We open on Dean running for his life, totally terrified. Large sounding dogs bark from behind him. He rounds a corner and collides with a homeless man. He gets up and screams at the homeless man to run for his life because "it'll kill you!". The man looks down to see a tiny Yorkie with a pink bow sitting there staring at Dean.
Dean's eyes grow wide in panic, and he starts running again. The Yorkie skitters off after him with a yap.
CREEPY BIRDS.
After the Not Credits, we're in Rock Ridge, Colorado two days earlier as the Bromobile pulls into town.
Remember that whole thing from AN ENTIRE SEASON AGO where Joey was into art? Yeah. Apparently she's into art again, because she's painting a mural on a wall at school. She's also borrowed Buffy's Overalls of Overall Sadness. (D: Between this and the "tabula rasa" reference later in the episode, I'm considering this two #crossovermagic episodes in a row.) (K: Motion carried.) Pacey walks up and smiles at her fondly. I flail a little. She asks what he's doing there, and he says he's hoping he'll absorb some of her genius by osmosis or something. Joey joins the dots and realises that he's been kicked out of home again. Pacey says that his eldest sister has left her husband and moved home, along with her small screaming children. Oof.
We open with Dawson trying to teach Joey how to drive stick. She gives up, because Dawson's condescending lessons are spectacularly unsuccessful, and Pacey pops his head up from the back of the truck to complain. Joey tells Dawson that he's no Lloyd Dobler (obviously, because Lloyd Dobler is the cutest and Dawson is the worst), who was very patient when teaching Ione Skye how to drive in Say Anything. Dawson says Joey just isn't listening to him.
Kirsti: Which is totally fair because Dawson's a dick and his instructions are terrible.
Diva: YUP
Pacey asks if Joey is seeing her college boy tonight for Valentine's Day, but he's too busy with exams.
Kirsti: Which is totally fair because Dawson's a dick and his instructions are terrible.
Diva: YUP
Pacey asks if Joey is seeing her college boy tonight for Valentine's Day, but he's too busy with exams.
London, 1599. A guy with a terrible hair cut plays the lute and sings to a woman leaning out of her window. It's all very Romeo and Juliet. She looks incredibly familiar, and that's because she's Blanche Ingram from the BBC's 2006 version of Jane Eyre! (M: AHHH!) She also played Caroline Bingley in Lost in Austen. (M: Less exciting.) She informs him that after his amazing singing she's totally DTF and he rushes upstairs.
When he gets to her room, he's weirded out to see that it's full of creepy magical looking stuff. She kisses him, and turns into a crone with pointy teeth. He freaks. She gestures and two other crone-faced witches rush forward. They cackle as they surround him, and tear him to shreds.
When he gets to her room, he's weirded out to see that it's full of creepy magical looking stuff. She kisses him, and turns into a crone with pointy teeth. He freaks. She gestures and two other crone-faced witches rush forward. They cackle as they surround him, and tear him to shreds.
Yes, that title is a terrible attempt at sounding like the Count from Sesame Street. First things first: this post has almost no gifs because 90% of the gifs for this episode are of one particular scene, and I'm sure when we get there you'll guess what it is.
Marines: I'll help the cause by adding this in response to the lack of gifs:
K: Bless you.
We open in black and white with an old school Warner Brothers logo. That's followed by 1940s style put-everything-at-the-start style movie credits accompanied by monster movie style music. (M: FUN WITH CREDITS, MY FAVORITE.)
Marines: I'll help the cause by adding this in response to the lack of gifs:
K: Bless you.
We open in black and white with an old school Warner Brothers logo. That's followed by 1940s style put-everything-at-the-start style movie credits accompanied by monster movie style music. (M: FUN WITH CREDITS, MY FAVORITE.)
I've already said plenty that this is the series I'm most looking forward to revisiting because I suspect my feelings will be different on rewatch. I'm keeping my mind open, friends. The Rose-era has passed and onward we go.
Busy London street. Freema Agyeman is back, you guys, and she's walking along. She gets a call from her sister who insists that their father is going mental and Freema has to do something about it. Next, her brother rings (and thankfully calls her Martha, getting that out of the way) and says that he didn't even want a party and if their parents are going to fight about it, they can just give him the money. I tried this tactic for my Quinceañera and I'm still waiting on that money, bro.
Busy London street. Freema Agyeman is back, you guys, and she's walking along. She gets a call from her sister who insists that their father is going mental and Freema has to do something about it. Next, her brother rings (and thankfully calls her Martha, getting that out of the way) and says that he didn't even want a party and if their parents are going to fight about it, they can just give him the money. I tried this tactic for my Quinceañera and I'm still waiting on that money, bro.
We open with a close up of an iron pentagram, then pan down to see that Sam and Ruby 2.0 have a demon tied up underneath it. Sam asks where Lilith is, and the demon sasses at him. We then get in a double dose of misogyny shots when the demon says that Sam's "slutting around" with Ruby and then calls her a bitch. Not even 30 seconds in and we're two shots down. It's going to be a long road, friends...
Marines: At this rate, though, we won't even feel it.
K: Thank Heaven for small mercies.
Sam does his angry nostril twitch and holds his hand out. The demon pukes up black smoke, which burns away into the floor.
Marines: At this rate, though, we won't even feel it.
K: Thank Heaven for small mercies.
Sam does his angry nostril twitch and holds his hand out. The demon pukes up black smoke, which burns away into the floor.
