The penultimate episode of ‘The Boys’ Season 3, ominously titled ‘Here Comes A Candle To Light You To Bed,’ releases this Friday on Prime Video, and the little teasers already have everyone bouncing in anticipation (per usual). This is my non-spoilery teaser review of my own reaction to episode 3.7 – and as a Supernatural fan, this one is especially for everyone who was already a Jensen Ackles admirer or has joined the party recently and jumped on board in appreciation of Soldier Boy.
The last few episodes of Season 3 are going to be a rollercoaster for Ackles fans the likes of which we have never ridden. My advice is you’d better hold on tight, because this one is like that rollercoaster in the dark at Disney World where it’s extra scary because you never know when there’s gonna be a sudden twist or how violent the turn is gonna be. That also makes it extra exhilarating – for a long time that was my favorite ride there. But when I say my heart was pounding out of my chest and I had to jump up and sort of run around my kitchen a few times to calm down, to the accompaniment of colorful exclamations, I am not exaggerating.
Ackles himself weighed in on Instagram about his character’s wee bit of anger issues….
Ya’ think??
From the perspective of someone who has been a Supernatural fan for 17 years, there are all kinds of things that fandom has imagined a character Ackles plays doing – things that a show on the CW could not include, even if it might have made more sense for hardened traumatized hunter Dean Winchester than his PG vocabulary ever did. Most of those things have played out in fanfiction over the years, for sure, but somehow seeing and hearing a character onscreen who is not limited to the CW standards and practices was more shocking than I expected. No, I am very much not complaining.
Seeing Jensen be able to sink his teeth into a role like this, into a character who is raw and fucked up and in many ways the worst of a swatch of humanity in real life – it was awesome. For someone who’s a long-time fan, it was also a mind fuck, in that I could not help but love the character just a little even when I hated him.
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There’s a reason the fandom calls him Danger Grampa or Sweet Baby Murder Kitten, after all.
We learn about some of the horrible things he’s done in this episode, right alongside more of the things that have been done to him – and right alongside the moments when he lets his guard down a little and says something real and shows some genuine emotion. That is one of the things this show has excelled at from the beginning and why I’ve loved it since Season 1 – it’s always shades of gray, even the worst characters having moments of humanity when I feel for them. But having one of my favorite actors embody that kind of complexity made it so much more difficult for me to negotiate. I kept wanting to sympathize with him – especially when the traumas of his past are laid out – but each time there’s a punch to the gut that reminds me that I can’t get too pulled in. Talk about a mindfuck!
The sixth episode of The Boys third season was possibly the most anticipated one of all, and the title explains why. ‘Herogasm’ is a decadent, drug-fueled supe orgy taken from the pages of the original comics, and I’m fairly certain Eric Kripke is still giggling gleefully at somehow being given the green light to depict it in the series too.
Ackles is probably giggling along with him still too.
It is as over the top as advertised, though I’m guessing there were plenty of people who were hoping that there were more participants, such as some of our favorite supes, not just in the “I’m here” way but in the “take my pants off” way. Though we certainly do get some memorable moments with The Deep, don’t we?
This is the spoilery recap and review of the ‘Herogasm’ episode, so make sure you’ve watched before you read – hopefully your eyes are still working after some of the shit you saw!
The lead up to this episode was so much fun, with multiple ‘warnings’ including one from a shirtless Jensen Ackles standing in the Caribbean that should have come with a warning itself and a final warning on the episode itself as viewers were about to stream it.
There were even some real life screenings if you were lucky enough to be a town where that was happening! I am endlessly fascinated by how well the show crosses over into reality, both poking fun at itself and doing real life marketing while it lampoons its in-show marketing simultaneously. And somehow it keeps pulling it off!
There’s actually a lot going on in this episode that is not Herogasm though. It’s an episode full of crisis for Homelander, who is increasingly isolated and legitimately traumatized by the desertion of so many of his former team. He is also traumatized by finding out that there’s a new and unanticipated threat on the scene as he views the footage of Crimson Countess’ death.
Homelander: Soldier Boy…
The ever not helpful Ashley: Someone cosplaying maybe?
The Deep: CGI?
But Homelander knows what he’s seeing, and he’s rattled, freaking out and muttering that it’s not fair like a two year old before he pulls himself together.
He instructs Ashley to bury all the footage (complicated by Vought’s serious technical problems now that The Deep fired all the tech people and then blamed Ashley) and belatedly tries to shore up some support from Black Noir, saying he’s glad to have Black Noir on his team to count on and calling him “pal”. As a member of Soldier Boy’s Payback team, though, Black Noir knows he’s got a target on his back, and he knows who’s the biggest danger to him right now. He carves the chip right out of his arm in an elevator, handing it to a shocked and sobbing woman.
