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Mar. 15th, 2007 11:11 pm![[personal profile]](https://www.dreamwidth.org/img/silk/identity/user.png){kind=small}
charloweenSam to Dean: "Don't... don't sugar coat it for her."
So I'm watching the episode (more on that later) and I see Molly in the Metallicar at the beginning. And I swear to Pete that my first thought is, “hey, I wonder if the car is happy to have a girl in the back seat”. As in – I wonder if the car is excited to have a woman sitting on the seat. And then I start wondering if the car is a dude car or a chick car and if it's a chick car does that make it a lesbian? This show does bad things to my brain. And then at the end Dean calls the car “baby”.
As for the episode... when Sammy was having the heart-to-heart with Molly I knew for sure she was dead. I mean, way to go show, making the point with a wacking-the-dead-fish-over-yer-head kind of subtlety. Sammy was earning serious “SHUT UP, SAMMY” points by about the half-hour mark. All the talk about spirits crossing over? They tipped their hand way too much. From like the first minute. And flashing back again? BAH. Overkill.
What is this show and what has it done with my SPN? Quiet, sensitive. Subtle, too, with David and Molly driving the older car and all.
It was a quieter episode, where they got to make the case about what the show is and does, in as blank and plainly philosophical ways possible. It's no secret the show is on its last legs (or, last I heard, anyway) and this was a nice, quiet episode about what the boys do and why they do it. All those discussions about the why and the wherefore, all the weary snark, the quieter bits... It was nice to have a touching episode that wasn't about the brothers' manpain.
Though I could have done without the episode turning in to Dead Like Me. Why is SPN stitched together from a bunch of other shows? Why can't it find a unique voice or at least find a way to hide the seams?
Sam is the Walking Encyclopedia of Weirdness? Pot, meet kettle.
“Call me Dean.” AWESOME.
Det. Raines to cemetary worker: (on who Raines was speaking to) “The dead. They hunger for human brains. The feasting will begin at sundown.”
It starts like Sunset Boulevard; with a noiry voiceover in Goldblum's smexy voice and a few self-referential genre jokes and yes, I am in love. It's like Haunted, but set during the day and with a bazillion times bigger budget. There's even the black ex-partner!
Graham Yost? He’s the one that took credit for Joss Whedon’s script-doctoring on the Speed screenplay…
First thing: LINDA PARK? *happy dance* Way to get a job, former Enterprise actor.
Next thing I notice: Firefly-style camerawork. Casual, lazy zooms, foregrounding the process of constructing a narrative. LOVE.
Thing three: supernatural noir police drama? Dear television: YOU'RE JUST FEEDING MY THESIS, AREN'T YOU? Except here the supernatural bits are hallucinations, rather than being actually supernatural. So maybe not part of the thesis, but definitely worth a mention (along with that aliens episode of House and the vampire episode from the first season of CSI).
I'm glad that the Nancy Drew girl (“Carolyn”) isn't stick-thin. WIN!
Classic movie poster alert: Double Indemnity! More noir reference: the car scenes look like obvious rear-projection. They're shot like it, anyway. (Not bad rear-projection like SPN, but classy, foregrounding-the-process, conscious-reference-to-the-medium rear projection. There is a difference. Trust me.)
More geek stuff: at McSweeney's, the lights from outside? Pretty. That's the great thing about police procedurals – the plots don't matter so much as the style, performance and characters. I think that's why I like police shows so much. There's the one drama genre where the weekly plot truly doesn't matter. (see also: Numb3rs. ...both are cop show, both take place in LA. Oooh, the possibilities!)
What made the episode, though – Goldblum's reaction to the mix CD. *snuggles yet another snarky-sensitive-wounded-grouch*
ARGH TWIST ENDING. (After SPN I shouldn't have been surprised. But still.)
And yeah: “The dead. They hunger for human brains. The feasting will begin at sundown.” Oh, Jeff Goldblum. *snuggles you more*
Thanks![[livejournal.com profile]](https://www.dreamwidth.org/img/external/lj-userinfo.gif)
serrico for reminding me to watch this!
