must not be surprised by this one. Home Alone documents the high-flying antics of Kevin McAllister as he attempts to foil the efforts of two thieves to rob his home while his parents are out. It’s probably the only Christmas movie literally everyone likes (yes, even The Muppet Christmas Carol has its detractors), and its whopping $459 million profit – that’s just profit, remember, not overall takings – certainly agrees with that assessment.

2019 a big year for female directors but…

Hollywood will surely use a recent study showing more women directed Hollywood films in 2019 to congratulate itself, but there is a big ‘but’ on everyone’s lips. Will this continue with 2020 or will Hollywood do the usual and go back to the way it’s ‘always done things?’ A production source says that “while it’s great to have one year see more women in the director’s chair, that doesn’t count for all the other positions where women have been sorely lacking.”

Exactly.

Another movie executive had this to say. “Don’t expect this to happen again as Hollywood just needs one year to point at so they don’t look as misogynous as it really is. When you’ve got a president in the White House demeaning women, it only gives weak men an excuse to follow suit.”

Names such as Lulu Wang, Lorene Scafaria, Melina Matsoukas and Greta Gerwig led Hollywood to a record year for women in the director’s chair. In 2019, women directed more of the most popular movies than any year before.

Women directed 12 of 2019’s top 100-grossing films in 2019, according to a study released Thursday by USC Annenberg Inclusion Initiative. That percentage of female filmmakers, 10.6%, is greater than researchers have recorded before, suggesting that some measure of change is finally coming to a film industry where inequality behind the camera has remained stubbornly persistent.

It’s the most meaningful increase in several decades for female directors. Despite mounting outcry, the rate of female directors helming Hollywood’s top productions has long been largely stagnant. The previous high in USC’s annual study was 8%, in 2008. In 2018, only 4.5% of the year’s top films were directed by women.

“This is the first time we have seen a shift in hiring practices for female film directors in 13 years,” said Stacy L. Smith, one of the study’s authors. “One notable reason for this jump in 2019 was that Universal Pictures had five films with women directors at the helm in the top 100 movies. Yet there is still much more progress needed to reach parity for women behind the camera.”

The high-profile success of several films had already made 2019 a historic one for women. Those include Wang’s “The Farewell,” one of the year’s most popular indie releases, Scafaria’s acclaimed “Hustlers” ($105 million domestically), Matsoukas’ “Queen & Slim” ($40.7 million) and Gerwig’s “Little Women,” which last week opened strongly with $29 million in its first five days of release.

“Frozen II,” with $1.2 billion in worldwide ticket sales, is close to setting a new box-office record for a movie directed by a woman. Jennifer Lee, who co-directed the film, set the record with the first “Frozen” film. In 2018, Lee became the chief creative officer of Walt Disney Animation Studios.

Other notable films included Kasi Lemmons’ “Harriet,” Tina Gordon’s “Little” and Jill Culton’s “Abominable.”

USC researchers singled out Universal Pictures, which put forward a slate of films with 26% directed by women. Universal is the only major studio with a female studio chief, Donna Langley.

Netflix also fared well. While the streaming company’s films largely bypass theaters — leaving them outside the study’s parameters — 20% of Netflix’s 2019 movies were directed by women.

Paramount Pictures, however, hasn’t released a movie directed by a woman in the last five years.

Four women of color directed one of the top 100 movies in 2019, though the overall statistics for underrepresented directors dipped. Underrepresented filmmakers were behind 16.8% of films in 2019, a decline from last year’s 21.4%, a record.

“While 2019 is a banner year for women, we will not be able to say there is true change until all women have access and opportunity to work at this level,” said Smith.

Another study released Thursday by the Center for the Study of Women in Television and Film at San Diego State University examined women in the top films as not just directors but writers, producers, executive producers, editors, and cinematographers. Women accounted for 20% of all such roles in the year’s top films, up from 16% the year before.

But the San Diego State University study, the 22nd annual Celluloid Ceiling authored by Martha Lauzen, found less progress when the movies researched were expanded to the top 500 films. In that metric, Lauzen found women held steady at 23%.

“While the numbers moved in a positive direction this year, men continue to outnumber women 4 to 1 in key behind-the-scenes roles,” Lauzen said in a statement. “It’s odd to talk about reaching historic highs when women remain so far from parity.”

Despite gains, female filmmakers have been largely overlooked in this awards season. Sunday’s Golden Globes, presented by the Hollywood Foreign Press Association, includes no women nominated for best director. None of the 10 films nominated for best picture were directed by women, either.

Rebecca Goldman, Time’s Up chief operating officer, earlier said those results were unacceptable.

“This year, there have been twice as many women-led features than ever, with more films by female directors on the way,” Goldman said. “Women — and especially women of color — continue to be pushed to the sidelines by a system that holds women back, onscreen and off.”

Yes, your smart devices are spying on you. Which ones are the worst?

A decade ago, people would have been considered one of those ‘aluminum foil hat people’ for claiming that their devices were spying on them. In today’s world, that’s a common refrain. One New Zealand reporter has turned it into a full-time job trying to figure out exactly what all those smart devices are getting out of him and where his information is actually going.

Amazon alone keeps reports on every appliance you connect to Alexa not to mention every time you flip a light switch or make an adjustment to our thermostat. Naturally, the company says that it needs your voice and data to train its AI which will, in turn, be the technology that rules our future. Yes, a decade ago, this would have sounded crazy, but it has become our new reality and opting out isn’t as easy as the big tech companies would have you believe.

Letting That Spy Into Your Home

Did someone unknowingly invite a spy into your home over the holidays? Maybe so, if a friend or family member gave you a voice-controlled speaker or some other smart device.

It’s easy to forget, but everything from internet-connected speakers with voice assistants such as Amazon’s Alexa to television sets with built-in Netflix can be always listening — and sometimes watching, too. As with almost all new technology, installing such devices means balancing privacy risks with the conveniences they offer.

The research firm IDC estimates worldwide shipments of 815 million smart speakers, security cameras and other devices in 2019, up 23% from 2018. Many of the sales are for gifts.

You could sidestep the risks altogether by returning the devices right away. But if you decide to keep them — and the artificial intelligence behind them — there are a few things you can do to minimize their eavesdropping potential.

smart device speakers spy on users from amazon google

YES, YOUR SPEAKERS LISTEN … AND WATCH

Smart speakers such as Amazon’s Echo and Google Home let you check weather and appointments with simple voice commands. Fancier versions come with cameras and screens.

Many of these devices listen constantly for commands and connect to corporate servers to carry them out. Typically, they will ignore private chatter and transmit sound recordings only when you trigger the device, such as by pressing a button or speaking a command phrase like “OK Google.” Some gadgets also have a mute button to disable the microphones completely.

But there’s no easy way for consumers to verify those safeguards. In one case, the Alexa assistant in an Echo device misheard background conversation as a command to send the chatter to an acquaintance — and so it did.

One more catch: Voice commands sent over the internet are typically stored indefinitely and may include conversations in the background. They can be sought in lawsuits and investigations.

Reputable companies let you review and delete your voice history, Amazon now lets you request automatic deletions after three or 18 months — but you need to set that up, and there’s no option to keep Amazon from saving your command history at all.

