Tag Archives: Donatello

The Official Supernatural: “Peace of Mind” (14.15) Live Recap Thread


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Recap of Dean and Michael, and Jack allegedly killing and eating Michael last week (look, that’s what he did). Also, oddly enough, there’s a bit about Dean’s fear of snakes in season four’s “Yellow Fever.”

Cut to Now. A young man is running past a movie theater showing Scooby-Do, Stan’s Lanes, and Sam&Eve’s Records, and over to a soda shop called Harrington’s. He bangs on the door, calling for someone named “Sunny.” As stirring music arises, he tries to get her to go with him, but she says she can’t. So, he runs out of town, past a sign that says “Charming Acres” and into a convenience store. There, he has a problem, because even as he grabs the clerk’s phone to try to call someone, his head explodes. The poor clerk, trying to help him, throws up.

Cue title cards.

Cut to Jack cuddling the snake from last week as Castiel comes in to check on him. Castiel mentions that they gave the Hunters who were killed last week a funeral. Jack says the snake is okay, but won’t eat (if it won’t eat, it’s not okay). Castiel infodumps about Jack having killed Michael and eaten his grace. Does Jack have his powers back?

Jack TKes a pencil and makes an infinity sign (like the ouroboros of last week) with it in front of Castiel. He says he’s not sure, since he feels different than he used to. When Castiel asks Jack how much of his soul he “had to burn off to kill Michael,” Jack claims he doesn’t know.

Castiel wanders out to the kitchen, where Dean is eating enough for ten Whos, plus two. Castiel says he’s surprised, since Dean had apparently stated a desire to “sleep until the cows dragged you home.”

“That’s not – ” Dean starts, then decides not to pursue down that rabbit hole of malapropism. Dean says he was “putting away gear” when he got a call from Rowena. Castiel asks how she is and Dean says “not good, but she’s coping. At least she’s alive.”

Dean asks how Jack is doing and Castiel relays that Jack claims he is fine. Castiel asks Dean how Sam is doing and Dean relays that Sam says the same. “Personally, I think they’re both full of crap.”

[screech!] Okay, hang on here. How is Dean so calm and relaxed and … well … compos mentis? If Rowena is having a hard time “coping” with having been possessed by Michael for a hot minute, how is Dean in better shape than she is? Michael was ripping at the inside of Dean’s mind for weeks, even months, before now. Plus, the show just spent half a season demonstrating how being possessed by an archangel totally screws you up. Or was Nick’s storyline even more pointless than it looked at first glance?

And let’s not forget Michael’s threat just a few episodes ago that if forced out of Dean, he would leave “nothing but blood and bone” behind. Dean should have even less head left than Doomed Teaser Boy. Sure, Michael wasn’t technically forced out, but Dean had imprisoned him and if Zachariah was petty, Michael is downright vindictive. He could have turned Dean’s brains to mush on his way out with no one the wiser (especially with Dean’s head injury) and still taken Rowena over, perpetrated that massacre, and so on. In fact, it would have been much safer for him to leave nothing but scorched earth behind of his former vessel.

And yet, here we are, with Castiel and Dean talking about whether or not Jack and Sam are okay. What the hell, Show? Even if this is foreshadowing that Michael’s not really gone, it’s mighty weird.

Meanwhile, Sam is out in the main conference room/library, having flashbacks to the horrific deaths of a bunch of redshirts we never really cared about. This causes him to rush into the kitchen, where he says he’s found another case to do. This causes Dean to complain that they just did “three cases back-to-back” and that he wants some sleep. When Sam says he’s leaving in ten minutes, anyway, and stomps out, Dean comments to Castiel that yeah, Sam’s not in great shape.

Again, what the hell, Show? This clearly isn’t very long after the end of last episode. Why is everyone ignoring Dean’s inevitable archangel possession trauma? I get Dean trying to bury it, but not everyone else helping him do so.

Anyhoo, Castiel offers to go with Sam and suggests Dean talk to Jack. Dean complains that he didn’t handle Sam’s soullessness very well. I beg to differ, since Sam is not dead. So does Castiel and he leaves.

Off to Charming Acres Sam and Castiel go, Castiel driving for reasons unknown. They speculate whether the MOTW might be a witch or a demon. Sam is in his FBI suit. Sam is sleepy, but shrugs off Castiel’s concern that he is working too hard and that Dean is also concerned (again, Show, What. The. Hell?). Sam just says that monsters don’t sleep and that they have fewer Hunters than they did just a little while ago.

Sam enters the quickie mart and interviews the clerk who saw DTB die. The kid’s name is Griffin. Griffin points at a spot where the ceiling tiles have been taken out. Underneath it are a whole lot of wet floor signs. Griffin is freaked out that DTB (Conrad Martin) “went all Scanners,” but he also mentions that Conrad “had that look” like the people of Charming Acres. What does he mean by that? Well, when Castiel and Sam start driving through town, to jaunty 60s sitcom music, past people in 1950s clothing, the vibe is definitely the film Pleasantville by way of Riverdale. Castiel references The Saturday Evening Post, which he apparently reads and finds “soothing.”

Good thing Castiel and Sam are dressed the way they are.

Castiel suggests Sam cal Dean, but Sam says he can’t get any reception. As Sam gets out, he bumps into a couple, Justin and Cindy Smith, and starts to interview them. They’re on their way to a bake sale. Justin directs them toward Harrington’s, which is right across the street, and has no idea what a cell phone is. When Sam wonders what is going on, Castiel suggests they’re Mormon (yeah … um … not so much, Show. Think you were thinking the Amish. Or at least the Mennonites).

When they go into Harrington’s, they’re met by Sunny (from the teaser), who gives them complimentary milkshakes. Sunny’s father runs Harrington’s and is also the town mayor. He seems very friendly.

Yep. Shady as hell.

