Monday, February 23, 2009

Winchester Family Relationships

I think it goes without saying that the Winchesters are not your normal family, but that doesn't mean that they don't experience the normal ups and downs all families experiences. There are disagreements, some nasty fights, some misunderstandings, and at the core of it all, love for each other.

Sam and Dean have had very different relationships with their father, something with which most of us can identify. For those of us with close relationships with our fathers, or even those who don’t but wish they did, Dean’s unquestioning loyalty to John is understandable. But for viewers who may have had strained relationships with their dads and not seen eye to eye, it’s easy to identify with Sam. He feels John never understood him, and Sam resents how the hunting took over every aspect of his life as he grew up. That’s why he’s so resistant to being pulled back into that life in the Pilot, at least until Jessica is killed by the same demon who killed his mother and set his family on the hunting path.

The brothers seem to switch viewpoints after their dad’s death, and the reasons are also easily understandable. Dean grows angry with his dad because he sacrificed his soul so Dean could live, and John weighs Dean down with an even heavier and more horrible responsibility — the knowledge that he might have to kill Sam if he turns evil. Sam, on the other hand, feels guilty that he fought so often with his dad, his only living parent. That during their last conversation, he tried to pick a fight with John. That guilt (which we all agree Sam is really good at taking on himself) leads to the need to hunt more because there is one less hunter to fight the fight. Part of him also wants to honor his father’s memory, to finish what John started. The switch is shown in “Hunted” (2-10).

Dean: “Screw the job.”
Sam: “You can’t run from this.”

While Sam and Dean also often argue over their views of their dad and how to deal with particular hunts, they are undoubtedly devoted to each other. Each would willingly die for the other. Dean is Mr. Keep Everyone at Arm’s Length, but his family is everything to him. After his father’s death, Sam is his only family. He’s been watching after Sammy his entire life, and he’s not going to stop now. We see the depth of that devotion over and over, as in “Born Under a Bad Sign” (2-14) when Sam asks Dean to kill him. Dean says, “I can’t. I’d rather die.” Sam was possessed by a demon at the time, but Dean didn’t know that. Even thinking Sam was starting to give in to evil, he couldn’t kill his little brother.

This not being able to let go of Sam is pushed to the extreme when Sam dies at the hand of Jake in “All Hell Breaks Loose, Parts 1 and 2” (2-21 and 2-22). In ironic contrast to what he condemns Evan for in “Crossroads Blues” (1-8), and the action for which he’s angry at his dad, Dean makes a deal with the Crossroads Demon to bring Sammy back to life in exchange for his own soul. Even when the demon only gives Dean one year to live versus the customary ten, Dean makes the deal. And he makes no apology for it when Bobby figures out what he’s done and confronts him about it.

Dean: “I couldn’t let him die, Bobby. I couldn’t. He’s my brother.”
Bobby: “How’s your brother going to feel when he knows you’re going to hell? How’d you feel when you knew your dad went for you?”

Sam shows that same unwillingness to let go of Dean in “In My Time of Dying” (2-1). When he and Bobby are looking at the demolished Impala, this exchange shows that Sam is not about to give up on Dean.

Sam: “Oh man, Dean is gonna be pissed.”
Bobby: “Look, Sam...This just ain’t worth a tow. I say we empty the trunk and sell the rest for scrap.”
Sam: “No. Dean’d kill me if I did that. When he gets better he’s gonna want to fix this.”
Bobby: “There’s nothing to fix. The frame’s a pretzel, the engine’s ruined. There’s barely any parts worth salvaging.”
Sam: “Listen to me, Bobby. If there’s just one working part, that’s enough. We’re not just gonna give up on...” (voice trails off)
Bobby: “Okay. You got it.”

When he finds out about the deal Dean made with the Crossroads Demon to save him, Sam makes it his mission to find a way to save Dean. Even when Dean is seemingly accepting his fate by living a hedonistic lifestyle of women, beer and loaded cheeseburgers, Sam is searching every nook and cranny of the lore to find a way to get Dean out of his deal. And when he can't save him, what does he do? He tries to make the same deal with a demon to bring back Dean as Dean made for him. Sigh. These Winchester men just don't learn, do they?

The type of dedication Sam and Dean show each other is powerful, the Supernatural world's equivalent to what many of us would do for a loved one -- anything possible to save them from certain harm or death.

So, what's your favorite Supernatural moment that shows this intense family dedication?