Woman: Uhhh, thank you…
The dark humor in this show, I love it.
The Deep, loyal to the end, tells Homelander about it, and Homelander of course takes it as yet another personal desertion, sending him into a spiral of desperation. (The Deep’s arranged wife, Cassandra, is still pulling his strings at this point, but it’s clear he’s getting pretty tired of it, which may partially explain his later dalliance with someone (something?) else….
This episode has one of my favorite scenes in the series so far – and no, it’s not Herogasm. It’s the quiet scene that follows the news about Noir, and it packs a tremendous psychological punch. Homelander, alone, upset. Feeling abandoned. His own image in the mirror talks back to him – literally – feeding his narcissism with reassurance that he can handle it, he’s at the top of the food chain.
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When Homelander is still unsure, his mirror image reminds him that when they were kids “I got us through it…in the bad room…and now I’ll get us through this, as long as you and me stick together.”
Episode 6 of The Boys Season 3 drops tomorrow (or tonight if we’re lucky) and has a lot of anticipation around it, simply because – as its title announces – it’s the Herogasm episode. It’s still amazing to me that the series was able to pull off the supe orgy event from the comics and put it on streaming video. Herogasm is every bit as zany as everyone expected, and surprisingly humorous too. I didn’t expect to laugh out loud when there were such … creative… things going on. Flying vibrators? Sex with a…. Okay, you have to watch. This show is good at that, though – mixing the sexual with the violent with the humorous with the occasionally touching. And not just the Herogasm kind of touching!
Herogasm comic cover by Darick Robertson
Here’s my non-spoilery teaser review of Episode 6, which everyone should watch when it drops on Friday (or Thursday night if we’re lucky). Stay tuned for a spoilery recap and in depth review this weekend once everyone has had a chance to watch.
I won’t give away what actually happens at the Herogasm bash, or who ends up being there to join in the fun (or pursue other goals while others have fun). Let’s just say that a lot happens, and it is both disturbing and darkly funny. I will forever appreciate The Boys for being able to combine all those things with a drug-fueled supe orgy that had so many pump bottles of lube on the set that many a hapless crew member apparently mistook one for covid-protocol hand sanitizer.
So yes, that happened.
Now that I’ve seen it, I can only imagine what it was like to be on the set that day. Jensen Ackles shared his own experience on set that day with us at a convention in Denver shortly after filming it.
Jensen: They had rented out this huge mansion, just gaudy and perfect, and I see the A camera operator, his mask down, eating a sandwich and he looks a little traumatized. I was like, hey man, what’s goin’ on, you good? And he just shakes his head nad says “I seen some shit, man. I seen some shit.” He was already PTSD and we hadn’t even gone to lunch yet. And he was right. I can’t unsee it, can’t put that toothpaste back in the bottle. There was the set dec stuff brought in by the art department and let’s just say there were a lot of sex toys all around, and in addition there were just like vats of lube. The problem was they looked very similar to the covid hand sanitizers that they had spread throughout the set, so every now and then you’d hear an expletive because somebody had done an entire pump of lube on their hand and was like oh crap!
Jensen to Supernatural costar Jared Padalecki standing next to him: I don’t know that you’re old enough to see this. (He then played it for Padalecki on their recent flight to another convention).
So, be prepared!
The underlying theme of the episode plays out before and alongside Herogasm — the slow but sure desertion of anyone who is truly “on his team” for Homelander. Because anyone who has watched Eric Kripke’s shows for a long long time knows he can bring the OMG and the OHMYHEART and the OUCH all in one episode.
Homelander is increasingly isolated, in one poignant and disturbing scene left with only himself to talk to – literally. He also talks back, which is never a good sign but makes for fascinating fictional media. It makes horrifying sense that it’s the persona created in childhood when John needed to dissociate, still with him after all this time – probably more and more present as the stress and isolation build up. It’s the ‘strong one’ who got him through the trauma that happened in the ‘bad room’, who at first tries to give him(self) a pep talk about being better than everyone and not needing anyone, then resorts to taunting him for the part of himself that still longs for love and approval. There’s the suggestion that he carve those parts of himself out, leave him pure, clean.
You get the feeling that’s exactly where Homelander is headed. Impermeable. Cold. Unfeeling.
Makes sense when you’re a helpless, traumatized child – shut off your feelings, make yourself like stone. Make the pain stop. My little bit of empathy for Homelander reappears briefly every time I hear about his horribly abusive childhood – his defenses make sense, but they are so far from helpful at this point, they’re likely to take everyone around him down. And there’s no justifying that, even if you can see how he got there. His lack of remorse when he kills, even innocent bystanders, is absolutely horrifying.