Until recently, tech companies allowed employees and contractors to review the voice interactions for quality control — and some of those details leaked. Following a backlash, many companies are at least making it clearer and easier to opt-out of human review. Pay attention to your choices.

If you have kids, set up a passcode for shopping if your speaker allows it. Otherwise, it can be child’s play for a kid to order toys and other goodies through Alexa.

As for those screen models, many also have cameras for video chats. When you’re not using the device, consider turning it around to face the wall, especially in the bedroom and other private settings. Or stick a bandage or some tape over the camera. It shouldn’t be recording, but why tempt fate?

SECURITY WITH SECURITY VIDEO

Online security cameras let you check in on your pets or kids when you’re not home. Amazon’s Ring doorbell lets you check who’s at the door without getting up.

Here’s the bad part: If you can view video on an app, it’s possible that a skilled hacker can, too.

When you use the same password at multiple services, a hacker stealing your password from one place can try it on the camera service, too. So don’t reuse password. When available, enable two-factor authentication, which requires you to enter a temporary code sent as a text to ensure it’s you.

Again, you might want to turn the camera to face the wall when you’re home. It’s a pain, though, and if you forget to turn it back when you leave, it defeats the purpose of having a security camera.

smart device smart locks can let in intruder hackers

ARE SMART LOCKS REALLY THAT SMART?

Smart locks let you unlock doors with an app, so you can let in guests even when you’re not home. Burglars might try to hack the system, though it’s often easier for them to just break a window.

As a precaution, disable any capabilities to unlock doors through a smart speaker voice command, especially if you have prankster kids — or teens who might want to sneak someone in.

Though digital keys can be convenient for letting in guests and contractors, they can also leave a digital trail. In a child-custody dispute, for instance, your ex might subpoena the records to learn that you’ve been staying out late on school nights. If you rent and create a guest key that’s used daily, the landlord might suspect an unauthorized occupant.

ABOUT THOSE SMART TVs & STREAMING DEVICES

Many smart TVs and TV streaming devices come with mics for voice-activated playback controls and video search. That means having audio snippets transmitted over the internet. The same warnings for smart speakers apply here.

There’s a simple fix if you aren’t using the internet features on your smart TV: Just don’t connect the TV to your Wi-Fi in the first place. Of course, this won’t work if you’re not using a separate gadget for streaming video.

smart toys dangerous to children with hackers

TOYS THAT TALK

Kids might get a kick out of dolls and other toys that talk back. But if the toy is connected to the internet, pay attention to how much control it’s giving parents and whether it’s letting kids connect to the outside world. You can check online to see if other parents or consumer groups have identified problems.

And be sure to install the latest apps and other software updates, as they may come with fixes for flaws that can otherwise be exploited by hackers.

Disney ruled the 2019 box office with $13 billion

Disney was the big winner at the 2019 box office ruling most of the weekends. There were plenty of surprising flops of the year, but it seems that sequels, remakes and superhero films are a sure bet.  

Every movie year offers up a parade of hits and flops. But in 2019, no winner was in the same galaxy as the Walt Disney Co. And the biggest loser might have been anyone less thrilled about the box-office domination of franchise films.

As 2019 closed out Tuesday, the top 10 films in U.S. and Canada theaters will all be intellectual property-backed movies. That, in itself, isn’t new. It’s the third year in a row that the year’s 10 biggest ticket-sellers have all been sequels, remakes and superhero films.

But in today’s IP-driven movie world, one studio is in a league of its own. In 2019, Disney dominated American moviegoing more than any studio ever has before — roughly 38% of all domestic moviegoing.

The year’s top five films were all Disney movies, and it played a hand in the sixth. Disney’s Marvel Studios produced the Sony Pictures release “Spider-Man: Far From Home.”

Disney banked about $13 billion in worldwide box office in 2019, including a record number of $1 billion releases. Once “Star Wars: The Rise of Skywalker” ($724.8 million through Sunday) inevitably reaches that milestone, it will mark the studio’s seventh such $1 billion movie in 2019. The others were: “Avengers: Endgame” (the highest-grossing release ever, not accounting for inflation, with $2.8 billion), “The Lion King,” “Captain Marvel,” “Aladdin,” “Toy Story 4” and “Frozen II.”

Disney’s unprecedented market share includes films from 20th Century Fox, the 84-year-old studio that Disney gobbled up in March in a $71.3 billion acquisition.

Despite Disney’s considerable firepower, overall ticket sales in U.S. and Canada theaters were down 4.4% from the year before through Sunday, according to data firm Comscore. The upper echelons of the box office may be stratospheric, but the lower realms — where critics’ scores are rotten and word of mouth is faster than opening weekend — are dismal. The movies are increasingly a zero-sum game. You’re either “The Lion King” or you’re “Cats.”

“There’s plenty of capacity to bring people to the movie screen,” says Cathleen Taff, distribution chief for Disney. “What I think we’re doing is competing for their time. If it’s not great, they do have other options. But when it is great, people show up. And we’ve seen that this year with seven $1 billion movies.”

Disney’s considerable role in today’s moviegoing hasn’t been without critics. They have lamented its mega-blockbusters as products, not cinema. Before Martin Scorsese’s criticisms of Disney’s Marvel movies sparked headlines, he lamented the monopolizing of the multiplex, disturbed by the sight of “Avengers: Endgame” playing on 11 of a theater’s 12 screens.

If the big-screen experience is narrowing, the small screen is expanding. Streaming services proliferated in 2019 with the launch of Apple TV Plus (although it pushed back its first big movie release ) and Disney Plus. Amazon also reshaped its release strategy, shortening the theatrical window for some of its movies to just two weeks. Netflix rolled out its most ambitious release slate, including a host of awards contenders, led by Scorsese’s “The Irishman” and Noah Baumbach’s “Marriage Story,” that played in only limited theaters. The so-called streaming wars will only grow in 2020 when NBCUniversal launches its service, Peacock, and WarnerMedia debuts HBO Max.

While some may see a downturn in ticket sales as indicative of streaming’s impact, John Fithian, the president and chief executive of the National Association of Theater Owners, believes streaming is disruptive to broadcast TV, cable and home markets like DVDs, but not to movie theaters.

“This may sound counter-intuitive, but with the launch of Disney-Plus, HBO Max and Peacock, we’re more confident of the symbiotic relationship of streaming and theatrical than we were before,” says Fithian. “The people who stream also go to the movies a lot.”

Disney, Universal and Warner Bros. also remain devoted to the traditional theatrical window. Netflix will soon be competing with studios that can offer both a robust theatrical release and a streaming life — albeit not one with the same number of viewers at home that Netflix can promise.

Those services have certainly added pressure to the theatrical release, and quite a few in 2019 weren’t up to the challenge. The year’s most glaring bombs included bold bids at technological innovation ( “Gemini Man” ), mishandled franchise finales (“Dark Phoenix”), remakes that failed to connect (“Charlie’s Angels”), prestige dramas doomed by controversy ( “Richard Jewell” ), toy movies that didn’t click (“Playmobil: The Movie”) and, you know, “Cats.”

