Review | 7x12 | Time After Time
Feb. 1st, 2012 12:16 pm![[personal profile]](https://www.dreamwidth.org/img/silk/identity/user.png){kind=small}
galatheaI admit, I had my doubts that Robbie Thompson would be able to deliver a script as excellent as the one he wrote for Slash Fiction earlier this season, but I daresay that Time After Time is just as impressive as his writing debut, if not more so. I think the episode has all the makings of a Supernatural classic; it is tightly written, has a fantastic pacing, outstanding cinematography, highly enjoyable secondary characters and great characterisation for Sam and Dean. Moreover, given its rather outlandish premise, Time After Time could have easily turned into a gimmick episode, but instead it has true emotional resonance. There is not a single thing I dislike about this episode, and the only complaint I have is that it was over way too soon. ♥
So, let’s start at the beginning. The first ten minutes of the episode present us with a wealth of delightful domestic moments between Sam and Dean, and since domesticity, Winchester style, is by far my favourite aspect of Supernatural, the episode charmed me right away. Truth be told, I could watch Sam and Dean bantering their way through research, stake-outs and housing arrangements all day long. There are two moments in particular that stand out to me in those opening scenes: The first moment is the one where Sam and Dean play rock, paper & scissors in order to decide who gets to sleep in the one 'un-rancid' bedroom – which, quite frankly, is a bit odd, since there is plenty of room for both of them, so I am not quite sure why they have to play for it in the first place, but hey, I am not complaining. Of course the scene is noteworthy because the brothers change their time-honoured tradition of Dean throwing scissors to Sam’s rock for the first time in the show, alternate timelines notwithstanding. However, Dean clearly telegraphs his intention to deviate from his routine, thus allowing Sam to anticipate his move and win the game anyway. ♥ The second moment is the one where Dean takes great delight in showing off his newly acquired computer skills. It’s just such a nice little moment of friendly siblings’ rivalry. Dean is visibly pleased with his brother’s suitably impressed reaction, and Sam’s dumbfounded and envious expressions are just priceless. Overall Sam is obviously still worried about Dean, and Dean is still emotionally withdrawn to an extent, but the vibe between the brothers is affectionate and good-natured throughout their shared scenes.
Now, going into the episode, I knew that Sam and Dean would eventually end up in different time periods and that prospect dampened my anticipation considerably. I am generally not fond of the brothers going their separate ways, and I like it even less, when Sam and Dean have already been splitting up more often than usual – which has been the case these last couple of episodes. I mean, the last time the brothers actually worked a case together on their own from start to finish was in The Mentalists. However, Time After Time is one of those rare episodes where Sam and Dean’s separation serves to highlight their brotherly bond. In that regard the episode reminds me of The Usual Suspects. The editing of Time After Time in particular adds to the feeling that Sam and Dean are connected at all times, mainly by cutting back and forth between the brothers in crucial moments, like for example, when Ezra & Dean and Jodie & Sam simultaneously discover that they are dealing with the god of time or when Dean sends Sam a message across time, Back To The Future style. The latter in particular is without a doubt my favourite scene of the episode. The moment Dean realises that his chances of returning to his own time period are practically non-existent, contacting his brother is the first thing on his mind, clearly distraught at the thought of being separated from Sam forever. And by doing so, Dean gives Sam exactly the information he needs to bring him back home. It is the typical teamwork thing they do – brainstorming, throwing out ideas and information for the other to pick up, until the puzzle pieces fall together – only across a sixty-eight year time gap. Fabulous! ♥
Jodie: "I’ll keep pushing. You go ahead and get some shut-eye."
Sam: "That’s okay. I can, uh …"
Jodie: "Do I have to use my mom voice?"