In contrast to Homelander’s coldness, Starlight in this episode runs hot and takes no shit. She’s increasingly fed up with everyone and their brother and sister who keep “telling me I need to be shitty in order to win.” You can tell she wants to give a big fuck you to all kinds of people in this episode, including Victoria Neuman, who is so damn pleasant even though you know she could pop everyone’s heads like a melon. That’s scarier than someone who actually looks scary! Annie January takes the spotlight in a different way in this episode, and I was cheering.
We also get more backstory of Frenchie’s childhood and how much it messed him up, which is for sure the theme of this entire show. We get more backstory on Mother’s Milk too, including exactly what happened with his family and Soldier Boy back in the day, the origin of his OCD and his current obsession to confront Soldier Boy and get some kind of revenge. For many of the characters, revenge seems like the only way to end that kind of obsession. Mother’s Milk is looking for that with Soldier Boy, Hughie is looking for that with A Train, and A Train is looking for it with Blue Hawk. Round and round and round we go.
And that brings us to Soldier Boy and Butcher. Butcher’s looking for that with Homelander; Soldier Boy is looking for that with the team who abandoned him. The utilitarian partnership between Butcher and Soldier Boy, with Hughie along for the ride, is a lot more fascinating than I expected it to be. Soldier Boy’s return shakes everything and everyone up, supes included. Having someone else on the playing field with at least as much power as Homelander is a game changer, but while there are plenty of similarities between the two, there are also differences.
I was thrilled that we get to know Soldier Boy better in this episode. Ackles brings unexpected depth to his character once again, much to my distress – he’s a jerk who’s stuck in the racist misogynistic homophobic ideas that were so common in his time, and that have clearly always worked just fine for him so why would he change them? They’re beliefs that have probably hurt countless people over the decades and he remains uninterested in changing them. But he’s surprisingly open in sharing his feelings and how lost he is in this new world. A world that, as he says, forgot him.
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He doesn’t seem interested in causing harm to anyone except the team that betrayed him. Like Homelander, though, he’s also a man who has nothing and has lost everything; and that, as we’ve seen before, is a dangerous man. Especially when they have great power. He may not be out for revenge against anyone but Payback, but he also can’t control his explosions that destroy city blocks and he’s not very concerned about collateral damage. Not exactly a caring, compassionate chap.
The rest of the original Payback team better be on the lookout…
The underlying theme of this episode is how much blame to give other things – whether outside influences or substances like V – for when people do bad things. Is it the V who turns people evil, corrupting them, or does it just bring out who they really are? It’s a metaphor both for the power and privilege someone gains and what that allows them to do, and also for the ways in which we absolve ourselves of blame for the things we do that hurt others – it’s not my fault, it’s the people who hurt me in the past. It’s the drugs. It’s the V. Or is it?
The episode is also very much about the mantra of Eric Kripke’s earlier show, Supernatural. Saving people, hunting things. What does it mean to be saved and what does it mean to be the one doing the saving? There are some pivotal choices made in this episode around that question. Mother’s Milk, Starlight, Kimiko and Hughie all make decisions about what’s most important to them, confronting some hard truths about themselves.
This is perhaps the most powerful episode yet of Season 3, with every actor stepping up with compelling performances, and twists and turns to make your head spin. One of the things I love most about this show is that I almost never know what’s coming. I don’t like it when things are predictable, and that is one thing The Boys has never been.
And just so you know, there are two episodes left of this season, and you can count on that unpredictability to remain. And then some!
Tune in tomorrow (or later tonight if we’re lucky) for Herogasm – and then check back here on the weekend for our spoilery review and recap!
Walker’s penultimate episode ‘A Matter of Miles’ was an uncomfortable one to watch – intentionally so. The gulf between the various ‘sides’ feels pretty much uncrossable now, many characters feeling like their backs are against the wall after coasting along without expressing things like anger, resentment, guilt and suspicion for too long. There’s a sense of desperation that pervades all the tenuous relationships, amping up the tension for pretty much the entire episode. I found myself feeling like I needed a break mid episode from all that tension, so I could imagine how the characters were intended to be feeling!
There are two main story lines running in parallel throughout – the return of Miles and the mystery of what he and Fenton were really up to and who is/are the bad guy(s) here, and the escalating feud between the Walkers and the Davidsons. I don’t like black and white anything, I’m always here for the nuance, but this episode painted the Davidsons with a much darker brush. I’ve been expecting that to happen, since they’ve been set up to be the ‘bad guys’ all along and obviously the Walkers have to turn out to be the ‘good guys’. But there were only a few characters who I could say I actually liked in this one – the rest, on both sides, were just plain unpleasant. I get where the Walker family’s anger is coming from – who could not be angry at people who literally took your home right out from under you? But the show did a good job early on of showing the Davidsons as people who’ve endured as much loss and tragedy as the Walkers – including all their land – so there’s anger and bitterness and now a drive for revenge on both sides of the fence. Understandable maybe, but stressful to watch!
