I was just vidding, honest, but then the thing with vidding is that you end up going through everything frame-by-frame, and OMG I LOVE MY SHOW SO HARD:

( Easy, tiger... )

How happy does Dean look to be pinning Sam to the floor, there? HOW FREAKING HAPPY? He has been waiting to pin Sam to the floor for TWO WHOLE YEARS after Sam up and LEFT HIM and yet (or thus?) he’s STILL GRINNING LIKE A CRAZY.

oh, SHOW. I love the pilot so much. and the early episodes. seriously, dude, wendigo is like PORN on CRACK. how can you not love it???


Also while I’m here, this one goes out to lea_ndra:

( Read more... )

Just watched the pilot again. On a GIANT SCREEN TV. \o/

Things for me to write down while I remember:

- John goes to Jericho three weeks before October 31
- John visits Joseph Welch 3-4 days before November 1
- John leaves Jericho abruptly/leaves a voicemail for Dean about 2 days before November 1
- The salt line/cat's eye shells in John's hotel room suggest (as Sam points out) that he's worried about something being after him. Judging by Constance's pattern (and the fact that John has solved her mystery and thus knows this), it's not the Woman in White he's worried about - it's while he's in Jericho that he's investigating the Big Bad. Also, yeah, he doesn't speak to Dean for 3 weeks before he's even left Jericho. Does his leaving Jericho in a hurry (doesn't even finish his hamburger, dude) have something to do with Celine Demon signs popping up in Palo Alto? (though that line of reasoning doesn't entirely fit with this one... Unless, like, Dean spoke to Dad around the time he left the message, too (or, you know, hey - John's message is "we're all in danger" - quite possibly that's enough of an order for Dean to go get Sam - by pre-arrangement/understanding between Dean and John, or even just Dean's ingrained SammySammySammy-instinct.))


Timeline of the pilot (and, okay, here's where the show screws up - because Jess dies on Sunday night, November 2, 2005 - only in RL calendar, that's a Wednesday. But ho well):

- Friday 31 October (Halloween): Dean shows up at Sam's apartment. Sam goes with him that night.
- Saturday 1 November: Sam and Dean drive and arrive in Jericho. They scope the town out, then Saturday night they see Constance on the bridge.
- Sunday 2 morning: check into hotel, discover psychopath!Daddy's room. Dean washes the river off, Sam checks his messages, Dean gets arrested.
- Sunday 2 day: Dean's at the police station, Sam visits Joseph Welch.
- Sunday 2 evening: Dean escapes police station, Sam meets Constance.
- Sunday 2 night: drive back to Palo Alto, Jess's death.
- Monday 3: Sam totally misses his law school interview.

Okay, just had to sort that out because as I was watching it was a bit like, buh? where'd they sleep? howcome it's day already? what the? It all pans out (unlike Bugs, bless it, which has them "omg! nightfall! oh shit, quick, up the stairs!" and then "oh no, the roof's broken.. but yay, morning!" because hookay, apparently night time is only 3 minutes long these days. they must be right on the north pole there or something), but there are unexplained POCKETS OF TIME.

and another things:

- liek, big-screen tv? A TEAR. A TEAR, SILHOUETTED BY THE LIGHTS OF A FIRETRUCK, FALLS FROM SAM'S FACE when Dean walks up to him while he's playing with the shotgun. A TEAR.

- also, their expressions when Constance and her children come together. In the past I've read that plot as parallel and foreshadowing to Sam's whole "I can never go home," refrain, but this time I was totally tuned in to the Mary thread - Dean's whole "Don't talk about her like that" when Sam quite frankly tells Dean that no matter what happens, she can never be reunited with them, and then for them to witness what happens when Constance (with her long, flowing hair and white nightgown) is reunited with her two children - she's destroyed. Because, yaknow, the whole "I can never go home" thing harkens back to the Hero's Journey, doesn't it? Like Frodo. The hero returns home, to the home they've been fighting for all along, only they have changed and thus cannot enjoy the fruits of their labor, so to speak (We set out to save the Shire, and we did - but not for me). Isn't that Dean's whole thing? that he's constantly trying to convince Sam that it's the same for both of them - there's no going back from their life, there's no way they can be 'normal' knowing what they know. Constance's demise suggest Dean's anxiety - they're tainted, ruined; they would destroy pure Mary by coming into contact with her. The constant irony of their life - they're doing it for her, but it's something that could never exist if she were alive, eh?



Also watched Wendigo again. Fuck, I love that episode SO HARD. I think the thing I absolutely adore most about it (which really shines through the more I watch it) is where Pilot is really about drawing the audience in, playing for scares and putting them through the motions and all, Wendigo is really about them. The dialogue between them - it's not fill-in-the-blanks plot stuff (oh god, that whole conversation as they're walking down the fire escape... which, is great, by the way, because that's where Dean's parked his car, as he came in via the fire escape), it's fill-in-the-character stuff. That whole "saving people; hunting things!" and "It's the only thing I can think about" conversation... It just tells you so much about each of the characters, and so much about their dynamic and relationship, and it does it so beautifully. It is not clunky at all, for fuck's sake, which has a lot to do with the performances, I think.

Anyway, I love that scene. And I love that already by the second episode (by the end of the pilot, really), that despite the clunky exposition in every episode when it comes to the freak of the week stuff, when it comes to them, they say so much with so little. They're hunters, and undercover, and they communicate volumes by gestures and glances. Like with Dean's "we all stick together" in Wendigo, he does this wavy-hand thing between the kid (Ben) and Sam, and gives Sam this look, and he's saying loud and clear "You keep an eye on them/take care of them".

And yeah. The writing, direction and performance that goes into making the Winchester history/narrative arc real: that it's not just a plot device that Sam is coming back to hunting, and we can see in the earlier episodes the way they have so much history but they're not used to being around each other, are adjusting back to being around each other, are adjusting to the other being different to the last time they were together. Just, dude. The power of that whole dynamic dynamic that is just as significant as ( Dead Man's Blood spoiler ) only a shiteload more subtle.

And the cinematography just in the two episodes I watched (and from what I can recall right now, in a lot of the episodes) - the way their significant conversations are shot: Sam will be talking, the camera will frequently be on Dean's face, and vice versa - the other's reaction/emotional absorption of the speaker's words is what's important, not just what's being said. It's about the characters here, not the plot progression.


OH GOD. SO MUCH SHOW-LOVE.

Ok, this is from a rather old issue of Australia's 'Girlfriend' magazine, which has a picture of very-nineties Jensen and a brief column which includes:

Most embarassing moment: "I was in a modelling shoot at a uni campus when I was 14. My jeans didn't fit properly so the stylist cut the entire backside out - exposing my butt to the entire college campus!"

I don't know whether to be highly amused or HIGHLY, HIGHLY DISTURBED. Oh, twink!Jensen. 14???

I can transcribe the rest of the column (which has exciting things like 'Siblings', 'Favourite Sports', 'What's with the name?' and 'Star Sign') if anyone wants, but it's pretty lame.