Posts tagged angels
“What is that?”
“It’s, uh, Kevin Tran. He’s, uh, in Advanced Placement.”
When we last left the Winchester boys they had performed their Ocean’s Eleven con and stolen Dick Roman’s block of mud. The episode, written and directed by Ben Edlund, wastes no time in exposing what was hidden in that mound of dirt – a tablet. But not just any tablet: a tablet so old that the writing is unknown to humans; so old that when striking a hammer against the rock to free the tablet the skies erupt with thunder and lightning.
“That sound like somebody saying ‘no, wait, stop’ to you?”
“Uh yeah. Yeah.”
“Yeah. . . Oh well.”
And with the breaking of the rock two things happen: a resistant prophet is created in the guise of high-school student Kevin Tran and Castiel awakens. Yes, Cas is back. Again. And he’s got some chemistry with Demon-Meg. Cas has evolved though. He’s more zen – he can track the flight of bees through a garden and into the world. He hates conflict. He just wants to see where the universe takes him, preferably with little threat to his well-being. Luckily he can explain to the Winchesters about the tablet.
“If someone was going to free the word from the vault of the earth, it would end up being you two. Oh I love you guys.”
This tablet isn’t just some engraved stone text hidden away in the blowing sands; this tablet is the word of God. Words that Dick Roman wants safe in his hands because they contain a method of stopping the Leviathans. However, angels can’t translate the tablet, only a prophet can — Kevin Tran. As he explains, it’s an “in case of emergency note.”
Yet the true significance of Castiel in this episode is not to help explain the tablet or highlight its history, but for the moments between Castiel and Dean that seem to point to a healing in their fractured relationship. From the outset, Dean is concerned that Castiel will be a mass of brain jelly, unable to vanquish the trauma from both his actions while being God and the splintering of Sam’s mind. In fact, Sam is the one who seems to recognize first that Castiel doesn’t seem to be broken; Dean looks hesitant.
This hesitation is explained when Dean and Castiel have their sit-down in the game room. . .over a game of Sorry! Dean wants the pre-God Castiel back. His desperation bleeds through in an emotional plea for Castiel to button up his coat and help him fight Leviathans. Castiel keeps apologizing, but Dean won’t accept it – he sees Castiel’s current behavior as almost a mocking of their plight. His airy declarations and detached observations leave Dean with more emptiness. Is Castiel really sorry or is he just playing a game? Dean’s pained refusal of Castiel’s apology points to the latter. Yet his interaction with Hester and Anais, angels who have come to take Kevin and the word of god to prophet training, denotes a Castiel who, while seeming rather simple, is actually an angel who is on a different plane of being than everyone and everything around him. This existence makes earthly concerns beyond him.
“You seem troubled. Of course that’s a primary aspect of your personality so I sometimes ignore it.”
Castiel has a conversation with Sam too, who expresses his concern for Castiel’s sanity after he took on Sam’s fragmented mind. Sam acknowledges that if Castiel hadn’t taken on that burden Sam would have been done for – Lucifer had pushed his mind as far as it would go. And Castiel confirms what was long believed, that Lucifer was Sam’s manifestation – an avatar of Sam’s suffering – and that once the echoes of that figment of Sam’s terror had dissipated, Castiel was left with, as he says, everything. Like Sam, Castiel was also at the breaking point, unable to move past all of the blood on his hands, but by taking on Sam’s pain, it actually made him better. It’s a concept that, like Dean, Sam doesn’t understand. Both Winchesters want to “fix” Castiel, but that’s not an option. Castiel is satisfied with his current state – he doesn’t want to go back to the angel he once was, and it doesn’t even seem that it’s truly an option for him regardless. What role he will play in the next few episodes is unclear, but I can see this blissed-out Cas being a part of Bobby’s salvation.
“I’m surrounded by large unhappy dogs.”
Demon Meg is also a new part of the Winchester team. She’s chosen a side and doesn’t feel there is safety in being left alone. It’s not, for now, that bad of a deal. She sees that they are being followed by demons, sets up a secret meeting with them, and kills them. Whether it’s because she’s really on their team or simply has a soft spot for Castiel is unknown, though I do think she’s crushing on Cas. She proved that when she killed the angel Hester before Hester could kill Castiel.
Meg spits out one tasty morsel of information. In a scene where the Winchesters are trying to decide where her loyalties lie, she reveals that she’s on whatever team is most likely to bring down Crowley. Dean responds, “Crowley ain’t the problem this year.” Frustrated, Meg retorts, “When are you gonna get it, Crowley is always the problem. He’s just waiting for the right moment to strike.” Interesting. I’ll admit I haven’t given much thought to Crowley over the past six months, so his entrance back in the game, most likely when the Leviathan threat is at an end, is a tantalizing proposition, and could also make season eight an strong one.
“I don’t know. I think the line might panic when they turn this corner and see the blade assembly up ahead.”
The Leviathans weren’t front and center this episode, with the focus on angels and prophets, but there were a few key moments that demonstrate more of the monsters’ plan and the power. There is a brief hint about the design of the slaughterhouse being built for the processing of human cattle, and it’s very evocative of the Doctor Who episode, “The Age of Steel,” where Cybermen are “upgrading” humans in the Battersea Power Station. Orderly lines of people walking through the factory, eventually turning and entering large silo structures where spinning blades come from the ceiling before “processing” them. It’s not a comforting image.
