Supernatural: Episode Titles for the End of Season 4

Supernatural is heading into the home stretch of season 4. With only five episodes left, every minute counts as Sam and Dean Winchester race to stop Lilith from breaking the remaining 66 Seals and bringing Lucifer to Earth.
Unfortunately, fans may not get to see these final episodes uninterrupted. Early, unconfirmed reports suggest that more breaks are scheduled, and the scheduling of these final episodes might leave fans hanging for longer than they’d like. There are also recently released episode titles for all the remaining episodes, though they might give away more than you’d like.
SPOILER WARNING: Read no further if you don’t want to know what the final Supernatural episodes are called.
This Thursday brings the highly meta “The Monster at the End of This Book,” in which Sam and Dean discover a book series called Supernatural about themselves. That paradox will leave fans scratching their heads for three weeks, because Supernatural is taking yet another break.
The next batch of episodes return April 23 with “Jump the Shark,” and based on that title, fans could be in for a third straight “funny” episode. However, that paves the way for the final three very serious-sounding episodes.
April 30 brings “The Rapture.” This religious title certainly suggests that the angels will play a key role as Dean nears his ultimate destiny.
The penultimate episode of the season airs on May 7 and is called “When the Levees Break.” That bodes poorly for the Winchesters as it portends plenty of bad things ahead.
According to a blog post on Saving Faith’s Sandbox, the next week will be excruciating for Supernatural fans as the show will take yet another break on May 14. It’s not until the next week, May 21, that the Supernatural season 4 finale will air.
But it’s a big one, because the episode is called “Lucifer Rising.” Aside from being a brilliant companion title to the season premiere, “Lazarus Rising,” this episode promises to deliver what the whole season has been leading up to. Will Lucifer rise? Given this show’s history with season finales, I’d have to bet ‘Yes.”
Based on absolutely nothing but my own wild speculation, here’s my current theory: in the final moments of the season, Lucifer rises after the final Seal is broken. However, in order to walk the Earth, Lucifer must take a human body just like all the other demons. What body does he choose? Wile Sam might be the obvious guess, I’m leaning towards the even cooler possibility that Lucifer will take the form of John Winchester. I know the evil father is a bit of a cliche, but it could still be undeniable cool.
Do you think Lucifer will walk the Earth? And if so, whose body will he possess?

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BattleStar Galactica: Blood on the Scales

I usually have no trouble writing about TV shows as soon as I watch them but it is impossible to explain how i feel about Battlestar Galactica. From the special effects to the story and even the acting, this episode was a masterpiece. It demonstrated most effectively the depth of the cast on this show. from the cylons, Gaeta and Zarek to the soldiers in the weapons locker and Adama’s lawyer and of course the main characters were as expect as ever. Everyone had something to do.This show has grown from an OK miniseries to one of the best shows on television.Roslyn may have summed up the theme of this show best when she said that Adama was going to be in control again and he was going to know who was on his side and who wasn’t at the end of it. If there was any question of the human and cylon alliance it is over. Adama and Roslyn can’t help but trust the cylons now and without anyone to stand against them they will have no trouble getting what they want.In the end I think that Zarek and Gaeta were exactly what the fleet needed. We went from characters who were completely defeated to characters who are stronger than we have ever seen them. Adama and Roslyn are warriors and they are at their best when there is an enemy, but now we get to see if they can keep that without anyone to fight against.There are so many great moments in this episode. Most shows that knew they were ending would stop focusing on examining their characters and just wrap up the plot. What is so great about this episode is that they don’t. Even Baltar is becoming a better person and I never thought that was possible.

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Battleltar Galactica: Someone to Watch Over Me

In this episode of Battlestar Galactica Boomer finally rescues Hera from the Galactica, and not a moment to soon. This seems to me like the last place a parent would want to keep their child. The ship is falling apart, full of religious wackos with guns, occasionally people attack the cylons the captain and first mate are drunk most of the time and it appears that the flight leader has lost her mind. They should have moved her to the Cylon ship as soon as it arrived so that she would be safe.Overall this was an interesting episode and I was impressed by just how much of the story they were able to tell without words. The story itself focused largely on the chief and boomer. I’m not sure that I understand a lot of his decisions lately but I can understand part of this. He found out his child wasn’t his child, his wife died, his hope for earth was destroyed, one of the few people in the universe who he felt connected to is in a coma, he is struggling to keep the Galactica in one piece and now the woman he loves appears on the ship, and is going to be executed.That brings me to the trial of Boomer. She’s under arrest for shooting Adama, I get this generally assassination is looked down upon, but calling it a betrayal has always seemed suspect to me. She is a Cylon and once she knew that she attacked her people’s enemy in the best way she could, but that brings us to the rebel cylons. So far as I can tell they want to execute her for voting for the other guy. I can disagree with who you vote for but I wouldn’t call it treason.The other half of the episode was Starbuck playing the piano. I don’t think there is much doubt now that her father is Danial, meaning that she is a hybrid. She might even be on the path to finding that out, but this made me think of something else.The vision of her father reminds me of the visions that Baltar has always had of six. This makes me wonder if there might not be some connection between the two events. It seems likely to me that if Kara is half-cylon he could do cylon projection which could explain how she sees this, but that makes me wonder if perhaps we’re going to find out that Baltar is a hybrid as well. I’m not sure I like that idea, but I find it interesting.

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Battlestar Galactica - Some Disappointment And Final Opinions

The series finale of Battlestar Galactica (BSG) has come and gone. The fact that I’m going to talk about it means this article may contain SPOILERS for the seriously time-delayed viewer.
I’m sad. BSG was my favorite show and I really enjoyed writing about it and exchanging thoughts with all of you. Depending on your expectations and philosophies, the series finale either thrilled you or flat-lined your experience. For some, it did both.

Going into the finale I already had my conjectures and was looking for answers. We were told repeatedly that we would “know the truth.” Yet we were left hanging with non-answers when all was said and done. Between the network setting us up for “knowing the truth” and Executive Producer Ronald D. Moore planning on an ambiguous ending, we the viewers were caught in the middle of a writer’s vision and a newtwork advertising ploy.
When I wrote a post reviewing the finale of Battlestar Galactica, some of the reader comments ranged from fantastic perspectives to rather pragmatic thoughts, and the resulting conversation was pretty engaging. The finale had massive potential to confound and dissuade viewers but what I found it did is leave some viewers feeling empty.
I wanted to see if I could clear up or clarify some points, and to further that end I dug up some interesting things from the interviews various publications conducted with Ronald D. Moore in the last few years. Let’s get on with looking at those tidbits.
Our Promised Ending
Back in 2007, Ronald D. Moore indicated that Battlestar Galactica had a built-in ending. He said they made a promise to the audience of finding Earth and the creative staff was duty-bound to deliver.
Personally, I felt that the finale’s approach (finding a random planet and having Admiral Adama call it Earth because that “was the dream they were chasing,“) seemed to fulfill that purpose. Yet it felt fluffy. They had already found Earth and it was charred. The dream was (literally) fried. Try a new name!
This was so-so. I can live with this.
Daniel And The Rabbit Hole
The extra Cylon, Daniel, turned out to be a rabbit hole.
The intent behind the Daniel model was to create a polar opposite to Cavil. Instead, they drew us into another line of curiosity as we started wondering about Daniel.
I was definitely pulled into the premise of a Daniel model. Even to the point of noticing that there’s a Daniel in the prequel, Caprica. What gives people? So much energy was put into the final 5 that this Daniel model just seemed to be an extension of the premise of there being mystery Cylons.
Having a polar opposite to Cavil might have worked if they were in conflict with each other for our viewing pleasure. Cripes, that might have given us another Cylon to root for.
Quit doing that to us, Mr. Moore. Oh wait, the show is over. In that case: I didn’t like this rabbit hole.
Other Rabbit Holes?
One other rabbit hole Moore admitted to was in a scene where Head Six physically lifted Baltar off the ground. I was completely sucked in by that scene (It happened, I believe, back in April of ‘08), and I waited for this new contingency to develop.
But, it seems that it was some oops on the part of the show’s creators and they never wanted to go anywhere with it.
So why the heck show us something like that? Why are we getting these few, but HUGE mistakes from this seasoned staff of creators?
I didn’t like being led on and that was exactly what that was.
Not Holes, But Loose Strings
Egads, loose strings? Whole coils of rope is more like it!
Other Battlestar story details that were left dangling in the wind:
Why Roslin was in mental projections with the Cylons. Why Roslin almost fainted when 4 of the final 5 became self aware of themselves. Why didn’t they give Roslin more of Hera’s blood? Sheesh, if I dwell on this, the list would go on and on (and I do add a couple later on).
I didn’t enjoy not having answers when I was told I was going to. Plain and simple.
What Happened To The Colony?
In case you’re wondering, everyone (Cavils, Simons and Dorals) on board the colony ship died.
At least that’s what Moore’s intent was. He wrote it so that when Racetrack hit the Colony ship with his nukes, the Colony ship gets knocked out of its precipitous orbital location near the singularity and the Colony ship gets pulled down into the black hole. SWEET!
But that scene was cut from the episode. Who was that editor? This feels like another rank amateur mistake on what could have been a piece of serious closure to that part of the show.
I’m not happy left having to scour for interviews to learn these things.
Cavil Offing Himself
Cavil offing himself was Dean Stockwell’s Idea.
Originally, Moore had Col Tigh and Cavil fighting. The scuffle was going to end with with Tigh throwing Cavil over the railing in the CIC and Cavil would die. Stockwell talked to Moore and said that he felt it more in line with the character if he took this escapist route out of the situation. Moore okayed that.
I would have liked to have seen Tigh kick someone’s ass… But that’s just me. Cavil’s method of situation extraction was, to some extent, perfect for him. Kudos to Stockwell.




