The Official Supernatural: “Ask Jeeves” (10.06) Retro Recap and Review

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Scroll down to find links to all of my recaps and reviews of all seasons up to this point.

Recap: Longish recap of past MOTWs (the one for this week is in there, but it’s not overt) and the season so far (including Dean’s blink-and-you-missed-it Demon storyline), culminating in Dean telling Sam he has to get back into the saddle because he’s desperately bored and it’s messing with his mental stability.

Cut to Now, upstairs in a mansion in New Canaan, CT. Underneath a photorealistic portrait of an elderly woman and her dog (who looks just like the one that chased Dean in season four’s “Yellow Fever,” an English butler is exhorting two maids about the upcoming funeral of their “mistress” (the woman in the portrait). In a rather long infodump, he informs the maids (and us) that the mistress, one Bunny LaCroix (which sounds awfully Cajun for New England), was a good employer, but that her family is “about to descend” on the mansion “for the funeral and the reading of the will” and he wants to place “spotless.”

He assigns one maid, Colette, to lay out Bunny’s wardrobe for her burial and sends the other, Olivia, to clean the bathrooms. When Olivia starts to protest, he reminds her that she’s “new” and Colette still has “seniority.” Colette casts a crestfallen Olivia a smug look, then trots upstairs when the butler tells them to hurry it up. Olivia goes downstairs and so does the butler.

To a piano soundtrack piece, in Bunny’s bedroom, Colette starts out well enough, smartly putting out a matching skirt, blouse and jacket ensemble before going into the jewelry box for a broach to match. It’s there she hits a moral snag. Sneaking out a large string of pearls, she tries it on in front of a mirror. She gets that smug look again, indicating the pearls are about to leave the premises with her when she goes off shift.

She then hears an odd sound – a door closing inside the suite. Still wearing the pearls, she goes out to investigate. Hearing footsteps from behind her, she turns to find Bunny LaCroix herself, looking very much alive and highly disapproving. Shocked, Collette insists that Bunny is dead as she backs out onto the landing. Following her, Bunny grabs the pearl necklace and rips it off Colette’s neck. As pearls fall all around her, Colette backs right over the banister with a scream and crashes through a glass coffee table below. She dies instantly.

As Bunny stands on the balcony looking down with her own smug expression, the butler runs out and discovers the body. When he looks up at Bunny, he seems more horrified than surprised, asking, “What have you done?!” Instead of answering, Bunny turns and walks back into her room.

Cue title cards.

Cut to Dean in a flannel plaid shirt, fixing a side headlight on Baby and looking bored, as Sam comes out of the Shady Hills Motel lobby with two very small and individual K-cups of coffee. Dean grumps, “Real men don’t drink out of cups that small” and when he sniffs it, guesses “cinnamon roll” for the flavor. Sam corrects him that it’s “Glazed Donut,” but when he offers to take it back, Dean insists on drinking it, anyway. I think he secretly likes it, too.

After establishing that Sam has found no cases, Dean brings out an old cell phone from Bobby that he found while “dustbusting.” Having checked all the messages, he discovered only one of interest. Seems Bobby’s in the aforementioned Bunny LaCroix’s will and if he can’t come, his next of kin are invited.

Sam is confused about how Bobby would know an heiress. Dean comments, “Bobby had secrets, man. Like lovin’ on Tori Spelling. If he only knew Dean cheated on her.” He suggests they go and see if maybe Bobby inherited them some “beer money.”

Cut to the Impala roaring down the road across a bridge on a sunny day. The Brothers arrive in a parking lot full of swanky cars outside the mansion. At least the writers don’t repeat the joke from Season One’s “Provenance” that the Impala is low class in comparison. A 60s muscle car like the Impala is not a cheap ride these days.

Sam feels “underdressed” and suggests they get their FBI suits out of the trunk. Dean refuses, insisting that they’re lucky his “waistband’s not elastic.” He’s all for going as himself into this one, with nothing to prove.

On the porch, Dean presses the doorbell, which pretentiously plays Beethoven’s “Für Elise.” Sam snickers at this, which makes me like him a bit more than I have of late. I don’t hate that piece, by any means, but it is the kind of Classical kitsch that certain kinds of people stick in inappropriate settings (like doorbells and car horns) and it’s not due to their stanning Beethoven.

Supernatural — “Ask Jeeves” — Image SN1006a_0218 — Pictured (L-R): Jared Padalecki as Sam, Izabella Miko as Olivia, and Jensen Ackles as Dean — Credit: Michael Courtney/The CW — © 2014 The CW Network, LLC. All Rights Reserved

Olivia meets them at the door. When Sam introduces them as relatives of Bobby, she expresses condolences on his passing and they return them. Olivia says the funeral just ended, but they can go meet the family inside.

She brings them into a room with a large fireplace (even though it’s sunny and apparently warm outside) and a billiards table. Two cougarish blonde women with cocktails, a young woman and an much-older man playing an intimate game of pool, and a young man leaning on the fireplace mantle, all look up when Olivia introduces the Brothers. The nearer cougar (the one standing) asks if they are part of “the Westchester Winchesters” and Sam uncomfortably says he doesn’t think so, with Dean mumbling some backup. Truth is, with their grandfather Henry’s connections, they could well be related, but I doubt it even occurs to them at this moment.

That doesn’t bother either of the cougars, though. The one standing introduces herself as “Heddy, Bunny’s cousin,” and judges the Brothers “adorable,” with a deep and appreciative intake of breath. Sam is taken aback – and even more so when Dean, clearly flattered, purrs, “Ohhh.”

As Olivia wanders the room, serving people, Heddy also introduces the other cougar as her sister Beverley (Beverley is also very appreciative, but Dean is less into her and Sam not at all). She introduces the billiards couple as Bunny’s youngest brother Stanton “and his child bride – Amber.” (I love the delivery of that line.) As Amber accidentally makes Stanton miss his shot with some enthusiastic cheerleading, Heddy introduces the young man as Bunny’s grand-nephew, Dash. While Stanton welcomes them in (while clearly treating the rather trashy Amber as a trophy), Dash is suspicious of the Brothers and asks them how they know his great-aunt. Sam awkwardly explains that they never knew her and are there representing their late “surrogate dad” Bobby.

Things hit a snag when the Brothers find out they will probably need to stay the weekend. The will isn’t being read until tomorrow. Beverley and Heddy assure the Brothers that they can stay the night, since the rooms sleep two, “or even three,” Heddy adds as she grabs Dean’s ass. Dean is only momentarily startled before he checks out her caboose in return as she turns away.

Now the one making a shot at the table, Amber asks where Colette went. The butler is entering the room at this point and lies (but none of the guests know this yet, of course) that Colette quit out of grief over Bunny and went off “to find herself.” When Heddy asks if she went off to an “ashram in India,” the butler says, “Clown college in Sarasota.”

Heddy: Good choice.

The butler quietly asks to see the Brothers out in the hallway in five minutes. As he and Dean leave the room, Beverley gets up and hustles over to ask Sam if he works out. Dean gets far more amusement than is legal out of Sam’s discomfort.

Out in the hallway, the Brothers are rolling their eyes at the family pretensions when the butler comes up to them. At first, it appears he is giving them the brush-off and Dean makes a joke about knowing where the shrimp fork goes (before admitting that he doesn’t).

After an uncomfortable double-take, the butler insists that there’s been a misunderstanding. He thinks the Brothers are “too good” for Bunny’s family (and he seems quite sincere). He calls the relatives “money-grubbing leeches” who lost all their money in the 2009 recession. He says that what Bunny left them is something the family would want in on and it’s too valuable for that.

Supernatural — “Ask Jeeves” — Image SN1006a_0248 — Pictured (L-R): Doug Abrahams as Detective Howard, Kevin McNulty as Phillip, Jared Padalecki as Sam, and Jensen Ackles as Dean — Credit: Michael Courtney/The CW — © 2014 The CW Network, LLC. All Rights Reserved

Unfortunately, as Olivia comes out into the hallway and he’s handing them a padded envelope, the butler is forced to admit that he has no idea how Bobby and Bunny knew each other. At any rate, the envelope is the Brothers’ inheritance. Dean eagerly opens it up as the butler and maid leave, only to find a cross on a chain, with gems he deems “a bit fancy to leave a guy like Bobby,” but that looks rather cheap. Even so, both Brothers immediately jump to the conclusion that Bobby and Bunny had a past affair, and that the gems are real.

The gems are not real. They discover this when they take it to a pawn shop. However, the clerk there does help them find out a secret about the cross – it has a key inside it. But, as Sam asks, “a key to what?” Dean suggests they go back to the mansion and “find out.” They can “ask Jeeves.” There’s your title.

Cut to Stanton and Amber having a fight in their bedroom in the mansion. Thanks to Beverley, he suspects her of cheating after she texted a “peeled banana emoji” to a person she claims is her mother (Amber, deadpan: “She likes fruit”). She denies it, but she’s a little too cavalier to be sincere and deflects by insisting he’s drunk (Well, that’s true). Looking at an enormous wedding portrait of a much-younger Bunny with her husband Lance, she comments that he was insanely jealous of his wife, too. Stanton claims that’s not without cause.

Stanton: My sister was nothing but a two-bit hooker in Chanel!

Showing outrage (which may or may not be fake) at how he talks about his own sister, Amber takes this as her cue to go into the bathroom and shut the door. Soon after saying “good riddance” to the two subjects of the portrait, Stanton hears an odd mechanical voice call his name, but Amber insists (from behind the door) that it’s not her, so he goes out into the hallway.

Striding down the hallway as the voice continues, he is shocked to find the dead Lance, looking not a day older than his portrait, stiffly coming out of a room, holding an axe. While Stanton is still busy reacting in shock, his brother-in-law whacks off his head in one blow. Amber comes out into the hallway just in time to witness the murder and belts out a credibly blood-curdling scream.