But some Hollywood executives point to successes suggesting a vibrant medium. Jordan Peele’s “Us,” for Universal, was the highest-grossing original movie. Others like Lionsgate’s “Knives Out,” Fox’s “Ford v Ferrari,” STX’s “Hustlers” and Sony’s “Once Upon a Time … in Hollywood” were also both critical and global hits. Bong Joon Ho’s “Parasite” and Lulu Wang’s “The Farewell” gave the art house a boost.

“I don’t think that the four-to-five percent drop means the domestic audience wants to stay home on the couch. I think it’s just like everything else in this industry since it began: We have cycles,” says Jim Orr, distribution chief for Universal. “Generally, the box-office is still trending up and I think that will continue over time, especially because you can do films like ‘Us’ and films like (the R-rated comedy) ‘Good Boys’ and people will still come out in force.”

Last year’s box office, which followed a two-decade low in 2017, set a record with $11.9 billion in ticket sales. Disney, the market leader for the last five years, again led the way with “Black Panther,” “Avengers: Infinity War” and “Incredibles 2.”

Revenues have largely been on the rise thanks to increasing ticket prices. 2019′s estimated $11.4 billion in ticket sales rank second all time, not accounting for inflation. But admissions have been gradually declining since 2005.

Overseas business, however, is booming. International box office for the first time crossed $30 billion in 2019. Either next year or in 2021, China will likely surpass North America as the world’s top movie market.

Lately, homegrown movies have been China’s top draws. This year, only two U.S. productions — “Avengers: Endgame” and “Fast and Furious: Hobbs and Shaw” — cracked the country’s top 10 films. A pair of Chinese blockbusters led the way, each with about $700 million in box office: the science fiction adventure “The Wandering Earth” and the animated fantasy “Ne Zha.”

All of these factors — a rare alignment of Disney juggernauts, expanding home-entertainment options, a more inward-looking China — mean a potentially dimmer outlook for 2020. Many in the industry expect the year’s ticket sales to drop of a few percentage points again. No one forecasts a similar year from Disney. The studio will still have a strong slate but one without an “Avengers” or “Star Wars” movie.

“2020 is going to be a more typical year, where the wealth will be spread quite a bit more,” says Paul Dergarabedian, senior media analyst for Comscore. “The sky is not falling but we’re definitely going to have to change our expectations for 2020. It’s not going to be just about one studio dominating but it’s going to be about all the studios bringing some of their biggest brands.”

James Bond, Wonder Woman and The Rock are coming in 2020. But greater volatility may be on the way, too.

‘Star Wars: Rise of Skywalker’ tops box office while ‘Cats’ loses a life

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While “Star Wars: The Rise of Skywalker” wrapped up the nine-film saga which ended an all-encompassing story about heroes and villains living in a special effects world full of wonder and big-screen wizardry, Disney found it to underperform its successors. Ticket sales in North America saw a 4 percent decrease from 2018 with $11.45 billion.

With this part of the Star Wars saga closed, fans can expect to see more which will be streaming on tablets and phones rather than on the big screen.

Major fantasy films were behind the high sales with “Frozen II” (Disney), “The Lion King” (Disney), “Toy Story 4” (Disney), “Aladdin” (Disney), “Captain Marvel” (Disney), and “Avengers: Endgame” (Disney) which broke all kinds of theater attendance records. Of course, one name is behind all of these films and that Mouse House has already had six films to cross the billion dollar mark with “Star Wars: The Rise of Skywalker” certain to become the seventh.

The Force was a little less strong with “Star Wars: The Rise of Skywalker.” J.J. Abrams’ Skywalker finale couldn’t match its recent predecessors on opening weekend, but it still amassed a $175.5 million debut that ranked as the third largest weekend of the year.

“The Rise of Skywalker” came in with worse reviews than any “Star Wars” movie except for 1999′s “The Phantom Menace,” which famously heralded the debut of Jar Jar Binks. “The Rise of Skywalker” has a 57% fresh score on Rotten Tomatoes. Audiences, too, were relatively lukewarm to the movie, giving it a B+ CinemaScore.

That response may have muted what could have been a record-setting weekend. While Disney had cautiously estimated about a $165 million opening, analysts had pegged “The Rise of Skywalker” for around $200 million.

“The Rise of Skywalker” pulled in $374 million worldwide, according to studio estimates Sunday. The film was especially lackluster in China, where all “Star Wars” films have struggled. It grossed $12.1 million in the world’s second largest movie marketplace.

Though it proved divisive with fans, 2017′s “Last of the Jedi,” directed by Rian Johnson, opened with $220 million and ultimately grossed $1.3 billion worldwide. Abrams’ own “The Force Awakens” set a then-record in 2015 with a $248 million debut and sold more than $2 billion in global tickets.

With the coming holiday period, “Rise of Skywalker” is poised to dominate the year’s most lucrative week of moviegoing. Cathleen Taff, distribution chief for Disney, called it a great start.

“With critics, we’ve seen that our movies have received lower scores than not but that they continue to do business because they’re great quality movies for the moviegoer,” said Taff. “Audiences are generally responding really positively to the film.

“We know that people are very passionate about ‘Star Wars’ and have very strong opinions about it. And we’re fine with that,” added Taff. “We think it’s inspiring to see so many people who want to prompt a discussion around a film.”

Such expectations did not await Tom Hooper’s adaptation of Andrew Lloyd Webber’s “Cats.” The much ridiculed big-screen musical, featuring infamous “digital fur technology,” scratched out just $6.5 million in ticket sales, sending Mr. Mistoffelees (and Universal Pictures) home licking their wounds.

The $100 million production (not including tens of millions in marketing costs), featuring an ensemble including Jennifer Hudson, Judi Dench, James Corden, Idris Elba, Ian McKellen, and Taylor Swift, came in behind projections and opened in a distant fourth place. The movie drew an 18% fresh score on Rotten Tomatoes and a C-plus CinemaScore from audiences. Adding to the mounting costs, Universal sent theaters a version of “Cats” with just slightly improved special effects over the weekend.

“Even modest opening in this extraordinary lucrative corridor can prove very kind to films,” said Jim Orr, chief of distribution for Universal. He anticipates the film’s strongest demographic — older moviegoers — will be most available over the holidays. “Our scores from those who are 55 and up are very good and very encouraging.”

Holdovers “Jumanji: The Next Level” ($26.1 million in its second weekend) and “Frozen 2” ($12.3 million in its fifth weekend) both surpassed “Cats.”

“Rise of Skywalker” culminated a tumultuous period in “Star Wars,” finishing off both a trilogy and nine-film cycle begun 42 years ago by George Lucas. In 2012, Disney acquired Lucasfilm for $4 billion. While its stewardship of “Star Wars” has drawn enormous box-office proceeds, “The Rise of Skywalker” had its work cut out in trailing both the much-debated “Last of the Jedi” and the 2018 dud “Solo: A Star Wars Story.”

In November, Disney chief executive Bob Iger told investors that “Star Wars” will go “into a hiatus” after “Rise of Skywalker.” The next “Star Wars” movie, which is to be set outside the Skywalker saga, isn’t scheduled for release until 2022. “Game of Thrones” makers David Benioff and D.B. Weiss recently pulled out of planned “Star Wars” trilogy.

Lately, “Star Wars” has also been a hit on the small screen, too. “The Mandalorian” helped launch the Disney Plus streaming service. To make way for “Rise of Skywalker,” the latest episode of “The Mandalorian” debuted on Wednesday, instead of Friday.