Sam and Castiel do some probing about DTB’s death that makes Sunny visibly uneasy. It is therefore very interesting that her father just blows it off. Well … aside from the part where Castiel corrects him on his softening the way Conrad Martin died (calling it an aneurysm), saying “Oh, no, his head exploded. Like a ripe melon on the sun.” This brings all chat around Castiel to a screeching halt for a hot minute. The irony here is that Castiel probably would know exactly how a ripe melon would look if deposited on the Sun’s surface (or, at least, the upper layers, since the Sun doesn’t have a solid surface). But no one knows that because he’s pretending to be human.

Outside, Sam calls Castiel out on his blunt metaphor, which strikes me as rather missing the point. But there you go. In fact, a they go up to a house to interview someone, Sam seems a lot more into the town’s ambiance than Castiel. I’m reminded of Dean’s “I’d blow my brains out” comment about living in suburbia in “Bugs.”

On their way up the steps, they pass a couple with a large dog. The woman is Asian. The woman who answers the door is African American. These are the first two people of color I recall seeing in this town which, so far, has been a blatantly white reconstruction of a fantasy 1950s small-town life.

Like Harrington, the woman knows who they are, saying that word gets around in a “small town.” The inside of the house is huge and looks an awful lot like the set for the Stynes’ mansion in season ten’s “The Prisoner.” In fact, I think that set might be for all of their Gothic haunted house scenes. It’s just that those scenes are usually a lot darker.

Finally getting back to the Bunker, we have Dean walking in on Jack trying to feed the snake. Jack believes the snake is “sad.” Dean suggests bacon because he likes it and gets a little wigged out when he opens up a Chinese takeout carton and finds two live mice (if you recall from “Yellow Fever” and “Hell House,” Dean is creeped out by both snakes and rodents). I can’t decide whom the snake represents, but I have a sneaking suspicion it’s actually Dean and that that’s not good.

Dean suggests they go on a roadtrip, but it’s not a hunt. It’s a “field trip.” Dean says he’s going to “make some bacon now” and Jack asks the snake if it wants some bacon. That snake is really cute.

Back to Weirdo Town, where Sam and Castiel are talking to the woman from the previous scene. She runs a boarding house where DTB rented a room. Seems he had only been living there a few weeks. Hmmmmm. This precipitates a rant from her that she only rents to “young men” because “young women” shouldn’t be living alone. “Morals.” She then singles out Castiel as someone who should know why. He doesn’t.

Castiel looks under the mattress and finds love letters between DTB and Sunny, very “passionate” (read: explicit) letters. Sam is uncomfortable about hearing this, but then starts to act strange (while sipping on tea made for him by the concierge), saying that they can wait until tomorrow to investigate the letters further and he could use a good night’s sleep. At the boarding house. Castiel is, to put it kindly, confused.

Meanwhile, Justin and Cindy are getting ready for dinner, but Justin is hung up on Sam’s reference to his cell phone. Then he suddenly remembers that he has a daughter, which confuses Cindy. Too bad he’s interrupted by the worst headache of his life. As he runs out the door, his face swells like DTB’s. Cindy comes out after him as he pelts down the lane, but then the top of his head blows off and he collapses.

Cindy’s response is very strange. She just looks even more confused and calls his name.

Meanwhile, Dean and Jack are on the roadtrip. Dean is driving the Impala. They’ve got the snake in the back, just in a little plastic case, no heater, because that’s every bit as healthy as feeding the poor thing bacon. Dean is denying that he’s afraid of the snake and Jack, despite going on and on about how the snake is “sad,” doesn’t pick up on Dean’s obvious fear at all.

Dean cleverly gives Jack two snacks to possibly give to the snake. One is an angel food cake and the other is a devil’s food cake. Dean notices that Jack hesitates over the devil’s food cake for a long moment before tossing it aside for the angel food cake.

I gotta ask again – why the hell are these two out and about on their own with no supervision after the whole Michael thing? Seriously.

Back in Weirdo Town, Castiel finds Sam’s bedroom empty with the bed made up (um, Castiel doesn’t sleep, Show, so how did he lose track of Sam like that?). Coming downstairs, he finds the concierge “vacuuming” enthusiastically to The Chordettes’ “Pink Shoe Laces” from 1959 (they’re the same group who gave us the most famous version of “Mr. Sandman” in 1954). In a conversation with some strangely hostile undertones on both sides, she offers him breakfast then tells him Sam “went for a walk and a milkshake.” When Castiel returns to Harrington’s, Sunny is there and the same song is playing. She tells him that Sam left Harrington’s when he heard about Justin’s death.

Upon arriving at the Smiths’ pink mansion, Castiel is let in by Cyndy, who offers him a martini. Cindy is downright Stepford, strangely and strainedly cheerful except for an Invasion of the Body Snatchers “NOOOOO!” when Castiel goes to sit down on a chair. She claims it’s her husband’s chair and insists that no, he did not die last night.

At that moment, Sam walks in, dressed just like Justin and acting as her husband, with Birth Control Glasses and a man bun (and a secret kinky sex life with his wife). Whoops.

Y’know, there are a lot of horror refs in this one (and Jared Padalecki has a blast playing this version of Sam), but I’m having a hard time getting into it. I mean, we’re halfway through and it took forever to get to this moment. Anyhoo.

Castiel tries to get Sam to snap out of it, but Sam is completely submerged in the Justin persona, right up to refusing to swear as he kicks Castiel out of the house (“H-E-Double-Hockey-Sticks!).

Having driven all night, Dean and Jack arrive at their destination – Donatello’s house. Donatello is happy to see them. Dean admits that he brought Jack there because TFW is worried about him. Dean sends Jack in to talk with Donatello alone, while he stays outside and babysits the snake. From a great distance.

Inside, Donatello gives Jack the CliffsNotes version of Amara eating his soul. Jack asks Donatello how it feels not to have a soul. While being distracted by the spinning creamer in his coffee, Donatello tells him it’s an emptiness, a lack of “empathy … humanity.” Jack’s not sure that he feels quite that big a hole, but he does feel “different” than before. He says he’s guided by Mr. Rogers. Jack says he’s guided by Sam and Dean, so Donatello suggests Jack ask himself, “What Would the Winchesters Do?”