Cut to the Brothers arriving back at the mansion that night to find an unmarked police car with a light on the dashboard out front. When they ring the doorbell, the butler answers, but he’s subtly different and not pleased to see them. When Dean asks him if everything is “all right,” the butler snots back, “Not really,” then makes a comment inside about checking the closet “for burlap.” Dean exchanges some more snark with him.

A bald, bearded detective comes out into the foyer, flashes his badge, and tells them they can’t leave because they, and the rest of the household, are murder suspects in Stanton’s death (This, of course, is completely illegal since no one is under arrest, but the Brothers aren’t going to push it on that score).

Re-entering the Billiards Room, the Brothers find Heddy peeling off a drunk sister while arguing with Dash about whether or not Amber is guilty. Heddy thinks yes and Dash calls her an “old lady” in his rebuttal. As the Brothers enter the room, an embarrassed Heddy begs to differ on that designation, insisting she’s only 39. Dash says the last time she was 39 was in 2003 (which would make her only 50, hardly decrepit). I’m with Heddy that Harvard Business School didn’t teach Dash much in the way of manners.

Heddy’s reasoning for Amber being the killer is that she was having affairs, but couldn’t leave Stanton due to an “iron-clad” prenup. Dash is not convinced of Amber’s guilt, even when Heddy says Amber’s story about what she saw of the murder is ridiculous. Amber claims that Lance, who’s been dead for years, did it. So, she’s claiming the killer was a ghost.

This, of course, pings the Brothers’ radar. Sam immediately takes Dean aside and excitedly suggests that this is “our kind of case.” Dean agrees and wonders if they can get back out to the Impala to retrieve their EMF meter. When Sam points out the detective is unlikely to let them do it, he figures they’ll probably have to “go old school.”

Dean: Cold spots it is. You stay here, keep an eye on Miss Peacock and Colonel Mustard. I’ll sniff around. (Yes, these characters are from the classic board game, Clue.)

Sam agrees, but is a bit horrified when he turns back to find Beverley smiling and waggling her fingers at him. Meanwhile, Heddy is declaring to Dash that she has “a big, beautiful yacht” that is actually “a mahogany sunfish” (a small sailboat) and Dash is accusing her of being nuts from too many “synthetic hormones.”

As Dean goes upstairs and investigates an empty suit of armor, Sam is downstairs “interviewing” Dash. Sam asks him why, after two deaths in the family, they’re not more distraught. Dash admits that none of them like each other, so no one’s broken up that two of them have died, one by murder. But hey, isn’t every family like that? Sam opines that he likes his family (Really, Sam? You couldn’t say that in front of Dean?), but then, it’s only him and his brother. Dash calls him lucky.

Sam then asks why Dash doesn’t think Amber killed Stanton (well, aside from the part where it would be pretty hard for her to whack off his head with that heavy axe). Dash emphatically insists Amber’s not a killer – she’s too dumb.

Upstairs, with perky harpsichord and oboe on the soundtrack, Dean is walking past a bedroom, a warthog head on the wall, and a bunch of family paintings and heirlooms (like a ceremonial sword). He arrives at some crime scene tape and a silhouette of Stanton’s body and head on the floor. There is no blood and it makes me wonder, also, why the place isn’t still crawling with CSIs or at least more law enforcement than just “Detective Friendly.”

Anyhoo, Dean glances over at a bookshelf and notices immediately the spine on one of the books has a very familiar cross pattern on it. Just like the cross-key he and Sam just inherited. He takes it out to make sure. Pulling the book out reveals a hidden door to another door with a lock.

Downstairs, Dash is admitting he doesn’t believe Amber’s story about a ghost because he doesn’t believe in ghosts. He does say that if anyone in the family were to come back as an angry spirit, it would be Lance, who was “a real bastard” in life. Albeit, after his death, Bunny became a “recluse.”

At this moment, the detective comes out with Amber and wants to interview Dash next. As Dash goes with him, he exchanges a Significant Look with Amber.

Upstairs, Dean is discovering that the cross-key does, indeed, fit the lock to the other door. Inside, he finds a passageway pretty literally between the walls, filled with weird bric-a-brac, a plate of bread, a stuffed bear, and other signs someone may have been living in there. He also discovers Colette’s dead body rolled up in a rug and a very-much-alive Olivia, who claims that the butler (Philip) locked her in there. She says he did it so she wouldn’t talk to the detective about hiding “Clown College” Colette’s body and her witnessing Colette’s murder. Dean guesses that Lance killed her and does a double-take when Olivia says it was Bunny.

Downstairs, Sam is playing cards with the two sisters while the clock chimes. He excuses himself when Dean comes back in with Olivia. Dean asks him if he’s seen the butler. When Sam says no, Dean fills him in about the attic upstairs and finding Olivia, as well as Colette’s dead body. He thinks they’ve now got two vengeful spirits on their hands, though Sam is a bit skeptical about this. Dean says the butler has the answer and must be acting as the spirits’ “Renfield” (Dracula’s slave assistant) and protecting them, since he locked Olivia in the attic. Sam suggests they split up and goes upstairs.

As Sam’s ascending the staircase, he hears the detective come out and call his name for an interview. Sam hurries upstairs to avoid him, but just as he thinks he’s in the clear, he runs into Beverley, who calls him a naughty boy and wants to be naughty with him. She figures she’s got about ten minutes before her interview with the detective and she bets Sam could do a lot in those ten minutes (Well, he sure could when he didn’t have a soul). Weirded out, and lacking Dean’s ability to be seductive, Sam tells her he’s “right behind you” as she goes into the bedroom and then flees down the hallway.

Downstairs, as the jaunty harpsichord starts back up, Dean is going down a hallway where he finds a rusty wrench (a classic Clue item) and finds the butler in one of the bedrooms, adjusting his tie. The butler insists he can “explain everything” to Dean, after making a crack about “a leaky faucet down the hall.”

However, upstairs, Sam finds a missing blade from a block of knives and a bloody smear on the floor. After pulling out a knife of his own, he, too, discovers the butler – dead with a knife in his back, and the soundtrack goes seriously dark.

Dean is not really buying the “butler’s” explanation that he was hiding Colette’s body until after the funeral because he didn’t want her murder to disrupt it. When Dean opines, “That’s crazy,” the butler insists that it’s “loyalty.”

At that moment, Dean gets a text from Sam telling him the butler’s dead. Dean plays it cool as he turns back round, but somehow, the “butler” figures out he’s been made. Grabbing Dean, he tosses him across the room into a wall. By the time Dean is able to get to his feet, the butler is gone, having left his suit – and his skin – on the floor in a bloody pile. Dean looks disgusted and calls Sam, warning him that the real MOTW is actually a Shapeshifter.

Cut to the butler’s dead body, as the Brothers discuss him from the doorway. The Shapeshifter’s MO seems to be “impersonating dead people.” And now the ‘shifter could be anybody (“Even you,” Sam points out to Dean). Dean says they need to find some silver, quickly.

At that moment, Olivia comes in with tray and drops it with a gasp of shock at the sight of Philip’s body. Sam tries to calm her down and get her with the program, while he and Dean suss out whether or not she’s the Shapeshifter. They get her to show them a silver set, while also getting her to handle some (while also testing each other). Now they have to test everyone else.

The Sisters are swiping right through a phone dating app for millionaires. When Beverley complains that one is ugly, Heddy reminds her that beggars can’t be choosers.

Heddy: Who cares if he’s ugly if you’re drinking Mai Tais in the lap of luxury?

Good point, there, Heddy.

When Sam comes in and sits down between them (so he can test them with the silverware), they are absolutely thrilled. Even Beverley is so desperate that she’s happy to forgive and forget the runner he did upstairs as “playing hard to get.” Sam ends up with his hands on each one’s knee (because Heddy was feeling left out).

Upstairs, the harpsichord starts up again as Dean enters another billiards room with a lot more dark-wood paneling. He’s about to leave when he hears noises coming from the closet. He picks up a hefty candlestick (Every time he thinks he’s about to be in peril this episode, he picks up something and it’s always an object from the game Clue). When he opens the closet door, he finds Dash and Amber canoodling. Dean guesses they’ve been together for a while, but though they admit to having an affair, they insist they didn’t kill her husband/Dash’s great-uncle. Dean doesn’t care and gets them to touch the silverware by threatening to tell about their affair if they don’t. They pass the test and he agrees to keep mum. Then he ushers them back into the downstairs billiards room, where Sam immediately extricates himself from the sisters (as Dean asks if he should wait until Sam is “done”).

Dean: And it’s all going to Hell, right here, right now.

The Brothers, while grumping about “WASPs,” confer and realize the only one left is the detective. But at that moment, they hear a scream and run into a large bathroom to find a shivering Olivia pointing at the detective, who has been drowned in the toilet.

“How filthy!” exclaims Heddy.

At first, they all turn on Olivia (even as Dean is telling them not to point fingers). Heddy then notes that Amber was the one with the most to gain from both Stanton and the detective’s death, since the latter was investigating the former. This is not untrue, but it doesn’t stop Dash from playing White Knight for Amber. He calls Beverley and her sister some pretty viciously ageist and misogynistic names (“Rizzoli and Isles,” “Old Lady” for Heddy and “Baby Jane” for Beverley), irrationally accusing them of murdering the detective. Never mind that the Sisters don’t have a motive in either killing, but Amber most certainly does with her husband.

At that point (as Dean sotto voce‘s to Sam that it’s about to happen), Amber and Dash proudly out their affair. However, they immediately start off on the wrong page. Dash thinks they’re in love with each other. Amber openly admits it’s just a fling. Whoops.