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Review: Battlestar Galactica Series Finale

I just watched the series finale of Battlestar Galactica last night. I’ve been toying around with posting occasional reviews on the blog, and this seemed like a good place to start. Be warned, there are going to be spoilers, so if you have not seen the episode, don’t read on.
First off, my thoughts on the series as a whole, so you know where I’m coming from.
I really liked the beginning of the series, when the plots were more focused on survival and the characters and more “realistic” things. It was refreshing to see a show that was clearly sci-fi, but did it in a realistic way. Yes there were evil robots out to kill the human race, but the plots were about things like where to get water and how to rebuild a working government. And then came the visions and the prophecies and the oracles and the “final five”. More and more as the series progressed, the plotlines seemed to focus on things like this. I got really tired of this, but every once in a while there would be a good episode with minimal hocus-pocus and good drama and action, so I kept watching until the end, hoping that somehow the prophecies and mysticism would be tied off in a satisfactory way that fit in with the more grounded beginning of the show. Unfortunately, I was disappointed.
I will say this: the series finale was a good microcosm of the entire show. There were parts that I really liked, including a really awesome space battle (though the reason for waging it was pretty iffy to me). We learned more about the key characters, which was strange for a finale, but worked for me. But then the end of the finale was amazingly bad.
I had suspected for a while that the writers of the show did not have a coherent goal in mind, and that a lot of the business about prophecies and mysticism and the final five throughout the series was a symptom of them writing shortsightedly. Instead of focusing on an overall story arc for the series, it’s as if they just wrote whatever they thought would be cool, continuity be damned. This led to a lot of unanswered questions before the finale, but I had seen the good early episodes and hoped against hope that it would all come together. Instead the finale just confirmed my suspicions. It was one of the biggest copouts I have ever seen.
After all of the build-up over four years, in the end we are told that all this weird stuff happened because God did it. Starbuck, one of the most interesting characters, is revealed to be some sort of angel and then abruptly disappears. The 30,000 survivors of the human race discover a lush and habitable planet (that just happens to be modern-day Earth) and instead of settling down in a city and attempting to rebuild their shattered lives, they somehow agree to spread out across the planet, without any experience in surviving in the wilderness, and “go native”. They discard all of their technology, sending their beautiful fleet on a kamikaze mission to the sun rather than putting it to good use on Earth. Hera, who is supposed to be the key to the survival of the human and cylon races, ends up being irrelevant; just an excuse to have a big space battle. Cavil, who is supposed to be the evil cylon terrified of true death and bent on rediscovering the ability to resurrect, promptly and unceremoniously blows his brains out when things don’t go his way. And after a sad and quiet scene with Adama sitting by Roslin’s grave that would have made a poignant ending even after all the nonsense, we are torn out of that contemplative place and confronted with a final scene of comic relief, and a ham-fisted warning that robots are evil.
All of this reeks of lazy storytelling. Setting up a bunch of confusing and unresolved events and then finishing by saying, “Well, I guess it was just God’s plan.” is almost on the same level as the classic terrible ending: “And then I woke up and it was all a dream…” It’s extremely frustrating to see a show that I know can be good, killed by inches as the writers gradually let it spiral out of control.
Isn’t it possible for a sci-fi series these days to be serious, and good, and maintain that quality for more than a couple seasons? Apparently not.



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Battlestar's diving ending

So Battlestar Galactica is over. Again.
It is unlikely that many a fan of science fiction, or intelligent story-telling of any genre, over the age of 11 mourned the end of the original series. But the resurrected version that drew its final breath a week ago was transcendent television, by any measure. Those unfamiliar with the program should read no further. Bookmark this post, rent the DVDs and return when you're done.
After four years of ambiguous exploration of the battle between science and faith, the writers chose to end on a decidedly spiritual note. Starbuck is an angel. Boomer and Roslyn's shared dream turn out to be prescient visions that permit the founding of a new civilization. "All Along the Watchtower" is, well, I'll let creator Ron Moore explain it: "The music, the lyrics, the composition, is divine, eternal, it's something that lives in the collective unconsciousness of everyone in the show and all of us today."
Hmmm. That's going to make a lot of fans unhappy. Religion wins?
I admit that I was expecting something different, something less ethereal, although exactly what I can't say. I would have preferred more rational explanations for how Kara Thrace rose from the dead, and for the voices inside the heads of Baltar and Caprica 6. I know there's more a few ScienceBlogger types who are disappointed with those particular revelations.
But I also understand that whatever outcome the Moore and his partner David Eick chose, a good many fans would be less than pleased. So they came down on the side of the angels, more or less. And they did it with style.
They could have tried to tie up every loose end, but they didn't, leaving a variety of minor plot lines unresolved. That was wise. If there's one explanation for the popularity of this incarnation of BSG, it was the show's refusal to moralize and provide easy answers to its treatment of political and social dilemmas. So why should the finale be any different?
Like any respectable work of art, there remains plenty to think about. Is Caprica 6 correct when she suggests that the cycle is broken? After all, the humans who settled on the new Earth vowed to abandon their love affair with technology and get back to what matters. But 150,000 years later, we end up with New York. Again.
As the credits role, the essential question of just what it is to be human goes unanswered. It was never made clear what the difference between Cylons and humans comes down to. How much technology can a species absorb and retain its identity? What are the ethics of creating life? They're serious questions, evocative of Do Androids Dream of Electric Sheep/Blade Runner, the Borg of Star Trek, and countless other sci-fi works going right back to Mary Shelley's Frankenstein. I'm sure they will be front and center when the prequel series Caprica airs. But don't expect any pat answers then, either.

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Supernatural: BuddyTV Users Are A-Twitter About Last Night's Episode

Last night on Supernatural, Dean went all 'California diet craze,' Sam played with his Dracula bobblehead, their coworkers gave new meaning to the phrase 'pencil neck geeks' and everybody was affected by the cold economy. But during the commercial breaks Supernatural fans went on a new diet plan, replacing extra trips to the fridge to rummage through old pizza boxes with actual socialization. Well, Twitterization.
BuddyTV hosted the first of many future Twitter town halls, leading rapid fire conversation about topics such as the worst ways to die, twist endings and Ghostfacers: Good or Bad? Tweets are inherently a short format, but not surprisingly fans were smart, outspoken and often funny in their critiques of their favorite series.

