Season 2 ups the anti with both its story arc and characterization despite keeping its mostly anthology structure. Our characters begin to grow and change as the stakes gradually increase, especially by season’s end. Admittedly, season 2 is worth a more thorough analysis. There are at least a few episodes that stand out among the rest. However, the lack of consistency in pacing its central plot and the growth of the characters not becoming withstanding until near season’s end provide me with little motivation. All that will come of it is talk of some decent writing and adequate thematic parallels which do not amount to enough to spend more then two outings in attempting to assess it. As such, I’ll do my best to highlight important plot elements to future seasons, as well as character moments that are relevant to later outings. In addition, rather then summarize the season, I’ll do minor summaries and analysis of each of the episodes where appropriate. The first episode in particular I will spend a good deal of time on because it is extremely important from a character standpoint.
“In My Time of Dying” begins where season 2 left off, and is the first great example of what this series is capable of. Sam, Dean, and John are seemingly unconscious inside the totaled Impala. They are air lifted to a hospital nearby and treated. The episode revolves around Dean, as a spirit after being critically injured, roaming the hospital attempting to garner the attention of his kin. Along the way he witnesses a strange transparent figure flying about the hospital. It turns out this figure is a Reaper, one that reveals itself to him at a certain point. Unlike the previous Reaper, this one takes on the ideal appearance of the apparition it comes to collect; in Dean’s case a beautiful, young woman named Tesa (who will make several appearances in later seasons). Slight inconsistency aside on the part of its outer appearance, despite being given a relatively contrived explanation, Dean is told his time is up but refuses to go with her. His reasoning? His family needs him.
This is an important moment for many reasons. It’s the first implication that this family is willing to do a lot for each other. In Deans case, he’s risking becoming a vengeful spirit (a ghost with little humanity left and who’s only salvation is enacting vengeance) if he stays behind. Dean tries desperately to hold on until Sam and John can save him, so he isn’t as willing as he will be by seasons end. Before he is ultimately saved, he even contemplates going with her. This is also important to note, that he is not all that willing just yet and able to give into the natural order at any moment, because it’s John’s actions later in this episode that truly alter his perception when faced with similar circumstances in the future.
After one final confrontation with Sam, to where the latter accuses him of caring more about murdering the demon then Deans life, John summons the demon via ritual. He confronts Azazel and offers the Colt, and after some convincing from Azazel, his own soul in exchange for saving Dean. After one last conversation with Dean where he tells Dean the truth about the deal and Sam’s powers, he hands over the colt off screen and dies. Sam finds the body. Dean doesn’t tell Sam about his father’s confession.
Now to take an aside for what is quite possibly the most important moment of the entire series, and it’s first step at taking the plunge into much deeper territory. John’s sacrifice has the ultimate effect on the boys here and throughout. It sets up a spiral of events formulated by fractured psyches, a never ending cycle of self sacrifice for the lives and well being of each other even at the cost of trust, going as far as to affect the well being of others. Their father’s rash decision enacted through turmoil shatters their ability to reason when it pertains to each other. As such, lies and manipulation are common within their relationship going forward so long as one believes it is for the better of the other. I could write an essay on how damaged these characters truly become because of this one moment, culminating in them hitting rock bottom in season 10, where this obsession is brought to the surface and made bare for everyone to see just how unhealthy they really are, and how many have suffered in their wake because of it. It’s truly the core of the series central theme: how far is too far for family? It’s a shame this latest season (and series) hasn’t ended yet, because it’s become to where they have no regard for anyone but themselves. I imagine, if all goes as it should, that a true retrospective look will be that much more gratifying.
In “Everybody Loves a Clown” the boys cremate their father’s remains to keep him from becoming a wandering spirit. We are introduced to Ellen and Joanna Beth Harvelle, regular recurring characters for the remainder of this season and featured in several episodes thereafter. Throughout the episode, Sam attempts to coerce Dean into admitting he’s taking their fathers death hard. Dean counters and reveals that Sam himself isn’t accepting it as well. By the end of the episode, Sam admits Dean is right but Dean is still unwilling to open up, culminating in him smashing up the Impala with a crow bar while no one is watching out of frustration and his inability to put his sorrow into words.
This sets up the recurring character quirks, especially for Dean, in their inability to accept and express through words what they are going through. These characters are very introverted and refuse to admit they are suffering emotionally on most occasions. This leads to moments where they usually explode with confessions at least once a season, but more then that it contributes to their ever shattering psyches. Again, as with just about every flaw with the brothers and their unhealthy attachment, it leads back to their father, who was rarely there for them, instead hunting and leaving them to fend for themselves, and never spoke of how he felt after their mother’s death. This is a true dysfunctional family, and this is the extreme in how children can be negatively affected.