After Dash calls her “Baby Jane,” Beverley decides to do a faux-outraged flounce. Dean, after a double-take, stops her cold, while Sam looks flustered. She then tries to fling herself against Dean while declaring herself outraged that he’s outraging her desperate bod. She purrs in disappointment (lots of sexual purring in this one) when he pushes her away. At least with Dean, however, his reason is entirely practical.

Dean: First of all, who talks like that? Second of all, no one’s leaving, okay?

Beverley [throwing herself against him]: Ohh, get your hands off me, young man!

Dean [gently putting her at arm’s length]: Okay, see, I don’t trust anyone, and leaving just makes you look guilty!

To everyone’s shock, Sam announces that four people are now dead and Dean fills them in on who the remaining two are. Heddy is shocked that “Clown College Colette” is really dead.

Sam tries to get everyone back on board, but Dash puts his oar in at this moment (likely out of some misguided “chivalrous” attempt to protect Amber from accusation), accusing Sam and Dean of being the new, murderous element. He claims that while everyone in the family “hate” each other, they never killed each other before.

Heddy, for reasons not clear to me, agrees. While Dean is trying to field this latest salvo, Dash filches the dead detective’s gun out of its holster and starts waving it around (All three of the women grab each other and back away). Acting all tough (“I hunt pheasant!”), he forces the Brothers into the Security Office and locks them in (Yeah, where is Security, anyway?). His excuse for not trusting them? They wear flannel.

Even though the lock is on the outside, the Brothers get busy. Sam finds room keys and Dean tries to push in the latch with a butter knife, only to discover that the “silverware” they’ve been using to test for Shapeshifters is stainless steel, so now they have no idea who’s the Shapeshifter and no way to kill it. While they’ve got silver bullets, those are in the Impala’s trunk.

Meanwhile, in the downstairs billiards room, Heddy and Beverley are making snarky comments about how they knew the Brothers were trash because they drove an “American made” car and repeat the flannel putdown. Beverley also claims they’re gay because they both rejected her advances. She and Heddy muse on how they’re gay murderers, like the play/movie Rope (1929 and 1948, respectively).

Amber is questioning Dash’s shaky logic about why Sam and Dean have to be the killers. Amber gets nervous about Dash waving the gun around (“I hunt pheasant!”) and after he ignores Heddy telling him to put it down, she shouts at him to put it down, too. This time, he obeys.

Gotta admit that it took me a while to get beyond this section because it’s so mindbogglingly stupid. I understand that they needed a third-act roadblock to separate everyone again and slow the Brothers down a bit, but this one didn’t make sense. The Brothers are too experienced to get caught off-guard like that and Dean, at the least, would have secured the gun for his own use.

Also, it makes no sense why Heddy, who was trading vicious insults with Dash just a moment before in which she was accusing Amber (with cause) of murder and he was accusing her (without cause) of the same thing, would suddenly go along with his hare-brained idea that Sam and Dean are the cause of the murder spree, especially since Colette’s disappearance predated their arrival and Amber saw a guy who looked like Bunny’s dead husband kill her husband. Too much OOC action all-round.

Dash insists that the Brothers wanted the family inheritance, so they’ve been killing people off (except that most of those who died weren’t family). Amber doesn’t really buy that, but nobody gets any time to pick holes in his plan before Olivia walks in with a bottle of liqueur.

However, Olivia’s demeanor is different this time. When Heddy rather imperiously tells her to go call the police, Olivia drops all obsequiousness and says, “Oh, I don’t think so.” Calling them “idiots,” she tells them that whenever it’s not the butler, it’s always the maid. While everyone is shocked at her impertinence, she sets the bottle down on the table where the gun is, picks up the gun, and starts holding them hostage. She’s the Shapeshifter.

Inside the Security Office, while he and Dean look for a way to jimmy the lock, Sam sees Olivia with the gun, threatening the rest of the family, on the CCTV camera. He calls Dean over, who says in disgust, “We got played by the maid.”

Dean tries to shoulder-slam his way out of the office, but, as he notes, the doors are “reinforced.” While the Brothers continue to try to figure out how to escape, Olivia is doing a Tootsie-style monologue about her true identity. She’s Bunny’s very devoted daughter and grew up in the attic. Amber immediately references the famously shlocky Flowers in the Attic (1979), to which Heddy rolls her eyes and says, “Oh, Amber.”

While Dean watches and Sam continues to search, Olivia says that after Bunny died, Philip “took pity” on her and allowed her out. He had her pose as the maid so she could “hide in plain sight.” She claims that Colette’s death was accidental, that she only wanted to “scare” her for being a thief.

Heddy says that they’re not thieves, so why is Olivia killing them? Olivia says they’re worse – they’re disrespectful of her mother’s memory. When Dash, confused, wonders why she killed Philip, she claims that he “turned on me” after she killed Stanton.

Olivia: Lucky for me, the cute dumb one let me out.

Oh, sweetie, you have no idea.

Heddy calls her a monster, to which Olivia laughs and says, “Oh, you have no idea.”

Inside the office, Sam finds a gun safe and Dean tosses him some keys to it. Sam shoots out the lock (which everyone in the Billiards Room hears. Olivia takes aim as some footsteps approach, but still misses her shot at Sam as he comes round the corner. After she flees the room, Sam runs after her, telling the family to stay where they are.

Heddy: Did anyone else wet themselves?

Sam pursues Olivia into the darkened kitchen, where she again ambushes him. He hides behind some cupboards and they exchange dialogue. Olivia notes that he doesn’t have “a clear shot.” He points out that she doesn’t, either.

It turns out she has a beef with Bobby Singer and figures killing Sam (and, presumably, Dean) will be the next best thing. Sam gets out of her that her real father was a Shapeshifter who had an affair with Bunny. Bunny then passed off her child as her husband Lance’s, but the ruse was exposed when Bunny came home with Olivia from the hospital and the Shapeshifter showed up to claim his child. Lance was killed, but Bobby showed up and killed the Shapeshifter.

Bunny managed to persuade Bobby not to kill Olivia as a baby, but Bobby’s condition was that Bunny keep Olivia locked away. Bunny then told the rest of the family that she’d lost her baby, “devotedly” took care of Olivia, and put in her will that Bobby would also “take care of” Olivia after her death.

Sam is puzzled why Olivia would be angry with Bobby when he spared her, but Olivia rants that killing her would have been kinder than keeping her locked away all her life. The murderous madness we see that is specific to Shapeshifters throughout the series is full-blown in her. I suspect the holes in this story are due to her grossly over-romanticizing everything that happened between her parents.

In the past, for example, we have seen Shapeshifter fathers impregnate human women by deceiving them (rape through deceit) and when they later come for the babies (for an unknown fate), they murder both the mothers and their husbands. However, there is a twist with every successful Shapeshifter episode and in this one, Olivia does actually love her mother and idolize her biological monster dad. So, she has to resolve this conflict by casting Bobby as the real monster in the story. And also, of course, she’s a psychopathic murderer.

Sam tries his patented “Being a monster is a choice” speech with Olivia and it fails miserably. As far as she’s concerned, Bobby made that choice for her at birth. Sam then decides to inch out from his hiding place for reasons that don’t make a whole lot of sense (I guess he thinks he can make her spare him out of a compassion she hasn’t demonstrated so far). Puzzled at first, Olivia realizes he doesn’t have any silver bullets, though regular bullets would still slow her down.

She doesn’t have long to relish this revelation, though, let alone shoot Sam, because someone who does have silver bullets shoots her from the doorway behind her and she drops dead (we get a really nice shocked reaction shot from the actress, which is probably one reason this gets sampled a lot in fan music videos and later episode recaps). It’s Dean, having gone out to the Impala for those silver bullets and a gun. He empties the clip into her prone, offscreen back as he enters the room, just to be sure (eight shots in all). His eyes look black in the dim light, his face cold, and Sam starts at each shot. It’s difficult to say who scares Sam more – Dean or the now-dead Shapeshifter.

Dean Winchester. In the kitchen. With a gun full of silver bullets.

So much for turning her back on the “cute, dumb one.” See how that turned out.

Later that night, all the survivors are milling about outside, the Brothers standing a bit apart. Dash comes over to apologize and tell them the police are on their way. The Brothers predictably take that as their cue to bail. He also tells them that aside from the key to the attic (which Dean promptly hands over, since the Brothers don’t need it, anymore), Bunny left everything to Olivia, so I guess the estate is now going to be in the courts for the next several years. With luck, the lawyers will end up with everything.

Sam tells Dash no hard feelings, but Dash wants to make it up to them by showing the world what “heroes” they’ve been. Dean’s like, yeah, no, and tells him to “forget we were ever here.” He then, with a pat on the shoulder, calls Dash “Izod” and basically threatens him if he ever tries to contact them again. No hard feelings, indeed.

The Brothers stroll off to the Impala, leaving a stunned Dash in their wake. As they drive off to suspenseful soundtrack music, Dash finally turns and goes back inside the house.

In the car, Sam wants to have a conversation about Dean’s overkill of Olivia, because of course he does. Basically, he thinks Dean emptying his clip into the Shapeshifter was too much, “demon residue,” some sign of the Mark affecting Dean.

Dean gets irritated with him and to be honest, I see Dean’s point. Sam was in imminent peril when Dean shot Olivia and one shot, in the dark, may not have been enough. Sure, Dean may be affected by the Mark, or he may be, as he puts it, “anxious” because it’s the first time he’s killed a monster since his “recovery,” but this is their job and Dean didn’t put Sam at any risk doing it this time round. As Dean says in exasperation, “Why am I even explaining this to you?” He then turns on the radio and we finally get some Classic Rock: Bob Seger’s “Travelin’ Man.”