As much as the shallow part of my brain mourns the fact that we do not get to see Sam in one of those ridiculously hot 1940s getups, I am glad that, unlike in Adventures In Babysitting, Sam’s storyline is at least infused with emotional depth. It is no secret that I have been incredibly disappointed with the fact that the writers denied Sam the chance to build a relationship with Krissy in the previous episode, so I am all the more pleased to see Sam’s budding friendship with Jodie in Time After Time. I love that Jodie unhesitatingly offers her help as soon as she hears of Dean’s disappearance, even though she has no obligation to do so. She does not even know Sam (and Dean) all that well. Sure, she and Sam worked together to rid Sioux Falls from the zombie plague back in Dead Men Don’t Wear Plaid, but that was three years ago and she did not have any more direct contact with the brothers afterwards, at least not that we know of. However, I have little doubt that, as she grew closer to Bobby, she learned enough about the brothers to feel like she truly knows them, a feeling that then turned into a genuine connection through their shared grief over Bobby. Sam and Jodie obviously work well together, and I think that Sam greatly benefits from Jodie’s company. We know that he can get scarily intense and single-minded when Dean is in danger, and Jodie’s emotional support visibly helps him to stay grounded. Even so, Sam almost works himself to exhaustion in his efforts to find a way to bring Dean back, but Jodie is having none of it. She has no qualms to play the parent card – and, surprisingly enough, Sam lets her. And I think that shows just how much he respects and trusts Jodie. ♥
The scene where Jodie finds a note from Rufus to Bobby, taped to a bottle of Rufus’ favourite whiskey, which subsequently prompts her and Sam to reminisce about their friends, is one of my favourite scenes of the episode. Jodie has a very open way to deal with her grief; she does not shy away from casually slipping Bobby into the conversation or expressing her thoughts and feelings when she is reminded of him. I think the way Sam and Jodie easily bond over memories of Bobby builds a striking contrast to Dean’s adamant refusal to respond to Frank’s attempts of sharing anecdotes about Bobby with him just last episode. Sam’s positive response to Jodie’s approach suggests to me that he appreciates being able to just openly share his grief with someone. Dean is not emotionally available in that way; he tends to deal with his grief through action rather than words, which leaves Sam somewhat alone with his feelings. That is why I am glad to see Sam letting Jodie in. I really hope that the writers will expand Jodie’s role in the brothers’ lives in the upcoming episodes. I would especially love to see the friendship between Jodie and Sam grow, not least because it has been a long time since Sam last personally connected to someone. Unlike Dean, Sam does not easily make new friends nowadays, and he has a hard time confiding in people other than his brother. I mean, even with Bobby he was often hesitant to open up. We have yet to see Sam in a positive, trusting relationship with someone other than Dean, and I think Jodie is a great candidate for the job. And, by the way, I would have loved to see Sam and Jodie opening that whiskey bottle and getting drunk together on behalf of their departed friends.
Dean: "To tell you the truth, I don't know why I'm doing much of anything anymore."
Eliot Ness: "Boo-hoo. Cry me a river, ya nancy. Tell me, are all hunters as soft as you in the future? Everybody loses everybody. And then one day, boom. Your number's up, but at least you're making a difference. So enjoy it while it lasts, kid, 'cause hunting's the only clarity you're gonna find in this life."
While Sam fervently works on getting his brother back to 2012, Dean continues to track down Chronos in 1944, in the company of Eliot Ness, no less, who turns out to be a hunter. As a hard-core fan of The Untouchables Dean is understandably delighted, and he can barely contain his excitement throughout their joint hunt. It is really heart-warming to see Dean in such high spirits for once. While the better part of Dean’s adventures in the past serves comedic purposes, the episode also offers some meaningful interaction between Ness and Dean, most notably the scene where Dean admits that he lost his sense of purpose, which prompts Eliot to give Dean a 'pep-talk' of the tough love variety. In that context it is interesting to note that Dean getting advice from his elders seems to be somewhat of a recurring theme this season. In How To Win Friends and Influence Monsters a concerned Bobby tried to get it across to Dean that, unless he plans on dying an early death, he needs to find a reason to get his head back in the game; in Adventures In Babysitting Frank advised him on how to keep going in the face of overwhelming grief, and now Eliot tries to remind him of the positive aspects of hunting.
