![]() ![]() They repressed and moved on, repressed and moved on, conveniently removing the mourning period from show’s tone sooner rather than later. Back in the day, when they lost someone close to them, they did not react like this. ![]() Mary and Castiel were both unconditionally loved, both unacceptable losses, so their respective perils were included to prove a point about the way Sam and Dean have changed. That’s why they were necessary, after all. There is no “back to normal” this time – instead, it is one long aftermath, with the focus entirely hinging on those absences, and how each brother is handling them differently. It seems like the showrunners had some firm ideas about how a loss of this magnitude should actually be handled, so during the first five episodes of the season, that grief, and the downward spiral it causes, is actually the show’s A-plot, amidst the regular case-solving (which here serves as window-dressing, juxtaposing the attempts at normalcy with the ultimate impossibility of it) and the introduction of new mythology and characters. That’s the first element that makes season 13 stand out as having seriously raised the bar – or rather, the avoidance of that. ![]() ‘Supernatural’ season 13: Why it was the best ever A week or so later, that loss is no longer obligated to affect the plot or tone, and while the Winchesters are repression experts, sometimes it can be jarring to look at in perspective – say, when a genuinely comedic episode pops up two episodes after a massive loss. Repeatedly, we’ve seen huge tragedies followed by no real exploration of the lingering trauma – not every single time, but fairly often, including after many important character deaths. ![]() Supernatural has a history of leaving problems behind pretty quickly, in order to get back to its status quo: Sam and Dean Winchester saving people and hunting things without too many distractions to muddy the waters. ![]()
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