Outside, Dean asks Donatello (after Jack gets in the car) what the “verdict” is. Donatello figures Jack is probably okay right now, but then randomly adds that Jack is also “probably the most powerful being in the universe.” I’m rolling my eyes really hard, and it’s awfully painful, since the show has already made it abundantly obvious that the Empty is far more powerful than Jack and – oh, yeah – pretty sure Billie is somewhere looking mighty sarcastic.

Back at Harrington’s, at night, Castiel confronts Sunny with her love letters to DTB, in which she “begged” him to leave town. He’s convinced she’s a witch who has ensorcelled the entire town. When she balks, Castiel threatens her with a soul scan, his eyes glowing white. Sunny blurts out that it’s not her, “it’s him.” And then there’s a voice behind them.

It’s Sunny’s father. And he’s not alone. He has other townspeople with him. One of them is Sam.

So, Harrington is just a small-time older psychic type who could hear other people’s thoughts. After his wife died, as the town shut down, he slowly discovered that he could manipulate people with his thoughts. First he made them come into his shop and then he “remade” the town. The few he couldn’t “change,” he murdered, but his daughter Sunny (who apparently really is his daughter) was always immune.

Harrington sics Sam & Co. on Castiel as Sunny runs out the door. He follows her. She accuses him of having killed her boyfriend and he, being a pretty classic narcissist on top of being psychic, flips it back on her, saying that her telling her boyfriend got him killed.

Inside, Castiel is beating the crap out of Harrington’s goons, but having trouble keeping Sam at bay (because he doesn’t want to hurt Sam). After Castiel roughly downs the others, Sam tackles him. But when Sam has enough latent memory to grab Castiel’s angel blade, Castiel takes the opportunity to talk him down.

Castiel tells Sam that he knows how Sam feels. He knows all about losing your army, failing as a leader. But as Sam hysterically insists that he’s happy, Castiel tells him that he has to fight the mind control. Otherwise, he will let down his friends, let down Jack, let down Dean. When Sam hears Dean’s name, he smacks down the angel blade, but it goes into the floor next to Castiel’s head. The mention of Dean’s name snapped Sam out of it. He’s himself again.

Outside, Sunny is calling her father “a monster” and saying she only stayed because she promised her mother. Harrington insists that, no, he’s really “God.” At that moment, Sam and Castiel come out and tell him they know for a fact he’s not God.

Sam: We’ve met God!

Castiel: He has a beard!

Harrington tosses Castiel across the parking lot because sure, why not invent new powers for our MOTW on the fly? It’s that kind of episode. Then he starts killing Sam.

At that moment, Sunny starts to find his voice and yells at him to stop. It doesn’t stop him, but she tries it again and this time, the echo reverberates. As Sam and Castiel crawl to their feet, Harrington unwisely crows over this, that she is like him. Sunny angrily tells him that she is “nothing like you. You hurt innocent people. You wanna be happy? Then BE HAPPY!”

She gestures and her father slumps down as if he’s had a stroke. Castiel confirms that Harrington is locked inside his own mind, happy but unable to “hurt anyone ever again.”

“Good,” Sunny says.

Back at the Bunker, Dean asks Jack how the snake is. Jack says he’s not sure, because the snake is “guarded.” (Again with the Dean parallels.) As Sam and Castiel come back in, Dean asks them how Arkansas was. It quickly becomes clear that Castiel already filled him in, much to Sam’s embarrassment. Not even Dean noting, rather clinically, that Sam seemed genuinely happy for a short time, helps with that.

But after Castiel leaves the room to go see Jack, Sam does open up about why he’s been hunting so much. He hates being in the Bunker right now because he keeps seeing the dead Hunters everywhere inside it. Sam admits that he has to “stop running” and that he just “needs some time.” Dean agrees.

Okay, hang on. Which brother just had a raging archangel inside his head? For months?

In his room, Jack talks to the snake. He mentions to it that Castiel said it missed its demi-god friend. He says he will help it be with its friend again, in Heaven (umm … gods don’t go to Heaven, Jack) and then turns the snake to dust. Castiel, watching from the doorway, looks pretty freaked out.

Credits

Ratings for the episode were 0.4/2 and 1.51 million, which is pretty good for the CW this spring.

The promo, sneak peek, etc. for the next episode (which is tonight) are here.

Review

Well … okay. I’ve commented before that there’s a way new writers come across in their first scripts, where they don’t seem to quite have the characters down yet, or they write the characters in a way that reflects their characterization from a specific season or storyline that decidedly isn’t the present one. Basically Spec-Scriptitis. This episode has that issue in spades.

It doesn’t help that the writer admitted on Twitter back in February that while she did binge the show for research, she put the first few seasons on in the background and didn’t pay much attention to them. This strikes me as ill-advised. Sure, the show is now in its 14th season, but it’s still got the same fundamental conflicts it had in its first three seasons.

The episode acts as though the concept of psychically talented people who can manipulate others with their minds is a brand-new concept to the Supernatural, while pillaging plot points from episodes like “Hunteri Heroici” and “American Nightmare” to an embarrassing extent. It’s as if we never had two entire seasons of Psykids (including Rosie in “Salvation,” who never was even tainted by demon blood, yet could apparently read minds), let alone nine seasons of Sam Done Come Back Wrong With Shiny Speshul Powers.

Sure, Jared Padalecki in a man bun, acting prissy, is hysterical. I’m all for Padalecki getting to break out of Sam’s stiff straight-man act and do some comedy – and yes, he’s very funny as “Justin” in this episode – but it’s only for two freakin’ scenes. That’s barely a taster. And it doesn’t explain why Sam is suddenly no longer immune to mind control when previously (with Andy in “Simon Said” and “All Hell Breaks Loose, Part 2”), he was.