But Disney can still make considerable demands on theaters for “Star Wars” films. Disney charges theaters 65% of ticket sales, or about 10 percentage points more than standard, for “Star Wars” releases, and requires a run of four weeks.

Paul Dergarabedian, senior media analyst for Comscore, said the opening for “Rise of Skywalker” could only be considered a disappointment for Disney. The film will likely become Disney’s seventh $1 billion release of the year (a record) and give the studio seven of the top 10 films of the year.

“It’s time to devote a lot of attention to the streaming environment for ‘Star Wars’ and then come back with a vengeance,” said Dergarabedian.” There’s a lot of lessons to be learned and certainly from this latest installment.”

“Rise of Skywalker” helped improve the shortfall at the box office compared to last year, but ticket sales are still running 4.6% behind 2018, according to Comscore.

In its national expansion, the Lionsgate Fox News drama “Bombshell” underperformed expectations with $5.1 million in 1,481 theaters. Rian Johnson’s “Last Jedi” follow-up, the starry whodunit “Knives Out” continues to do strong business for Lionsgate. After $6.1 million in its sixth weekend, it has grossed $185.6 million globally.

Misfires from earlier in the year included “Dark Phoenix,” the latest in the threadbare “X-Men” series; Ang Lee’s ill-advised “Gemini Man,” starring Will Smith; “UglyDolls,” an animated clunker based on a toy line; and a pop-feminist reboot of “Charlie’s Angels,” with Kristen Stewart.

Nine movies from Warner Bros. stumbled out of the gate, including “The Goldfinch,” “The Kitchen,” “Shaft,” “Motherless Brooklyn” and “Richard Jewell,” which gave Clint Eastwood his worst opening weekend as a filmmaker in four decades.

“It’s hard to know if this is a secular, permanent phenomenon related to audience viewing habits or movie title-specific,” said David Gross, who runs Franchise Entertainment Research, a film consultancy.

The movie business is cyclical, and ending the year a few hundred million dollars behind 2018 is hardly a catastrophe — not when theaters are competing with a fast-growing array of streaming services. One of the most discussed films of the year, Martin Scorsese’s “The Irishman,” largely bypassed theaters, playing instead on Netflix. “The Irishman” and two other Netflix films, “Marriage Story” and “The Two Popes” were showered with Golden Globe nominations. Those three films are also seen as major Oscar contenders.

Joe Drake, the chairman of the Lionsgate Motion Picture Group, said the competition for intellectual property and talent “is more heated than ever, but we doubled our box office this year and increased our market share.”

Lionsgate found success by deploying Keanu Reeves in “John Wick: Chapter 3 — Parabellum,” Gerard Butler in “Angel Has Fallen,” Tyler Perry in “A Madea Family Funeral” and a bevy of stars in “Knives Out.” (Seth Rogen and Charlize Theron couldn’t save the Lionsgate comedy “Long Shot” from living up to its title, however.)

To compete in theaters, non-franchise films have to be definitive — what Drake called “great stories well told that announce themselves.” “Knives Out,” starring Daniel Craig and Ana de Armas, did not bring anything particularly new — it’s an old-fashioned whodunit — but it was a perfectly executed example of the genre.

“We genuinely believe that there is a false narrative about midrange movies,” Drake said. “They are not going extinct.”But if a movie has flaws, there is no longer a floor. No amount of marketing hocus-pocus could convince people that “The Sun Is Also a Star,” a middling romantic comedy starring Yara Shahidi (“grown-ish”), was worth the hassle and expense of trekking to a theater.

Every studio ended the year with a few hits, including Warner, which struck a cultural nerve with “Joker” ($1.1 billion worldwide). Jennifer Lopez and her savvy stripper friends (“Hustlers,” $157 million) propped up STX. “Rocketman” ($195 million) helped Paramount return to annual profitability for the first time in memory. Jordan Peele’s cerebral horror film “Us” ($255 million), Danny Boyle’s Beatles-oriented “Yesterday” ($151 million) and the “Fast and Furious” spinoff “Hobbs & Shaw” ($759 million) kept Universal competitive.

When all ticket sales are counted, Sony Pictures is expected to be the only studio — aside from Disney — to land two movies in the top 10. “Spider-Man: Far From Home,” riding on “Avengers” coattails, collected $391 million in North America and $1.13 billion worldwide. “Jumanji: The Next Level,” released on Dec. 13, is performing like “Jumanji: Welcome to the Jungle,” which earned $404 million at domestic theaters in 2017. Sony also struck gold with Quentin Tarantino’s “Once Upon a Time … in Hollywood” ($372 million worldwide).

“This year was dominated by major franchises, but we’ve also seen the hunger for original content,” said Shawn Robbins, chief analyst for BoxOffice.com, citing Tarantino’s comedic drama as an example.

Even so, calling the film business healthy would be a stretch.

The box office is increasingly divided into haves — franchises, mostly aging ones — and have-nots (everything else). Studios churned out a whopping 58 franchise films this year, which consumed 82 percent of the worldwide Hollywood box office, according to Gross’s film consultancy. Eighty-one non-franchise films got the scraps. Some franchises declined sharply. “The Secret Life of Pets 2” was down 51 percent from its series predecessor. “Terminator: Dark Fate” fell 41 percent.

“Story lines need to move forward, and worlds need to expand,” Gross said. “New characters and conflicts need to emerge.”

Because moviemaking relies on personal judgment calls, studios try to reduce risk by adhering to rules of thumb. But few choices seem safe anymore.

Original animation used to be a relatively sure bet. This year, mythical creatures (“Missing Link”), an amusement park run by talking animals (“Wonder Park”) and a fox named Swifty (“Arctic Dogs”) got the cold shoulder.

Stephen King sequels are hot (“It: Chapter 2”). Until they’re not (“Doctor Sleep”).

“The market is still very dynamic, but what works is more unpredictable,” said Stephen Gilula, the co-chairman of Fox Searchlight. “The costs have gone up, and the success rate has gone down.”Searchlight, the Disney-owned art film studio, scored with the summertime horror flick “Ready or Not” ($29 million). Taika Waititi’s “JoJo Rabbit,” a Nazi satire, has earned $20 million and could generate another $5 million to $10 million based on its awards fate. But Searchlight had a very quiet year overall. “Lucy in the Sky” ($320,000), starring Natalie Portman, was an outright flop. Frequent contributors like Wes Anderson were between films.

Between January and Aug. 25, combined ticket sales for the 20 largest art film distributors — Fox Searchlight, Magnolia and the like — fell 45 percent from the same period last year, according to Box Office Mojo data.

A handful of art house offerings ultimately managed to get noticed, including Lulu Wong’s China-set family drama “The Farewell” ($18 million), the elevated A24 horror film “Midsommar” ($27 million), the quirky Huck Finn-style tale “The Peanut Butter Falcon” ($21 million) and Bong Joon Ho’s genre-defying “Parasite” ($21 million).

For the third year running, Focus Features topped the specialty box office. The Universal Pictures subsidiary saw films like “Downton Abbey” ($97 million) and “Harriet” ($42 million) over-perform in ways that seemed to startle even the studio.