Sunday, February 22, 2009

Coming This Week!

Condolences go out to all the fans attending the "Salute to Supernatural" in Cherry Hill, New Jersey, since Jared canceled. As one of those despondent fans, I know what we offer here can't come close to healing that disappointment. But maybe it can be a bit of a balm, at least...

Monday: Trish explores Sam and Dean's relationships with John and each other.

Tuesday: MJ follows suit with an exploration of the relationships--and relations--Sam and Dean have with women.

Wednesday: Tanya departs from the trend by reviewing In the Hunt: Unauthorized Essays on Supernatural.

Thursday: Natalie explores how fans' relationships with the show lead them to exploring and developing other interests.

Friday: Terri reviews this week's episode!

So be sure to come back each day, see what we have to say, and weigh in with your own thoughts and perspectives!

Friday, February 20, 2009

"It's the Great Pumpkin, Sam Winchester"

From the title--a reference to a Peanuts television special--we know this episode will be Halloween based. It starts with an "urban legend" that those of us of a certain age will well remember--razor blades in the candy. I think I was in second grade when they first started x-raying candy. But I never knew of it actually happening.

They use it to great effect in this opener, with a really cool inside-the-mouth shot. Cool and cringe-worthy. After the birds/scream/title flash, Sam and Dean are investigating, and Dean finds a mojo bag. Sam infuriates the widow with his implications as he tries to determine who might have murdered her husband.

Now we have Sam in research mode, while Dean stuffs his face with candy. He cringes when Sam describes the charred baby bone and other ancient ingredients in the bag. Um, Sam, exactly how do you know that bone is more than 100 years old?

Sam: Find anything on the victim?
Dean: This Luke Wallace? He was so vanilla that he made vanilla seem spicy.


Now here's the requisite silly teens costume party with all the skanky chicks in revealing outfits. (Crossover Alert: Justin is played by Jean-Luc Bilodeau, who plays Josh Trager on Kyle XY). The more wholesome of the scantily clad chicks--of course--bites it in a boiling apple-bobbing tub.

Don't know how Sam and Dean found out about this one (police scanner would be a good explanation, but they don't have one), but they arrive at the party while the police are questioning the guests.

Dean, spotting the cheerleader: I've got this one.
Sam: Two words. Jailbait.
Dean (indignant): I would
never. *makes a face that clearly says, "Of course I would.*

Cheerleader claims to not know the previous victim.

Dean can't find anything but squeaky cleanness on the victims, but Sam finds a Celtic ritual to summon a demon, Samhain. He immediately incurs the wrath of thousands of people when he pronounces it wrong. :) The ritual can only be performed every 600 years, and if the demon is raised, he'll raise...

Dean: ...ghosts.
Sam: Yeah.
Dean: Zombies?
Sam: Mm-hm.
Dean: Leprechauns?
Sam: Dean.
Dean: Those little dudes are scary. Small hands.


Exposition, exposition, dire predictions, extreme close-ups...gosh, those boys are pretty.

Dean logs another shot in the archives of junk food (piles and piles of candy wrappers) on stakeout. He's gotten nothing in hours, but hey, here comes that cheerleader who claimed she didn't know the Wallaces. She's walking up the Wallace's steps--she's the babysitter. Sam and Dean immediately deduce she's the 600-year-old witch in disguise.

Sam's looked her up--she has a violent history, so they go to talk to the teacher she fought. Dean sees some weird masks in the hall, and they invoke screams and who knows what other memories. Justin is in the background, unable to fit his clay bong into the kiln.

"Agents Getty and Lee" (earlier Sam was Agent Seger, I think) talk to the teacher, who casts plenty of suspicion on the cheerleader because of inappropriate and disturbing artwork with portrayals of herself doing rituals, and because she lives alone with no parents.

A cute little fat kid trick-or-treats the guys outside their motel. Dean doesn't want to give up any of his stash. the kid has no manners, Dean tells him he's had enough candy, and the kid's glare threatens retribution.

Sam draws down on a guy who's in their hotel room. But it's...mmmmmmm...Castiel, and Dean stops his brother. Second best moment of the episode as Sam gets introduced:

Castiel: Hello, Sam.
Sam: Oh, my God. Er, ah...I didn't mean to...sorry. It's an honor.




Sam acts exactly as I expect I will when I meet Jared Padalecki in two weeks, all starstruck. Castiel hesitates, and I tense, waiting for Sam's heart to be broken, but Cas warms up and shakes his hand. Very nice. We like Castiel and his propensity to give everyone a chance.