Now, I’ve never made any bones about the fact that I actively loathed Sam’s Shiny Angsty Powers storyline and don’t miss it at all, but the fact remains that it happened and that background is a fundamental part of his character. If you’re gonna do psychic powers, Show, you gotta deal with the fact that Sam used to have some. I mean, the Jack’s Soul storyline brings up Sam’s soullessness, Dean’s dealing with it, and Donatello being soulless all in one episode, even though Sam’s soulless storyline lasted half a season eight seasons ago. Same thing with the Psykids storyline.

Was Sam only immune when he had demon blood? Was he only immune to Psykid powers? The episode’s only acknowledgement/explanation of these questions is to say that Castiel is immune to the mind whammy stuff (including the exploding head thing), simply because he’s “not human,”  implying that Sam isn’t immune because he is now fully human.

Yet, in the very same scene, Castiel is not immune to being TKed across a parking lot. The MOTW (just a “psychic” human bully with zero empathy for others) has powers that are wildly inconsistent and change to serve the plot. And the less said about what Harrington’s daughter ends up doing to him (aren’t they supposed to be immune to each other’s powers?), the better. I kept getting ugly flashbacks to the enthusiastic scenery chewing near the end of Star Trek‘s second pilot, “Where No Man Has Gone Before.”

It’s too bad, because there are elements in here (creepy Stepford town, exploding heads) from horror films of the 70s and 80s that could have been good, with better writing. But the writing just isn’t there. The A plot/B plot structure, while necessary, dragged the pacing down to a crawl and rendered everything paper-thin (and the  Dean&Jack storyline with Donatello was completely linear, including the “surprise twist” at the end). As soon as some suspense began to build, that part of the story ended, yet it seemed to take forever to get anywhere in the first place. I kept stopping and starting again with the recap because frankly, I was bored. Nice premise, terrible execution.

Also, the timing of this episode was dire. I was saying on Twitter that this is the part of the season where the dodgier and less-polished scripts come home to roost (“Family Remains,” “Criss Angel Is a Douchebag,” “Unforgiven,” “#Thinman,” like that). How that will affect the season finale when the season is now three episodes shorter should be … uh … interesting.

But anyhoo, that’s not what I mean by the episode’s timing. I mean that an MOTW focusing on Sam is all very good, and an episode where Sam and Castiel go off on a hunt together as the A story is fine, too – but not right after an episode that resolved a major mytharc plot for Dean. Or, should I say, didn’t resolve it and left it dangling like a hangman’s rope in a hurricane.

The episode focused about two-thirds of the time on Sam’s mainpain and PTSD over losing his Hunter crew, with the other third focusing on Jack and the tedious angst over whether or not he still has a soul.

Dean’s having just been possessed by a wily and terrifying archangel who already “left” him and outsmarted TWF 2.0 once, or even Billie’s death books for Dean, doesn’t so much as get a look-in. Nary a mention of the new canon, constructed with excruciating care this season, about Nick’s post-archangel-possession PTSD and how it turned him into a psychopath. Hell, we get more mention of and concern over Rowena’s brief possession by Michael than of Dean’s. Writing-wise, that’s embarrassingly bad.

Look, I get that this is an MOTW and that it’s meant to be lighter in tone than the previous mytharc. Fair enough. But this show has a very ugly history of dropping Dean storylines like a hot rock to focus on Sam mangst and this is precisely what this week’s episode appears to do. It’s irritating and unsatisfying, and no amount of Dean acting terrified of snakes and mice (however entertaining that is) makes up for that. And it’s not as though we get much of that, anyway.

Yes, Sam has had less story time of late than Dean (with all the focus on Dean!Michael), but that’s no excuse for ignoring basic storytelling logic. Wrap things up for a bit with Dean and Michael, and then do an episode about Sam and his PTSD.

As for Jack, as I said last week, SuperPowered Sorta-Immortal Jack is easily my least favorite version of him. I don’t care about this plot. I don’t care about the concern over his depleted soul. I just don’t care. It’s boring and ridiculous. Move the hell on, Show.

I rolled my eyes when Donatello was talking about how Jack was “probably” the most powerful being in the universe. Really? Donatello had his soul sucked out by Amara. He knows for a cold, hard fact that she literally contains multitudes. It is way out of character for him to perceive anyone but her as the most powerful being in the universe.

As for the meta perception of the audience, we already know for a fact that Jack is no match for the Empty entity, period, and I’m sure Death would like a word, as well. Plus, the SPNverse can’t exist without Chuck and Amara alive and in balance, so yeah, they’re more important and powerful than Jack.

As for his immortality, pretty sure any being the SPNverse has been trundling along perfectly well without for 14 billion years can be killed off simply and easily. Add in the fact that Jack, bless his heart, could probably be outwitted by a kitten and you have a character who decidedly is not the most powerful being in the SPNverse, and likely isn’t even close.

Finally, let’s talk about the snake. I’m not real happy about the snake. I figured that little cutie would either be killed off or relegated to some unseen plot corner of the Bunker at some point, but as I have said in the past, killing animals is one of my least-favorite (if not my least-favorite) horror tropes. It’s a cheap and unearned way to get some bathos and early Ominous Foreshadowing without taking the time and trouble to create a human character, instead. That’s precisely how it comes off here.

It doesn’t help that Jack’s premise that killing the snake will send it to Heaven (entirely probable in light of “Dog Dean Afternoon”) to reunite it with its owner is flawed. Pagan gods don’t go to Heaven. We don’t know if they go to the Empty, simply evaporate, or even end up in Hell or Purgatory, but they don’t go to Heaven. So, killing the snake and sending it to Heaven won’t reunite it with its owner, even if it were sad about his death, which seems pretty unlikely. Seems more likely it’s sad about the horrendous care for it in this episode (bacon, Dean? Really?).

A big problem is what the snake’s death is foreshadowing. Yes, obviously, it’s about Jack’s inability to tell right from wrong and to mistake mercy for cruelty, and so on. But it also seems to be foreshadowing Jack threatening or “mercy”-killing someone specific. Sam’s mangst seems to make him a candidate, at least on the surface, but Sam is nowhere near the snake plot this week and neither is Castiel.