“We always thought there would be an excited core audience for ‘Harriet,’ those who have a natural interest in an American icon who shockingly had never had her life story told onscreen,” said Peter Kujawski, the chairman of Focus Features. “But it crossed well past that core audience and broke into the broader culture.”

“Harriet,” directed by Kasi Lemmons, may also figure into the coming Oscar race. Cynthia Erivo, who stars in the film as Harriet Tubman, is a favorite for a best actress nomination.

star wars rise of skywalker dominated disney billions 2019

North American Box Office

Estimated ticket sales for Friday through Sunday at U.S. and Canadian theaters, according to Comscore. Where available, the latest international numbers for Friday through Sunday are also included.

1. “Star Wars: The Rise of Skywalker,” $175.5 million ($198 million international).

2. “Jumanji: The Next Level,” $26.1 million ($32.6 million international).

3. “Frozen 2,” $12.3 million ($31.6 million international).

4. “Cats,” $6.5 million ($4.4 million international).

5. “Knives Out,” $6.1 million.

6. “Bombshell,” $5.1 million.

7. “Richard Jewell,” $2.6 million.

8. “Queen & Slim,” $1.9 million.

9. “Black Christmas,” $1.8 million.

10. “Ford v Ferrari,” $1.8 million.

‘Supernatural’ 1508 Heads into Mid-Season Hiatus with Our Father, Who Aren’t In Heaven

Last week’s “Supernatural” episode was the mid-season finale, though only the 8th in this 20 episode season. However, it ushered in the month-long holiday hiatus, so it still felt like the big mid-season cliffhanger. Luckily, this episode fell to Richard Speight Jr. to direct, so although the episode’s writers don’t always tend to be my favorites, I knew I’d enjoy the way Speight brought the story to life at least. He didn’t let me down – and neither did the amazing cast.

My perspective on the show this season is different than any other, because every episode that airs brings us closer to the last. Fans and cast are acutely aware that we only have a limited amount of time with these beloved characters, so emotions are heightened about what we’re all hoping for from these last moments with them. In previous seasons, if there’s a part of a season that doesn’t really work for me, it’s been relatively easy to shrug it off and say oh well, it will get better. After all, there are always things I love and moments that are profoundly satisfying when it comes to “Supernatural”. This season, though, it’s harder to shrug.  

So I was really happy to enjoy this episode. It was a solid episode that moved the story along and took us to a sort of tipping point. And the acting performances – every single one of them – were magnificent.  Maybe it didn’t make me jump up and down and scream OMG I love my Show (which is what I always hope for when watching “Supernatural”) but my mantra has been cherish the things you do love while you still have them, so that’s the lens I watched with. And there was a lot to cherish in this one.

The first scene was pure Speight, a visual example of why I like his directing: a decadent casino, the floor littered with dead bodies. A terrified cocktail waitress carefully steps over her former colleagues and customers, balancing a drink – which she serves up to Chuck (of course). I loved the way the scene was filmed, full of dark humor and an undercurrent of genuine fear because it’s clear that Chuck could snap at any time.  God is bored, engineering constant wins but without any surprises, and that’s making him cranky.

Chuck to terrified waitress: And you don’t want me cranky.

Chuck to casino waitress you dont want me cranky
Rob Benedict Chuck with a bloody mary drink SPN

It’s still hard to look at Rob Benedict’s adorable face and be scared of him, but somehow Rob pulls it off.

I haven’t been to many casinos, so this one reminded me of the Rio, where the “Supernatural” convention in Vegas is held every year. The Rio always seems surreal to me with its smoke and decadence and pervasive sense of desperation mixed with boredom, and it almost seemed like Speight and Rob Benedict amplified all that a thousand fold.  It gave the whole scene a feeling of emptiness and sadness. (Sorry, Rio, but I haven’t entirely forgiven you for that time our toilet spontaneously combusted in the middle of the night while we were all asleep and gushed something putrid and horrible that escaped the bathroom like a brown plague and sent us running out of the room in our PJ’s.) Anyway…

Flash to the next scene, Eileen hunting – and doing a bang up job of it. She’s badass and kickass and doesn’t need any help, taking out the bad guys alone, and I’m here for it! I’m also relieved that she’s not only still alive, but still a hunter in every sense of the word – even dying on the job couldn’t change that.

Shoshannah Stern Eileen hunting along on Supernatural 1508

As she goes after the last one, she nearly stabs Sam Winchester instead, not expecting him to be there. Once the monster is dispatched (by Eileen who literally did not need any help), she turns to Sam.

Eileen: Were you tailing me?

Sam: You could’ve left a note… You think I’m being overprotective?

Eileen: Little bit.

Shoshannah Stern is so good, just that little line was priceless. But seriously, she’s right – Sam is maybe being a tad overprotective. The Winchesters were used to their mother hunting on her own and letting them know when she needed backup, and they’ve known and respected many other kickass female hunters, so I don’t think they treat female hunters any different than male hunters. Sam knows she’s a hunter; it’s who she is and what she does and what we love her for.

So why was Sam tailing Eileen and not even letting her know? That seems a) dangerous, as in he almost got himself killed and interfered with her hunt, and b) not entirely in character.  I’m assuming we’re supposed to believe it’s because he’s romantically involved with her and that’s affecting his judgment. But damn it, Eileen was doing A-okay on her own and I love her independence and her mad hunting skills.

Back at the bunker, Dean – whose newly found sense of motivation has stayed intact from last episode – excitedly tells Sam and Eileen that he’s found a way to maybe get to Chuck. He unwraps the demon tablet, they share some exposition about what it means and why it was created, and then get to the bottom line – maybe Chuck isn’t untouchable after all.

Dean Winchester realizes Chuck isnt untouchable after all SPN

Sam: So he has an Achilles’ heel.

Dean: No, I’m saying he has a weak spot.

Sam: (looks frustrated)

Me: (looks positively murderous)

Seriously? You want me to believe that Dean Winchester doesn’t know what an Achilles’ heel means??

I know some people decided to head canon that Dean was just faking not knowing in order to mess with Sam, but I’ve rewatched it several times and that is not how either of them played it. There’s no comic tell from Ackles at all, and I think there would be.

It wouldn’t be so egregious if Dean hadn’t said such an iconic line himself using that exact expression.

Dean: The point is, maybe we are each other’s Achilles’ heel. Maybe they’ll find a way to use us against each other, I don’t know. I just know we’re all we’ve got. And more than that, we keep each other human.

He knew what it meant then!

It’s a small thing, but it threw me out of the moment.

Castiel goes off in search of someone who can read the tablet – the soulless prophet Donatello.

I love Donatello, so I was happy to see him back. Keith Szarabajka makes the character both hilarious and lovable. Maybe it’s his soullessness, but he sees the Winchesters and Castiel for who they are (ie, dangerous) and has no qualms about making it clear how much he does NOT want to be mixed up with them. That’s the most logical way for anyone to feel, and it’s refreshing to see it!

Donatello peeks out of window to see Castiel SPN
Castiel shows up at Supernatural Winchester bunker 1508

Donatello reluctantly agrees to try to translate the tablet and figure out how to lock God up like he did Amara, since they can’t kill him without disrupting the balance of the universe. While Donatello reads and munches his ever present fried chicken, Sam and Dean and Cas all huddle around, doing a very bad acting job of pretending to read.