But now we meet Uriel, badass warrior for God. Castiel asks about Samhain, shows a mojo bag he found that would have killed the boys. He reveals that Samhain's raising is one of the 66 seals and must be stopped. Uriel is ready to smite the whole town, because they can't discern the witch's whereabouts. Cas wants the boys to leave so they won't be caught in the angelic napalm.

Poor Sam. He's completely disillusioned at what the angels are willing to do. Dean argues and refuses to leave, banking on his own raising being too important to waste. He asks Castiel if he's never questioned orders, if they're both just a couple of hammers. Interesting coming from him, who spent his life until recently blindly obeying his father, good little soldier (which Castiel points out--it hits home, but Dean ignores it; he's not that guy anymore). Castiel assumes the plan is just (as in morally) because it comes from heaven.

We learn a little about angel hierarchy when Castiel hushes Uriel. He tells Dean to work quickly.

Sam expresses his disappointment in the angels, even questions his faith. Dean likens them to all other religious extremists and encourages Sam not to give up over a couple of bad apples. "Babe Ruth was a dick but baseball's still a beautiful game." This loving, supportive mini-speech is followed with "Well, you gonna figure out a way to find this witch or you just gonna sit there fingering your bone?"

Sam's pondering the charred baby bone and thinking about what could burn hot enough to do that. They go back to the school--remember the kiln?--and find that Tracy's teacher has suspicious stuff in his desk.

We see Castiel and Uriel talking in a park. Uriel is clearly disdainful of humanity, calling the kids walking by "mud monkeys" and "plumbing on two legs." He wants to drag Dean out of town and blow the "insignificant pinprick" of a town off the map. Castiel references their true orders, implying they have a different goal than just stopping the rising of Samhain.

Costumed families avoid a spooky house, in which the teacher is chanting with the cheerleader tied up behind him. He's about to kill her when Dean and Sam blast holes in him. Dean cuts the girl down, but her rant goes quickly from how he was going to sacrifice her to how sloppy his incantations were. Now her brother will be the final sacrifice instead of her. She sends the boys to the floor, writhing in pain, as she mumbles about their history and plans, collects some blood from her brother, and finishes the ritual.

Unable to summon the strength to fight her, Sam rubs the teacher's blood on his and Dean's faces. They play dead as the floor cracks and torrents of demon smoke rise up and then enter the teacher. He immediately kills Tracy, but his vision is kind of wonky and he leaves the boys alone. His awkward movements remind me of the bug guy in Men in Black. When Dean asks what happened, Sam says people used to wear masks to hide from Samhain, so he gave it a shot. Dean is appalled, but hey, it worked!

The boys follow Samhain to the cemetery. Sam suggests he use his demon weapon to pull him from the body, but Dean says no. They argue, but Sam gives in when Dean says please. He'll just use Ruby's knife. In this case, the body is already dead, so it's just a question of getting close enough to this extremely powerful demon to use it.

Samhain locks the kids in a crypt, apparently as food for the zombies he raises. There goes Justin, yanked into a tomb! Dean breaks the kids out, Sam goes after Samhain. Oooh, Dean's going to battle zombies all by himself! He looks grim at first, but has these cool silver stakes and faces them down... "Bring it on, Stinky."

Sam finds the demon. "Yeah. That demon ray gun stuff? It doesn't work on me." They fight, Sam gets throttled. Ah, good times. Flash to Dean finishing the job with the zombies and now facing a ghost. "Zombie-Ghost orgy, huh? Well that's it. I'm torching everybody."

And here's the best bit of the show. Sam fights, loses the knife, Samhain comes at him, and he throws up his hand. Smoke seeps out of the bullet holes in the body. The demon battles to get to Sam, who is working hard and painfully to vacuum him out. He sees Dean in the background, and you can see the torment on Sam's face as he finishes the job, blood dripping from his nose. Dean stares in sadness and resignation.

Many viewers criticize Dean for just standing there. I pleaded for him to help Sam, not to let this break them, to understand, but I don't think it was innoble of him to not jump in there. He could have broken Sam's concentration. He didn't know what interrupting the process would do to his brother. And though to us it was a drawn-out moment, to Dean, there was too much to process and act on before Sam finished.

So Sam has disappointed his brother, but acted to save over a thousand people, and maybe millions in the long run. Dean's got to understand, right?