Of the two who are nearby, there’s Dean, who’s left to mind the snake at times (and seems to be the only person who cares about it besides Jack, despite being terrified of it and having been severely injured by its previous owner). And then there’s Donatello.

Dean should be quite traumatized, considering he was in a coma with a major head injury last week and was keeping Michael locked inside his mind for at least a month. Unfortunately, aside from his phobias, Dean seems about the same as before, perhaps too calm and concerned about everyone else, really.

Then there’s Donatello. Is Donatello sad? Hard to say. He doesn’t have a soul, and it makes him creepy and dark under the bright surface. But sad? He himself claims he isn’t, that he isn’t any more capable of sadness than of empathy. Worse, if, say, Jack killed him now, that version of Donatello would be gone forever. The part of Donatello that was capable of having memories after death is now inside Amara, wherever she is. The body and brain we have now will most likely just pop out of existence like a soap bubble once they die.

So, does it seem likely, at least at first glance, that Jack will kill, or try to kill, Donatello? Yeah. Jensen Ackles said at a recent con that the Brothers would experience a loss toward the end of the season and that it would “hurt.” Of course, with this show, that’s like saying water is wet. They experience at least one major loss every season. And it could easily be another character, like Mary or alt-Bobby. Or it could be the Brothers have already experienced that loss with the death of the Hunters last week.

But the problem with this in terms of foreshadowing is that Donatello doesn’t have any contact with the snake in the episode. He never even “meets” it. Dean is the only other character besides Jack who has contact with the snake and the recap at the beginning of the episode tells us explicitly why he might be the human analogue for it (even to the point of “missing” his “master”). One could argue that Nick is more likely to miss Lucifer riding him than Dean ever would miss Michael, but Nick doesn’t get so much as a mention in this episode. Then again, we don’t know what kind of damage Michael left behind in Dean, since the episode makes no effort whatsoever to Show or Tell us.

So, either the foreshadowing for Jack trying to mercy-kill Dean is extremely anemic, or it’s missing critical pieces for Jack trying to mercy-kill someone else. The snake’s killing is obvious foreshadowing for something, but this episode did a terrible job of hinting what that might be.


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The Official Supernatural: “Prophet and Loss” (14.12) Live Recap Thread


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[sigh] I so hate Nepotism Duo scripts. Anyhoo, let’s get started.

Paint-by-numbers recap of the Nick storyline and Dean creating the Ma’lak Box to get locked inside out under the Pacific.

Cut to a box on the bottom of the Pacific Ocean. Inside is a terrified Dean, clawing and banging at the lid as it appears to bow in from the pressure. Then the light on his phone goes out as his battery dies.

Cue title cards.

Dean wakes up, very wide-eyed and gasping. It was a nightmare. Sam comes out of the bathroom, looking concerned and apologizing for having woken Dean up. Dean says Sam didn’t wake him up. As a scream from his nightmare echoes in his head, he glances over at the wall next to his bed. It is covered with bloody scratches. He glances down at his hand, the one he was using in his dream to bang at the Ma’lak Box lid. His fingernails are torn and bloody.

I gotta give this to Jensen Ackles in the dream scene and this one. He is not afraid to look unheroic. In the coffin dream, Dean is red-faced and ugly-crying. Even afterward, he looks shell-shocked. It isn’t pretty and I’m curious to see how many fans will actually recap it on social media. The teaser is a classic horror trope of being buried alive, plus an undersea theme common to submarine flicks and Ackles milks it like a doomed Alfred Hitchcock Presents protagonist.

Sam (unknowingly?) twists the knife a bit by pointing out that what Dean proposes to do is far worse than death – Michael will keep him alive in that box “forever” – so of course Dean must be terrified. Dean says yeah, but it’s not as though he’s got any other options. Sam says, well, unless they can find a way to get rid of Michael first. Dean asks Sam if he’s got any solutions for that. Sam doesn’t. Dean goes into the bathroom, looking a little disgusted with Sam.

Cut to a young woman in some factory setting. She is tied up and gagged. A stone-faced young man fills a tank with water, pours something into it (salt?), then dumps her in. He briefly drags her out to cut up her arms, then drowns her. Afterward, he hears voices speaking in what sounds like Enochian. This is an obvious rip-off of the film Frailty, one of inspirations Kripke has acknowledged for the show. Can’t say I loved the film and I’m not too impressed by the homage, either.

Lu – sorry, Nick wakes up in a hospital bed. I guess he’s there for his knee (which Donna shot out from under him last week). This show has such magical thinking with medical stuff (particularly this episode’s writers) that it’s hard to tell how seriously it chooses to take a particular injury in a recurring character.

Nick is being tormented by a very unprofessional cop who is his bodyguard. As I recall, this guy last played the corrupt sheriff in the season 10 episode when Dean killed all the Stynes. The guy promises him that he will spend the rest of his life in prison and Nick whines that the devil made him do it (no, he actually says that). Ugh.

Cut to the sneak peek, with Dean trying to keep Sam on track with supporting him. They are in some wet forest, investigating a case. I think. Sam is being pissy instead of supportive and guilt-tripping Dean. I really want to slap Sam hard here. He knows perfectly well how dangerous Michael is. Michael already promised him a few episodes that “the last thing you’ll see is this pret-ty smile” as he tore Sam apart. It’s flat-out irresponsible for Sam to recruit TFW 2.0 to sabotage Dean and it’s exactly what he did in season 10.

And guess what Sam does as soon as Dean leaves the car to go to … the bathroom? Again. Anyhoo, Sam calls Castiel and they whine to each other about how even Rowena can’t find anything in the Book of the Damned.

Cut to the stone-faced young man again, this time in a car in the rain. He’s stalking someone in an alleyway, a man this time. Cut to the man tied up and with duct tape over his face, getting dragged into another convenient factory setting and getting his throat cut. The psycho chants about executing “judgment” in the land of Egypt, cuts up the guy’s chest and intones, “I am the Lord.”

Jeez, Nep Duo, you can’t even do villains right. So dull. And kinda cringey.

