Supernatural: Girls, Girls, Girls, Review

This week's Supernatural exceeded expectations and raised them again. Here's our review...

After a bland previous episode, Supernatural hit this one out of the park, providing the drama, heart, and deliciously evil villains we’ve grown accustomed to. The episode showed multiple villains, without the problems of Spider-Man 3. Yep, I went there.

It’s not often I get to talk about the cinematography of a Supernatural episode. Because it’s a weekly TV show, it usually has a very similar style week-to-week. It’s just a formulaic way of shooting television. This time we got to see a nice little change in the beginning and near the end of the episode. It was subtle, but different enough to establish a particular style. Perhaps it was due to some of director Robert Singer’s choices. He’s directed about 30 episodes to date, including the season ten opener, “Black.”

The opening of “Girls, Girls, Girls” showed a prostitute running from a demon. We’ve seen this scenario plenty of times on Supernatural, but this one felt fresh. The way it was shot gave us an air of mystery. We could be sure that this scene was different than similar ones beforehand. It wouldn’t simply tease a monster. The scene didn’t let us down.

Later, near the end, we meet another baddie of the episode, the New Guy Cole. He catches Dean at the absolute worst moment—when Dean is about to take down Rowena the Mega Witch. (count ’em, we’re up to three baddies for the episode). Dean must let Rowena go and talk Cole down. The whole scene was shot with extreme shallow focus. There’s a beautiful shot in which Dean flips Cole onto a car. The windshield explodes into a shower of safety glass and powder, and the camera inside the car captures the glass shatter and racks focus to Deans face in the same shot. Then when Dean, Cole, and Sam have their friendly chat, the focus only selects one at a time, so that even when all three are in a shot, only one is clear. It was a great way to shoot this scene, because it made each character appear as trapped as they must have felt.

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Castiel and Hannah’s epic road trip comes to an end. In a surprise twist, Hannah’s vessel’s husband finds her and demands answers. She feels guilty about the lie she fabricates for his benefit. Hannah tells Cas that she’s done, and she jets out of her vessel’s body. Actress Erica Carroll does a splendid job shifting from the angel Hannah to the human vessel Caroline. She subtly changes her voice, the way she carries herself, and her expressions to show a different person entirely. Sad to see you go, Hannah/Erica.

The final stab in the feels was when Castiel sadly looked away from Caroline reuniting with her husband and did a search on his own vessel, Jimmy Novak. (Sidebar here: isn’t it great that the angel is using a search engine called Web Summon? Okay, back to your regularly scheduled review.) The look on Cas’s face when he sees Jimmy staring back at him, MISSING written below his picture, speaks volumes. It makes me feel that the departure of Hannah, and his reminder of Jimmy’s family, will lead to a Jimmy-Family reunion….or Cas’s eventual decision to leave as well.

This episode exceeded expectations and raised them again in anticipation of the next new one. I can’t wait to see more of the deliciously evil Rowena, the eventual return of Cole as a new Hunter (because let’s be honest, how could he not?), and whatever might happen with Castiel’s crisis of the heart.

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5 out of 5