Seger sings, rather pointedly, “Sometimes, at night, I see their faces./I feel the traces they’ve left on my soul./These are the memories that make me a wealthy soul,” as the camera pulls back from the interior of the car to an outside shot of Sam looking pensive inside the Impala, in the rain. It almost looks like an animation.

In the credits, there’s a dedication: “In memory of James A. MacCarthy, 06/29/21-08/25/14.” He was the father of one of the ADs for the show, Kevin MacCarthy.

Ratings for this episode went up a bit in demo to a 1.0/3 in the A18-49 demo and up quite a lot to a 2.54 million in audience, from previous episode “Fan Fiction,” off an episode of The Flash.

Review: “Ask Jeeves” is a fun episode that shouldn’t work (and is largely and undeservedly forgotten), but is one of the better MOTWs of the later seasons. It’s quite solidly written, aside from a few holes (such as when, exactly, Olivia killed Philip. Was it her both times after the Brothers came back? If so, how was she able to kill him while still locked in the attic?). It’s a bloody good time, with a reasonably high body count.

It is, in fact, an episode-long advertisement for a tie-in game that came out immediately afterward. Supernatural: Clue (which I have upstairs) is a pretty entertaining variation on the traditional Clue game, using characters from the show (though I’m not wild about Charlie being in there, let alone as the token semi-regular female character) to explore the entire United States (instead of a single country house) and find out which character has been possessed by a demon. They also put out a Supernatural-themed Ouija board, which seems like a really bad idea (some Amazon reviewers agreed).

Now, this might remind you all of a certain recent famous film, Knives Out (2019). However, even though writer/director Rian Johnson claims to have come up with the basic concept for that film in 2005, he didn’t write the script until 2017 and “Ask Jeeves” first aired on November 18, 2014. Also, this episode, obviously, takes its main plot engine from being based on Clue, a board game created in 1943 and already brought to the screen (pretty memorably) with the likes of Tim Curry and Madeline Kahn in 1985. So, that part can hardly be said to have been ripped off from Johnson’s idea.

As for the twist involving Olivia the murderous maid (which sounds an awful lot like one of the twists in Knives Out), it doesn’t sound as though Johnson had that idea, or at least told anybody, before he wrote his script. For all we know, he got it from the episode and rewrote it to suit his own script. Overall, though, I think we can mainly chalk this up to parallel development. Ideas, including general plots, are not copyrightable.

The Clue game was invented in Britain by Anthony Pratt during WWII. He sold it after the War to a British game company called Waddington’s (Parker Bros in the U.S.), now owned by Hasbro. In Britain, it was called Cluedo.

It was inspired by murder mystery party games that had been conducted on country estates before the War. Guests would prowl around the estate rooms, pretending to fall down dead and play victim. Nostalgic for this light-heartedly macabre pastime, Pratt recreated it in a board game.

Most of you will probably be familiar with the format: Mr. Boddy has invited a group of six people (all with secrets) to an isolated country estate, but he’s murdered before he can explain why they’re there. The players then draw cards and play the game to find out who killed Mr. Boddy in which room with which (of six) weapon (helpfully provided as part of the game pieces). Colonel Mustard in the Library with the Pistol. Miss Scarlett in the Kitchen with the Knife. That sort of thing.

The film, set in 1954 and put out in 1986, gave a Cold War spin to the classic game. All of the guests come from Washington, DC. All of them are being blackmailed by someone. It appears to be Mr. Boddy until he’s murdered and the blackmail continues. Three different endings have different murderers and theaters got different ones at the time. Nowadays, the endings are tacked onto the main part of the film in increasing levels of complexity, with the most complex one aired last and called the “true” one. This is the one with a classic blooper from Madeline Kahn that was included in the final cut of the film.

Though not a hit at the time, the film has since become a cult classic with many quotable lines.

In addition to a musical, the game has been updated several times (about once each decade), replacing outdated weapons and even a character (Kahn’s character Mrs. White) in 2016. But what brings us here is that the company has also done media tie-in versions: Star Wars, The Big Bang Theory, Alfred Hitchcock, etc. And, of course, a Supernatural one. This episode was a licensed and intentional tie-in for the Clue franchise, just like the later Scooby-Doo episode, so it’s a rare crossover episode between fictional franchises and across media.

I guess it’s because this was a tie-in (therefore a gimmick) that we never saw any of the surviving guest characters again. That’s a shame. They were well-cast. Heddy and Beverley, in particular, were hysterical (Jensen Ackles later commented on this) and there’s a really funny blooper from this episode in which the actress playing Heddy (Gillian Vigman) accidentally overplays the word “murder” as “murrrderrr,” cracking everyone up. Dash had some promise as a wannabe Hunter, too, though I guess he took Dean’s threat seriously in the end and never dared call the Brothers up again.

Unfortunately, that does lower the stakes a bit, especially since, while they do build on the character conflict from season six’s “Two and a Half Men” (when Dean and Sambot find themselves caring for an orphaned Shapeshifter baby after its human mother is murdered), they never directly reference it. Except for the coda, this episode could have been removed from the lineup with no effect on the mytharc, just like the previous episode. That probably explains why it’s been forgotten like other well-done, one-shot episodes like season two’s “Road Kill.” Even so, I wish this one had been the 200th episode and not that stupid “Fan Fiction.”

The episode writing plays with the concept of class and flips the script on it more than once. For example, with the exception of Bunny, everyone in the family has been poor for the past five years (they lost their money in the economic crash of 2009 and don’t look as though they handle money well, anyway). The maid turns out to be the only one who inherited anything, so she didn’t need to kill anyone. Now, with her dead, who even knows what will happen to the estate? It’ll probably all get sold off to pay the lawyers (Talk about “blood-sucking leeches”).

The family, conversely, looks down on Sam and Dean, who may well be a lot richer than Bunny at this point in the series, let alone her family of well-dressed grifters. After inheriting John’s storage locker, the Campbell Quonset Hut, the dragon hoard, Bobby’s junkyard, and now the Men of Letters bunker, the Brothers not only have a lot of cursed and powerful objects they can’t sell off, but actual liquid wealth they can use to make their daily lives better and to help others. No more credit card fraud for them. They may drive an American car (albeit a classic muscle car in fabulous condition) and still feel most comfortable in flannel, but they are now the ones who are wealthy, albeit they grew up in extreme poverty.

The family is so parochial and blinkered (and desperate) that none of them realizes this. And that’s not even getting to the part where being a wealthy human is pretty far down the SPNverse food chain (as the story of Olivia’s parentage illustrates).

The way the show deals with Shapeshifters is faithful to the show’s lore, while adding in a tragic twist. In this case, the twist in Olivia’s psyche is that she is ferociously, psychotically devoted to the mother who locked her away in the attic (to save her life, she insists), to the point where she will kill anyone who dares to desecrate Bunny’s name, including other members of the family, even immediate members (like Lance, who is Bunny’s brother). Of course, as is the case with SPN MOTWs and is frequently the case with real-life serial killers, murder becomes easier and easier for Olivia, with her motives becoming increasingly casual. Her excuse for trying to kill Sam near the end is at least based as much on self-preservation as her twisted revenge-by-proxy stated reason, but her motives for killing the butler and even the detective are pretty thin.

Olivia’s view of her bio daddy, like her mother, is probably extremely rosy and idealized. She wouldn’t remember Shapeshifter Daddy, after all, let alone her human stepfather. We know from “Two and a Half Men” that the Alpha Shapeshifter’s MO was to impregnate women, then either come back or send a ‘shifter progeny back to murder the mother (the husband or boyfriend, too, if he got in the way) and retrieve the baby not long after the mother had given birth.

Though obviously, the Shapeshifter in question wasn’t the Alpha (since it ended up dead at Bobby’s hands decades ago), I see no reason why it would have romantic feelings for Bunny while using the same MO. So, Bobby probably saved Bunny’s life that night. Since even entertaining that thought would be too horrific an emotional paradox for her, there’s no evidence Olivia even tries to grapple with it. As far as she’s concerned, Bunny and the Shapeshifter pretending to be her husband (and who killed her real husband) were just star-crossed lovers and Bobby was the true Villain of the piece. Yeah, okay, Olivia.

There are REALLY OBVIOUS parallels between Olivia and Dean in the script. The idea in the climax, based on Sam’s reaction, is that Dean is crazy-murderous about family, like Olivia, and needs to be locked in the attic/Bunker as much as possible to keep the rest of the world safe. This dramatic tension is undercut quite a bit, unfortunately, by the game-within-an-episode format, where Dean comes off as no more than mildly eccentric in a redneck sort of way until the moment he kills Olivia (The goofy Clue plot-spell-metaphor is broken as soon as he escapes the house and gets back to the Impala’s magic trunk).

On the other hand, Sam’s overreaction is rather par for the course for the rest of this season, in which Sam is so damned and determined to make a crisis out of Dean’s demonic mental health issues that he is far more destructive, and hurts a lot more people, than Dean does.

Whenever I see these two, I am firmly reminded of the truism in family counseling that the black sheep (Dean) who shows overt symptoms and gets help is often the least crazy one of the family because that person at least recognizes they have a problem, and are seeking help and change. The members of the family (Sam) who are so buried in dysfunction that they think they are just fine are so far gone, so invested in the bonkers family dynamic, that they are very unlikely ever to get out of it. They may be more overtly functional and may fit better into mainstream society, because they can hide the crazy, but because of this, it festers and they never get better.

Thus, we have Sam convinced he’s the sane, socially literate, functional brother, so he never gets any help or tries to change, while Dean at least recognizes that there’s a problem by the fact that he’s in a whole lot of pain, and struggles to find help and get better. More on this in a bit.