Now, Eliot’s tone and his choice of words are not exactly sympathetic, and normally I do not take it kindly when someone calls Dean soft and accuses him of whining. However, I think it is important to keep two things in mind here: Firstly, Ness is a child of his times. I daresay that gender stereotypes have still been firmly in place in the 1940s, and 'manly' men simply did not talk about their feelings. Dean opening up to Eliot no doubt goes against some sort of 'guy code', so his rather brusque reaction is not entirely surprising. Secondly, and more importantly, Eliot does not know Dean. He talks from his own experience; an experience that vastly differs from Dean’s. Unlike most hunters, Eliot Ness has not been drawn into the life by a horrible loss; hunting is about duty and integrity of character for him, i.e. it is less personal. He obviously also enjoys the lack of red tape that comes with hunting, the opportunity of eliminating evil without being bound by the constricting rules of the law, and given his personal history – i.e. his futile efforts to bring Al Capone down – that makes a lot of sense. Moreover, Ness is as socially integrated as a hunter can possibly be. He is settled, has a paying day job and is a respected public figure. He hunts if the opportunity presents itself, but it is not his sole occupation. I have no doubt that he lost people close to him – either in the line of duty or on a hunt – but it is unlikely that he had to watch every single member of his family, as well as his friends and allies, die as a result of being personally targeted by heaven, hell and purgatory.
Unlike Dean, Ness did not spend forty years in the pit, tormented by hell’s expert torturer, nor did he play a crucial part in starting the apocalypse. He did not fight a life-long battle against forces intent on using him and his brother as pawns in a millennia-old war between angels and demons, a battle that cost him everything he held dear. All told, Eliot Ness is not a typical hunter, and neither is Dean. While Eliot’s life passes as almost normal, Dean’s could not be more abnormal, even for a hunter, and that is why Eliot is bound to miss the mark on some things. Dean’s unique situation is simply beyond Eliot’s comprehension. Now, that is not to say that his little pep-talk is entirely dismissible, quite the contrary, actually. I think it is good for Dean to talk to someone who is not severely psychologically damaged by hunting and can still see the value in what hunters do. Just like Eliot, Dean once had that clarity of knowing his purpose in life – saving people, hunting things, the family business. In those early days his firm belief that he can make a difference in other peoples’ lives not only gave him said purpose, but also allowed him to find self-fulfilment. That belief is long gone, however. Every (personal) failure, every set-back, every loss since then – and there have been many – made it increasingly difficult for Dean to hang on to that kind of positive mindset, especially given his ever growing self-worth and guilt issues.
There is no doubt that Dean needs to regain a positive outlook on life in general – and hunting in particular – if he wants to avoid running himself into the ground, and meeting a hunter like Eliot Ness serves as a reminder of that fact. However, knowing and doing are two very different things, and that brings us back to Dean’s main problem this season, namely that even though he wants to break out of his self-destructive cycle of depression and self-loathing, he has no viable idea of how to achieve that. I think that is one of the reasons why Dean frequently addresses his personal crisis when he is in the presence of seasoned hunters lately; he subconsciously looks for counsel. But, while Bobby, Frank and Eliot’s words of advice sure have their merits, I think that ultimately Dean will need to find his own way to overcome his depression. I just hope the writers will grant Dean the chance to move forward with his life. I would be very disappointed if all the build-up for Dean’s character arc this season would not lead to a substantial improvement of Dean’s psychological condition.
What else is noteworthy:
(1) Given the fact that Supernatural operates on a relatively small budget, the production value of the show is surprisingly good in general, but Time After Time sure is a stand-out episode, visually. Robert Singer admitted that they redirected some funds for the second half of the season in order to give the episode its authentic look and feel, and it shows. The cinematography is outstanding; the lighting in particular is remarkable. The costumes and sets are simply gorgeous, and Supernatural composers Gruska and Lennertz – who worked on the score together for the first time in the run of the show – support the episode with a very recognisable, time-appropriate score. To further add to the authenticity, the writers took great care where the language is concerned, emphasising the changes in slang words/phrases over time, which results in some very humorous exchanges between the characters. Speaking of, I love that, just like in Frontierland, Dean constantly alienates people with his peculiar speech patterns and movie quotes. It seems that the poor guy is doomed to become disillusioned with all of his favourite movies.