Gale and Denise in this episode are much more the stereotypical villains, saying one seemingly reasonable thing to Geri and then snarking about the real reason they’ve agreed to dinner with the enemy behind her back. I half expected them to do an evil cackle at some points, enjoying that they have the power to wreck anything that was the Walkers – especially Abeline’s. Tearing up her vegetable garden even if it means no more nice fresh vegies was a petty, purely vengeful thing to do. Abby is right – no matter how much Gale takes from them, it’s never going to heal for her the rage she feels about Abilene having Marv’s love and the Walkers having all the land and her not getting to raise her child (even if most of that was probably Marv’s mistakes, not the Walkers’ fault). It’s impossible not to dislike Gale and Denise heartily in this episode.
Unfortunately it was also impossible for me not to dislike how some of the other characters who I usually like a lot were acting. Bonham is a barely contained boiling-over pot of anger throughout the painful dinner, tossing barbs at the Davidsons any chance he gets. Probably it was putting the Walkers in an impossible situation, asking them to come back to the house that was theirs and still feels to them like theirs (witness Cordell walking in without knocking and almost tossing his hat on the peg he expects to still be there) and expecting them to sit down and make nice.
It’s the day after the release of The Boys Episode 5 (The Last Time To Look on This World of Lies) after another week of anticipation running high and the official accounts doing a great job of teasing us while we wait. This episode was billed as “The Boys Musical” which left some fans expecting all the characters to burst into song ala Buffy’s musical episode – and while it wasn’t that, we did get some amazing song and dance (and there’s more if you make use of the XRay function on the streaming videos). Those moments provided a welcome interlude of lightness and even joy interspersed between the more usual moments of darkness, angst and violence. Oh, and kinky sex. I love The Boys for its ability to swing between those different states seamlessly, something Kripke seems to have mastered in all his shows.
The episode also introduces the new character of The Legend, a Stan Lee homage and iconic figure from the comics who is played to perfection by Paul Reiser. In the comics, The Legend was a Vought comic book writer who helped sell the Supes as heroes, and who later gives information to the boys.
Prime VideoOriginal comic art by Darick Robertson
He’s a former Vought employee in the series too, but more a producer and manager for the Supes with the official title of VP of Hero Management before Stillwell took that job. He’s also quite a character – decadent, irreverent, a man from a bygone era a bit like Soldier Boy is. He’s probably a complete asshole but somehow kind of appealing anyway. The Legend also provides some more pointed commentary on celebrity – to him, the Supes are “the talent”, and as he wryly notes, “who knows why they do what they do?” If you’ve ever been backstage or on the other side of the celebrity fence for even a little while, it’s both fascinating and disturbing to see how differently someone is treated who’s identified as “the talent”. They are both coddled and infantilized simultaneously, which is a great way to encourage narcissism and discourage self awareness. It’s doubly fascinating when this is a show employing a bunch of “talent” in real life, but The Boys never backs away from its own attempts at self awareness (or self parody).
I feel like I say this every time, but there are pivotal happenings in this episode for many of the characters. SPOILERS AHEAD, so be sure you’ve watched before you read!
Butcher is still sliding down that slippery slope at breakneck speed. He embraces taking the Temp V, rationalizing his decision to MM when he asks if it felt good to use his laser eyes and kill Gunpowder.
Butcher: It did – for once I leveled the fucking playing field.
MM isn’t having it, with the one line that encompasses the primary message of this show.
MM: The whole point of what we do – the whole goddamn point – is that no one should have that kind of power.
Butcher is not without ambivalence himself, especially about Hughie also taking the Temp V. He imagines Hughie as his younger brother Lenny, upset when Hughie reacts to the drug by vomiting a lot of green puke into the sink repeatedly.
After the epic events of last week’s episode of The Boys, this has been another week of anticipation while enjoying periodic teasers from the official accounts and lots of delicious back and forth between the Vought Intl. in-world social media and The Boys intrepid social media manager, who is hitting it just right with the fans. Whenever you see fans tweeting that they’d like to be friends with the person running a show’s twitter, you know someone has got their finger on the pulse of the fandom. But I would have expected no less! In one of my first chats with The Boys’ showrunner Eric Kripke, back in his Supernatural days, we talked about finding that elusive balance of keeping track of what fans want and also staying true to the vision of the work you’re putting out there. It goes wrong as often as it goes right, but so far, The Boys is finding that balance – and I am here for it!