The gender dynamics in this one are pretty interesting. Lots of toxic masculinity and misogyny within the family (which is its own special brand of highly dysfunctional). Despite the devotion and loyalty of his two surviving cousins, Lance has many nasty things to say about his dead sister Bunny, to the point where even his secretly adulterous young wife calls him out on it. Dash mirrors this in his toxic and ageist interactions with his great-aunts Heddy and Beverley. This comes up quite a lot, since there is actual gender parity in the characters, giving us enough female characters to have different character types who even pass the Bechdel Test (Heddy and Beverley constantly discussing Amber, or talking about Bunny, for example).

More interesting is how the Brothers connect to this. To be perfectly honest, I don’t see the problem with Heddy and Beverley. Sure, they’re trying to nab a new husband for one of them, but at least they’re not openly trying to welch off their dead cousin. It’s not as though they have any other skills than marrying well and being an ageing trophy wife.

The ageism with which their male family members treat them is gross. Lance and Dash act as though the fact that Heddy and Beverley grew older (just as Lance did), but still wanted love and affection, is some kind of crime. No wonder Heddy and Beverley aren’t impressed by his getting a wife young enough to be his daughter.

Dean reacts positively to at least Heddy’s come-ons and even his rejection of Beverley doesn’t happen until he is all business and trying to hunt down a murderous Shapeshifter. For all he knows, that’s Beverley. But we don’t see Dean act with the misogyny or ageism that we see in Lance and Dash. He doesn’t blame them for not being young. Hell, he treats Olivia with respect and consideration until the very end, when she’s a monster threatening Sam. And he doesn’t rat out Amber, either.

Sam … is a whole other story. It’s one thing not to be into Heddy and Beverley, and even to be a bit skeeved out by their overly aggressive overtures. But Sam acts terrified of both of them, specifically because they are older. This is a fairly obvious call-back to season three’s “Red Sky at Morning,” when Sam had to field the advances of an older rich woman in order to get information on the case.

The thing is that Sam is supposed to be the “woke,” liberal brother who is more enlightened than Dean in gender relations. And maybe he was – in 2005 when Season One aired. But from Kripke onward, the writers have constantly challenged Dean’s worldview and attitudes, while tossing Sam softball situations, when they bothered to have Sam encounter them at all. As such, we have a lot of information about Dean’s views on a whole lot of things and have seen him grow considerably over the years. Sam? Not so much.

The show doesn’t make this problem obvious very often, but Sam does not come off well in “Ask Jeeves.” There simply is no reason for him to be panicked over the come-ons from these two women, especially since they hardly do anything to him when he does show them attention to get information out of them. They’re basically playing Patty Cake with him when Dean comes in.

Dean, who fields sexual harassment and even assault several times per season, is unsurprisingly unimpressed by Sam’s hysteria (Contrast this scene with Dean fielding the overtures of an older woman with considerably more grace in Season 11’s “Into the Mystic”). Which leads us to things we’ve learned about the behind-the-scenes circumstances in the latter seasons of the show.

I know it’s taken me quite a while to get through this one. Partly, that was due to external events being very distracting (taking Physics this past semester and my jobs coming off furlough). Partly, it was due to how the show ended and what has come out since then about the writing decisions that led up to it. I wrote quite a long series ending review, so I won’t revisit it too much in detail. But I will discuss Jared Padalecki’s new show, Walker, for a little bit, since the writing and acting on that one references Supernatural pretty heavily in some revealing ways.

Walker is … well, it’s not good. I was disappointed that Anna Fricke (who’s married to Jeremy Carver and co-showran the U.S. Being Human remake) is so awful in creating this, though Jared Padalecki has to take some of the blame. He’s an executive producer and this show was pretty obviously designed to order based on his checklist of desired things.

The show wants to be a “woke” version of 1990s macho hit Walker: Texas Ranger, yet somehow it manages to be less woke than that show. Walker, for example, is no longer part-Native American and no longer explores that heritage. He’s basically the son of a rich white rancher and comes from a very privileged, albeit rural, background.

In interviews, Padalecki has claimed that he got the idea from reading an interview of a Border Patrol agent. Why this led Padalecki directly to doing a remake of an older show is less clear, but it appears to have been his idea. You could say this is a vanity project. Either way, it’s his baby and the network seems anxious to go along with it to keep him with them.

He has claimed that he originally was going to retire from acting and only executive produce the show, with the idea that Jensen Ackles would play the lead. It’s unclear whether Ackles turned the role down or Padalecki just decided he wanted to play the lead. So, the fact that Cordell Walker is basically a non-supernaturally flavored version of Sam Winchester should probably not be a shock.

Rather more irritating is that Walker has a friend/foster brother/cousin-or-something who is clearly the Dean character in the story and is introduced – I wish I were kidding – as a male stripper in a cowboy outfit at a club. Really, I wish I were kidding. He’s also a petty criminal, because of course he is. That Padalecki said in one of his interviews promoting the show that he thought Dean’s story was All About Sam and spelled out that Dean died so Sam could have a normal life, should not be a surprise when you watch this show. Padalecki also riled up fans by saying that Dean would not have wanted Sam to end up with Eileen. Hmm.

The show is rife with half-baked cliches, though the pacing is by far the biggest problem. Sam – sorry, Cordell’s wife is fridged in the pilot’s teaser and he goes on a year-long undercover assignment. This storyline worked well in the late, lamented Longmire, in scenes like this brilliant episode ender:

But Walker ain’t that kind of show. In fact, it feels like a hodge-podge of CW soap opera elements (such as the brother’s husband who is Asian American and quickly disappears for dumb plot reasons, almost identical to a storyline in the CW’s reboot of Charmed) and better shows. Like season three of The Rookie, which does this whole law-enforcement-post-#MeToo-and-Black-Lives-Matter storyline so much better. Or Nashville, which had some equally annoying kids.

The procedural elements are rushed and shallow, all of them in service to the family melodrama – and Cordell Walker has a very annoying family. Notably, his two teenage kids, especially his daughter, are dumber than a box of hair and act far too naive to be the children of a law enforcement officer, especially one who just came off an undercover assignment.

Daughter Stella makes the protagonist of Lifetime movie classic Mother, May I Sleep with Danger? (1996) look smart. She actually gets involved with the son of one of the people her father got sent to prison as part of his undercover assignment. No vetting by Dad of the people these kids date? Really?

Never mind that when Cordell has to go back undercover (because apparently, they had him go undercover near to home, which sounds insanely unsafe), his son’s girlfriend gets the kid all salty about Daddy’s frequent disappearances and the son nearly blows up the entire assignment.

Doesn’t help that Stella in the pilot gets herself and a Hispanic friend arrested for stupid reasons, completely upending the friend’s life. Seems the friend’s parents were in the U.S. illegally and the friend’s arrest puts them at risk of deportation. While Stella feels bad, rather than sitting down and doing a little introspection about her entitlement and using her massive ethnic and class privilege more responsibly, she keeps putting her oar in while throwing the biggest Poor Little Rich Girl tantrums with her father and making things worse for her friend. The writers apparently figured out eventually that this storyline was not doing Stella any favors, so they dropped it a few episodes ago.

Everything revolves around the family drama and everything in the family ultimately revolves around Walker. Very Sam-like. Procedural elements like the death of Walker’s wife or Walker’s undercover assignment are rushed and perfunctory, the better to make their even-more-pallid sequels All About The Family Drama, which is awful.

The undercover storyline is rapidly dispensed with in a single episode about six eps in, after which it morphs into a horrifically dire star-crossed lovers storyline for Stella (Stella is a black hole for storylines on this show. They all end up shifting to her and once they do, you might as well give up on them). Mrs. Walker’s murderer is introduced out of the blue about half a season in and then killed off in the same episode. Any other candidates beforehand turn out to be red herrings.

There’s also the fact that Cordell Walker is a particularly annoying stereotype of a male Hero that was popular back in the 80s. Remember shows like The Rockford Files and Magnum P.I. (written by the same people)? Admittedly, Rockford is more of a cynical cuss than a big baby, but Magnum is a damaged man child. To make these characters more sympathetic, rather than actually write them that way, the writers surrounded them with side characters (often women or PoCs, or both) who either tried to kill the protagonist or were obnoxious to him in some way. At the same time, they all revolved around him.

The same thing happens in Walker. Not only are all of these characters there specifically to help Cordell along on his journey, but the seriousness with which we are supposed to take his faults is usually undercut by how poorly they treat him. So, he gets let off the hook, constantly, for being an insensitive, self-absorbed idiot.

Getting back to the connection to Supernatural, I was always willing to buy the claims both Padalecki and Ackles made during the show’s run that they had little actual influence over how the writers chose to write their characters and storylines. There seemed to be quite a lot of evidence for this with Ackles, who grumped frequently over the years about having to do scenes and lines for Dean that he didn’t agree with. And, however inadvertently, the writers and showrunners frequently backed him up by bragging about all the challenges they handed off to him (like having him learn how to tap dance in less than a day) simply because they knew he’d do them and probably do them well.

Padalecki always seemed to be more willing to roll with whatever the writers came up with for Sam. While certainly, Sam got the nice storylines and often got Dean-tested successful storylines, too, that could be attributed to the fact that showrunners and some of the writers, from Kripke onward, were very pro-Sam.

But then we got to the exit interviews for the show. Ackles has talked about being unhappy with the show ending the showrunners pitched to him and Padalecki. Padalecki, on the other hand, has claimed to like it just fine. In fact, he actually referred to Dean’s entire storyline, his “success story,” as how he died being All About Sam. This makes it sound as though Padalecki genuinely agrees with show creator Eric Kripke that the only reason for Dean’s existence, both in-verse and as part of the story, was propping up Sam. For those of you wondering what character type that makes Dean, it’s the Sidekick. Yes, for 15 years, we’ve apparently been watching a Sidekick, thinking he was a Co-Hero in his own right. Silly us.