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'Supernatural' Season 4 Spoiler

When we last saw Dean Winchester on Supernatural, his body was dead and his soul was suspended somewhere in the depths of Hell. If there's one thing that the action packed season 3 finale proved, it's that creator Eric Kripke knows how to drive fans crazy with a cliffhanger. Though we still have months to wait before we discover Dean's ultimate fate, Kripke recently spoke with TV Guide's Matt Mitovich and revealed a fairly significant spoiler for the show's fourth season. There's an interesting change coming to the Supernatural universe, and it may leave fans of the series rather unhappy.Some fans predicted that Dean (Jensen Ackles) would escape Hell fairly quickly and without any long-term side effects. According to Kripke, that's not going to be the case. The Supernatural creator told TV Guide that Dean will be cooling his heels in Hell for a long time, and that his bond with Sam will be massively affected as a result.
Does this mean that viewers will be seeing less of Dean as the new season kicks off? Not necessarily. In my previous article about the finale, I predicted that season 4 will pick up months after the events in "No Rest for the Wicked." If this ends up being the case, then Dean will have spent a long time in Hell before the season begins, and could return in the first or second episode. However, if the new episodes pick up where the season 3 finale left off, then it sounds like Kripke will be keeping the Winchesters separated for a long period of time.
From analyzing Kripke's statement, I have to assume that Dean will be returning with some sort of demonic mojo. I also believe that he'll come back from Hell as a much darker character. However, what could possibly happen that would dramatically affect the bond between the WinSome fans predicted that Dean (Jensen Ackles) would escape Hell fairly quickly and without any long-term side effects. According to Kripke, that's not going to be the case. The Supernatural creator told TV Guide that Dean will be cooling his heels in Hell for a long time, and that his bond with Sam will be massively affected as a result.
Does this mean that viewers will be seeing less of Dean as the new season kicks off? Not necessarily. In my previous article about the finale, I predicted that season 4 will pick up months after the events in "No Rest for the Wicked." If this ends up being the case, then Dean will have spent a long time in Hell before the season begins, and could return in the first or second episode. However, if the new episodes pick up where the season 3 finale left off, then it sounds like Kripke will be keeping the Winchesters separated for a long period of time.
From analyzing Kripke's statement, I have to assume that Dean will be returning with some sort of demonic mojo. I also believe that he'll come back from Hell as a much darker character. However, what could possibly happen that would dramatically affect the bond between the Winchesters? Is Dean going to come back as something a little more evil, or will it be Sam (Jared Padalecki) who has radically changed without his brother's guidance? We'll have to wait and see.
Spoilers usually set my mind at ease, but this little tidbit is going to make waiting for Supernatural's fourth season even more torturous. chesters? Is Dean going to come back as something a little more evil, or will it be Sam (Jared Padalecki) who has radically changed without his brother's guidance? We'll have to wait and see.

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Supernatural: Episode 4.17 "It's a Terrible Life" Recap (Page 1/4)

THEN: Dean cried when he learned he was responsible for breaking the first Seal. Sam killed Alastair thanks to drinking some of Ruby's demon blood. Anna killed Uriel and helped convince Castiel it was time to go rogue.
NOW: Dean wakes up, but this is not the Dean we know and love. He’s in a nice suit, drinks a soy latte, and drives off in his Prius while listening to NPR. He works in an office where his nameplate says Dean Smith. He eats salads and talks about diet plans and his love of Project Runway. The saddest part is that I could actually envision myself being friends with this Dean.
At the end of the day, he takes off and bumps into Sam in the elevator. Sam stares at Dean for a long time and asks if they know each other. Dean thinks this strange tall dude is flirting with him and he wants no part of it.
The next day, we see that Sam is actually Sam Wesson, a tech support guy in the office. Smith and Wesson, that’s pretty funny. Sam plays with a vampire bobblehead while fending off the creepiness of Ian, a co-worker who wants to sleep with a GMILF. If you don’t know what that is, you’re better off. Apparently Sam has freaky dreams about saving a grim reaper named Tessa. Ian dismisses him before getting an e-mail telling him to report to HR.
Sam and Dean bump into each other in the elevator once again, and after straightening out the fact that neither of them is into any gay stuff, Sam asks Dean if he believes in ghosts or vampires. Sam talks about his weird dreams and Dean tells him that he overshares.
Paul, another guy in tech support who recently came back from human resources, loses all his data on his computer and freaks out. He spends the whole night trying to recover it, but it doesn’t work. That night he takes a plastic fork, shoves it into the microwave and sticks his head in it, zapping his brains out

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Pop Life: Battlestar Galactica—WTFrak?

Over the years, the paradigm of prime-time television perpetuation has witnessed its fair share of injustices.

The stellar and capaciously assembled cast of Deadwood is forced to prematurely vacate its saloons and brothels after three seasons, while Law & Order is afforded the freedom to change its cast members more often than I change underwear and enjoy a 19-year (and counting) sojourn.

A comedy watershed like Arrested Development has its growth permanently stunted after two and a half seasons while the superfluous evening soap opera ER is allowed to run longer than an incurable case of dysentery.

And now, the spectacular Battlestar Galactica—a show that emanated in 2003 as a “re-imagining” of the schlocky original 1978 series of the same name, and which has since monumentally transcended even its own humbly described beginnings—has culminated after four criminally short seasonal installments.

And while the ubiquitous satisfaction (or lack thereof) that the show’s conclusion may or may not have provided its rabid fan base is subject to debate, what those of us who loved it can all agree on is that it needed to end on its own terms, rather than cruise relentlessly into the void of irrelevance. (Heroes, are you listening?) If there’s one thing we learned from BSG’s four-season run of spiritual exploration, exercises in morality polemics, and ass-kicking space battles is that science fiction can indeed be relevant.

But, as it turns out, that’s not at all the only thing we learned from this culturally defining space opus. And so, as we bid a fond, frakkin’ farewell to cylons, hybrids and that damned confounding arrow of Athena, let’s take a little trip down New Caprica Lane, and review some of the more prevalent lessons BSG indoctrinated, what do you say?

1. I always knew Dylan’s “All Along the Watchtower” had profound meaning lurking beneath its lyrical surface, but whoa, Nelly! Apparently, if you’re just strolling about a Viper hangar, minding your own business, and that song inexplicably plants itself in your brain, it means you’re actually a cylon. Ain’t that a bitch! Makes one wonder if there might be other songs floating around out there that have destiny-altering implications. So the next time you’re out ordering a Gotta-Have-It-sized ice cream treat from Cold Stone Creamery and you start humming the chorus to Queen’s “Radio Ga Ga,” you might want to take pause and re-evaluate your life’s current course.

2. In space, no one can hear you have super-crazy cylon sex with blonde, synthetic super models in your own, equally super-crazy head. Fourteen-year-olds everywhere are now collectively answering, “Astronaut” to their high school guidance counselor’s question, “What do you want to be when you grow up?”

3. Cheating on your boyfriend or girlfriend is bad unless, of course, you’re a cylon and then you can just simply say, “It wasn’t me; it was my clone.’” Philanderers everywhere are now anxiously waiting to vote “yes” on that inevitable bill to include human cloning testing as part of stem cell research.

4. Declaring your love for someone via standing naked in an open field and shouting out said love to the world like some kind of a pre-pubescent, jackass banshee schoolgirl—all the while your paramour is still sitting right there—is the most expedient way to send that person into the arms of another—who she’ll promptly marry. Just play it cool, son. Instead, say something like, “Yeah, baby, you just got served by the CAG, which stands for ‘Captain Awesome Grande.’ How you like me now?”

5. Gender equality can finally be achieved by simply referring to everyone—male or female—as “sir.” (Yes, they could’ve opted for “ma’am” instead, but “sir” is easier to form on the lips; it’s nothing personal.) Hey, Marcie from the Peanuts gang had this figured out years ago, at least with Peppermint Patty. Plus, a second bird with that same stone is slaughtered by finally eliminating pervasive confusion resulting from androgyny. No more uncomfortable moments of going, “Well, which is it, a man or a woman? I’ll be damned if I can tell.”

6. “All this has happened before, and all this will happen again.” OK, so I realize that things like war are cyclical, and that the laws governing human nature are unwavering and we’re all destined (doomed) to repeat history and blah, blah, blah. I get it. But now that we know this to be fact, is there seriously nothing that can be done preemptively to ensure we don’t have to tolerate future rounds of A Shot at Love with Tila Tequila?

7. Should you ever illegally commandeer the Office of President only to find you don’t receive the necessary assent from members of the Senate, having them all gunned down at point blank range doesn’t bode well for your re-election possibilities. No one likes their president to be a petulant little hothead, plus your opponent is bound to bring up the incident at the first presidential debate.

8. An evening at the opera house—either real or imagined—has too grave a potential for ending in senseless bloodshed and chaos. I knew it! This is why I never saw “Cats.”

By your command, BSG. I’ll miss you.

So say we all.

Todd Guill is not ashamed to admit that he spent many a Friday night watching Battlestar Galactica. He is ashamed, however, that on one of those very same nights, he spent 10 minutes watching Ghost Whisperer.

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Supernatural Twitter

I have some exciting news for you Supernatural fans! BuddyTV has set up a Supernatural Twitter account and we'll be tweeting tonight's episode, during commercial breaks of course. We think the Twitter account will be a great new way for you to talk about Supernatural and catch up with other Supernatural fans.