Space. We pan around to the Earth, then do a dramatic zoom - with heavy brass accompaniment - into a church somewhere in London. The ginger bride from the end of Doomsday stands at the head of the aisle. The organ starts up, and it's incredibly confusing because the music is Mendelssohn's Wedding March, which is traditionally considered a recessional, not a processional. #musicnerdproblems
ANYWAY. The groom turns around, they grin at each other, and Ginger Bride makes her way down the aisle. Half way down the aisle, she starts to glow. Like, literally. She's full of glowy gold light. Then she screams and disappears into a glow cloud thing.
ANYWAY. The groom turns around, they grin at each other, and Ginger Bride makes her way down the aisle. Half way down the aisle, she starts to glow. Like, literally. She's full of glowy gold light. Then she screams and disappears into a glow cloud thing.
Sam watches his brother sleep in the Motel of the Week, then sneaks out the door. Outside, Ruby 2.0 picks him up and they speed off into the night. Back in the motel room, Dean has nightmares about being in Hell, and wakes to find Castiel sitting on the bed.
Marines: Castiel, friend. We're not fond of characters who watch people sleep around here. Just FYI.
K: Truth.
Dean jumps, and asks what Castiel wants. "You have to stop him," Castiel says. He presses two fingers to Dean's forehead, and Dean wakes up on a bench.
Marines: Castiel, friend. We're not fond of characters who watch people sleep around here. Just FYI.
K: Truth.
Dean jumps, and asks what Castiel wants. "You have to stop him," Castiel says. He presses two fingers to Dean's forehead, and Dean wakes up on a bench.
I've got to say that the most surprising thing about Series 2 was how very little of it I remembered. Sometimes I caught myself asking myself, "did I watch this? Did I skip this? How did I erase this completely from my mind?" I don't have the answers for any of those questions, but those impressions speak greatly to the experience of series 2, for me at least.
There were a ton of episodes that felt weak, but it's a season that is punctuated by lovely character moments, especially if you are invested in the relationship between Rose and the Doctor.
There were a ton of episodes that felt weak, but it's a season that is punctuated by lovely character moments, especially if you are invested in the relationship between Rose and the Doctor.
A woman sleeps on her sofa. The TV turns to static in the background and the lights flicker. She wakes when the phone rings, and sits up with a jolt, her breath fogging the air. She rushes to her closet, and shoves the clothes aside to reveal a typical hunter's arsenal. She flicks on an EMF meter, and it goes crazy. Meanwhile, Bobby leaves a message saying he could use her help on something big. She loads a shotgun and stalks through her apartment.
Granted, this rating is happening from fuzzy memory, but I feel good about giving it anyway:
Kirsti: Good call, friend. Good call.
Mari: I told this story in a vlog recently, but I watched this episode for the first time the same weekend I saw The Body for the first time. It was emotionally taxing, to say the least.
Kirsti: Good call, friend. Good call.
Mari: I told this story in a vlog recently, but I watched this episode for the first time the same weekend I saw The Body for the first time. It was emotionally taxing, to say the least.
Yes, I totally pilfered that title from the Terry Pratchett/Neil Gaiman book. Shut up.
We start with flashing close-ups of Dean's panicky eyes, accompanied by a screeching sound. It's kind of like when you're playing Lego Marvel Superheroes and Venom turns up... (M: I don't really know what you are talking about, but A+.) Then the screen goes black and we hear Dean gasping for air. He flicks a lighter and stares around in a panic because he's in a coffin. He calls for help, but his voice is hoarse. He punches the coffin lid, and soil trickles in. He shoves at it, and manages to break the lid on account of it's not a real coffin, it's made out of crappy bits of 2x4 or some shit. Soil rushes in and the screen goes dark again.
We start with flashing close-ups of Dean's panicky eyes, accompanied by a screeching sound. It's kind of like when you're playing Lego Marvel Superheroes and Venom turns up... (M: I don't really know what you are talking about, but A+.) Then the screen goes black and we hear Dean gasping for air. He flicks a lighter and stares around in a panic because he's in a coffin. He calls for help, but his voice is hoarse. He punches the coffin lid, and soil trickles in. He shoves at it, and manages to break the lid on account of it's not a real coffin, it's made out of crappy bits of 2x4 or some shit. Soil rushes in and the screen goes dark again.
We open in space, looking down at the earth. Rose voiceovers that this is where she was born and where she died. We zoom in on London and watch Past!Rose going through her boring daily life as she voiceovers about how nothing happened in her life before she met the Doctor. We get a shot of the first time she met Nine, and I'm pretty sure I can hear Mari's "NIIIIIIIIIIIIIIIIIIIIIIIIIIIIINE!!!!" feels from here.
Marines: Pretty sure? Girl, that was definitely me.
Marines: Pretty sure? Girl, that was definitely me.
We start with bright blue sky, cheery music, a banner proclaiming the 2012 London Olympics and even some houses with little Union flags in the windows. It reminds me of when Kirsti was last in the US and astounded by the number of flags we fly. #Merica
K: TRUE. Y'all need to back off on the flags. It's RIDICULOUS. I have yet to see any private residence in Australia flying the Australian flag. Wait. Maybe the posh place with a freaking turret near my cousin's old high school that usually flies a pirate flag puts up the Australian flag for Australia Day? IDK IDK.
K: TRUE. Y'all need to back off on the flags. It's RIDICULOUS. I have yet to see any private residence in Australia flying the Australian flag. Wait. Maybe the posh place with a freaking turret near my cousin's old high school that usually flies a pirate flag puts up the Australian flag for Australia Day? IDK IDK.
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