And now, seeing his interviews since then for Walker, which include tidbits about Supernatural, and how Walker is written to showcase his lead character in very similar ways to Sam on Supernatural, I’m coming to the sad conclusion that nope, Padalecki did not just roll with the storylines. Rather, whenever Sam got handed Dean’s storylines, whenever Dean (and Ackles) got shafted in favor of giving Sam the spotlight (however clumsy and illogical it looked), Padalecki was just fine with that.

In fact, it’s very possible that Padalecki may even have insisted on it some of those times. And it makes me sad that after 15 seasons, he could be like that to his main co-star. Ackles deserved better. Misha Collins did, too. Hell, we all did.

Next week: Girls, Girls, Girls: The Brothers encounter an old enemy and make a new enemy on a case involving witches and prostitution.

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

Season 15

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24 thoughts on “The Official Supernatural: “Ask Jeeves” (10.06) Retro Recap and Review”

  1. Great recap and review as always, Paula. Ask Jeeves is a long time favorite episode of mine and I loved reading your take on it.

    The last few weeks have been wonderful for Jensen fans. It’s refreshing to see him starting to get the accolades, recognition, and publicity that he deserved but never received while on Supernatural. The brothers’ relationship might have carried the show but Dean carried the brothers’ relationship. It’s become even clearer to me now that Jared has to carry Walker without Jensen.

    And I agree – Walker is essentially Sam Winchester. But Jared needs the work and I’m sure his fans are happy. I’ve even occasionally tuned in because I like some of the supporting characters. But after tonight’s episode, I’m not doing that anymore. (spoilers)

    During the glittery stripper/ bank robbing criminal/snarky sidekick/best friend’s death scene, he says to Walker, “I always knew it would end this way, brother.” Sound familiar? The Dean stand-in even dies from a stab wound. What a way to minimize the real Dean’s death scene! And for what? A Supernatural Easter Egg? To make some point about Dean being replaceable? I have no idea what Jared and the writers were thinking but i found it to be in really bad taste.

    But anyways, I’m excited to see Jensen in The Boys and future projects. It was time for him to leave Supernatural and spread his wings.

    1. Thanks! Yeah, I figured Colt wasn’t long for this world. That type of character never is (Frankly, the first SPN ep I ever watched, “No Exit,” I was astonished Dean had made it that long in the show). But after they started in with that nonsensical love triangle, I knew his days were short. I gotta say that I couldn’t care less about Cordell and Geri or whatever her name is getting together. Ain’t no chemistry there and they pretty much ruined her character making her a red herring suspect in Dead Wife’s murder.

      1. I actually don’t see any connection at all between the Chuck Norris Walker and Jared’s Walker. I feel Jared just bought the name to the show, for an audience.
        I just cannot believe Jared thought the part was ‘written’ for Jensen. I ‘thought’ he wanted a show close to home that he could write his (real) wife Gen in to play his (show) wife.

        I really like Molly Hagan and Mitch Pileggi as the parents/ grandparents. I mentioned I have been watching some X-Files, and Mitch Pileggi’s hair was a bit darker, but he was just as bald-on-top in X-files as in SPN and Walker.

        I dislike his having a gay brother who has an Asian fiance AND an Hispanic partner with a black fiance; it seems to me they tried to hit every single woke stereotype they could.

        I didn’t dislike Geri; I thought the red herrings regarding Dead Wife’s death were just stupefying. And ‘then’ it turns out to be somebody we meet at a poker game who immediately confesses and gets killed. Thank you, Deus ex Machina! THAT plot was over with.

        I did not think of Hoyt’s death in re to Dean’s; Dean’s hurt too much. If Jared thinks SAM had a ‘good life’ after Dean died, well, there was NO joy in it and I mentioned in THAT recap/review that Sam’s life after Dean died was a penance. He was not happy, no light shone in him. I wonder why Jared did not want to be with Eileen? (AND put that onto DEAN who was kind enough to give those two crazy kids some alone time; said put a sock on the door; I promise when I come home to be quiet. How am I supposed to get “Dean disapproves” from THAT? I felt like Jared was hallucinating who said what to who or something.

        Agree about the kids. They are too stupid to LIVE. I guess kids that age are selfish/self-centered and August is sneakier about it than Stella who BLARES her ‘issues.’

        I think they killed Hoyt because the actor got a good part in another series.

        Question: did you find Hoyt as a stripper offensive? If GERI’S job had been a stripper I would’ve been squeaked out (that SPN episode with the siren and the strippers had the most taste-fully dressed stripped I EVER DUN SEED) but we are supposed to ‘let it go’ when men are displayed that way.

        Anyway, the show is called WALKER but it’s got nothing to do with Walker TEXAS RANGER except WALKER is ‘also’ a Texas Ranger but it says something that what “I” want to see is Bonham and Abeline make sweet love in the barn.

        Trevor is stupid if he had never noticed his parents were bank-robbers and all-around murderous criminals (when you carry a gun in a robbery, things ‘can’ happen; if they had not shot/killed anybody it was just by change; Clint had no trouble putting a FATAL shot into Liam). WHAT did that kid think he was doing?

        I liked Jeeves in this; remembered him as Roy LeGrange from FAITH. What I love about SPN is seeing actors in multiple parts over the years and seeing their range. I would say Jeeves and Roy have ‘nothing’ in common and I like the actor for that.

        Oh Dash went on to make RomComs for Hallmark (as did Ketch, I was surprised to see). Olivia already played by an actress from a vampire movie called The Forsaken so she had experience with ‘otherworldly’ stuff.

        Did you see Jensen in the picture of him in his Soldier Boy suit? It looked SPRAYED on him.

        I have read multiple places that Jensen was offered the part of Hawkeye in the MCU Avengers as well as the lead villain in Deadpool. Is that true?

        1. My biggest problem with the diversity is that so far, it’s mostly been for optics and offhand comments that don’t develop into very meaty storylines. Very shallow. I actually like those characters. They’re definitely more interesting than Cordell or the kids. But they just don’t get much to do.

          I found Hoyt’s intro as a stripper pretty offensive, yeah, because it was clearly done to titillate the audience. It just…didn’t have a good reason to be in there. Funny story–was just talking to some friends the other day about Montreal, and how I and some coworkers visited a male strip club up there during the 80s a few times. Turned out my friends had been there, too, back in the day. Small world!

          Anyhoo, it was a club where the men stripped completely down and a lot of the “appeal” was that they could do boners on command (I am so not making this up). The boredom in their eyes was a real buzzkill, though, and I eventually stopped going. Was fun as a night out with the girls in the Big City, though.

          The kids, including Trevor, are just useless, but since it’s the CW, I’m sure they will stick around to continue to annoy the audience. That nonsense story his dad told him about how no one was supposed to get hurt–weren’t there some lines at one point about how the bank robbers had already killed several bystanders before that final robbery? I mean, come on. Rob banks, win stupid prizes.

          I guess Trevor will be the next generation’s Hoyt, and Slutty Grandma will take him in and feed him and hug him and squeeze him and name him George. Ugh.

          Agh, I *knew* Jeeves looked familiar, but I thought he was the tour guide from the museum episode (the one who mediums the message to Dean from Ellen about seeking help).

          The Soldier Boy suit is very nice and quite period appropriate as a superhero suit. Looks practical, too, which makes sense. We’re given the impression that Soldier Boy has actually had to fight a war, a very dirty war, that none of the Seven could even think about surviving. I hope they delve into a lot of the PTSD that WWII and Vietnam combat veterans experienced. I also hope Soldier Boy smothers his erstwhile teammate Liberty/Stormfront at the hospital.

          I don’t think it’s clear whether Ackles was actually offered those roles or if he was just in contention for some of them. He was up for the lead role in Smallville back in the day.

  2. Dean was the driving force and agent of chaos in the Supernatural world. Dean was always important, no matter who the show runner was, no matter how good or bad the script . Quite simply Sam’s journey would never have happened, he’d have ended in a pinstripe suit in some stodgy office doing a sad uninspiring version of “Law and Order” that few would have tuned in for.
    Dean was so much more than a sidekick. In part or maybe mostly because of Jensen whose talent knows no bounds, he can do almost anything including picking up how to tap dance in 3 hours or learn how to execute a perfect 180 in his lunch break. IMHO Jared learned so much from working with Jensen and he knows it and has tried to carry what he’s learned with him.

    From what I’ve seen so far Walker isn’t at the level of early SPN, it’s got a few teething problems but it’s normal a lot of first seasons are “wobbly” and grow. In fairness, for all it’s faults, Walker to me is about the same as any standard CW show, with its own little to do list. I can’t see it lasting 15 seasons, but what show does these days? They broke the mould and the rules with Supernatural, it was special and I’m ok with never falling in love with a show that way again.

    I don’t know about the behind the scenes stories, but I do think Jensen is above the shenanigans of most TV stars, he can afford to be as he has a surfite of talent and musical ability. Jensen loves to work and he gives his all no matter what and he just revels in being gainfully employed . We know he loved playing his character( whom he loves as much as we do) he got a lot out of the growing process as the show evolved, he picked up directing as a other string to his bow along the way, which he’s also good at, he will always be eminently employable for more than looks.

    I hope Jensen’s time on The Boys is as fulfilling for him as I believe his time on Supernatural was, for the most part( otherwise I doubt any amount of money would have held him there for so long)
    Jensen’s the one who put the “Supe” in Supernatural for me and I am really excited to see his new character in The Boys and where he goes with it.He already seems to have created good camaraderie with the existing cast so I see a very bright future for him on that show and with his upcoming voice work on Batman:The Long Halloween, others will get the chance to appreciate Jensen’s work on a more commercial scale as much as we all do.