We'll be watching and tweeting the show on East Coast Time, so if you're a West Coaster and don't want to be spoiled, you might want to avoid the tweets until you've finished watching. Though tweeting with fellow Supernatural fans should be exciting enough, we'll also be hosting a Twitter contest with prizes to celebrate our inaugural night of tweeting.






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Exclusive: Get Swept Away by Supernatural's "Monster" New Promo

The next episode of the CW's Supernatural — "The Monster at the End of This Book" — arrives on the heels of April Fool's Day, but what happens to Sam and Dean ain't no joke.

No, the brothers' horror is all too real when they come to discover that an author has recounted their demon hunts, in detail, in a series of graphic novels.

The cheeky folks at the CW have thus put together a promo for the episode that is fashioned as a pulp fiction-y/noir trailer, complete with such dramatic prose as: "Armed with an iron horse and abs of steel, these heroes pack real heat."

"Prepare to be swept away" by the complete promo at this top-secret URL, then rush back here to share your take in comments.




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Battlestar Galactica: season four, episode 22

Warning: Spoilers galore if you haven't seen Daybreak, the final episode of the final season of Battlestar Galactica.
"I don't mean to rush you, but you're keeping two civilisations waiting!"
They promised it would all wrap up. And it did. Somehow, out of all the doom and gloom, death, destruction and nihilism we've had, Battlestar Galactica finished with something approaching a happy ending. Most of the major questions were dealt with in some form or another. Most of the character arcs were resolved – along with some plot points that seemed to have been left floating through the universe.
There's so much to get through in this two-hour finale, so do pick up anything I miss. Overall, it was a pretty satisfying conclusion. Even given the Lord of the Rings style endless ending(s), the promise of getting another 20 minutes or so on the DVD still sounds tempting.
Bringing back the Tory killing Cally story at this late stage was a brilliant last twist. They'd let Tory get away with it for so long that we'd almost forgotten about it. Just as it seemed like the humans and Cylons could finally work things out between them after the showdown in the Cylon Colony – boom! - unfettered chaos breaks out. No one's fault exactly. Nobody to pin the whole blame on. Just a series of long-established storylines converging at the most inopportune moment possible, leaving us with one final, heartbreaking "nooooooooooo!!!"
After Baltar's moving and convincing speech about belief to Cavil (the first time he's ever really believed what he's saying?) the Final Five agreed to upload the secrets of resurrection to the Cylon mainframe in exchange for Hera. A good deal all round.
The Final Five plunged their hands into the shared Cylon memory pool (aka Sam's bath, now wired into the Galactica's bridge – what a weird sight). But not without misgivings. They all knew that this connection would let the other four know everything about their lives. Everything. But even so, it was a shock to watch that most basic of emotions – revenge – unfold and undo the fragile peace, as Galen learned how his wife had died: shot out of an airlock by Tory. He pulls his hands out of Sam's Hybrid bath. The Cylons think the humans are pulling a fast one by suddenly stopping the Resurrection Hub info upload. Everyone starts shooting.
Then with just enough juice for one last escape, Starbuck plays her last hand: typing Hera's Watchtower notes into Galactica's FTL drive as jump coordinates. And there it is. Earth at last. Maybe not a total surprise in the grand scheme of the show, but it still packed enough of a punch, especially after the double-bluff of landing on a burnt-out planet at the start of this section.
So now we can look back at the entire series as a whole, what do you think? Did it hold up? Was it worth waiting for? Are you glad you stuck with it to the end? Is it the greatest sci-fi ever? The greatest TV show ever? (Do we even have to rate it instead of just really enjoying it?!) Ultimately, looking back at the journey, it feels like Battlestar's been a show about the nature of civilisation, about the rise and fall of societies, courage under fire, democracy v military, church v state. That, and some pretty cool robots. Roll on the DVD extras!
Frak-watch and other sitrep notes"Frak!" Brother Cavil's last word before blowing his Cylon brains out.
If you're curious about how Caprica's going to look, Ain't It Cool has posted seven clips today – will it fill the BSG hole?
"I know about farming." Redemption at last for Gaius Baltar. That one line said so much about his journey – and really justified the flashbacks to his testy relationship with his father last week. He's accepted who he is, his past, atoned for some of his sins, and is finally going to be able to put his scientific knowledge and childhood on a farm past to good use. And after getting the full blast of Lee's character assassination, there was a proper lump-in-throat pay-off watching Caprica fall for him again - "I'm proud of you Gaius" - after he decided to leave his flock and join the battle.
"Poetic justice"Nice to see Romo get one last laugh as President Lampkin.
Anders sets the controls for the heart of the sun; Hendrix plays out on the final scene – is Battlestar Galactica full of hippies?
"You can see them?"For once, Gaius and Caprica get to share their visions with someone else.
Kara disappearing. So was she an angel after all? Or did she just get into super-stealth ninja mode so she didn't have to deal with a teary goodbye with Lee? Were the wing tattoos on her arms a clue all along?
"I'm going to build our cabin right there."Adama and Roslin get their little house on the prairie after all.
The robots at the end. I could buy – even enjoy – the sight of Head/Angel/Demon Baltar and Six wandering through Times Square and checking in on humanity 150,000 years later, but the sight of those Sony Aibo robots (or whatever they were) clunking around modern shop windows just didn't do it for me. Too jarring, too much of the real world, and the now all of a sudden. And as for Ron Moore's cameo at the news stand, well, that really felt like a rare blunder – one of those things that probably sounded quite amusing in the writing room, but played out as totally distracting if you know what he looks like. He was way too prominent in the shot, almost winking at the audience right at the very end – he might as well have had a big T-shirt on saying "I wrote this!", or "Mwah ha ha! I'm the real God of Kobol!!

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Television: Supernatural Ruminations – Dean and Sam Winchester and the Effects of What a Girl Says