“Bloodlust” introduces Gordon Walker, who will appear in a few episodes spanning through mid-seasn 3 (including one of season 3’s best outings). Dean attempts to use Gordon as a surrogate for his father, to which Sam takes offense of. It also introduces something sparsely utilized, but utilized nonetheless: a grey area when it comes to Hunters and what they hunt. The vampires in this episode refrain from drinking from humans, instead hunting cattle. Gordon refuses to believe Monsters can control themselves, mostly out of his own hatred for them. This is important for his development (or lack thereof, for the better as I’ll touch on next season) and for his motivation going forward when it comes to Sam and his powers. The Winchesters, especially Sam for obvious reasons, are more inclined to give them a chance. After a falling out with Gordon, they leave.
The most important aspect of this episode pertaining to continuity is Dean’s brutal killing of a vampire using a buzzsaw. This shows just how violent he can be in comparison to his brother, here attempting to compensate his inability to open up about his father’s death by drowning it in “bloodlust.” His enjoyment of killing will be periodically alluded to, until it is thrust to the surface and fully explored starting with season 9.
Also, Amber Benson for you CT natives.
“Children Shouldn’t Play with Dead Things” is where Dean finally opens up to Sam, admitting he feels guilty for being the reason that their father sacrificed himself. This “guilt” is the driving force around these two characters’ motivations for self sacrifice in the future. The fact they keep hurting themselves for the other keeps the cycle of guilt forever circulating.
I know it sounds like I’m beating John’s character bloody over the head continuously, but what he did while believing he was making the correct decision truly destroyed them. As will be quoted later in the series, “the road to Hell is paved with good intentions” (the origin of which is heavily disputed, but is closest to words first attributed to “John” Ray: “Hell is paved with good intentions.” Coincidence? Most likely, but you decide). This metaphor is literal for John, and becomes true for Dean by the end of season 3.
“Simon Said” introduces another psychic child akin to Sam. This one, however, did not have his mother killed when he was 6 months old. This revelation isn’t really explained until season 4. The only other thing of note other then its plot relevancy, is that Sam is further despaired by this man’s actions. The man too becomes a killer, and Sam believes it is the fate of himself and those like him to devolve into such.
“No Exit” is interesting mostly in the fact that it utilizes a device heavily inspired by the real world, first documented American serial killer: Herman Webster Mudgett, a.k.a. Dr. H.H. Holmes. The latter name and overall true origin is used for this episode, including having a custom built “castle” like structure with hidden chambers and torture equipment, although I’m not certain how factual the rest of the information is. Jo also attempts her first hunt, of which Dean ultimately approves. This will later haunt him mildly with what becomes of Jo and her ultimate fate.
“The Usual Suspects” begins a minor sub-plot in which Sam and Dean are pursued by the authorities, ultimately the FBI, through season 3. Here they are let go because the officer in charge learns of the truth, but she reports them as having escaped.
“Crossroad Blues” introduces the concept of a crossroads demon, a demon who’s “soul” purpose is to make deals in exchange for souls. It also introduces hellhounds, the collectors of those souls that I assume supersede Reapers due to a deal being made. Crossroad demons and hellhounds are seen often in the future, and one of the former in particular becomes a major recurring character and even main cast member. Dean is also offered a deal for John’s life back. Dean does not confess as to whether or not he truly considered taking the deal when asked by Sam, in true to character fashion.
“Croatoan” is quite possibly the most important part 1 (seasons 1-5) related arc episode this season. It introduces a virus that turns its victims into zombie-like beings. Sam proves immune to it, in which a demon reports back to an unknown figure, something I assume was important to make him Lucifer’s vessel. It’s also revealed to have been a test of some sort and that it was successful, thus becoming the weapon of choice by Lucifer in season 5 to spread his destruction throughout the world. The residents disappear without a trace.
Interesting bit of Trivia: “Croatoan,” the name itself, is inspired by the mysterious occurrence in the real world colonial settlement called Roanoke that was one of England’s first back in the late 1500’s. According to history, the settlement was found abandoned when a merchant sent from the settlement returned with supplies, finding nothing but the word “Croatoan” etched into a post of the fence surrounding the village. The homes, etc. were dismantled, so it’s assumed they simply migrated but no evidence has ever been uncovered as to where they may have moved to. Despite this assumption, a Maltese cross was not etched in any nearby tree, which is what the merchant had instructed they do if something occurred.
The next episode will begin Part 2 of this season’s analysis, since Deans secret about Sam is revealed and Gordon makes another appearance.
Supernatural Retrospective Reviews 