But we're robbed of seeing how the aftermath plays out. We jump to the next day. Sam is confronted by Uriel about using his demon powers on the eve of his mother's and girlfriend's deaths by a demon. Sam dares to call the angels dicks. Interestingly, Uriel still considers Sam useful and only blows his hair around a little at this insult. Uriel tells Sam to be careful, and also says that Dean should climb off his high horse. Now we know what that means, since we've had the revelation of Dean's time in hell.

In the meantime, Dean is meeting outside with Castiel, who reveals that their orders were to do what Dean told them to do. He doesn't know how Dean fared in this test, and admits his faith sometimes wavers. He loves humanity and was praying for Dean to save the town. For his part, Dean says he would do the same thing all over again, to save the lives they saved. Castiel also alludes to Dean's time in hell, saying he of all people knows what "hell on earth" means, and they are one step closer to Lucifer being released.

Castiel ends by saying he doesn't envy Dean the weight that's on his shoulders, the decisions he will have to make. So far, we haven't really been shown what those decisions are. He's faced existential giant teddy bears, kids in walls, douchebag magicians, and a gender-neutral succubus. The only big thing he had to make a decision about was keeping the angels from killing Anna, a fallen angel, and that didn't require a lot of soul-searching.

So what is he still facing?

Wednesday, February 18, 2009

Something About Mary

Major spoilers for 4.3 "In the Beginning"

So, knowing what I now do, I'm guessing that Mary's apology to Sam in Season 1's "Home" (which I took to be a simple sorry I didn't get to watch you grow up and a very maternal, sorry I wasn't able to protect you better) was nowhere near as straightforward as I thought.

But then, what on SPN is?

In retrospect I owe some people apologies. I've always been a harsh critic of John's, for dragging his boys into the Hunting Way of Life. Now, I'm still not prepared to nominate him Father of the Year, but after this season's revelations I see that he himself sort of married into this mess. (Point of debate: how much are we to assume Mary actually told her young fiance about all of this? She was trying to the night he proposed, but they were interrupted by his untimely death. How much did she reveal afterward?)

I owe Mary an apology for my moment during the pilot when I assumed she was TSTL. Here's the scene: you're a skinny blond woman in the middle of the night who just realized that the guy in the nursery can't be your husband because you're looking at your (sleeping) husband. It bugged me that she acted on that horror movie cliche of running off to face the big, bad danger with no back up. I was willing to cut her some slack because she'd gone into Mama Bear mode and wanted to haul ass to protect her child, but still, you can't throw something at the sleeping husband on the way? Yell out, "JOHN! DANGER! WAKE THE HECK UP!" But now I realize she was actually more likely to kick butt than even her ex-Marine husband. So she gets a pass for charging into the demonic fray solo-slayer style.

However, now I have a new gripe for her...

I haven't been able to get my hands on issues of Supernatural: Origins (how many of you have read the series pre-quel comic?) It's my understanding that John found someone to train him after Mary's death and I don't see anything in the show that led me to believe she was giving her hubby advice on how to avoid and defeat demons. I empathize with her wanting to get away from the Hunting life--it's a painful irony that it's the lifestyle her death inflicted on her orphaned sons--but there's making a fresh start (which is what she wanted) and then there's just unproductive denial. SHE MADE A DEAL WITH A DEMON. Desperate circumstances, granted, so I'm not judging, but really, how did she think it was going to turn out? With rainbows and butterflies? I'm just a little surprised that we don't get hints of more evidence of her being cautious or forewarning (thus forearming) the family.

(In an interesting parallel, Sam really is his mother's child. His attempt to deny his dark heritage and go off and have a normal life and normal relationship--not that I blame him--led to the person closest to him being killed by association.)

What I love most about this show is probably a three way tie between Jensen/Jared/and the writing (because, let's face it, Jensen and Jared could only carry things so far if the dialogue and storylines sucked). It's impressive that four years into a show, the writers can turn the mythology you think you know on its ear and force you to reexamine the family dynamics and the backstory (which we get through intriguing but frustratingly limited drips and drabs). I, along with much of the SPN viewing audience, assumed that the boys were shaped and molded by their father...having no inkling of just how much their long-dead mother informed their lives (hunting aside, he kicked off a Winchester cycle of making deals with demons that haunts the boys to this day).