Supernatural season 4 came back from its break these past two weeks to hit its audience with two very powerful and revealing new episodes: Death Takes a Holiday and On the Head of a Pin. I just wanted to share my thoughts about this ‘one-two’ combination of punches that, in my opinion, have left our Winchester brothers and us as viewers reeling on the ropes.
One of the first things that has really jumped out at me as a viewer of Supernatural after watching these two recent new episodes is while that this show is suppose to be about Sam and Dean Winchester (Jared Padalecki and Jensen Ackles): who are two ghost hunting, demon fighting brothers driving around in their ’67 Chevy Impala ‘muscle car’ loaded with weapons, the boys lives and their fates have become tied into some pretty heavy duty estrogen driven influences in the fourth season. In fact these influences began to show themselves in season 4 as early as in the episode ‘In the Beginning’ when we found out that the boy’s mother Mary (played in this episode by Amy Gumenick) was a hunter. It came to light that perhaps in many ways it was Mary’s life as a hunter that affected the destinies and fates of her son’s Dean and Sam more than being raised alone by their father after her death at the hands of the YED.
It has also come to my be my opinion that the writers and creators of Supernatural have finally gotten a handle on how to work female characters into the storylines and myth arcs of the series and the brother’s lives this season. Don’t herald their arrival by such phrases as ‘hot, kick-ass chicks who can do everything the boys can do’ or as ‘sexy antagonist for the boys’. Rather just let the characters flow into the storylines and make their impact on the Winchesters and the viewers as strong, self-assured woman without the writers having to ‘tell us’ that they are.
Ever since she was introduced in the third season, I have always been interested by the concept of what the character of Ruby the demon is suppose to be within the Supernatural universe and have been waiting for her to reach the potential she could have to be an intriguing character. In ‘On the Head of a Pin’ I finally saw Ruby be ‘all she could be’ as a character involved in the story and the fates of the Winchester brothers. Finally saw what it is that Eric Kripke wants for her and put her into play in the story line for. In my opinion, Genevieve Cortese hit it out of the ballpark with her work in this episode as Ruby. She was showing us the snarky Ruby of before whom I feel is re-emerging as she became more certain of the control she is gaining over Sam Winchester. We see more of what role it is that Ruby is playing in Sam Winchester’s descent down a darker path with his powers. Ruby has not only seduced Sam with her body, but with her demon blood as well. She is lover and in a creepy sort of way is ‘mother’ as well by nursing him to strength with her ‘demon tainted blood’.
Even before this thing with Ruby and her blood came to light, the Winchester brothers were being affected by ‘feminine influences’ in ‘Death Takes a Holiday’ where there was not only one but two very strong, well defined female characters impacting the brother’s lives.
‘Death Takes a Holiday’ saw the return of psychic Pamela Barnes (Traci Dinwiddie) who was first introduced to us in the season 4 opener ‘Lazarus Rising’ and Tessa the Reaper (Lindsey McKeon) who first appeared in the season 2 episode ‘In My Time of Dying’. Both of these female characters were presented as outspoken and good at what they do yet the presentation was done so as to not have them being shown ‘taking the brothers down a peg in intelligence’ to come across as capable and smart women. Pamela and Tessa stood on their own as characters and Sam and Dean stood equal with them.
What stood out for myself, as a viewer, besides the competent and capable way the characters were presented is that both Tessa and Pamela seemed to have an edge of anger to them in dealing with Sam and Dean. Pamela had a more obvious reason for her anger, but the thing with Tessa was subtler and not so easily defined as to why she appeared, in my opinion to have little or no patience or sympathy for Dean and what he went through in hell. It isn’t until the revelation in ‘On the Head of Pin’ where we find out that Dean’s giving in and taking up torturing souls in hell was the first seal to be broken. From this we find out that he is responsible for setting in motion the coming of the apocalypse and from that we begin to understand why Tessa has feelings of anger. It stands to reason that even Reapers would be affected by the end of the world and possibly destroyed by the demons if they win.
I found it interesting how the writers chose to make it so that each of these strong, well defined women had a message to impart to the individual brothers about the paths they were on and which woman they chose to confront which brother. There was certain symmetry in it that shows the depth of thought the writers put into creating subtle nuances this storyline. Pamela the blind psychic who could see more clearly than what Sam cannot about the way he uses his own powers and what can happen despite his good intentions. Tessa whose job it is to meet souls at the time of their death and ‘send them on their way’ talks to Dean, who is the man whose actions could very well bring on the deaths of thousands of innocent people. She isn’t concerned about his self loathing and dwelling on himself, she is more concerned about getting him prepared to see the larger picture, face up to responsibility and step up to the plate. She lays the first hint on Dean that he might have been involved in something more terrible than he thought and that affects more than just him.
Even the Angel Castiel (Misha Collins) is not without this infusion of feminine influences that Supernatural has taken on so strongly in season four. In ‘On the Head of a Pin’ we see the return of Anna Milton (Julie McNiven) the once fallen angel who is still a rebel who questions everything. She makes the most impact on Castiel in this episode as she challenges his blind obedience and confronts him with the possibility that just because you have questions and have doubts doesn’t mean you don’t still have faith.
Lastly is the looming of the biggest feminine influence yet on Sam and Dean Winchester’s lives and fates for season four: the demon Lilith who is breaking the seals, waging the war and looking to release Lucifer and the apocalypse on the world.
Fallen angels, demons, psychics, reapers and huntresses, the influential women of Supernatural season four all have one thing in common – the lives and fates of Sam and Dean Winchester have been in their hands and it’s given a whole new spin on ‘a woman’s touch’.
Watch a brand new episode of Supernatural season four, ‘It’s a Terrible Life’ on the CW Network this Thursday night at 9PM EST following an all new episode of Smallville.





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Watch Supernatural Season 4 Episode 17: It's a Terrible Life full Online.Watch Supernatural (S04E17) Online

Dean and Sam now lead ordinary lives. Dean works in the corporate world at the Sandover Bridge & Iron Company along with Sam who works as a Tech Support. Both have no idea who the other is until their colleagues start killing themselves.Watch Supernatural Season 4 Episode 17: It's a Terrible Life full Online

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Will The End Of 'Battlestar Galactica' Help Revive 'Dollhouse'?

Dollhouse: Patton Oswalt appeared with Eliza Dushku in Friday's episode, "Man On The Street," broadly advertised as a game-changer. Fox by Linda Holmes
It doesn't seem, at first glance, like the end of Battlestar Galactica seasons 1-4 dvd box set on Friday nights should have anything to do with Joss Whedon's Dollhouse. While both are on Friday nights, Battlestar aired at 10:00 p.m., while Dollhouse aired at 9:00. Shouldn't that scheduling have worked to everyone's advantage, creating a night of smart sci-fi/fantasy programming that would logically appeal to some of the same people?
Maybe, but note that that Dollhouse, despite scrambling the order of episodes somewhat, chose to roll out its sixth episode -- the one both Whedon and star Eliza Dushku publicly said would represent the real ramping-up of the series -- on the same night as the Battlestar finale.
It could be a coincidence, but there are a few reasons -- aside from the obvious logical crossover in audiences -- why it might be logical to think that the end of Battlestar is the right time to go for a Dollhouse push. Dollhouse, of course, has had more problems than competition, including so-so reviews and reported behind-the-scenes tinkering. But if they're going to make a move, this might be the right moment.
How the DVR is both a blessing and a curse for a Friday-night show, after the jump...
The first is audience splintering, meaning that as we've talked about before, every show is going for a smaller and smaller audience. There was a time when basic-cable audiences would have been considered statistical noise; a network show's audience would never be seriously interfered with by something airing on Sci-Fi.
Audience spread between networks and cable has changed that equation substantially. Battlestar drew a couple of million people a week on Friday nights; that's in the neighborhood of half the size of Dollhouse's audience. Still smaller, but definitely enough to make a dent, particularly if you're talking about the show's ability to attract what you might call "power viewers" -- the really dedicated sci-fi/fantasy-heads who will not only watch a show but obsess over it, talk about it online, and become word-of-mouth generators. If those people already have a Friday night show that's an event for them, even if it's an hour earlier, then getting them to spread that attention to another show might be problematic -- especially, though not exclusively, if it airs on the same night. And as audiences get smaller and niches get smaller, the number of things to look out for increases.
The second reason is the role of the DVR. It's logical to assume that a significant chunk of the people watching Friday-night shows are recording them, not watching them live, and the data backs this up with Dollhouse. Assume some audience crossover with Battlestar; if you're already recording one show on Friday nights that you'll have to catch up with later, are you as likely to record another? Even if it's not a direct conflict, it seems at least plausible that there's some interference. You might watch something at 9 and something at 10, but will you build up two hours you have to catch up with later?
The third reason is somewhat related to the second: with more and more people watching TV online, shows are increasingly forced to compete with everything else that might logically occupy the people they're trying to reach, not just with things that originally broadcast at the same time. If you, as a viewer, sit down with a fixed amount of time (say, on a weekend) to catch up with something you enjoy, every show is now in competition with every other show. Sunday shows are competing against Wednesday shows; shows on the same network are competing against each other.
So when you are trying to appeal to smart people who like byzantine plotting and dark-hued sci-fi, you've got an opening any time something else that's all-consuming for those people loosens its grip on them. By this logic, the end of Battlestar Galactica might make an opportune time for a Dollhouse reboot, even if Dollhouse aired on Tuesdays.
As for whether Dollhouse got better on Friday as promised, I would say yes. In keeping with the limited number of hours in a day, I hadn't had a chance to see much of it until this weekend, when I caught up with the last five episodes -- including the much-ballyhooed "Man On The Street" from Friday night -- online. I liked it substantially more than I expected to, and while the early episodes are enjoyable (if uneven), it's true that "Man On The Street" broadens the show's reach substantially, giving it the kind of meta-arc that shows like Alias and The X-Files -- and, certainly, Whedon's own Buffy The Vampire Slayer -- used to give heft to stories of monsters/spies of the week.
Dollhouse isn't a great show yet, but it's an interesting show that raises some interesting questions. Will the publicity push work to pick up audiences who didn't show up for the first five episodes? Maybe, maybe not. But the notion that the show upped the stakes with the most recent installment isn't a PR invention, and it's not surprising that Whedon is taking the opportunity to make a play for folks who find themselves without a Friday-night favorite.

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After 'Battlestar Galactica,' what's on the sci-fi TV horizon? Where do we go from here?