We left off episode 4 at a pivotal time, with Soldier Boy freed from his cryogenic chamber and on the loose somewhere, Kimiko bleeding and badly injured, and Hughie still staring in awe at his magically (Temp V) healed arm and basking in the way he helped save the day.
So as I sat down to watch the screener for episode 5, I was practically bouncing waiting to see what happens next. To say I was on the edge of my seat for most of this episode is not an exaggeration. The title alone gave me chills – any title in this show that has the word “last” in it is guaranteed to put me on edge. Who can blame me?!
This is the non-spoilery preview of Episode 5 (Last Time To Look On This World Of Lies), so no major spoilers – you can read and still be assured of experiencing the full breakneck speed roller coaster of emotions that a new episode of The Boys is guaranteed to bring. We already know from the official account (so it’s not a spoiler) that this episode includes at least one musical sequence, which only Kripke can pull off integrating into a show as dark as this one. It is PRICELESS.
We also know from the official account that ‘The Legend’ appears for the first time, a character from the comics played in the series by Paul Reiser. Without spoiling anything about who he is or who he interacts with, let me just say that he is A CHARACTER – and that I thoroughly enjoyed everything about him.
In many ways, the fifth episode of the eight episode season ramps everything up into high gear. Almost everyone is at a turning point, back up against the wall, certain that they know best how to get what they want or what they think others want – and most of them willing to do just about anything to accomplish that. To say there are unlikely alliances as a result is also not an exaggeration – even if we did suspect some of them were coming. Mother’s Milk, as he often does, has the dialogue that sums up where they are right now, quoting his father who is so much the guiding light in his life even as he tries to live his own differently in terms of his daughter. If you don’t draw the line somewhere, how the hell are you gonna know where you stand?
There are lots of lines drawn in this episode, and there are also times when someone decides there is no line – which means there’s nothing to cross. This has essentially been the question the show has asked since the beginning, for all its characters. Where’s your line? The fact that not every character has one at this point is, frankly, terrifying. That’s becoming a risk to more characters than we might have expected, which threatens to blur the other line – the one between supes and the boys – into nothing. It’s interesting to see which characters have managed to hang onto keeping a line and which haven’t, with all the moral and ethical questions that brings with it. Is it okay to lie? Kill? Betray? If there’s no line, what will ever be off the table?
The other underlying theme of this episode is what it means to be human, and what we really mean by “humanity”. Is it determined by what’s inside you, literally or figuratively? Genetics, biology, what’s running through your veins? Is it the decisions you make and whether you retain a capacity for empathy, to care for other humans? And is it antithetical to power, the ultimate corrupter? So many good questions that are achingly relevant, not just on the screen, but in our real world right now.
I love that The Boys has slowly humanized its supe characters, with even Butcher pointing out that they’re all just people. And yet, knowing what they can do, he still fundamentally believes they’ve all “gotta go”. The exploration of what power is and what it does to people continues – we’ve seen reluctant supes wish they could go back to being just people, and we’ve seen what a taste of power does even to someone who has the best of intentions. At the end of last week’s episode, we left the ethical heart of the boys, Hughie, staring at his miraculously Temp V-healed arm with something like awe and wonder – while Kimiko lies gravely wounded in the same van. If that’s not a chilling case of power corrupting, I don’t know what is!
And then, of course, there are the people who have the worst of intentions.
At some points in this episode, the real life parallels are overt, echoing the ways in which those in power have marginalized and stigmatized those who are not. Sometimes Kripke and company really do seem prescient. I have sometimes heard the same words being spoken onscreen in the real world, from people trying to keep that power structure in place, gaslighting along the way to ensure there’s no change to it. From cancel culture to ‘bad apples’, from All Lives Matter, to ‘I don’t see color’, the talking points are all the more jarring because we’ve actually heard them. We even delve into the standard “this is no threat whatsoever, America is safe, go out there and go to your restaurants and movie theaters and live your lives” message – I might have jumped up and started cheering at that point, honestly.
I love when The Boys does that – it feels validating, cathartic. It’s fictional media but it’s reflective of so many of the things that are wrong in real life, and it feels like a relief to know others see it too. A Train’s arc at this point in the season is particularly interesting, and true to The Boys, takes some unexpected twists and turns.
Without giving anything away about his backstory and his journey, I have also been knocked on my ass by Jensen Ackles’ performance as Soldier Boy. I know how good he is from watching him bring Dean Winchester to life for fifteen years, but I didn’t know if he could make me feel anything for a new character who is only a parody of a hero, not a real one. I didn’t know if Kripke and the writers would bring as much nuance to this character as they have to the others, so that my emotions are all over the place and my empathy is pulled to the forefront again and again, only to be stomped back down. It’s exhausting, exhilarating – it’s why I watch fictional media! And this show does it so damn well.