Donatello: STOP IT!

TFW: (pretend not to be watching his every move)

Donatellos transcribes tablet with bucket of chicken SPN 1508
Sam Winchester Castiel trying to translate tablet SPN
Dean Winchester pretends not to watch Donatello SPN

All the kudos to Jensen Ackles, Jared Padalecki, and Misha Collins here; without saying a word, they all pulled off a genuinely funny scene just with their expressions and body language.

Eventually, Donatello reads Metatron’s personal notes on the tablet that give it context, including that God guards his secret fear and shares it only with his favorite at the time, ie Michael.  It was also Michael who helped Chuck overpower and lock up Amara, so he seems to be the key to figuring all this out.

I might have squeed a little at the mention of Metatron because I love Curtis Armstrong to the moon and back. Just saying.

Chuck manages to speak through Donatello, warning them to back off.

Chuck: Usually I love our little process, it’s fun – like tennis. With monsters. But let this go or…

He threatens to hurt the people they care about – Jody, Donna, Eileen – which struck me as a little close to the ‘hurt/kill the women to motivate the men’ trope that the show began with, but I guess those are pretty much the only people they care a lot about who are still alive.

Anyway, Keith Szarabajka did an amazing job of channeling Rob Benedict for this scene. He sounded just like Rob and like Chuck – his inflection, his tone of voice, even his manner of speaking changed completely! The acting performances in this episode, all around, were nothing short of magnificent.

Dean tells Donny to head home.

Donatello: Oh really, I have to leave? Oh, that’s too bad. I’ll go get my stuff.

I laughed out loud. I just need some of this genuinely funny little bit of comic relief sometimes with this show. And without any of that dreaded “hey something funny is happening music” too – they just let Keith’s performance carry the humor, along with the Winchesters’ reactions.

Sam and Dean decide not to back off, knowing that no one will be safe unless they take Chuck down.

Cas (incredulously): Are you seriously thinking about going to Hell to speak to Michael? Who is insane?

I kinda thought Cas had a point, but Dean clearly did not.

Dean: Cas, if you wanna stay here, why don’t you just stay here?

Dean Winchester to Cas If you wanna stay here just stay here

Clearly, Dean and Cas are not done with their spat.

They do Rowena’s spell, Dean cuts his hand and adds the blood.

Cas: Here, let me.

He heals Dean’s hand, which was a nice gesture considering things are still so cold between the two of them.

Castiel heals Dean Winchester hand wound SPN

The spell kicks in, bringing a stiff breeze with it, and Sam’s hair blows around majestically.

It’s the little things.

Magic spell blows Sam Winchester Dean and Castiel SPN

Sam, Dean and Cas make their way through hell for about five seconds before they’re attacked by a trio of demons, who all happen to be in female meatsuits. Richard tweeted that they wanted Rowena to have female minions and for them to be pretty damn powerful – and they were! Rob Hayter later tweeted a shout out to the stunt women, all of whom did a fantastic job, along with Rob himself. The fight scenes this season are off the charts!

As TFW get their asses kicked, Dean yells: Are any of us winning?

Dean Winchester beaten are any of us winning

I laughed out loud at the time and wondered if that was an Ackles ad lib – which it apparently was.  Just when they’re all about to be killed, a familiar voice rings out.

STOP!!

Holy shit, it’s Rowena. I suspected that we’d see her again as Queen of Hell, but I still wasn’t prepared for the sight of her looking so incendiary. It’s no secret I adore Ruth Connell, and Rowena has always been hot, but whoa. WHOA.

Rowena: Hello, boys.

Rowena to Dean Winchester Castiel Hello boys

I love that she uses her son’s familiar greeting, though it makes me miss Crowley a lot.

I also love that Rowena is the powerful one now, and Sam and Dean and Cas are all clearly aware of that. Yet she remains loyal to the Winchesters, ordering her minions to find Michael.

Sam is still feeling guilty for going along with killing her, but Rowena reassures him that killing her was one of the best things that has happened to her. Of course, she does miss physical sex…

Rowena: And Amazon doesn’t deliver down here…yet…

She also sends Sam out of the room to get her a drink and tells Dean and Cas to fix their “wee tiff”.

Rowena Amazon doesnt deliver down here yet SPN
Dean Winchester with Rowena in hell SPN
Castiel with Rowena in hell SPN

Rowena reminds them that it’s too late for her to fix things, and that she has regrets, including “everything with dear Fergus…”

I loved that acknowledgement of her feelings for her son. When Crowley and Mark Sheppard were still on the show, I so wanted them to explore that complicated relationship more deeply, and I’ll forever be disappointed that they didn’t. But at least I feel a little validated that my own head canon for the deep feelings she did have for him wasn’t off the mark.

Rowena’s minions eventually figure out that Michael is no longer in the Cage – or in hell for that matter. So where is he?

Flash to another scene, a diner called “Jaci’s Red Wagon”, an homage to Richard Speight’s wife Jaci. We all knew Jake Abel was returning as Adam/Michael, so it was no surprise to see him, but I had no idea his performance would be such a tour de force. Holy shit, that guy can act! When they were filming this episode, Jared and Jensen both said that Jake was so good that they had to up their game to keep up with him, and now I see why. He played both Adam and Michael – having a conversation with each other no less – and there was never a time you couldn’t tell exactly who he was. Everything changed – facial expressions, way of sitting, voice inflection, emotionality, formality – everything! Brilliant.

Adam and Michael morph into one person SPN

I also have to credit the writers for how they depicted the unusual symbiotic relationship that has developed between Adam and Michael over their many years in the Cage together. It’s fascinating, and not what I expected – and wow, do I love it when Show can still surprise me. Adam and Michael are both feeling very alone in the world, as they did in the Cage too. What has developed between them is a relationship of equals, with Michael allowing Adam not only to exist, but to have autonomy and opinions. When Adam wants to enjoy French fries, Michael encourages him.

Michael: Go for it, kid.

There’s affection in his tone; he clearly cares about Adam. They also talk frankly about their disillusionment with their respective families, including Sam and Dean.

Adam: I met them once, and they let me rot in hell. Family sucks.

You can’t blame him, really.

Their idyllic diner chat is interrupted by Lilith, who tries to convince Michael to come with her to see Chuck.

Michael: I’m not accustomed to being fetched.

Lilith talks to Michael in diner SPN
Michael to Lilith Im not accustomed to being fetched

Damn. Jake Abel can also make Michael very very scary indeed. When Lilith refuses to back off, Michael incinerates her just like that with a click of his fingers.

Diner patrons: WTF?

Michael merely tells them “remember nothing” and snaps again.  Donatello feels the disturbance, and is able to tell the Winchesters where Michael is.

Meanwhile, Eileen keeps the spell going while the boys are in hell, and answers a call on her laptop. It’s a hunter named Sue, randomly asking for help with some vampires when she ostensibly has no idea where in the world Eileen is or even if she’s alive.

Sue: People keep saying you’re…

Eileen: Dead? Didn’t take.

Once again, Shoshannah’s delivery makes me giggle in the best of ways. But if Sue’s call isn’t the most suspicious thing ever, I don’t know what is. Coincidentally, Eileen is right in the exact area that Sue needs help in. Seriously? That’s way too much coincidence.