Cut to the Impala driving back in the night and rain, pulling something. Dean is driving, despite Michael’s banging on the inside of the Cage.

Dean apologizes to Sam for not always being the greatest brother (really, show? Really?! Did we not get enough of this tripe in the first five seasons?). Sam says that Dean was the only person who was always there for him.

Dean says that sometimes, he sided with John just “to keep the peace,” but that there were times when he seemed to disappear out of Sam’s life. These were when he had somehow angered John and John would send him away (a reference to “Bad Boys,” I guess). Wow. As if John couldn’t look any worse.

This seems a tiiiiiny bit outside of canon as outlined in earlier seasons, but it’s nothing to what a wanker Sam is about not wanting to hear it because it sounds like a “deathbed apology.” Dean looks devastated.

I sure hope the rest of the season won’t have me wanting to punch Sam in the throat nearly every time he opens his mouth. That could be wearing.

Cut to Nick praying to Lucifer (the cop thinks he’s praying to God). He manages to get the drop on the cop while asking him for a pee break. Then he beats him to a pulp. I am so rolling my eyes at Nick Sue this season.

On top of everything else, Sam decides to check out a case. Dean’s hesitant, at first, because that’s not what the trip is about (I’m not even sure what the trip is about at this point – getting the box back to the Bunker? What, Nep Duo?). But then he figures, sure, why not? “One last case for the Winchester boys.”

Sam gets pissy about Dean constantly bringing up his imminent entombment and I actually said out loud, “Oh, for fuck’s sake, Sam!” It quite confused my 18-year-old cat, who is trying to get me to give him his dinner.

Anyhoo, Sam mentions the two victims. The woman did indeed drown in salt water. They both had Enochian carved into them.

The Brothers visit the brother of the second victim, pretending to be FBI. He’s played by the same actor because they were twins. In the interview, he says his brother came out first and always tried to be his big brother (Dean’s getting a headache from all the plot anvils). Sam tells him the “graffiti” was Enochian meaning “I am the Word” (ah, so not “I am the Lord”).

Turns out the victim knew another guy, Tony, who had a tattoo that says “The Word.” Gee, I wonder if that’s our killer. What linear writing.

Dean calls Castiel for research and Castiel blurts out that Sam told him everything. Sam looks uncomfortable as Dean gives him a dirty look – yeah, Sam, you are that family member nobody wants to tell anything because it’s just like announcing it on Facebook. But he does get out of Castiel that Tony was supposed to become a Prophet after Donatello.

As Dean speculates whether Donatello is now dead (because that’s the only way a new Prophet can be activated), we get a view of Donatello on a ventilator in a hospital bed, where he’s been ever since Castiel turned him catatonic last season.

Far too many commercials on this stupid CW app.

Dean calls Donatello’s doctor, posing as his nephew.  Yep. Donatello’s still alive.

The Brothers now need to figure out how Tony got activated and why he is a-murdering innocent folk. The Brothers break into his house. They discover a room with walls covered in Enochian and containing photos of the dead victims. Sam reads some of the Enochian about Egyptians drowning in the Red Sea and “divine retribution” and killing of firstborns. Dean immediately makes the connection to the victims (the woman drowning in salt water like the Red Sea and the young man being the elder twin) and points to photos on the wall as possible future victims. Sam then susses out one that talks about fire coming out and consuming someone.

Cut to Tony pouring gasoline all over some poor dude while ranting about fire coming from God. He then backs away, pouring a line, and lights a match.

At that moment, the Brothers run in, guns drawn. Sam tackles Tony and starts to choke him out. Dean rescues the victim and tells him to run after cutting his bonds. The guy wastes no time obeying and quickly leaves the scene.

Dean actually has to yell at Sam to stop choking Tony and Sam lets him drop. But when Dean asks him if he’s Tony and Tony is unwise enough to challenge him, Dean punches him, hard.

Tony insists he’s doing the Lord’s will, but when the Brothers ask him what he’s hearing now, he realizes the voice has stopped. Sam says that’s because whoever he was hearing wasn’t God. Dean informs him that he killed three innocent people for nothing and punches him again.

After some flashbacks to the murders, Tony is in denial and tackles Dean for reasons not entirely clear, aside from getting Dean’s gun so he can shoot himself once Sam hauls him off Dean. The Brothers look upset for reasons not entirely clear, considering he was murdering people.  So, what if he was a Prophet? He was still, as Dean put it, “a psycho.”

So, that happened.

Afterward, Sam is talking to Castiel on his cell phone while they are continuing to haul the Ma’lak Box back in the longest coffin trek since Woodrow Call hauled his best friend’s body back to Texas in Lonesome Dove. Sam is worried that with Tony dead, some new serial killer Prophet is now awakening somewhere else, ready to start the crazy all over again. It feels like the end of the episode, but according to the CW timer, we’re only a little bit over halfway. Oh, dear, Nep Duo. Come on.

Castiel makes a comment with no ironic intent whatsoever about how the new Prophet was “malformed” because the Natural Order has been upset. Sam says he doesn’t know how to keep the whole process from starting all over again. Dean just tells him, “You know how.”

Nick breaks into his old house, which looks pretty darned good for having been boarded up and left as-is, sheet-covered furniture and all (people don’t really do that in real life). He starts having flashbacks to Lucifer’s manipulations because everybody’s having flashbacks in this episode.

But then something rather interesting occurs. His breath fogs up and when he turns to a mirror, it fogs up, too. Thar be a ghost about. Doors bang and lights fritz and guess who appears? Nick’s wife, Sarah. You know, the ghost of the woman in whose name Nick murdered all those people.

As this is an episode where nobody’s motivations make a whole lot of sense, though, Nick immediately thinks she’s Lucifer pretending to be his wife (as happened right before he said yes at the beginning of season five). Needless to say she’s hurt and I’m confused as to why we went through this whole storyline this season about Nick avenging his wife and child when he doesn’t actually care, after all.

After the commercial break (yes, I’m quite salty about being stuck with this stupid CW app), Nick asks Sarah why she’s still there. She tells him the obvious – “unfinished business” regarding her murder and that of their baby.