Of course it’s all magnified with Soldier Boy. Ackles, if given even a crumb to work with, will pull you in and make you feel whatever the hell that character is feeling, whether you want to or not. I found myself cursing at the screen multiple times, overwhelmed with too many emotions, some that should definitely be mutually exclusive.
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And of course they gave him a ton to sink his talented teeth into. You would think I would have been more prepared! (Not complaining, not even a little). Seeing our world through the eyes of a man who’s from another time – not to mention one who’s been through the unprecedented experiences that Soldier Boy has – is fascinating. Riveting. Ackles can show Soldier Boy’s suffering, derision, amusement or mystification with just a look, so we get to see it all. I’m trying not to be hyperbolic, but he’s amazing in this role.
That there are a couple of Supernatural Easter eggs in this episode that no one but a Supernatural fan would notice only amped up the emotionality for me. I think I might have yelled “Damn you, Kripke!” at least once. Sorry, Eric. Don’t ever stop.
There’s a lot of evolution in many of the characters in this episode, some of it the predictable slippery slope of trying to make nice with a homicidal narcissist, some of it an unflinching exploration of what happens when you get a taste of power and you’ve felt powerless all your life. That’s compelling for anyone, and the show doesn’t shy away from making that clear. Surprising, perhaps, what a taste of real power does to people – all people.
Homelander continues to consolidate his power base, his ruthlessness now knocking out even my little traces of empathy for him – that’s what narcissists do when cornered. Tell a narcissist that no one loves them and set the fuse on the powder keg is a theme we see played out in this episode more than once. And with my psychologist hat on, they got that one right.
There’s an interesting little theme running throughout this season that is very clear in this episode too about the cost of not being genuine – of pretending you’re okay with things you’re not. For some of the female characters, that has meant pretending to be into a man who was actually hated and feared, not loved. When there’s nothing left to lose, the truth comes out. I think most of us can relate to feeling the pressure to pretend you’re okay with things you’re not, and it seems like a strikingly relevant message when we look around at all the things that many people keep pretending are okay in the real world when they are clearly not.
This wouldn’t be The Boys if there wasn’t also an insane sequence that takes the emotions in a completely different direction for a few minutes, and also one that involves some sort of sex that’s vividly depicted, so don’t worry, this episode has those too! Also, if you’re not shipping a couple of twosomes after watching this episode, I’m surprised. Especially if you’re a Supernatural fan.
Don’t miss the new episode of The Boys dropping on Friday – or, as Kripke teased, tonight if Jensen’s ass doesn’t break Amazon again!
And stay tuned for my spoilery wrap up of episode 5 right here on the weekend!
Last week’s Walker was titled ‘Search and Rescue’ and it was appropriate for multiple story lines. Directed by Austin Nichols (who was on the show in the last season), it was a fast paced episode that didn’t have any down time. As Jared Padalecki recovered from a serious car accident, Cordell’s role was light, but there were plenty of powerful performances by the ensemble cast.
The main rescue is of Stella and Colton, after their first date hiking in the state park goes south. They split up with Augie and his new hiking partner, who is striking enough to make August forget all about the sunscreen he was so worried about. Augie, I know your mother taught you better than that!
Stella and Colton have a teasing competitive dynamic that works to make the relationship believable, but it sends Colton scrambling up a cliff side to try to get to some flowers after Stella sets it up as a race. He hits his head on a rock on the way down and is disoriented and bleeding – and for most of the rest of the episode it’s a race of a different kind to keep him conscious and get them some help.
Stella manages to call Liam and leave a seven second message before her phone battery dies (poor planning for a hike, Stella, and I feel like your hike-loving mom taught you better than that!). So everyone knows they’re in trouble and the feuding families temporarily put aside their differences to try to find them. Earlier in the day the feud was going full force – Liam went to the Davidson ranch to confront Denise and Dan, accusing them of cutting Cordell’s saddle strap. Bonham’s leather detailing knife went missing about that time, and they’ve finally caught up to what viewers have assumed for a long time. I’m still not sure why it wouldn’t be obvious that the saddle strap was cut immediately when they examined it, but at least they finally got there. Dan is furious at being accused, insisting he didn’t do it, but Liam storms out. Dan and Bonham had been working well together, but the accusation ends that relationship, Dan saying “It means a lot, what you’ve done for the ranch, Bonham.”
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He holds out his hand to shake and Bonham doesn’t take it.
Bonham: Mr. Walker’s fine.
He angrily embeds the ax in a block of wood and walks away.
Dan rarely gets a break even when he’s trying, honestly.
Now that the kids’ lives are at stake, however, the feuding families manage to work together to find them.