After a long and winding space-road full of apocalypse, revelation, and stuff blowing up real good, Friday night saw the series finale of Battlestar Galactica. Regardless of what you thought of BSG's last episode -- you can peep my take here, as well as scores of reader comments -- one thing I think we all can agree on is that with Galactica's passing we've crossed a threshold. Televised science fiction will never be the same. As they said when the soldiers were returning from Europe after the end of WWII, How you gonna keep 'em down on the farm once they've seen Paree?
How are we supposed to take shows like Knight Rider and Heroes seriously now that we've lived through the idiosyncratic brilliance that was Ronald D. Moore's Battlestar Galactica? Where do we go from here?
The Sci Fi Channel (and, no, I'm not calling it Syfy...Prince will always be Prince, Sci Fi will always be Sci Fi) would have us fill the void with two Battlestar-y offerings: a two-hour BSG TV movie called The Plan (which'll tell of the Cylon holocaust from the Cylon point of view) and Caprica (a prequel, starring Esai Morales and Eric Stoltz, about the creation of the first Cylons). And they're hatching some new series, including Warehouse 13 -- sort of Eureka meets X-Files at a party held in the cavernous storage facility at the end of Raiders of the Lost Ark -- the new Stargate Universe, and a just-announced show loosely based on Alice in Wonderland.
But where's the next Battlestar Galactica going to come from? In a television landscape where Terminator: The Sarah Connor Chronicles and Dollhouse are withering on the vine, where the most watched shows feature celebrities dancing, or would-be celebrities singing, or gruff-looking men and women poking at dead bodies, who is going to step up and give us science fiction with the power to move us with its characters, provoke us with its writing, awe us with its spectacle? Will it be Caprica? ABC's new take on V? Something that AMC hasn't announced yet, but will sit alongside Mad Men and Breaking Bad in the annals of quality TV?
As the sun sets on Galactica, that old maxim rings true: It is darkest before the dawn. I just wanna know who's gonna turn on the light.

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What the frak was that!? Behind Battlestar Galactica's ultimate episode

VANCOUVER - Endings are hard. We know this. Even so, Battlestar Galactica's ending may have set a new standard for bad endings to outstanding series.
I finally caught Galactica's final two hours and I also watched Space's post-show post mortem, which in many respects was more interesting — it was certainly more revealing — than the Galactica finale itself.
Human nature is funny. The general consensus among the Galactica fans present — an eclectic group that included, among others, a Toronto academic and Canada AM co-host Seamus O'Regan — was that the finale was way cool. When it came to articulating specifically what they liked about the finale, though, hardly anyone could come up with anything more meaningful than, "It made me feel good," and, "I liked that 'X' lived," etc.
O'Regan, among the more thoughtful and articulate commentators, qualified his reaction by saying it was made in the moment, and it may change once he had a chance to reflect. An ardent follower of the series from its inception, O'Regan said he wondered if the ending will colour his perception of the show's earlier seasons when he gets around to watching them on DVD, which he said he's certain he will at some point.
I suspect he may not be as enamoured of the early episodes as he once was — the ending was that bad.
Battlestar Galactica seasons 1-4 dvd box set was compelling as a series precisely because it was bold and it took risks, both in style — visually and esthetically, it was among TV's most distinctive programs — and in substance. No series on TV was more brave or unflinching in its examination of the social and ethical issues surrounding the post-9/11 period.
For the first hour, Galactica's finale was firing on all cylinders. Promises are made, and then thrown aside; treaties are brokered, and then broken. A moment in which a horrific murder from the past is collectively revisited in a mind meld, followed by a sudden vengeance killing, was among the series’ best moments.
Had Galactica ended there — in a fit of collective rage, in which everyone kills everyone else in the heat of primal passion — it would have been in keeping with the tone of the series as a whole, especially the season that just ended. It would have marked Battlestar Galactica in TV history as a series that refused to make compromises right through to the end.
Instead, the story evolved into the old "Adam and Eve" sci-fi concept, as the Galactica survivors land on an Earthlike planet and — surprise — stumble across evidence of Early Man in Africa.
The Adam-and-Eve ending is a terrible sci-fi cliche, even though Rod Serling managed to get away with it in one of his classic Twilight Zone episodes. It's creative writing 101: If you're writing a dystopian science-fiction tale, do not write an Adam-and-Eve ending. It's already been done countless times, and better.
As awful as that ending was, Galactica remains, to my mind, one of the high watermarks of TV drama from the past 20 years.
Battlestar Galactica's great strength was that so much of it took place in the human mind: A better ending, perhaps, would have been for the hero characters to have "projected" themselves to a happier future, even as their world around them was collapsing.
I have a theory — impossible to prove, but to me it's one of the only things that makes sense.
My theory is this: The finale's first hour, a terrific piece of storytelling which ends in carnage and violence, was the real ending. The story ended there. The finale was originally supposed to be only an hour.
The theory continues: Moore and his fellow writer/producers handed the finished program to the Sci Fi Channel — soon to be rename Syfy — and its corporate overlords at NBC Universal, and they freaked out. Or frakked out, if you prefer.
The network bosses went supernova — so my theory goes — and demanded that Moore tack on another hour, on the cheap, with a big smiley face and a lot of weepy hugging and kissing, to softpedal the show's final moments.
That's a time-honoured TV sci-fi tradition, after all.
The great thing about modern technology is that it allows us to watch only those parts of a DVD that are worth remembering. I will always treasure Battlestar Galactica seasons 1-4 dvd box set as one of the defining TV dramas of its time. I will also make a point of shutting off the DVD player one hour into the finale, when I get around to seeing the series again.

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Pang brothers to helm the 3-D supernatural horror film Child's Eye

Directing twins Danny and Oxide Pang will helm the first Asian digital 3-D horror film, the $4.5 million The Child's Eye in 3D, which will begin shooting in June in Thailand, according to The Hollywood Reporter.
The Pang brothers (The Messengers) are currently in post-production on their $12 million comic-book adaptation The Storm Warriors, due in December, the trade paper reported.
The Child's Eye in 3D tells the story of six stranded Hong Kong travelers during the shutdown of the Bangkok airport in the November 2008 anti-government protest and their supernatural encounters after the disappearance of three in the group.
The showpiece of the film will be an underworld made up of paper replica houses, filled with paper dolls and paper cars—a city formed by all the paper-made facsimiles of the real world burnt and offered to the deceased in the traditional Chinese ancestor-worship ritual. The twins also will be introducing a monster in the film.

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Want to learn more about Supernatural?

supernatural is a tv show about two brother on a hunt for their father and the demon that ruined their lives forever.
Supernatural Season 1:
Sam and Dean have been have been hunting the demon demon that killed their mother their whole lives, but after 22 years its on the move again.now reunited after two years the brothers must fight their way through the hard things their job in tales as well as dealing with the idea that their beloved dad might be dead.
Supernatural Season 2: After the Tragic in counter with yellow eyes, dean is dieing in hospital, Sam is falling apart and John is making a deal with the devil. Now deans back and johns mysteriously dead! but is that the only family member dean is gonna lose this year? or is this the end of Sammy too?
Supernatural Season 3: With only one year to live after giving his life for Sam's whats dean going to do? Will he fight for his life or sit back and welcome his appending death? not to mention the arrival of the mysterious ruby and the sneaky Bella.
...more coming soon....

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SUPERNATURAL - SEASON FOUR - 'Lazarus Rising'

I haven’t watched SUPERNATURAL in at least a year and most of the time I watch it on DVD, so I can get a bulk of the show all at once rather than piece by piece. Being so, I didn’t see last year at all.
Luckily, the catch up gave me at least some indication as to what was going on in the prior season, the crux of which is that Dean (Jensen Ackles) was sent to hell after making a deal to save the soul of Sam (Jared Padalecki). Now at the beginning of this season, Dean awakens in a pine box and has to dig himself out of his grave after being buried four months returning from hell in a field where all of the trees have fallen down around his grave. Damn, he looks good considering he’s been buried for freaking four months, in fact, he’d probably still get a teen date right out of the box. Worse yet, He continues to get visits from what appears to be the demon trying to attack him or communicate. Dean also has some large hand print embedded in his shoulder as if “some demon pulled me out” Dean says, “Or road me out.”
After discovering other demons are scared sh**less over the fact that whatever dragged Dean out of Hell is much more powerful than they are and having a psychic get her eyes burned out, it becomes apparent that we are dealing with something that the Winchester brothers haven’t ever seen before or dealt with. And that would be one of the good guys – an angel doing the work of God. At least, that’s what he tells Dean toward the end. And the reason that the angel rescued Dean from Hell? “Because God commanded it,” says the angel. “Because we have work for you.” What I liked most about “Lazarus Rising” was that I didn’t need to see the previous season to fit right into this episode. They didn’t dwell on the past, there wasn’t a huge amount of subplots that needed to be cleaned up and with only three primary characters there was no need in learning who everyone was or what role they played (and obviously seeing the previous seasons helps). Yes, they are still chasing demons, yes they still must delve into the occult and the Winchester brothers will continue to fight the bad guys. But what a turn, an angel. The other side of the coin. And that opens up a whole new realm of possibilities for the show that hasn’t been explored yet – which should make it worth watching all by itself. The other cool thing, like I said, is that if you haven’t watched a single episode of SUPERNATURAL, now is a perfect time to hop on board.