    1. As far as Walker, if they keep burning through storylines the way they’re doing, they’ll be completely out of gas by the end of s2, tops. Like, jeez, people, slow down and develop some stuff. But then, when they do slow down, it’s to a grim crawl and we’re stuck in some horribly interminable sl with the kids. I’m very over CW shows at this point. They all seem to be working from a set of old WB criteria that were old in the early 2000s. There’s a reason the WB went belly up.

      I’ll talk a review or so down the road about Ackles’ The Boys and Batman stints. I really like the suit, though.

  3. “Ask Jeeves” was a fun episode, and the backstory on the game, Clue, was interesting as well. My mother loves that game. Every time she can get enough people together in her home, she ropes us all into playing Clue. She’s been trying unsuccessfully to win at it for decades. I keep telling her, you can’t just pay attention to the cards people show you – you have to pay attention to what they don’t show you or what they show others.

    Also, I got a laugh about your comment on “Für Elise.” It reminded me. When I was eleven, I taught myself “Für Elise” by ear, as a party trick, to impress my friends. I played it for my piano teacher, and she was . . . Not impressed. She made me learn the whole piece properly. Up until then, I had no idea that complicated middle section even existed.

    Its a pity Jensen spent all those years dealing with Padalecki’s self-centeredness. Must have been a bit like being stuck in a bad marriage. Of course, he chose to stay, and he must have had his reasons, apart from contractual obligations. I’m sure they have to revisit those from time to time. I feel only a little guilty admitting that I’m glad I did. The show wouldn’t have been the same without it.

    As far as “Walker, Texas Ranger”, I’ve never seen it. Of course, I curate my TV watching down to 1 hour per day, due to time constraints/other priorities. But that show never made it onto my radar as even a possibility, and nothing you’ve said is inspiring me to reconsider.

    1. Clue is fun, but I never seem to be able to find anyone to play it with. Yeah, the “I love Classical music because it makes me look classy, but I have no idea what it’s about” folks make me laugh. I grew up with a lot of classical music and my mom played the piano, but I am so not a fan of piano concertos (Yeah, I know, technically, it’s a Bagatelle). I much prefer Russian composers.

      I think Ackles was well aware of what he was doing when he chose to stay. In fact, I think he would have stayed longer if the writing had held up. I think Padalecki was checked out since at least s3. Ackles clearly loved playing Dean and even with WGA-mandated raises, he and Padalecki were making a lot of money in the back half.

      I only tried out Walker because another saltgunner friend was trying it and Padalecki was in it. I think I’ve kept going mainly to see how bad it gets. Every time they start to get into a groove, they stumble out of it and back into the weeds. Very annoying. These last two episodes were a two-parter, so I let it go for a bit due to not wanting to be irritated by some stupid cliffhanger. I will likely peace out at the end of the season, if I make it that far.

      1. My favorite is Camille Saint-Säens, even though I’ve never been able to pronounce his name. I like all those schmaltzy romantic composers. Chopin is the most fun to play.

        If your mom played piano, she probably wrecked it for you just from hearing it way too much. I’m pretty sure I’ve done that to my own kids. Neither of them can stand it, and I only played half an hour a day. I’m like that with the flute, because of my own mom. My kids are more tolerant of the guitar, but that may be because I only started it 5 years ago, after they’d grown up.

        I may have to give The Boys a look. I’ve never been into the whole superhero thing, but this sounds like a different perspective. And I’d like to see Jensen Ackles in something again. I need a new show. My son wants me to watch The Rookie with him, but I’ve never much liked police shows.

        1. Oh, I love “Danse Macabre.” It’s one of my favorite pieces. “Carnival des Animaux” is fun and didn’t he do “Le Rouet d’Omphale”? I used to play the clarinet (and a bit of recorder).

          I’m stuck at the moment on episode six of season one of The Boys. It’s very hip cynical. The Rookie is good, though. Some great women and PoC characters, and cast chemistry, humor well-balanced with drama, and season three tackles Black Lives Matter head-on. When I express disappointment in Walker, I’m usually comparing it to The Rookie.

          Lucifer is also hella fun. I gotta catch up on part 2 of s5.

          1. Welcome back! I’m glad to see your reviews again.

            Finishing Lucifer season 5 has only embittered me further against SPN’s handling of Dean’s story in Swan Song and his marionette fight in season 13. Now THAT’S a show that actually knows how to appreciate its lead actor and character.

            Its finale reminded me of the speculation you’ve written on Dean in the past that never panned out because the writers sucked. If only Jensen were treated like he deserved instead of constantly stuck spinning straw into gold. At least he’s finally free of it–and the CW–and getting loads of press and attention now.

            1. Thanks! Funny, I thought the same thing about that last scene in s5 of Lucifer. I was rolling my eyes pretty hard at the incessant protestations from some fans over the years that it couldn’t possibly work to “go there” with Dean, but it was perfectly all right to throw all sorts of Grand Poobah storylines and ridiculous titles at Sam. Okay, then.

              FYI, if there any shows y’all would like me to recap and review besides Supernatural, let me know in the comments.

          2. Yes, he did write that one. Danse Macabre is probably my favorite orchestral work. The theme song for 100 haunted house movies.

            I’ve been watching the latter half of Lucifer season 5. Just finished the Dan Espinoza episode. I was actually a bit disappointed in it. It was fun and all, but I’d hoped to find out a bit more about his backstory. I was thinking about it awhile ago, and he’s just about the only character that we know almost nothing about. All the others, I have a sense of how they got to be the way they are. With him, well, you know he was married to Chloe, and he was/is a dirty cop. But other than that, basically nothing. Makes him seem very isolated. In a sense, the lack of a backstory has become the backstory.

            1. I felt as though the show never really found its groove with Dan. In s1, he was a nasty piece of work, doing genuinely evil things. I always felt that Lucifer’s mockery, among other things, was a penance that Dan never quite clued in that he needed to do in order to redeem himself and that’s because the show mostly glossed over what he’d done in s1 (and continued to do) later in the series. If they’d had some more guts, I think they should have gone more of the route that they took with Linda’s ex. That was bleak as, well, Hell, but it made complete sense with that reveal.

  4. Thanks for the walk down memory lane!

    I’ve always thought this was a cute, enjoyable episode but in retrospect, the Dabb era makes almost all of the Carver era episodes look like Masterpiece Theater. It’s been sad to see SPN lose its layers and devolve into a simplistic, fairly typical CW show about a superpowered teenager and his adopted dads. Considering how the finale made a hard left and threw out every other character including Jack, my guess is that Pedowitz strongarmed Dabb into focusing only the brothers. Which to some degree is appropriate – the story should have (always) been about Dean and Sam. But to not mention Eileen or let us see the impact of Dean’s death on anyone else or explain why Jack, Cas, or Dean’s own parents couldn’t be bothered to come greet him in Heaven or have Dean express any interest in how his best friend got out of the Empty or at give Sam’s wife a face and photo or heck, show us what happened to Miracle….. there are all plot holes and continuity fails that could have been easily handled pretty easily even with Covid restrictions. To me, the writing in the finale just felt lazy and flat. I only became emotional over Dean’s actual moment of death (the rest of that scene I was too annoyed by Dean’s dying breaths wasted on fawning over Sam.) But at least Dean died saving people. At least Dabb let Dean die a hero.

    Walker is pretty terrible. The premise sounded problematic from the get-go and I felt less than generous after reading Jared’s insensitive take on the SPN finale. But I did watch 2 episodes and for the life of me, I can’t figure out their target audience. There’s not enough action for most guys and not enough focus on the teen characters for the younger audiences. The producers alienated the Dean and Cas fanbases and pissed off the J2 tinhatters by casting Genevieve. All that’s pretty much left are the Jared fans and middle-aged women. Seems pretty limited, considering how much money’s being poured into the show.

    I’ve never felt that Jared cared much about Jensen’s role on SPN. I remember Jensen talking at a con about how excited he was about Dean’s inclusion in the S4 mytharc and having a role besides just Sam’s brother. Jared broke in and you could tell he was totally clueless about why Jensen hadn’t been happy. Jensen hadn’t looked exactly thrilled at Jared’s reaction. So I’m not terribly surprised that Jared hadn’t supported Jensen about the finale. If it was good for Jared, I don’t think he would have cared if it wasn’t good for Jensen.

    (I might be wrong but I thought that Jared’s trailer incident and meeting with the psychiatrist was in season 3 and Kripke flying up to deal with his Changing Channel’s hissy fit in season 5.)

    1. Well…Dabb sort of let Dean die a hero. But he still couldn’t resist making Dean incompetent in comparison to Super Speshul Hunter Sam.

      Yeah, there’s not much of a target audience for Walker, so no surprise viewership is already below a million and at 0.1. But hey, it’s still doing better than Legacies (Whyever did the CW greenlight Legacies?). You know a show is in trouble when most of the people who didn’t like the pilot don’t even bother to show up after the first few episodes to argue with the diehards and all of the remaining “discussion” is the latter going on and on in the most insincere way about how wonderful it is. And even they find Stella friggin’ annoying. I’m still laughing at the purge IMdB did of the one-star reviews. Like that’s gonna help.

      I think Padalecki has always cared about his own role on Supernatural and that’s it. He’s been pretty upfront about that. I don’t think he even watches the show. I mean, a lot of actors are like that. It’s hardly unusual. But after 15 years of these guys claiming they had each other’s back, I was a bit flabbergasted at how Padalecki didn’t even seem to notice in those post-show interviews that he’d basically admitted that was a myth on his side.

      As far as the trailer incident and the Changing Channels one, I’ve heard a lot less about the latter, so I don’t know. But it could be that was the one where Kripke flew up.