(2) I love Ezra, the 1940’s version of Bobby. ♥ She is one of those fabulous one-off characters Supernatural does so well, quirky and likeable and full of narrative potential. Just like her male counterpart, Ezra is a knowledgeable, no-nonsense kind of person, with a dry sense of humour and the heart in the right place. The competent way she handles the lore and the fact that she seems unperturbed by time travellers and homicidal gods suggests to me that she has been in the hunting business for quite a while – probably a lot longer than Eliot Ness – and I would have loved to learn more about her background. While I think that Ezra’s use of the word 'idjits' is probably the one example in the episode where the language is not in keeping with the time period – and, quite frankly, the use of Bobby’s favourite nickname for the brothers is a tad heavy-handed; the parallels between Bobby and Ezra would have been obvious without it – I love Dean’s fond reaction to her little insult, so I am not overly bothered by it. In between Sam and Jodie reminiscing and Ezra’s character, the show does a good job at keeping Bobby’s memory alive at the moment, and I appreciate that.
(3) According to Sera Gamble, Chronos’ storyline was inspired by the novel The Time Traveller’s Wife, and I think the writers did a good job at matching the basic premise of the novel with the mythology of the show. The general pagan god mythology of the show has been remarkably consistent over the years, and Chronos’ story fits seamlessly into previously established canon as well. I really love that, just like the phoenix in Frontierland, Chronos does not actually kill in order to gain power or to take the sacrifices he deems rightfully his. Instead his motivation is rooted in rather relatable personal reasons, namely in his love for a human woman. Of course that does not change the fact that he needs to be stopped, but it adds a tragic dimension to his character. By the way, I was really looking forward to seeing Jason Dohring back on my screen, even if it was for such a small role. However, while I think that Jason’s performance is satisfying for the most part, I feel that his delivery of Chronos’ main speech is too flat to be entirely convincing. The character’s emotions do no quite carry over to the viewer, but well, maybe that’s just me.
In conclusion: Time After Time is a highly entertaining episode that has is all – humour, emotion and action, all perfectly balanced. The episode gives us quality time with Sam and Dean, but still allows both brothers to bond with someone outside their small family unit of two, thus offering a wide range of interesting character interactions. Moreover, the writers manage to give Sam and Dean’s storylines equal weight and meaning, which, sadly, is not always the case; last week’s episode is a case in point. Overall, Time After Time is certainly one of my favourite episodes of the season so far, and since the season has not been short of amazing episodes, that is saying something. ♥
So, let’s start at the beginning. The first ten minutes of the episode present us with a wealth of delightful domestic moments between Sam and Dean, and since domesticity, Winchester style, is by far my favourite aspect of Supernatural, the episode charmed me right away. Truth be told, I could watch Sam and Dean bantering their way through research, stake-outs and housing arrangements all day long. There are two moments in particular that stand out to me in those opening scenes: The first moment is the one where Sam and Dean play rock, paper & scissors in order to decide who gets to sleep in the one 'un-rancid' bedroom – which, quite frankly, is a bit odd, since there is plenty of room for both of them, so I am not quite sure why they have to play for it in the first place, but hey, I am not complaining. Of course the scene is noteworthy because the brothers change their time-honoured tradition of Dean throwing scissors to Sam’s rock for the first time in the show, alternate timelines notwithstanding. However, Dean clearly telegraphs his intention to deviate from his routine, thus allowing Sam to anticipate his move and win the game anyway. ♥ The second moment is the one where Dean takes great delight in showing off his newly acquired computer skills. It’s just such a nice little moment of friendly siblings’ rivalry. Dean is visibly pleased with his brother’s suitably impressed reaction, and Sam’s dumbfounded and envious expressions are just priceless. Overall Sam is obviously still worried about Dean, and Dean is still emotionally withdrawn to an extent, but the vibe between the brothers is affectionate and good-natured throughout their shared scenes.