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'How I Met Your Mother' Aftergasm: Bad Girlfriends, Placenta and Night Gowns

How good was last night's episode of How I Met Your Mother, “The Front Porch”? The previous two episodes really haven't been that good, so I was overjoyed that my beloved sitcom has returned to its high quality and big laughs.
There was a whole bunch of stuff going on all at once in “The Front Porch.” The three main focuses were on Ted (Josh Radnor) reuniting with his high school sweetheart, Karen, much to Marshall and Lily's dismay, Robin requesting that her friends take an interest in her new job as host of a morning show, and Marshall converting Barney to the wonders of nightgowns, with interstitial bits of Future Ted, Future Marshall and Future Lily. It's always fun to see them as old folks.
The thing I absolutely adore about How I Met Your Mother is that everything seems to be taken from my own life. I have experienced at least two thirds of the episode in my own life.
For example, I have a friend whose girlfriend is rather, shall we say, difficult to deal with. My friends and I all secretly don't like her and think that our friend can do so much better. I probably would never do what Lily (Alyson Hannigan) seems to have made her second career – breaking up Ted's relationships – but I think we've all had friends whose partners we just couldn't stand to be in the same room with. Unlike Ted's girlfriend Karen (played by Laura Prepon), my friend's girlfriend isn't quite a douche, but she is cold, condescending and demanding….but I better stop there lest I give anyone's identities away.
Not that it would matter anyway because, like Robin (Cobie Smulders), I have a very difficult time getting my friends to read anything I write for my job here at BuddyTV. In “The Front Porch,” Robin realizes that none of her friends had ever seen her new morning show, so they agree to stay up late to catch the 4am show. Unfortunately, they start to discuss Ted's relationship with Karen and Lily's front porch theory (she only wants Ted to date people whose company she will enjoy way in the future when they are all old and playing bridge together, out on the front porch), so they don't actually get around to watching the show, which is playing in the background. That's definitely their loss, however, because Robin's show is amazing. Cobie Smulders definitely has a gift in physical comedy, as if we didn't already know this from her Robin Sparkles videos. Robin Scherbatsky must have some skills too, seeing that she performs CPR on the weather guy, puts out a fire during the cooking segment and delivers a baby, which is how her jacket came to be covered in placenta. I wonder whether my friends would bother to read my articles if crazy things like that happened to me at my job? Eh, probably not.
Finally, I have had the pleasure of sleeping in a night gown, as Marshall (Jason Segel) seems to do every night. I assure you, it is as wonderful and freeing as Marshall promises. Even Barney (Neil Patrick Harris) gave up his silk suitjamas in favor of the humble nightshirt after listening to Marshall's declamations of its wonder and glory. I implore all of you reading this: go home and try it! You won't be sorry.

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Television: Supernatural Star Jared Padalecki Endorses ‘A Dog’s Life Rescue’

It’s no secret in Supernatural fandom that Jared Padalecki, the hot young actor who plays Sam Winchester in the hit CW Network series, is an animal lover, especially dogs. I don’t think there is a fan out there who hasn’t seen photos of Jared Padalecki with his beloved dogs, Sadie and Harley, two rescued pups who are near and dear to his heart.
These days, Jared Padalecki has taken another dog into his heart in a different way. Her name is Mika and she is one of the special rescued dogs at a Los Angeles based animal rescue organization known as ‘A Dog’s Life Rescue’. Mika was found in an alley at just two weeks of age by a young man walking home from school. The boy’s mom contacted A Dog’s Life Rescue for help because Mika is a special needs puppy. Mika is paralyzed from the waist down. Mika has no idea she is different from other dogs. She gets around on her own and is so full of life and love. She is absolutely inspiring.
It is this inspiring story of Mika that has lead Padalecki to lend his name and endorsement to the organization. To learn more about Mika and her story that touched Jared Padalecki’s heart go here.
A Dog’s Life Rescue is a non-profit rescue organization in Los Angeles, California. After the disband of Connect-A-Pet Rescue in early 2005 partners Julia Pennington, Keely Quinn, and Allison Lange joined together to form A Dog’s Life Rescue. Our mission is to save the lives of abandoned, abused, or neglected dogs and other animals, by providing shelter, care, and medical attention to homeless animals through adoption, adoption events, and community outreach. Further, to promote animal welfare and the importance of spaying and neutering.
Supernatural fans can help Jared Padalecki support ‘A Dog’s Life Rescue’ by making donations directly to the site organizers whom he has put his full support and endorsement behind to help raise money for the many abandoned and special animals like Mika who are in need of caring people like Jared Padalecki to help them have better lives.
Now we know his secret: demon blood. He was fed a few drops as a baby, but now he’s chugging it straight from the tap to become so strong that he can outright kill a powerful demon with a single flip of the wrist.
While fans might complain that we haven’t seen much of this transformation, I think that’s exactly what the writers wanted. They’ve been hiding Sam’s development into a powerful force the same way Sam has been hiding it from Dean. He recognizes that this is what he needs to become in order to stop what’s coming, but he’s ashamed of it.
Now that it’s coming out and Castiel has seen first hand how strong Sam is, the sky’s the limit. His story arc since Dean’s descent into Hell has been profound, and just because we didn’t get to see every step along the way doesn’t mean we don’t know what happened.
“Sex and Violence” put the notion of a Sam vs. Dean battle into the minds of fans, and with this latest revelation, that becomes an even stronger possibility. The Winchesters are headed down different paths, and while the two may argue along the way, the interesting thing is that the destination, at least in theory, is the same.
Sam wants to get stronger so that he can stop Lilith from breaking the 66 Seals. It’s the same thing the angels want Dean to do, but he’s having doubts about it. The biggest moral question on Supernatural this season is: do the ends justify the means? Is it OK to kill a human if it saves humanity? Is it OK to drink demon blood if it allows you to kill other demons? Would you sacrifice everything, perhaps even your own humanity, to save the ones you love?
For Sam, the answers to those questions is “Yes.” However, he’d be a lot happier if no one knew about it, which is why it’s been kept a secret until now.






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Supernatural: Why Less Sam Was a Good Thing

A lot of Supernatural 1-4 seasons DVD box set’s Sam fans get a little frustrated if he’s not on screen or if he doesn’t get to share a lot of scenes with Dean. While this has been true this season thanks to the arrival of the angels, it doesn’t mean Sam doesn’t have a storyline. He has a big one.
This season, while the angels have been making plans for Dean, Sam has been busy making his own destiny. In the latest episode, “On the Head of a Pin,” we discovered that Sam’s demonic, psychic abilities have grown to an unimaginable strength. But at what cost?

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Leisha Hailey Cast In 'The L Word' Pilot Spinoff

Leisha Hailey will star in a pilot presentation spinoff of The L Word for Showtime scheduled to begin shooting in December. Ilene Chaiken, creator and executive producer of "The L Word," will return to write and produce the pilot.
"The L Word" will premiere its sixth and final season in January 2009, marking the end of an era chronicling the lives of these iconic characters that have played a pivotal role in changing cultural perceptions of lesbians and the transgender community on and off screen.
Since the series' inception, Hailey has played "Alice" a bubbly yet out-and-proud lesbian living in Los Angeles amongst a group of friends as they navigate careers, families, friendships, inner struggles and romantic entanglements.





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Showtime Renews 'The L Word' For Sixth & Final Season

Showtime has renewed the critically-acclaimed, groundbreaking lesbian drama The L Word for a sixth and final season, it was announced today by Robert Greenblatt, Showtime's President of Entertainment.
One of the network's longest running series, "The L Word" will culminate early next year in eight final episodes, marking the end of an era chronicling the lives of these iconic characters who have played a pivotal role in changing cultural perceptions of lesbians and the transgender community on and off screen.
Production will resume in early summer.