Chicago was the very first Supernatural convention, way back in 2007. I was there, overcome with anticipation to see both Jared and Jensen together and to be in a room full of my fellow Supernatural fans. Kathy and I, along with our friends Laura and Karen, had stalked the Creation website for weeks to get the best possible seats, and we couldn’t wait to all be together to celebrate the show that was already changing our lives.
It’s 15 years later, and so much has changed. Kathy, my partner in crime who I went to all the early cons with, and to the Supernatural set, and who I wrote the first four books with, passed away unexpectedly several months ago. Going back to Chicago, where this unlikely fifteen years and counting adventure began, without her was emotional. I felt lucky to have so many of my friends there to remind me how much love I have in my life and what incredible friends I have still here with me. I’m so grateful.
Chicago con always seems special because it’s the site of so many memories. Even though this year’s was in the convention center instead of the familiar hotel where so many cons have been held, I still stayed in that hotel so the nostalgia was real. It’s also the con where I met or became closer to some of my best fandom buds, and making new memories with them this year felt extra special.
Also Jared was back and that was something to celebrate for sure – he missed the last convention in New Jersey after his very serious car accident. He’s still on the mend, but it was wonderful to see for ourselves his smiling face and have his banter with Jensen back to normal. It felt healing to all of us, I think.
Chicago had a great line up of guests, and I caught most of their panels since I flew in at a ridiculously early hour. Free shuttle to the hotel, yay!
DJ Qualls was back for the first time in a while – I always enjoy his panels, and he’s incredibly friendly. All weekend long, every time I walked by his autograph table in the vendor room to get to my book table, he was happily chatting and selfie-taking with fans and enjoying it immensely.
DJ: Jensen is good at everything. For the dance number that we did, he had like a 15 minute head start and knew it all.
A fan asked what his craziest dream was, and DJ started to laugh.
DJ: Heh heh, no. I had one after Jared’s accident…I think I was worried about him… and it was like fan fiction…
So no, he didn’t share it!
I enjoy hearing DJ talk openly about things like gender roles and the pressures of masculinity. He said that he got hurt every single time he did some stunt work on Supernatural, but the expectation was that you just “walk it off” so he did.
Next we had what for me was a real treat – a panel with Katie Sarife and Joy Regullano, who played Marie and Maeve in the Supernatural 200th episode, Fan Fiction. It’s one of my favorite episodes and they were brilliant in the parts. I had coffee with Joy in Vancouver years ago and so enjoyed our chat – it’s linked below if you want to get to know her a little.
Joy identifies as a fangirl herself, wanting to represent fans as “smart people with a passion”, and Katie said that her ex-boyfriend was a huge Supernatural fan. He’s the reason she already knew “Carry On”, in fact.
Since they are Vancouver based actors, they knew the show – and Joy had auditioned before.
Joy: The first role I auditioned for was K Tran – which became the character of Kevin!
Both said they loved the episode and the way it ended, except that they would have loved to come back. Understandable.
What was the most fun working on Supernatural?
Joy: Well, Jared is like 6 foot 15, so it was fun being able to boss him around and like, be mean to him. (In the show!)
She also had a scene in which she adlibbed to Jared (Sam): “Look with your eyes and not your mouth” but unfortunately it got cut. I would like to have seen Jared’s response!
Katie: I learned a cool trick from Jensen, of crossing my eyes and the moving just one of them.
(This made me cringe because Jensen has done that to me to tease me and it’s the only time I have ever run away from him lol)
They also enjoyed the comedy in the episode, right down to the “you can’t spell subtext without S-E-X.” Classic Robbie Thompson.
Joy and Katie were asked if Jared and Jensen pranked them, but they said no.
Katie: I think because we were playing teenagers, there were no pranks. Jared and Jensen were really sweet. And not creepy.
I love that everyone who ever worked on the Supernatural set has nothing but praise for the main cast.
Joy: It was like a master class in acting, watching the experienced actors just snap into character like that.
(I’ve witnessed it too, and to a non-actor it is nothing less than amazing!)
Friday also had a great trio panel of Gil McKinney, Adam Fergus and David Haydn-Jones. They joked that it was the “grumpy old men of letters panel”! It was Pride month, and David had on his Yasssss Queen shirt given to him by a fan and some truly awesome rainbow socks.
Written by Raelle Tucker and directed by Charles Beeson, Roadkill wasn’t initially one of my favorite episodes, but on rewatch I was struck by how good it is. It’s not a feel good episode – it’s sad, tragic – but that is so well done. I feel for Molly, so it’s not an episode I tend to want to rewatch, but damn, the acting and writing are top notch. It’s a little bit of a Sixth Sense homage too, which always makes me happy since I was in that movie. (And it’s a great film, of course). Sure, I have zero lines and I’m just sitting in the auditorium audience but hey, I’m still in it.