Crying, Nick tells her he missed her and she calls him a liar. He insists he found justice for her, that he found her killer. Sarah calls him out on his motivation for that, too (by the way, she’s a mighty solid ghost, per previous Nep Duo ghost entries). She says she was there as a ghost the night he said yes to Lucifer. If he truly cares more for her, then let him “reject Lucifer” and choose her, releasing her from the earthly realm.

Alas, despite all his blubbering, Nick can’t and leaves the house with her shouting after him that he’s become Lucifer. Nick agrees and says he’s going to find the “darkest” place he can find, wherever Lucifer is. I’m sure you’re all shocked.

Cut to the Happy Daze nursing home (y’know, with these two so close to retirement age themselves, you’d think they’d finally lay off the ugly ageism. Guess not). The Brothers are there to pull the plug on Donatello and the doc is all for it. Holy Irresponsible Spreading of Wrong Medical Knowledge, Batman! Uh, no, you do not pull the plug on people in a “persistent vegetative state.” And no, you cannot have practically no brain activity while still mumbling in your sleep. Bad writers! Bad, bad, bad writers! [Whaps writers on the nose with a newspaper.]

So, Castiel happens to be there, playing a Doctor Novak. Castiel gets pissy with Dean, even after Dean tells him to stop it and that he’s already having a hard enough time. It turns out Donatello was mumbling the same words that Tony heard. Somehow, Tony heard Donatello trying to reorganize his brain. Or something. Me, I’m wondering why the hell Donatello was off his respirator long enough to have his eyes wide open and mumbling stuff. But massive continuity errors are cool, amirite?

So, after months of ignoring him, Castiel decides he’s going to heal Donatello. This confuses Donatello’s doc who was just about to take Donatello off the respirator as part of discontinuing his treatment – except we just saw a video of him doing just that and Donatello really clearly breathing on his own. Because breathing on your own is how you form words.

Anyhoo, after some more random bitchery aimed at Dean, Castiel decides to operate. The Brothers hang out in the waiting room, in comfy chairs.

Dean asks Sam if he’s all right. Sam, employing some more neutron-heavy plot anvils, talks about Donatello being trapped between life and death (except, not really, because Donatello no longer has a soul). When Dean shrugs this off, Sam snaps, “Easy for you to say.”

“No, it’s not, really,” Dean coldly replies. Rather than realizing it’s time to back way the hell off, Sam sees this as a weakness to exploit, but Dean just tells him, “Nothing’s changed.”

Dean then has a Michael attack right in front of Sam, but Sam doesn’t even appear to notice.

Inside Donatello’s room, Castiel is doing his glowy-hand thing. He tells the Brothers he’s “searching for something,” but doesn’t explain what except that his eyes glow when he finds “it.” And Donatello wakes up.

But it’s not clear whether or not the machines are just keeping him alive so Dean … uh … turns them off. Yeah, yeah, I know, but we’re just rolling with the stupid at this point.

So, at first, Donatello appears to fade out, but then he wakes up with a dramatic gasp (through the ventilator that nobody bothered to remove). And then they give him glasses that were put on his bedside table, even though he was in a coma and didn’t need them for months and months. The only staff that bother to come in after his machines got turned off is the rather confused doctor. Dean fairly loudly adjudges it “a miracle.”

Cut to Donatello eating jello or pudding or something, and wanting buffalo wings. Dean tells him to take it easy and get up to speed slowly. Donatello doesn’t remember anything about being possessed by the Demon Tablet, but Castiel quietly assures Dean that this is the “real” Donatello, albeit still without a soul. All the other canon and worldbuilding and lack of research these writers bad-touched all episode, but that they remembered.

Dean goes outside, to find Sam getting sloppy drunk by the Impala. I can already feel the urge rising to punch Sam in the throat. It doesn’t improve in this scene.

Sam proceeds to go on a (inaccurate) rant not much better than the one at the end of “The Purge.” Sam accuses Dean of “quitting” and wanting to kill himself. Um, no, Sam. You yourself admitted earlier in this episode that Dean is not going to die. Regardless of how all this pans out, as long as Michael is inside him, Dean will live forever. It’s the world that is on a deadman’s switch if Dean loses control.

Really, what Sam is pissed off about is not that Dean is dying because Dean isn’t and all of the solutions Sam claims they could find, they could find with Dean inside the Ma’lak Box. Because Dean and Michael would still be alive inside it a year, ten years, a thousand, a million, a billion years from now. Maybe not sane, but they’d be very much alive. So, Sam isn’t upset about Dean dying. He’s mad that Dean is breaking up the band.

Anyhoo, Sam starts slapping Dean in the chest and then punches him, declaring that “I believe in us!” which is new, considering Sam spent the whole first nine seasons of the show trying his level best to get away from Dean, and not really something I buy. Dean stops Sam from punching him, so Sam tries hugging it out. This apparently works, as Dean relents and says, sure, they’ll look for some solutions.

But Dean then pulls back and says when – sorry, if – they don’t, he’s going into that box and Sam is going to let him do it. As Castiel walks up, Sam agrees. Then again, Sam agreed last week, too.

Off they drive in the Impala. Sam doesn’t look quite as triumphant as you’d think. Maybe the reality of what he wants is finally coming home to him.

Credits


Ratings for the show remained steady in the demo at 0.4/2 and dropped a bit to 1.40 million. This tied it in the demo at second for the week and put it second in audience.

The show has also been renewed for a 15th season. No word yet on how long the season will be. Let the hopeful hater speculation that it will be the last begin in 3 … 2 … 1 ….

The preview for next week is here, as is a sneak peek. That’s the much-vaunted 300th ep, “Lebanon,” and yes, I will do a retro review of the 200th ep this week (“Fan Fiction” from season 10). After that, we’re going to have a brief Hellatus. I think it will just be a week, but don’t quote me on that.