The other moment, that once again illuminates the threat of the Leviathans, is near the end when Kevin Tran returns home, escorted by two angels who have a mission to protect him before leading him to the desert for prophet instruction. The detective investigating Kevin’s “kidnapping” is, of course, a Leviathan in human form. This is no season five – there’s no angel power that can suddenly end a Leviathan. Leviathan Collins states, as he’s sticking his hand into the angels’ guts and destroying them, that “rock beats scissors, Leviathan beats angel.” There’s nothing the angels can do to defend themselves and Kevin Tran and his mother are left at the mercy of the Leviathan.
What can kill a Leviathan? The bone of a righteous mortal, washed in the three bloods of the fallen. The first must be a fallen angel, and Castiel quickly and easily gives them a vial of his blood, but we still don’t know who the other two fallen are, nor what bone of a righteous man will be used. I tried to read the notebook page that Sam was reading and all I could glean was that it looks like the other two need to be the ruler of fallen humanity and the father of fallen beasts. Exciting!
Neanderthal poetry that’s perfectly aligned with the spheres. . .who knew.
C: “Hey, this is the handwriting of Metatron.”
S: “Metatron?!? You’re saying a Transformer wrote that?”
D: “No, that’s Megatron.”
D: “The Transformer is Megatron.”
C: “Me-TA-tron. He’s an angel, he’s the scribe of God.”
Sam’s indignant confusion during this scene is one of the funniest character moments in the series. So very Ben Edlund.
A little over two months ago I was asked to review a relatively new web series that had recently finished its first season run. Yes. Two months ago. Sorry about that Swoots. Normally I relish the challenge of watching and analyzing a show oriented around the supernatural, especially one that has the casting coup of everyone’s favorite Angel/God, Misha Collins. Yet in this case, something was keeping me from feeling the urge to devour the episodes, as I would, say, with a new season of the Guild.
I finally figured out what it was and can thankfully say: don’t do as I did. Fire up your browser and tear your way through the six episodes on offer until season two rolls around.
Divine: The Series was written by Ivan Hayden (visual effects supervisor on Supernatural) and Kirk Jacques, directed by Hayden, and created and produced by Hayden, Jacques, Collins, and Jason Fischer (production coordinator on Supernatural).
The story follows the travails of three priests in a run-down mission on the wrong side of the tracks, who endeavor to care for a being (angel? miracle?) named Divine, who walks the streets protecting the innocent (and penitent) from the demonic creatures who threaten humanity. The narrative employs a modernist (and post-modernist) conceit of non-linear storytelling, dropping the viewer in the midst of a plot stream, with few clear indicators throughout the series as to the chronological orientation of each episode. Hayden, in one of the making of videos, asserts that time is of no consequence, with each episode dropping more clues about who these people are, what brought them to this religious outpost, and what the mission of the divine creature really entails.
Before I detail the things the series does well, let me first tackle that which kept me procrastinating the task at hand. The series is incredibly smart to drop Misha Collins into the first episode, ensuring that the rabid Castiel/Supernatural fan base will be hooked from the outset. It is unfortunately in this initial episode that the miscast character of Jin first appears. Actress Chasty Ballesteros sets the mood as the episode’s first speaker and it is so tonally ill judged that if it wasn’t for the presence of Collins you might be tempted to simply leave at the outset. The typical Jin line delivery is to scream, and said delivery is so wooden, for a character that seems such a cliché, that it takes a monumental effort to get past it and to keep watching. I am loath to call out just one person as the primary problem with a show, but every time Ballesteros is on-screen the story withers. Even the scenery chewing character of Jack in episode 2 can’t steal her crown. What makes it all the worse is that, for the most part, she is surrounded by people who can act, which makes the character stand out in ways that it simply wasn’t meant to.
However, there are enough things done well in the series that you shouldn’t let Jin keep you from watching. Granted, it took me two months to reach that point.
The visual effects are rather stunning for a web series, especially in episode two. It’s not at all surprising to discover that many of the cast and crew have worked on Supernatural because this series feels like an offshoot of that. Hayden has said that he wanted the series to feel like a graphic novel and it does – the atmosphere, the characters, the narrative could all easily grace the pages of a comic book that explores demons and divinity.
The three actors who play the priests (Misha Collins, Allen Sawkins, and Ben Hollingsworth) are the strongest of the ensemble and ensure that the episodes tie together in a way that keeps audience interest. In fact, I would argue that Hollingsworth’s arrival in episode three, as Father Andrew, is the moment that the storyline becomes more than supernatural special effects and actually begins to explore the mythology and purpose behind the show. It was episode three that changed my mind about the series and led me to watch the rest posthaste.
However, season one is not going to tie things together in a neat bow – if you’re looking for answers you’re going to need to wait for season two. Season one delivers many mysteries, which are augmented by the non-linear approach to storytelling. It’s a bold move, spending a season of episodes establishing a foundation, unsure of what will happen with the viewership, but I guess that’s a benefit to a web series – you’re not tied to a network and its rating requirements.
So my overall verdict: definitely watchable, if you can get past the initial acting hitch at the outset. If you’re not convinced by the first two episodes, hang in there for episode three and the narrative development. The special effects are fantastic, as is the music, and if you can get hooked by the storyline, then you’ll look forward to the next season.