Once they’ve returned to the bunker, Sam and Dean have a slightly awkward conversation about Eileen. Or at least Dean does; Sam doesn’t have much to say.

Dean: Eileen okay?

Sam: Yeah, I guess.

Dean: You guess?

Sam explains that they have an agreement, that Eileen will let him know if she needs anything.

Dean: That’s adorable.

Dean says that he tried the family thing, and it’s not for him.

Sam: Yeah, me too. That’s not for us.

That seems to be Sam being fairly clear,  but Dean continues to encourage him, pointing out that if it were ever going to work in terms of a relationship, Eileen gets it, and she gets them, and she gets the life. Also, she’s hot. (Which? Accurate.)

Dean Winchester I tried the family thing SPN
Sam Winchester tells Dean he chooses Eileen over him SPN 1508

Sam looks distinctly uncomfortable throughout this conversation, which Dean then deflects and makes into brotherly teasing, saying that while Sam could do worse, Eileen could do better. So much better.

He clasps Sam’s shoulder as he gets up.

Dean: I’m happy for you, Sammy.

Dean Winchester Im so happy for you Sammy SPN

Dean has always wanted nothing more than for Sam to be happy, and there have been several times he’s tried to facilitate that happening for Sam through a romantic relationship. I’m not sure where Sam’s head is at, though; he says here and he’s said multiple times in the recent seasons that family life is not for either of them. Dean looks both soft and wistful and maybe fleetingly sad as he walks away, and Sam stares after him as he goes. What’s he thinking? I wish we had a convention coming up soon so I could ask them just what they were portraying their characters thinking in that scene!

Sam Winchester watching Dean walk away SPN 1508

Back to the goal of the episode: finding Michael. I’m not entirely sure why we needed Donatello to say where Michael was, because instead of going to Egypt to get him, Cas just sits down at the chessboard on the landing and reaches out to him on Angel Radio. But that’s okay because this is a beautifully filmed scene, Castiel glimpsed through the grate, behind bars, the chessboard in front of him as he plays a rather brilliant game to get Michael to help them.

Cas: I’m not your enemy anymore.

Castiel to Michael Im not your enemy anymore
Castiel sitting at chessboard with Michael SPN

Misha did a great job with this monologue, and with all his interactions with Jake/Michael.

Sure enough, Michael appears.

Castiel: Thank you for coming. Do you remember me?

Michael: You called me Assbutt and set me on fire.

Me: hahahahaha

Michael: Now you come to beg forgiveness?

Cas: Oh, I didn’t come to beg.

Michael thinks Cas came to ask forgiveness for setting him on fire SPN
Castiel I didnt come to beg for Michael SPN

Everyone: holy shit, BAMF Cas is back!

A ring of fire traps Michael, and then two shadowy figures approach the curtained archway on one side of the room. It’s the Winchesters, and damn if they don’t make one of the most epic entrances we’ve ever seen on this Show. I gasped out loud and started fervently hoping for a gif to appear, and wanted to send all the kudos to Richard Speight for that iconic shot. Damn!

To make it even more powerful, Dean is dangling handcuffs.

Luckily, I had a cold drink with me.

Dean Winchester with handcuffs for Sam SPN 1508

Michael: Sam, you look well. Last time I saw you in the Cage…

Sam shuts that down immediately, without hesitation, and in a voice that brooks no argument.

Sam: Doesn’t matter.

Jared delivered that line perfectly. There was so much emotion behind it, acknowledgement of Sam’s trauma and at the same time his determination to do what has to be done without “going there”. Sam Fucking Winchester, man.

Sam Winchester shuts down doesnt matter SPN

Dean explains that they said goodbye to their brother because they thought they had to, and that they were wrong.

Michael: Don’t tell me, tell him.

Sam and Dean: Adam??

There’s a poignant moment when Dean realizes just what that means, obviously comparing the situation to his own losing battle with Michael in which he was kept drowning and unable to assert any sense of self at all.

Dean: (brokenly and in wonder) Michael lets you… talk? He lets you… be?

Sam flinches on Dean’s behalf as he hears that, Jared portraying Sam’s empathy for his brother in that subtle way that was nevertheless so powerful.

Adam: We only had each other. We had an agreement.

Adam talking agreement he had with Dean Winchester SPN

You can see how much it cuts Dean to hear that, to know that he wasn’t able to have that with ‘his’ Michael. Michael, unfortunately, doesn’t want to hear what they all have to say about God’s betrayal. Later, Adam tries to reason with him. Once again, it’s very clear they have a relationship of equals, of respect. Adam is comfortable disagreeing with the Archangel, and Michael listens to him. The “good son”, however, still refuses to doubt his Father.

Castiel doesn’t give up, though. He comes to see Michael alone and goads him into a physical fight, telling him at one point that he used to “have an entire oak tree shoved up your ass”. It’s a ploy to get Michael to grab him, and when he does, Castiel gets his hands on Michael’s head and says “see the truth for yourself”.  Jake Abel once again does an amazing job – I was half convinced his head was really going to explode at one point!

Michael choking out Castiel Misha Collsin SPN
Michael threatens to explode out of Adams head on Supernatural 1508

It looks like even that didn’t work for a while, as a forlorn Castiel tells Dean. Michael sees everything that’s happened, including the AU version of Michael. He’s crushed with all he’s seen, but still unwilling to help.

Dean: Maybe you went too far.

Cas: Maybe.

Dean: What did he say?

Cas: Leave, get out, I want you dead. We didn’t bond.

Castiel tells Dean Winchester Michael said to get out SPN

Poor Cas. He tried his best.

Meanwhile, Eileen gets another call from shifty Sue, and when Sue taunts her with “do you have to ask permission?” (which just made it even more suspicious), Eileen agrees to help her. Just then, Sue seemingly gets attacked. I was relishing Eileen’s kickass independence at the start of the episode, so I was a little surprised that this time she knocks on Sam’s door and asks him to come with her – and that Sam does, even with Michael in the bunker on the verge of finding out how to lock up God.  It was set up to seem like a pretty dire situation, though.

Eileen asks Sam Winchester to come help her with Chuck

Of course, it’s a trap.

Eileen: Sue, you’re okay, thank god.

(Sue dissolves)

Chuck: Any time.

Eileen makes sure Chuck is okay before dissolving away SPN
Sam Winchester with Eileen and chuck our father SPN
Chuck watches Eileen dissolve away SPN 1508

Well, that can’t be good. Did Chuck engineer Eileen’s return just to get to Sam? Is he still controlling the story to that extent? That just occurred to me. Damn it, Eileen is not your pawn, Chuck!

Back at the bunker, it turns out that Michael did listen; he gets a clue and says he’ll help. That what they did to The Darkness they can do to God. He hands over the spell, which requires the nectar from a leviathan blossom from Purgatory. Boom, he waves his hand and an entrance to Purgatory appears just like that – and will stay open for twelve hours. 

There was a bit of retcon in this episode because so much of the show has been about how difficult it is for anyone, archangels included, to get into Purgatory or hell or whatever. In Season 6, it certainly wasn’t easy to go to Purgatory and grab souls. Now it’s a simple spell or a finger snap and off we go.