Now, going into the episode, I knew that Sam and Dean would eventually end up in different time periods and that prospect dampened my anticipation considerably. I am generally not fond of the brothers going their separate ways, and I like it even less, when Sam and Dean have already been splitting up more often than usual – which has been the case these last couple of episodes. I mean, the last time the brothers actually worked a case together on their own from start to finish was in The Mentalists. However, Time After Time is one of those rare episodes where Sam and Dean’s separation serves to highlight their brotherly bond. In that regard the episode reminds me of The Usual Suspects. The editing of Time After Time in particular adds to the feeling that Sam and Dean are connected at all times, mainly by cutting back and forth between the brothers in crucial moments, like for example, when Ezra & Dean and Jodie & Sam simultaneously discover that they are dealing with the god of time or when Dean sends Sam a message across time, Back To The Future style. The latter in particular is without a doubt my favourite scene of the episode. The moment Dean realises that his chances of returning to his own time period are practically non-existent, contacting his brother is the first thing on his mind, clearly distraught at the thought of being separated from Sam forever. And by doing so, Dean gives Sam exactly the information he needs to bring him back home. It is the typical teamwork thing they do – brainstorming, throwing out ideas and information for the other to pick up, until the puzzle pieces fall together – only across a sixty-eight year time gap. Fabulous! ♥
Jodie: "I’ll keep pushing. You go ahead and get some shut-eye."
Sam: "That’s okay. I can, uh …"
Jodie: "Do I have to use my mom voice?"
As much as the shallow part of my brain mourns the fact that we do not get to see Sam in one of those ridiculously hot 1940s getups, I am glad that, unlike in Adventures In Babysitting, Sam’s storyline is at least infused with emotional depth. It is no secret that I have been incredibly disappointed with the fact that the writers denied Sam the chance to build a relationship with Krissy in the previous episode, so I am all the more pleased to see Sam’s budding friendship with Jodie in Time After Time. I love that Jodie unhesitatingly offers her help as soon as she hears of Dean’s disappearance, even though she has no obligation to do so. She does not even know Sam (and Dean) all that well. Sure, she and Sam worked together to rid Sioux Falls from the zombie plague back in Dead Men Don’t Wear Plaid, but that was three years ago and she did not have any more direct contact with the brothers afterwards, at least not that we know of. However, I have little doubt that, as she grew closer to Bobby, she learned enough about the brothers to feel like she truly knows them, a feeling that then turned into a genuine connection through their shared grief over Bobby. Sam and Jodie obviously work well together, and I think that Sam greatly benefits from Jodie’s company. We know that he can get scarily intense and single-minded when Dean is in danger, and Jodie’s emotional support visibly helps him to stay grounded. Even so, Sam almost works himself to exhaustion in his efforts to find a way to bring Dean back, but Jodie is having none of it. She has no qualms to play the parent card – and, surprisingly enough, Sam lets her. And I think that shows just how much he respects and trusts Jodie. ♥
The scene where Jodie finds a note from Rufus to Bobby, taped to a bottle of Rufus’ favourite whiskey, which subsequently prompts her and Sam to reminisce about their friends, is one of my favourite scenes of the episode. Jodie has a very open way to deal with her grief; she does not shy away from casually slipping Bobby into the conversation or expressing her thoughts and feelings when she is reminded of him. I think the way Sam and Jodie easily bond over memories of Bobby builds a striking contrast to Dean’s adamant refusal to respond to Frank’s attempts of sharing anecdotes about Bobby with him just last episode. Sam’s positive response to Jodie’s approach suggests to me that he appreciates being able to just openly share his grief with someone. Dean is not emotionally available in that way; he tends to deal with his grief through action rather than words, which leaves Sam somewhat alone with his feelings. That is why I am glad to see Sam letting Jodie in. I really hope that the writers will expand Jodie’s role in the brothers’ lives in the upcoming episodes. I would especially love to see the friendship between Jodie and Sam grow, not least because it has been a long time since Sam last personally connected to someone. Unlike Dean, Sam does not easily make new friends nowadays, and he has a hard time confiding in people other than his brother. I mean, even with Bobby he was often hesitant to open up. We have yet to see Sam in a positive, trusting relationship with someone other than Dean, and I think Jodie is a great candidate for the job. And, by the way, I would have loved to see Sam and Jodie opening that whiskey bottle and getting drunk together on behalf of their departed friends.