Do you think we'll be seeing more of Mary's character in some way or form? Do you think there's more to Azazel statement that Mary's his "favorite"? What was your reaction to her hunting past and the boys' inherited legacy?

How Sam and Dean Approach Hunting

While the Winchester brothers have spent most of their lives either training to be hunters or doing the hunting themselves, the two often have differing approaches to hunting down evil. I'm not talking about Dean with a salt-filled gun and Sam with holy water; I'm talking about how their approaches differ as a reflection of their personalities. The lens through which they see the world colors how they view the beasties they're after and those people whose lives are affected by said beasties. And each approach is attractive, just in different ways.

Dean is an action guy, often impulsive, the more raw brawn of the duo. He knows the weaponry inside and out, and we often see him sitting in a dive motel room cleaning a gun or sharpening a knife. There’s an undeniable appeal of the action guy, one you know could protect you from all the baddies lurking in the dark. By contrast, Sam is often doing Internet searches or poring over old texts to research the lore behind the creature of the week. He’s cast as the geek boy, but the combination of good looking and smart (not to mention THOSE ARMS) is very sexy. The Winchester duo is formidable because they have both brains and brawn.

One aspect of how they approach hunting often causes friction between the brothers. Dean has often been a very black-and-white guy. Supernatural beings are evil, and therefore have to be killed. End of story. Sam isn’t so sure, especially when he finds out that there’s the possibility that he could have some dormant evil lurking inside him. He’s more willing to see shades of gray.

We see the difference in Season 1, in episodes like “Something Wicked” (1-18) when Dean wants to use Michael as bait for the shtriga while Sam wants to get the kid to safety. The different viewpoints really show up in “Bloodlust” (2-3) and “Croatoan” (2-9). During Dean’s conversation with Gordon, he identifies with Gordon’s black-and-white approach to hunting. But when Lenore shows that her group of vampires are telling the truth about not preying on humans, Dean sides with Sam against Gordon and helps the vampires get away from the hunter. He starts doubting his most basic belief that he’s carried with him his entire life.

Dean: “Think about all the hunts we went on, Sammy, our whole lives. What if we killed things that didn’t deserve killing?”

In “Croatoan” (2-9), Dean and Sam again find themselves at odds about how to deal with a supernatural threat. As residents of the town become infected with the demon virus, the brothers argue about who to kill and when. When they go to a house where a father and son are holding the mother hostage and doing her harm, Dean doesn’t hesitate to shoot the man. Sam, however, does hesitate to shoot the teenage boy because he’s a kid. Dean has the attitude that once someone gets the virus, he or she is a danger and needs to be put down like a rabid animal. That is until Sam becomes infected. Rather than kill his brother, something he will repeatedly refuse to do as the series progresses, he chooses to stay with Sam and give the Impala to the other survivors so they can flee the town. Again, he’s reminded that dealing with evil isn’t always cut and dried.

Sam is portrayed as the brother with the kinder heart, the one who offers sympathy to the victims and survivors with whom they come into contact. He also seems to have more of a conscience and feeling of guilt regarding the lies they tell and the credit card scams they use to fund their hunting. This appeals to those of us who value honesty and compassion. And sometimes the contrast in their approaches is just funny. For instance, in "Playthings" (2-11), when they've found the old woman who has apparently had a stroke:

Dean: "You know, she could be faking."
Sam: "Yeah, what you wanna do, poke her with a stick?"
Dean: Nods.
Sam: "Dude, you are not gonna poke her with a stick!"

At different times, I find myself rooting for different approaches, though it should come as no surprise that I prefer the "shades of gray" and more sympathetic approach Sam often employs. That said, sometimes you just need to open up a super-sized can of whoop-ass. :)

Which approach to you like better and why? What are you views on this topic?

Tuesday, February 17, 2009

Friday the 13th

Friday the 13th just had the biggest gross for a slasher film opening…in history! That’s right, Jared’s movie is a record breaker. I, for one, think he had something to do with this feat, because, really, the hockey-masked killer has been going downhill ever since part eight, Jason Takes Manhattan. And although some fun was had with Freddy vs. Jason and Jason X (aka Jason in space) the second best thing about this new Friday the 13th is that the creators got back to the basics.