Review

My goodness, this one was just terrible. After the opening scene (which was a hoary idea even in the Victorian Era, and great mainly due to the Ackting and some nice CGI), things went downhill quickly. Linear plotting, inconsistent pacing, convenient coincidences, a very boring MOTW, plot holes large enough to drive that semi that totaled the Impala in “Devil’s Trap” through, lazy characterization, ageism, appalling and insensitive treatment of medical ethical dilemmas … jeez.

Okay, sure, Brad Buckner and Eugenie Ross-Leming have written worse (like dog girls), but when that bar’s set so low it’s somewhere down with Dean’s nightmare in the Marianas Trench, that is not saying much. “At least they weren’t casually racist or misogynistic this week” is not a ringing endorsement of even a Nep Duo ep.

What the actual plan was for the Brothers regarding dragging the Ma’lak Box all over the countryside did not get much explanation. I guess they were heading west this week with the box to charter a boat? Yeah, that wasn’t explained very well.

Neither was the new Prophet’s motivation. The torture and death scenes came off as gratuitous, largely because the Tony character was written as such thin gruel. Aside from a few characteristics that sorta, kinda fit what Donatello was muttering, how did Tony choose his victims? Were they all people he knew? What did he even think he was trying to do? How did he justify it to himself? Why did he end up shooting himself (aside from the whole convenient writing thing) after Dean told him they were innocents?

Was it all part of some spell Donatello was muttering (and was it a leftover from the Demon Tablet)? Did Heaven have Donatello on speed dial (even though he’d apparently been activated by Amara, originally)? Or was Michael maybe trying to reach out through a Prophet to effect his escape? Obviously, Donatello’s mutterings will figure into something later in the season (that foreshadowing was neutron-star dense), but Tony’s entire character seemed random.

Speaking of random, again, with John obviously coming back next week (yeah, yeah, I know, spoilers), what the hell was up with Dean telling Sam that John would get angry with him and send him away for extended periods of time when they were kids? Especially in light of what happened in “Bad Boys,” that’s somehow even more horrifying than the hints that John smacked Dean around. It just seems so emotionally abusive.

It was therefore quite annoying for Sam to make the horrific and terrifying journey that Dean was trying to take All About Himself. And to have Castiel back him up with his own angel brand of pissiness just made me want to smack their heads together like a couple of coconuts. If would be one thing if they were only risking their own lives, but these two chuckleheads are ready to let the world burn just to keep Dean with them, being the wind beneath their wings until the day Michael manages to flip the switch. Which is cute and all, except not really. Actually, it’s quite horrifying.

This is a really, really, really important point that the show keeps obscuring by having Sam and Castiel throw the words “suicide” and “self-destructive” around. And I’m not just talking about the deeply offensive way the show continues to treat mental illness, when its leads have worked so hard to build a charity that includes a crisis hotline and is literally intended to help dismantle the toxic attitudes toward mental illness that the show’s writers too-often promote for giggles and drama plot coupons.

No, I’m talking about the part of the story where none of this involves Dean committing suicide. Dean is going to imprison himself before he loses control of that dark and genocidal archangel part of him. He is not going to die. He can’t die, actually, at least not right now. His choices boil down to: living forever inside a box with an angry archangel, but the world is safe, and living forever inside an angry archangel as he rips the world apart.

But either way, it’s living forever. It’s the world that’s in peril. From him. He’s got a gigaton thermonuclear bomb inside him and it’s ticking. And he can hear the clock.

They could, conceivably, stick Dean inside the Ma’lak Box now in a way that wouldn’t drive him completely insane (give him a Gameboy, or something), and then look for a solution. It’s not like Dean’s going to die. The Ma’lak Box could actually be a temporary solution, a sort of padded cell for Dean to stay until TFW: The Expansion Pack could figure things out.

But that doesn’t even come up because Sam and Castiel and even Mary (Jack was totally MIA this week) are so stuck on the idea that Dean musn’t go into the box, even though they could open the box back up at any time. Their intransigence just doesn’t make any sense except in terms of Sam freaking out at the idea that Dean might abandon him (as Dean hints in his conversation about John). It’s pretty gross that Dean has grown so much in this storyline, yet 36-year-old Sam is still acting like a pissy, willful, self-destructive adolescent. Grow his ass up, already, Show.

Finally, I guess I have to talk about whatever-the-hell-that-was with Nick, don’t I? I get that the show wants Nick to “choose” Lucifer (I keep hoping against hope that the show really isn’t going to bring Lucifer back, but maybe if they do, they’re planning to stick him in Nick and then stick Nick into the Ma’lak Box, with the idea that Nick won’t mind because he’ll be back with Lucifer. Which is all kinds of messed up and not in a good writing sort of way, either, but if it gets rid of Lucifer for good, I’m okay with that). What I don’t get is why they did it in a way that made his whole revenge quest for his wife and kid completely pointless. I mean, he killed a bunch of people in their names and then, when he encountered Sarah’s ghost (different actress, I think, and longer hair, and what’s with this show’s obsession with ghostly women in nightgowns?), he couldn’t even lie to her long enough to help set her free.

So, what was even the point of watching him do all that? Yes, I get that part of it was his discovering that he still missed Lucifer and that Lucifer fundamentally screwed him up. I get that. But there wasn’t even any sense of betrayal when the demon told him last week it was working for Lucifer when it killed his family. Not only did he not demonstrate any anger or guilt or pain over that, but the show didn’t even acknowledge that yeah, that would be a huge monkey wrench in his whole revenge plot.

Overall, that felt like a damp squib, a completely anticlimactic ending to a plot that took up far too much of this season as it was. I kept hoping his wife would rip him apart and then move on to the next world. Sadly, the Nep Duo aren’t good at writing ghosts, so she just flapped some doors around and chilled the air and screamed after him. Jeez, Nick, at least give Sam and Dean a call so they can release her.


The Kripke Years

Season 1

Season 2

Season 3

Season 4

Season 5

The Gamble Years

Season 6 (with Kripke)

Season 7

The Carver Years

Season 8

Season 9

Season 10

Season 11

The Dabb Years

Season 12

Season 13

Season 14


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