      1. I don’t know what the trailer incident is (was that when he first was diagnosed with his depression during the filming of Mystery Spot?) and what’s this about Kripke having to fly someplace to deal with an issue with Jared?

        For a show that supposedly had a ‘fun’ family crew / cast thing going on, I never heard about either of these (except the first one MIGHT be when he could not leave his trailer); I reread your comments above, Paula, and did not see you discuss anything that might these two situations.

        1. That’s the one where Padalecki had a depressive episode and wouldn’t/couldn’t come out of his trailer during shooting. They sent a psychiatrist in to speak with him and that person apparently diagnosed him with chronic depression. That was during the filming for “Mystery Spot.” It’s been confirmed, with details, by both Padalecki and Ackles, multiple times.

          The second one reportedly occurred in season five during “Changing Channels” and may be the one where Kripke yelled at Padalecki for throwing a tantrum and holding up production. That one’s a lot murkier, though, and I don’t think anyone in the cast and crew has ever copped to it.

  5. Walkers okay. Not something I make time to watch the nights it airs. I usually record it and watch it later. Only I find myself forcing myself to do so. The biggest gripe I have againstthe show is what you already pointed out. His clueless self centered naive spawn. Both of them but in particular the girl. I care so little about them I can never remember their names. Their father is in law enforcement. Not just day to day law enforcement but also works undercover. And they are that stupid? It stretches credulity. Walkers partner and her boyfriend are fine. Walkers brother and his girlfriend are annoying. Mom and Dad hold their own. The ditching of the gay boyfriend made little sense. Cords undercover was for what reason again? Once again we get another show that canopy just be, it has to push the political correctness and while proving how woke it is. Not what I want in my entertainment.

    Stories are okay. Bit too soap opera. Cords wife is the bestest most greatest woman who ever lived and soaked her oatmeal overnight. Wonderful in photography, sports, cooking, wisdom… They’ve made her a saint and consequently boring.

    What happened to Cord on horseback lassoing the bad guy???

    I think you guys are being a bit hard on Jared and his run on Supernatural? Without knowing positively. Especially their relationship and possibly doing Jensen wrong. I do still maintain that Jensen is a stronger actor. So many people rave what a great show lead Jared makes and I just don’t see it. Even on Supernatural it was always Jensen bringing the spice. To me Jared was more often than not the oatmeal that was soaked overnight.

    The series finale was exciting up until Dean died. Sam’s life after that was bland except for the instances where he showed how much he felt the loss of Dean. His son – that actor – couldn’t have shown less feeling/emotion if he tried. I get that it was probably Covid influenced but no tears. No choking up telling your dying father he could go now? I got the feeling he was waiting for Sam to kick it so he could takeover the Impala. And Blurry Wife. Fine, we didn’t need to know who she was but in all those pictures on the mantle was there a single picture up front?
    I liked the time that Dean had to wait to reunite with Sam was relatively short so Dean didn’t have to suffer. I loved that Dabbs mega reunion/band/bar scene was scrapped and he had to write it concentrating primarily on the boys. Any other ending would have been cheesy and called away from the heart of the show which has always been Sam and Dean. A sad but fitting ending. They knocked it out of the park in that barn.

    I can’t wait to see Jensen get to spread his wings and bust out as Soldier Boy.

    1. I get very exasperated with Walker because they start storylines with a bit of potential (like the whole undercover thing) and then immediately make them All About the Kids–and I by Kids, I mean Usually Stella. If they really are going for a season two (and so far, they are renewed), the kids need to take a huge step back or get a reboot of some type. They are awful.

      I agree that the lack of action on that show is annoying. The very first question I had when they started talking about Padalecki doing a reboot of that particular show was that it’s an action show and Padalecki’s rather well known for having had a lot of injuries on Supernatural and he’s now pushing 40 pretty hard. If they wanted to do a Walker reboot, Ackles would have been much better. He loves doing action and fight stunts, and is built more like Gumby than Padalecki is. I totally get why he wouldn’t want to do a Walker reboot. I just think he would have been a much better fit.

      As I said before, I didn’t like the Long Drive they gave Dean. It was unimaginative, for a start, but it also negated the entire point of their “breaking up” by his dying. I mean, it made sense they would break up at the end of the show, and that Dean might die. But that only meant that Dean would then become something else, something new, start on a new journey. And instead, we got stale beer and a drive through the woods while Dean waited for Sam to show up. Um…okay. Why did Dean die, then? Did they actually kill Dean off just so Sam could go and have the most boring “normal” life ever? Yuck.

  6. Yeah, I’ve been saying for years that Padalecki was only interested in himself, and had no problem shafting his friend whenever possible. I feel like it may have began as far back as s5 but it could have been earlier (I only started in the fandom around 2009). There was the infamous hissy fit over not being the “hero” during the filming of Changing Channels apparently. Then Jared was more than happy to be the main lead of what one fan called The Passion of Sam that was s6, not caring about Jensen’s unhappiness at the time, and I wouldn’t be surprised if Padalecki had handed over a whole checklist to Carver then Dabb to tick off – from more solo screen time (which did him no favours because he has the worst reaction faces and can’t carry a scene by himself anymore) to more side characters to have little chemistry with, oh and a few cherry picked Dean traits to be passed over to Sam.
    It’s kinda sad though, because I’ve been paying close attention to fandom’s reaction to the finale, and pretty much everyone looks at Dean as the lead so they were shocked how badly he got sidelined. He basically carried the show for so long to the point that he was deemed the show’s Hero no question. No matter how much effort Padalecki and his stooge showrunners had put into forcing Sam into the spotlight it never stuck.
    If Jared was genuinely talented enough to carry what was supposed to be his show from the beginning, then no one would be questioning why he was so front centre of the last ever episode. Instead, Jared got upstaged years ago and no matter how many times he pulled a Michael Weatherly (only more covertly) to regain his status as Number One On The Call Sheet, Jensen could not stop being the show’s shining light even when they tried to stifle him.
    Oh well there’s no Jensen to take the spotlight away from him on Walker….he’s getting everything he wants, a show where he’s inarguably the Big Star and ha ha it’s the worst thing on TV! Meanwhile, Jensen has Sony, Amazon Prime and all the media websites fawning over him about Soldier Boy right now, he’s constantly trending, and he’s making new friends in Hollywood so who’s getting the last laugh?

    Btw, it’s Anna Fricke who’s married to Carver.

    1. “Btw, it’s Anna Fricke who’s married to Carver.”

      Thanks. I’ll fix it. It looked odd, but by that point, I just wanted this thing done and off my hard drive. LOL! at “The Passion of Sam.” God, I hated that storyline. It was straight-up bizarre that they thought a Christ storyline would work for a character who had spent his entire life being corrupted by demons. I mean, yes, it was heroic when he threw himself into a giant CGI hole to prevent himself from kill–sorry, to save his brother–but Sam’s entire personality needed to be deprogrammed before he could be a good person, period, let alone that level of holy. They were heading sporadically in the right direction during the Carver years by having Sam confront the consequences of his own douchebaggery, but that kept getting short-circuited. I guess we now know why. But without that necessary character development, Sam basically ended up with no organic character arc. As soon as Dean died, the show was over. That pretty much tells you who the protagonist was in the end because Sam’s big retirement dream life got dispensed with in a montage that didn’t even last as long as Dean’s death scene.

      Interesting note about Walker–there were thousands of 1-star reviews on IMdB and they’ve recently been purged (though people are still adding new ones). Guess someone complained.

      I’ve never gotten the details about the “Changing Channels” one, but the most famous one, of course, is when he wouldn’t come out of his trailer during filming in season three and talked to a psychiatrist about having depression. There’s an alternate story that Kripke came up from LA and tore him a new one. Both things could be possible. People can suffer from mental illness and still do jerky things. And I get that seeing your costar get so much attention can be tough on the ego. As Dr. Linda says on Lucifer, feelings aren’t good or bad. It’s what you do with them that can be good or bad. Throwing your costar under the bus is not okay.

      1. I thought the depression situation was well-documented. AND I thought he had issues (like the time at a Con where a young woman discussed HER mental health issues at an autograph signing and he just freaked and left the Con; Jensen had to do BOTH sets of fans — I believe it was in Europe and I think it was in Italy at Jus in Bello).

        I can’t believe Kripke yelled at him about his depression. I mean, his work with Always Keep Fighting (anti-suicide) is a testament to his work on the issue. And didn’t his ‘stand-in’ or ‘stunt double’ kill himself? I remember a ‘dedication note’ at the end of an episode a few years ago, and AKF being used on a building at the end of the Amara season.

        “I” thought he put his own show together because maybe some of his issues made him ‘harder’ to employ. Like I could not wrap my head around him ‘goofing around’ with Osric and ending up with a busted shoulder that needed surgery; or when he got into a bar fight and broke his hand. THAT is why they don’t let the stars do too many stunts: it screws up the show when one of the leads looks accident prone. (Of course, in real life, the two of them WOULD be all messed up physically; and I think this was a time BEFORE Cas would heal them after each injury or AFTER Cas being de-graced so he could not heal them. Makes sense. But from a SHOW POV he was giving them AGIDA, you know?

        1. There was definitely a ban on sob stories around the time of the first Jacksonville con (because we got read out on it there) and, unsurprisingly, several entitled stans completely ignored it because it was a guaranteed way of getting offstage hugs from the top GoHs. However, the time Padalecki left the cons and the others stepped up for him was during the overseas cons. There’s never been anything I’ve heard to indicate that he was pulling rank, or anything. He did genuinely seem to be struggling. But nobody ever clarified what happened, either. It is possible to be kind of a self-centered jerk at times and still have chronic mental health issues.

          I don’t know the story about the stunt double killing himself. They’ve done a lot of dedications over the years.

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