Dean: "To tell you the truth, I don't know why I'm doing much of anything anymore."
Eliot Ness: "Boo-hoo. Cry me a river, ya nancy. Tell me, are all hunters as soft as you in the future? Everybody loses everybody. And then one day, boom. Your number's up, but at least you're making a difference. So enjoy it while it lasts, kid, 'cause hunting's the only clarity you're gonna find in this life."
While Sam fervently works on getting his brother back to 2012, Dean continues to track down Chronos in 1944, in the company of Eliot Ness, no less, who turns out to be a hunter. As a hard-core fan of The Untouchables Dean is understandably delighted, and he can barely contain his excitement throughout their joint hunt. It is really heart-warming to see Dean in such high spirits for once. While the better part of Dean’s adventures in the past serves comedic purposes, the episode also offers some meaningful interaction between Ness and Dean, most notably the scene where Dean admits that he lost his sense of purpose, which prompts Eliot to give Dean a 'pep-talk' of the tough love variety. In that context it is interesting to note that Dean getting advice from his elders seems to be somewhat of a recurring theme this season. In How To Win Friends and Influence Monsters a concerned Bobby tried to get it across to Dean that, unless he plans on dying an early death, he needs to find a reason to get his head back in the game; in Adventures In Babysitting Frank advised him on how to keep going in the face of overwhelming grief, and now Eliot tries to remind him of the positive aspects of hunting.
Now, Eliot’s tone and his choice of words are not exactly sympathetic, and normally I do not take it kindly when someone calls Dean soft and accuses him of whining. However, I think it is important to keep two things in mind here: Firstly, Ness is a child of his times. I daresay that gender stereotypes have still been firmly in place in the 1940s, and 'manly' men simply did not talk about their feelings. Dean opening up to Eliot no doubt goes against some sort of 'guy code', so his rather brusque reaction is not entirely surprising. Secondly, and more importantly, Eliot does not know Dean. He talks from his own experience; an experience that vastly differs from Dean’s. Unlike most hunters, Eliot Ness has not been drawn into the life by a horrible loss; hunting is about duty and integrity of character for him, i.e. it is less personal. He obviously also enjoys the lack of red tape that comes with hunting, the opportunity of eliminating evil without being bound by the constricting rules of the law, and given his personal history – i.e. his futile efforts to bring Al Capone down – that makes a lot of sense. Moreover, Ness is as socially integrated as a hunter can possibly be. He is settled, has a paying day job and is a respected public figure. He hunts if the opportunity presents itself, but it is not his sole occupation. I have no doubt that he lost people close to him – either in the line of duty or on a hunt – but it is unlikely that he had to watch every single member of his family, as well as his friends and allies, die as a result of being personally targeted by heaven, hell and purgatory.
Unlike Dean, Ness did not spend forty years in the pit, tormented by hell’s expert torturer, nor did he play a crucial part in starting the apocalypse. He did not fight a life-long battle against forces intent on using him and his brother as pawns in a millennia-old war between angels and demons, a battle that cost him everything he held dear. All told, Eliot Ness is not a typical hunter, and neither is Dean. While Eliot’s life passes as almost normal, Dean’s could not be more abnormal, even for a hunter, and that is why Eliot is bound to miss the mark on some things. Dean’s unique situation is simply beyond Eliot’s comprehension. Now, that is not to say that his little pep-talk is entirely dismissible, quite the contrary, actually. I think it is good for Dean to talk to someone who is not severely psychologically damaged by hunting and can still see the value in what hunters do. Just like Eliot, Dean once had that clarity of knowing his purpose in life – saving people, hunting things, the family business. In those early days his firm belief that he can make a difference in other peoples’ lives not only gave him said purpose, but also allowed him to find self-fulfilment. That belief is long gone, however. Every (personal) failure, every set-back, every loss since then – and there have been many – made it increasingly difficult for Dean to hang on to that kind of positive mindset, especially given his ever growing self-worth and guilt issues.