Anyway…
THEN
The THEN reminds us that our boys are “smack in the middle of” the storm that’s coming, and that Dean especially is focused on “saving people, hunting things”. But we’re also reminded that the brothers are not entirely on the same page, as they both struggle with how to interpret their father’s mission and how much of it they want to take on.
Dean: If it’s supernatural, we kill it – that’s our job.
Sam: No, Dean – our job is hunting evil.
Well done THEN sequence, because that’s the crux of what Sam and Dean are trying to figure out right now, and they’re having a pretty epic brotherly tussle as they do it.
NOW
In a memorable opening, a car drives along a dark road at night as House of The Rising Sun plays on the car radio and the couple argue about being lost and turning around, the guy looking at the map (remember maps? I remember maps….and the days before your phone could just helpfully direct you where to go). Their arguing is good natured, and the guy offers to make it up to the woman, kissing her neck although they’re driving and uh oh, this is not a good idea when you’re in the opening sequence of a Supernatural episode.
The woman, Molly, pushes him off, which takes her eyes off the road just as a man appears on the road. She tries to avoid him and ends up crashing into a tree, the windshield shattering. Uh oh.
Molly wakes up, the car smoking, David nowhere to be found. She crawls out of the car, calling for him, walking through dark and creepy woods as we all hold our breath, waiting for the other shoe to drop.
She finally sees a house with a light on in the woods and though it seems like a bad idea once again, she knocks on the door and then goes inside. There are knives on the wall and blood on the counter, and a man with his back turned.
Molly recognizes the man she almost hit, reaching out to see if he’s okay, though we as viewers can see that he’s not – his stomach is impaled and bleeding way too much to actually be alive, in fact.
Molly: Sir, are you hurt?
He turns around and opens his mouth – and his teeth start to fall out, mouth bloody, stomach wound gaping. It’s a Sixth Sense like reveal, and it’s so well done that it’s super creepy and scary. Season 2, Supernatural really was a little horror movie every week – so good!
The SUPERNATURAL title card pops up and lets us know our boys will be appearing soon. Perfect time for the logo of that season.
Molly screams and runs through the woods, terrified. It’s filmed in slow motion, adding to the terror of will the dead guy catch her or won’t he, and then she runs right onto the road. A car is coming as she yells Stop! Stop! The car skids to a halt – and we see that it’s the Impala.
Dean: Holy– (The ‘shit’ is silent because CW)
Molly is totally freaked out, banging on the window and asking the boys to help her. Sam and Dean exchange a glance as she explains about the scary guy.
Dean: Did he look like he lost a fight with a lawn mower?
This is a slightly shorter review thanks to being at a Supernatural convention when this episode aired and then flying back in the nick of time to dive into summer teaching, but I wanted to take a little time to process this episode of Walker before I dig into this past week’s new episode. ‘Torn’ was aptly named, since just about everyone in it has to make some difficult choices.
Stella is torn between current boyfriend Todd and rapidly-becoming-her-new-love Colton, procrastinating telling Todd the truth even though she knows it’s inevitable. There’s a focus on sibling relationships in this episode too, including Augie telling it like it is to Stella, urging her to tell Todd because it’s not fair to either of them not to.
She finally does, but not before Todd figures it out on his own. He at first responds by lobbing a basketball at Colton and then getting into a fistfight. Trey intervenes, getting popped in the jaw himself for his troubles, and he reminds Todd that who Stella is with is her choice.
Trey: Both people have to want a relationship. The one who wants it the least has the power. It does get easier after high school though.
Todd: Seriously?
Trey: No, not at all. But you do get a better understanding of things.
Trey’s pretty wise, gotta say.
Todd eventually takes the news a lot more maturely than most would, hugging Stella and saying they can hopefully be friends in the future. I am impressed, Todd! There’s a tender Stella and Colton kiss before the end of the episode – the actors have a lot of chemistry, and Stella and Colton are kind of shy and sweet together. I’m sure their relationship is as doomed as Romeo and Juliet’s thanks to similarly feuding families, but I hope I’m wrong.
Geri is still torn between the Walkers and the Davidsons emotionally, but for now she’s made her choice. She and Cordell are not together (though they’re awkwardly trying to at least remain friends) and Geri is equally awkwardly trying to connect with her now family the Davidsons. Denise is initially reluctant, still blaming Geri’s adoptive dad for her father Marv’s death. That’s not rational, but it struck me as realistic. They all had some unprecedented revelations dropped on them a short while ago, and it’s no wonder Denise is having trouble just accepting Geri as her sister.