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Mia Kirshner Documents A Different ‘L’ Word: Living

Naomi PfeffermanJTA Wire Service
At a Los Feliz cafe, Mia Kirshner seems nothing like Jenny Schecter, the narcissistic diva she portrays on cable TV’s Showtime lipstick lesbian drama, “The L Word.” When the sixth and final season premiered recently, Schecter was found dead in a swimming pool, possibly killed as a result of her sexual or other improprieties. The role is the latest in a series of provocative characters the 34-year old actress has played in film and on television since she was a teenager.
But in person Kirshner comes off less as a femme fatale than a waif in her baggy black dress, long ponytail and tiny gold Star of David necklace. In a demure, polite voice, she said she has been grateful for the chance to play Schecter, in part, because the salary has allowed her to pursue a more personal project: “I Live Here,” a four-volume anthology about the lives of refugees in the Russian republic of Ingushetia; Burma; Juarez, Mexico; and Malawi.
Kirshner said she spent $200,000 to travel to these regions in order to collect testimonies from people rendered stateless or without a home. Collaborating with three co-authors and top comic artists such as Joe Sacco, she aspired to tell their stories through photographs, collages, paintings and journal entries, including her own.
In a brothel on the Thai-Burmese border, Kirshner spoke with prostitutes who appeared to be under 15: “There are no beds, only plastic mats with faded flowered bedding,” the book says. “A girl climbs out of the closet and into the room. She was hiding from a potential customer.”
Kirshner also met with child soldiers, mothers dying of AIDS in Malawi and a Chechnyan mother and children living in Ingushetia in a rank “shed the length and width of a throw rug, with a water spigot out back.”
The inspiration for “I Live Here” was deeply personal for Kirshner. “I come from a family of displaced persons,” she said. Her mother, Etti, the daughter of Bulgarian immigrants to Israel, immigrated to Israel after World War II and relocated to Toronto after marrying Mia’s father, Sheldon Kirshner, a Middle East analyst with the Canadian Jewish News.
“The winter was not the only thing in Canada that made [my mother] feel like a foreign body,” the actress writes in “I Live Here.” “The house where my mother grew up was a salon of languages: French, Hebrew and Bulgarian; visitors who brought Turkish coffee, bourekas, olives, conversation. Here in Canada it is so often silent. Joy replaced the blankness when an aerogram would arrive ... my mother would read them over and over, as though each word were a small boat taking her back across the sea to her parents’ home in Jaffa.”
Meanwhile, the actress’s paternal grandparents had survived the Holocaust but lost a 9-year-old son, Izhou; when Mia was 9, she perused myriad books on the Shoah in her father’s study to try to find a photo of her dead uncle.
At Shabbat dinners at her grandparents’ house, she writes, “I would watch my grandfather vanish. His eyes dark slits, mouth open in mute horror. Sometimes, he would stop talking for days…. Now my father likes to travel; they never want him to leave. Hysteria accompanies his departures, my father repeating his itinerary over and over again.”
By the time Kirshner was 15, she, too, was on the road, living out of hotels as she took acting roles in a series of art-house films. She found herself an agent at the age of 12 and several years later persuaded her father to sign a “nudity waiver” in order to make her film debut as a dominatrix in 1993’s “Love and Human Remains.”
“My mother wouldn’t sign it, which was understandable,” Kirshner said. “She didn’t want me to show my breasts. I imagine as a parent that must have been a very difficult thing for my father to do, but the film was tastefully done and I’m grateful that he was supportive of my dream.”
Kirshner next played a stripper in Atom Egoyan’s “Exotica,” a seductive assassin in TV’s “24” and, in 2001, landed the role of Jenny Schecter in “The L Word 1-5 seasons DVD,” which has been deemed a groundbreaking (if soapy) series portraying steamy lesbian relationships.
In the series’ pilot, Jenny arrived in Los Angeles and immersed herself in the lipstick lesbian scene; eventually the character emerged as perhaps the most scandalous Jewish woman on prime time, revealing that, among other things, she had once stripped under the name, “Miss Yeshiva Girl.”
Kirshner voiced regrets about some of her professional choices. “Unfortunately, when you start your career at such a young age, in a way you’re becoming a young adult through your work, and mine represented some of the dark narcissism you can feel at that age.”
She said her mother in particular was uncomfortable with her risque magazine spreads and provocative interviews. “I did say a lot of things to shock; it was a form of defiance against my conservative background, and quite immature, unfortunately. Certainly it was empowering for me to pose in lingerie and bikinis, but some of those photographs were not refined.”
After Sept. 11, Kirshner said, she was feeling “dead inside creatively. On the one hand, I was able to support myself as an actress, which is a very lucky thing, but on the other, I was not living a life that I was proud of. I wondered, ‘What am I contributing? It’s time to make a change.‘“
She envisioned “I Live Here” as a way to provide information about “‘secret’ lives being led all over the world, in brothels, in prisons —stories that in many ways aren’t accessible to the media.”
“I think it’s a very creative project,” Sheldon Kirshner said in a phone interview. “I think it’s very well researched. Obviously, I was worried about Mia’s safety in some of these places. But I do believe the project shows that she is interested in the outside world, in things that transcend acting.”
Kirshner intends to continue the project through her I Live Here Foundation. “It’s as much on a personal level a journey of exposing some of the very selfish ways in which I live, and the great ignorance in which I had been living,” she said.
This article appears courtesy of the JTA Wire Service. Naomi Pfefferman is arts and entertainment editor for The Jewish Journal of Greater Los Angeles.




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The L Word Series Finale Infuriates Fans

Last night, television's only lesbian drama ended after 70 episodes and six seasons. The two-hour block given to The L Word was split up into a one-hour tribute episode and a one-hour series finale. The first hour hailed the series as groundbreaking and as a show worthy of the history books. The drama starring Jennifer Beals, Laurel Holloman, Katherine Moennig, Mia Kirshner, Leisha Hailey and Pam Grier was the first television show to explore the lives and loves of lesbians in West Hollywood as well as the first series with a deaf-lesbian character and a regularly occurring transsexual character. The L Word fans across the nation tuned-in in the hopes of seeing a wedding, a funeral, a baby, or at least a murder case solved. Major Spoilers Below:
And what did we see in the series finale? Nothing. Essentially, the episode was set up like any other episode. Dylan and Helena broke up again over trust issues. Alice and Shane chat on the phone and spend a day drinking their sorrows away together. Bette and Tina host a party. These all sound like normal the L Word happenings. The problem is that there was a season-long mystery about who killed Jenny Schecter. Evidently, creator Ilene Chaiken never had any intentions of revealing how Jenny died. Earlier this year, when asked about the solving the mystery, she said, "I don't actually feel compelled to answer it. The show is about character and relationships, and I used this story to deeply explore those relationships. It's a risk not to solve a mystery, admittedly."
A risk? Yes, Chaiken risked having the wrath of The L Word fans come crashing down all around her and it certainly is. Carolinagrrrl from AfterEllen.com said, “The finale was horrible and a slap in the face to the fans. Nothing of substance actually happened, and what ACTUALLY happened was left unresolved/didn't make sense.” As a long time fan of the show myself, I'm still infuriated at the nerve.
The cliffhanger ending has been done before (when thinking of good ones, think of The Sopranos or Veronica Mars), but on a show where the fans have gotten to know the characters and care for them so intimately, it is insulting. For the whole tribute episode, when asked about the general believability of the characters and plotlines throughout the years, the producers kept saying “This is Hollywood” or “It's television, what did you expect?” Yet when Ilene was asked to explain the unfinished plotlines in the series finale, she explained, “I was not interested in wrapping up the show neatly and tidily. I wanted to end with a sense that life goes on.” Well, Ilene, you seem to be giving mixed signals. The L Word is not real life my friend, it's television. There's no context as to what these characters' lives might go on to be. Instead, their lives have come to an abrupt and heartbreaking end.
Many have speculated this is all a marketing ploy to convince investors to make an the L Word movie. If so, many fans are outraged and want to see these characters again, someone will want to make it happen, right? Well, not if ninety percent of your fanbase thinks you've ruined the entire thing. I imagine that many hard-core fans would venture to the film. But, I would definitely not convince any of my friends to go with me because I wouldn't want to put them through the inevitably atrocious plotlines that will come out of an Ilene Chaiken movie and I'm guessing many fans would agree with me.
I'd be even less inclined to tune in to Chaiken's new pitch The Farm. Although I'm generally obsessed with Leisha Hailey and her character Alice, seeing Alice in prison sounds depressing. Chaiken has depressed me enough over these past six years. Chaiken claims, “it would be a great way to bring our audience over and tell them that we're not abandoning them, which was really important to us.” Well, I think she's already abandoned us after the series finale.
Ilene Chaiken refused to address the wishes of any of her fans. For instance: Did we see any growth in Shane's character? Did (as some wished) Molly and Shane get back together after Shane found the letter? Did Tasha and Alice have a happy reunion? Did Helena regain any of her previous power suit cougar ways? Did we get to see Bette and Tina marry? Did we see any of the character's dreams come true? Did we get any closure at all? After we watched our beloved characters lie, cheat and steal year after year, one glimmer of hope, one glimmer of happiness would have been nice. Instead, Ilene Chaiken gave the lesbian community murder, ambiguity and despair. I'm sure they'll be sending their thank you cards any moment.



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