There is no doubt that Dean needs to regain a positive outlook on life in general – and hunting in particular – if he wants to avoid running himself into the ground, and meeting a hunter like Eliot Ness serves as a reminder of that fact. However, knowing and doing are two very different things, and that brings us back to Dean’s main problem this season, namely that even though he wants to break out of his self-destructive cycle of depression and self-loathing, he has no viable idea of how to achieve that. I think that is one of the reasons why Dean frequently addresses his personal crisis when he is in the presence of seasoned hunters lately; he subconsciously looks for counsel. But, while Bobby, Frank and Eliot’s words of advice sure have their merits, I think that ultimately Dean will need to find his own way to overcome his depression. I just hope the writers will grant Dean the chance to move forward with his life. I would be very disappointed if all the build-up for Dean’s character arc this season would not lead to a substantial improvement of Dean’s psychological condition.
What else is noteworthy:
(1) Given the fact that Supernatural operates on a relatively small budget, the production value of the show is surprisingly good in general, but Time After Time sure is a stand-out episode, visually. Robert Singer admitted that they redirected some funds for the second half of the season in order to give the episode its authentic look and feel, and it shows. The cinematography is outstanding; the lighting in particular is remarkable. The costumes and sets are simply gorgeous, and Supernatural composers Gruska and Lennertz – who worked on the score together for the first time in the run of the show – support the episode with a very recognisable, time-appropriate score. To further add to the authenticity, the writers took great care where the language is concerned, emphasising the changes in slang words/phrases over time, which results in some very humorous exchanges between the characters. Speaking of, I love that, just like in Frontierland, Dean constantly alienates people with his peculiar speech patterns and movie quotes. It seems that the poor guy is doomed to become disillusioned with all of his favourite movies.
(2) I love Ezra, the 1940’s version of Bobby. ♥ She is one of those fabulous one-off characters Supernatural does so well, quirky and likeable and full of narrative potential. Just like her male counterpart, Ezra is a knowledgeable, no-nonsense kind of person, with a dry sense of humour and the heart in the right place. The competent way she handles the lore and the fact that she seems unperturbed by time travellers and homicidal gods suggests to me that she has been in the hunting business for quite a while – probably a lot longer than Eliot Ness – and I would have loved to learn more about her background. While I think that Ezra’s use of the word 'idjits' is probably the one example in the episode where the language is not in keeping with the time period – and, quite frankly, the use of Bobby’s favourite nickname for the brothers is a tad heavy-handed; the parallels between Bobby and Ezra would have been obvious without it – I love Dean’s fond reaction to her little insult, so I am not overly bothered by it. In between Sam and Jodie reminiscing and Ezra’s character, the show does a good job at keeping Bobby’s memory alive at the moment, and I appreciate that.
(3) According to Sera Gamble, Chronos’ storyline was inspired by the novel The Time Traveller’s Wife, and I think the writers did a good job at matching the basic premise of the novel with the mythology of the show. The general pagan god mythology of the show has been remarkably consistent over the years, and Chronos’ story fits seamlessly into previously established canon as well. I really love that, just like the phoenix in Frontierland, Chronos does not actually kill in order to gain power or to take the sacrifices he deems rightfully his. Instead his motivation is rooted in rather relatable personal reasons, namely in his love for a human woman. Of course that does not change the fact that he needs to be stopped, but it adds a tragic dimension to his character. By the way, I was really looking forward to seeing Jason Dohring back on my screen, even if it was for such a small role. However, while I think that Jason’s performance is satisfying for the most part, I feel that his delivery of Chronos’ main speech is too flat to be entirely convincing. The character’s emotions do no quite carry over to the viewer, but well, maybe that’s just me.
In conclusion: Time After Time is a highly entertaining episode that has is all – humour, emotion and action, all perfectly balanced. The episode gives us quality time with Sam and Dean, but still allows both brothers to bond with someone outside their small family unit of two, thus offering a wide range of interesting character interactions. Moreover, the writers manage to give Sam and Dean’s storylines equal weight and meaning, which, sadly, is not always the case; last week’s episode is a case in point. Overall, Time After Time is certainly one of my favourite episodes of the season so far, and since the season has not been short of amazing episodes, that is saying something. ♥