Archangel Adam hitting switch to go back to purgatory SPN

Dean asks to talk to Adam before Michael leaves.

Dean: We are sorry. What happened to you, you’re a good man, you didn’t deserve that.

Adam: Since when do we get what we deserve? Good luck.

Dean Winchester to Adam Im sorry what happened your a good man SPN
Adam to Dean Winchester since we deserve good luck SPN 1508supernatural 1508
Caps by kayb625

It’s an appropriate question for the entire show, isn’t it? And for contemplating how it’s going to end. With the characters getting some version of what they deserve? We’ll see.

So, as we head into the mini hiatus, it almost seems like we’re back in Season 8, Sam off having a romance and Dean and Castiel headed to Purgatory.

The first part of Season 8 was not my favorite season, though I agree with Ackles that the Purgatory scenes were pretty awesome.  At any rate, the episode left us in a double cliffhanger situation, not knowing what Chuck has up his sleeve for Sam and Eileen or what will befall Dean and Cas in Purgatory. The brothers go into 2020 separated once again, which has been the case for a lot of Season 15 and is never going to make me want to jump up and down, but I’ll reserve judgment and see what happens when we return.

Thanks to Richard Speight’s directing and every single cast member’s brilliant acting, I enjoyed this episode. Shout out to SPN guest stars Shoshannah Stern, Ruth Connell, Rob Benedict, Jake Abel, and Keith Szarabajka for absolutely kicking it in the ass (and Anna Grace Barlow in her brief return as Lilith). The episode had a lot to say, as the title implies, about fathers and sons and daddy issues, which is quintessential “Supernatural”.

There was also a subtler commentary on independence and choice, with Eileen, with Adam and Michael and their negotiation of a relationship of equals, and with Castiel, who seems to have come back from his time away newly comfortable with making his own choices and not needing anyone’s permission to carry them out (including Dean’s, much to Dean’s annoyance). Both those themes tie directly into Chuck and set us on the path to finishing up the series next year.

This episode was also noteworthy for some real-life reasons. It was the first time that Rob and Rich were on the show together, after all this time of doing conventions and sharing a stage! We also were treated to one of Richard’s songs playing from his new CD – if you haven’t checked it out, do it! Another musically talented cast member – we’re a lucky fandom.

I’m okay with having a break right now because it’s the holidays and my to-do list is about a billion pages long – crossing my fingers that ‘Supernatural’ comes back with a bang in 2020 for its final twelve episodes. Til then, enjoy whatever holidays you celebrate and we’ll rejoice together when “Supernatural” returns!

The top 7 films Matt Damon has starred in

Matt Damon is one of those film actors you just know by sight; he’s been in so many films that he’s become a real legend in Hollywood.

The 49-year old actor became famous with childhood friend Ben Affleck by writing their own film, Good Will Hunting (1997). He’s been honoured for his work with various accolades, including an Academy Award from five nominations, two Golden Globe Awards from eight nominations and seven Emmy Awards nominations.

And there’s definitely no end in sight for one of the world’s leading male stars. Looking for a great Matt Damon flick to watch? Here are the top seven of his films.

Good Will Hunting

Of course, we have to start with Good Will Hunting. The 1997 classic was what really brought Matt Damon to the spotlight. Both Damon and Affleck wrote the screenplay about a young mathematics genius and drew from many of their own experiences. Damon plays the lead role — a former mistake-maker who is secretly a math genius.

The film was an overnight success and took Damon from almost total obscurity to celebrity. As Emanuel Levy of Variety wrote of Damon’s acting: “he gives a charismatic performance in a demanding role that’s bound to catapult him to stardom.”

And of course, it did.

Rounders

Rounders is a film which was undoubtedly close to Damon’s heart, and his passion for poker shines through on-screen. Damon is one of a number of high-profile celebrity poker players, explaining how he played this role so well. This classic drama from 1998, which also stars Edward Norton and is directed by John Dahl, is all about the underground world of high-stakes poker and follows two friends who need to win quickly to pay off a large debt.

The film itself, which opened to mixed reviews soon became a cult hit during the poker boom in the early 2000s and contains a much-watch poker scene with Damon again showing off the breadth of his talent as an actor.

The Talented Mr. Ripley

This 1999 American psychological thriller is an adaptation of Patricia Highsmith’s 1955 novel of the same name and stars Matt Damon as Tom Ripley — a young man trying to make a living in New York City as a con man. A study of a psychopath, this film is a real examination into a character that desperately wants to be someone else — an unsettling piece that shows a darker side to Damon and the breadth of his talent. It’s definitely a must-watch for Damon fans looking to get all sides of his acting.

The Informant

The Informant is one of those films that sits in a niche genre: the 2009 American biographical-comedy-crime film is certainly something a little different. Written by Scott Z. Burns, the film stars Matt Damon as an informant named Mark Whitacre and depicts his involvement as a whistleblower in the lysine price-fixing conspiracy of the mid-19990s.

The film was generally well-reviewed by critics with Damon’s performance getting much acclaim. Renowned critic Roger Ebert gave the film four out of four stars, describing it as  “fascinating in the way it reveals two levels of events, now always visible to each other or to the audience.”

It’s a great watch if you’re looking for a less-obvious style of comedy, and a must-see for Matt Damon fans.

The Bourne Series

Many of Matt Damon’s fans will know him as Jason Bourne from the Bourne series — American action thriller films starring Damon as the lead character; a CIA assassin suffering from dissociative amnesia who is trying to find out the truth about who he is. The films include The Bourne Identity, The Bourne Supremacy, The Bourne Ultimatum, The Bourne Legacy (the only one which Damon didn’t star in) and the fifth installment, Jason Bourne.

The success of the films is obvious; it’s received positive critical reception and grossed over $1.6 billion. If you’re looking for something to binge, it’s perfect for a very long weekend of Matt Damon action fun and real stunts.

The Departed

One of the reasons that the 2006 American crime drama film The Departed got so much hype was because of the people involved. Directed by Martin Scorsese and written by William Monahan, the film stars Leonardo DiCaprio, Jack Nicholson, Matt Damon, Mark Wahlberg, Martin Sheen, Ray Winstone, Vera Farmiga, Anthony Anderson, and Alec Baldwin.

Taking place in Boston, Matt Damon is planted by Irish Mob boss Francis “Frank “Costello, played by Nicholson as a mole within the Massachusetts State film.

This film is definitely a much-watch for buffs; a critical and commercial success, it won awards including four Oscars (Best Picture, Best Director, Best Adapted Screenplay and Best Film Editing) while Mark Wahlberg was nominated for Best Supporting Actor.

Saving Private Ryan

For history film fans, Saving Private Ryan is definitely a classic. An 1998 American epic war film with Steven Spielberg at the helm of direction, the story is set during the Invasion of Normandy in World War II and follows United States Army Rangers Captain John H. Miller (played by Tom Hanks) along with his squad in their search for paratrooper Private First Class James Francis Ryan — who is, of course, played by Matt Damon.

This gritty film is notable for the intensity of its opening scene — including a depiction of the Omaha Beach assault during the Normandy landings. At the 71st Academy Awards, it was nominated for 11 Academy Awards and won five.