So I'm watching the episode (more on that later) and I see Molly in the Metallicar at the beginning. And I swear to Pete that my first thought is, “hey, I wonder if the car is happy to have a girl in the back seat”. As in – I wonder if the car is excited to have a woman sitting on the seat. And then I start wondering if the car is a dude car or a chick car and if it's a chick car does that make it a lesbian? This show does bad things to my brain. And then at the end Dean calls the car “baby”.
As for the episode... when Sammy was having the heart-to-heart with Molly I knew for sure she was dead. I mean, way to go show, making the point with a wacking-the-dead-fish-over-yer-head kind of subtlety. Sammy was earning serious “SHUT UP, SAMMY” points by about the half-hour mark. All the talk about spirits crossing over? They tipped their hand way too much. From like the first minute. And flashing back again? BAH. Overkill.
What is this show and what has it done with my SPN? Quiet, sensitive. Subtle, too, with David and Molly driving the older car and all.
It was a quieter episode, where they got to make the case about what the show is and does, in as blank and plainly philosophical ways possible. It's no secret the show is on its last legs (or, last I heard, anyway) and this was a nice, quiet episode about what the boys do and why they do it. All those discussions about the why and the wherefore, all the weary snark, the quieter bits... It was nice to have a touching episode that wasn't about the brothers' manpain.
Though I could have done without the episode turning in to Dead Like Me. Why is SPN stitched together from a bunch of other shows? Why can't it find a unique voice or at least find a way to hide the seams?
Sam is the Walking Encyclopedia of Weirdness? Pot, meet kettle.
“Call me Dean.” AWESOME.
Det. Raines to cemetary worker: (on who Raines was speaking to) “The dead. They hunger for human brains. The feasting will begin at sundown.”
It starts like Sunset Boulevard; with a noiry voiceover in Goldblum's smexy voice and a few self-referential genre jokes and yes, I am in love. It's like Haunted, but set during the day and with a bazillion times bigger budget. There's even the black ex-partner!
Graham Yost? He’s the one that took credit for Joss Whedon’s script-doctoring on the Speed screenplay…
First thing: LINDA PARK? *happy dance* Way to get a job, former Enterprise actor.
Next thing I notice: Firefly-style camerawork. Casual, lazy zooms, foregrounding the process of constructing a narrative. LOVE.
Thing three: supernatural noir police drama? Dear television: YOU'RE JUST FEEDING MY THESIS, AREN'T YOU? Except here the supernatural bits are hallucinations, rather than being actually supernatural. So maybe not part of the thesis, but definitely worth a mention (along with that aliens episode of House and the vampire episode from the first season of CSI).
I'm glad that the Nancy Drew girl (“Carolyn”) isn't stick-thin. WIN!
Classic movie poster alert: Double Indemnity! More noir reference: the car scenes look like obvious rear-projection. They're shot like it, anyway. (Not bad rear-projection like SPN, but classy, foregrounding-the-process, conscious-reference-to-the-medium rear projection. There is a difference. Trust me.)
More geek stuff: at McSweeney's, the lights from outside? Pretty. That's the great thing about police procedurals – the plots don't matter so much as the style, performance and characters. I think that's why I like police shows so much. There's the one drama genre where the weekly plot truly doesn't matter. (see also: Numb3rs. ...both are cop show, both take place in LA. Oooh, the possibilities!)
What made the episode, though – Goldblum's reaction to the mix CD. *snuggles yet another snarky-sensitive-wounded-grouch*
ARGH TWIST ENDING. (After SPN I shouldn't have been surprised. But still.)
And yeah: “The dead. They hunger for human brains. The feasting will begin at sundown.” Oh, Jeff Goldblum. *snuggles you more*
Thanks
serrico for reminding me to watch this!
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(no subject)
Date: 2007-03-18 05:40 am (UTC)I wasn't all that surprised if for no other reason than I really didn't get why the ex-partner didn't question the hallucinations - my reaction was "I had a feeling he might be dead".
(no subject)
Date: 2007-03-18 06:02 pm (UTC)Then the ending confirms that yeah, he's been hallucinating before Sandy, but possibly only since the shooting, and I smack myself upside the head for not cottoning on sooner. (Probably because on Haunted, the hallucinating (ex-)detective's black former partner - that the detective goes to for help during the case - wasn't also a hallucination himself, and I forgot which show I was watching...)