For those of you unfamiliar with the 1980 original, Jason wasn’t actually the killer. Mrs. Voorhees, deliciously played by the toothy Betsy Palmer, was taking her revenge on camp counselors because she felt their negligence was responsible for her son’s drowning death. In truth, Jason didn’t start killing until part deux and, believe it or not, he officially donned the red-marked hockey mask in part three. What this updated version of the franchise--called a “reboot” by producers--did best was condense the mythology of the first three films and bring this new starter up to wham-bam modern standards while still paying tribute to its history and diligent fans. In actuality, this is number TWELVE in the Voorhees filmography. However, storywise it’s starting a new chapter, and if the current box office boom is any indication, the series not only has fresh blood, but a long future of slasher success.

As reviews go, I’ll keep it simple. Friday the 13th 2009 follows every slasher film’s formula of sex, drugs, drinking, breasts and blood. The story opens with a quick black and white recap. It’s June 13, 1980 and Mama Voorhees is in a life or death battle with the lone surviving counselor at Camp Crystal Lake, but she loses her head (literally) and Jason (Derek Mears) is none too pleased. Twenty-some years later, five backpackers are hiking through the Crystal Lake area looking for a treasure trove of pot plants. Among the young and the restless is Whitney Miller (Amanda Righetti), a woman who feels guilty for leaving her cancer stricken mother for a short weekend away with her boyfriend. Amidst laughter and lewdness the group is quickly and brutally dispatched by a killer sporting a sac mask. “And that’s just the intro” one moviegoer gasped.

Six weeks later, Clay Miller (our boy Jared) shows up in town looking shaggy and sexy, with some serious sideburns. He’s there to find his missing sister Whitney. They’ve been on the outs for years, but when she didn’t show up for their mom’s funeral he knew something was gravely wrong. Conscience-stricken for leaving his family when he was seventeen, Clay wants desperately to discover what happened to his kid sister, but a local tells him she’s most likely dead. People don’t disappear, they die. During his search, Clay crosses paths with a group of young adults who’ve arrived in Crystal Lake to party hardy. Rich bitch Travis (Travis Van Winkle) is showing off his daddy’s cabin and his “friends” are all too happy to lap up the luxury, but girlfriend Jenna (Danielle Panabaker) is quickly seeing him for the douche he really is. One-by-one they all start dying--many of the deaths reminiscent of the first three films--and Jenna and Clay fight to survive. I’ll not detail the body count or spoil who lives and dies, but I will say this…biggest fright…Jared’s gorgeous face…wood chipper blades.

Now that I’ve left you with that haunting thought, let me just say I know critics are harshing on this reimagining, but I personally enjoyed it. I found it humorous, creative, scary and I especially liked that it gave homage to its predecessors. My only criticism is that the tension didn’t really build to squirm-in-your-seat intensity, opening withstanding, and they didn’t utilize the classic ki-ki-ki- ma-ma-ma soundtrack well enough.

Obviously, my favorite thing was Jared. In addition to being ridiculously easy on the eyes, his acting experience on Supernatural made him seem much more credible, he elevated the cast and he was a strong adversary for Jason. Had Jared been wimpy or whiny I would’ve taken serious issue, but the powers-that-be were smart enough to recognize and utilize his heroism. I happily look forward to watching him as the leading man in other films because I think the success of Friday the 13th will give him more opportunities.


Monday, February 16, 2009

Why MJ Wants an Impala

Some people reward themselves with computers or furniture if they get a good advance on their book. This is what I’d get:

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I heart the Impala, to the point that I actually shopped around for one. Let me tell you, shopping for 40 year old cars can be scary. Apparently they’re everywhere, because at least four people I know, including my dad and my best friend, tell me they had a late 60s model Impala.

We found one, in the Valley, in working order, for $3000. We thought about it, but that was when gas was over $3 a gallon and it would have cost another fortune to drive her back. They were built, after all, before fuel economy was an issue.

I have her on my wallpaper at school (can’t have the boys, too hard to explain to 4th graders.)

I loved her triumphant return in Bloodlust.




I love her sleek lines, I love her powerful engine.

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I love that the trunk is “big enough to hide a body,” which is why Kripke chose an Impala. He was going to go with a Mustang, you know. Can you imagine these two big guys driving around in a little Mustang?

I love that she can do this….not that I’d ever do any such thing, of course.



I love what she means to Dean, a connection to his dad, the only home he knows, his legacy.

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I loved how Dean bequeathed her to Sam, ensuring Sam would be able to take care of her, passing onto Sam the responsibility that his father had passed onto him, but doing it lovingly.



I know my longing for a 67 Impala isn’t rational, but my obsessions usually aren't.

What do you love about the Impala?