TV

Supernatural: Season 11, Episode 11 - "Into the Mystic"

Jessy Krupa

The show continues its comeback with one of the best episodes of the season.


Supernatural

Airtime: Wednesdays, 8pm
Cast: Jensen Ackles, Jared Padalecki, Misha Collins, Mark A. Sheppard
Subtitle: Season 11, Episode 11 - "Into the Mystic"
Network: CW
Air date: 2016-01-27
Amazon

Last week on Supernatural, Castiel (Misha Collins) was willingly possessed by Lucifer (Mark Pellegrino), who (presumably) killed off the show's beloved villainess, Rowena (Ruth Connell). But whenever this show kills off one strong female character, it has another waiting in the wings of a stand-alone episode.

And this week's (mostly) stand-alone episode, “Into The Mystic” opened with a happy family listening to The Shirelles' "Will You Love Me Tomorrow?" before being brutally attacked by a rather impressive-looking flying creature.

As it turns out, the monster of the week is a banshee: an evil female spirit who preys upon “vulnerable” people with her ear-shattering screams before feasting upon their bodies. This particular banshee's next victims are an elderly man and Arthur (Jonathan Potts), a lovelorn retirement home worker. The suspicious circumstances of their deaths attract the attention of Sam (Jared Padalecki) and Dean Winchester (Jensen Ackles), who arrive at the retirement home, expecting a vengeful ghost. Dean eventually bonds with flirty eyewitness Mildred (Dee Wallace), who believes she saw a ghost ten years ago. Sam has a similar connection with staff member Eileen (Shoshannah Stern), who corrects his sign language and knows more than what she lets on.

Elsewhere, Lucifer/Castiel strolls through a park and catches the attention of a random angel (Anthony Shim), who he quickly snaps into nothingness. While it didn’t add much to the central story of the episode, the point was clearly to show us that the angels already know that Castiel’s possessed, and for Misha Collins to revel in his spotless Mark Pellegrino impersonation.

Dean caught Lucifer/Castiel rooting around in the Winchester bunker, but this just led to the two discussing Amara (Emily Swallow). Dean feels that he has some kind of attraction/connection to the Darkness and is unable to kill her, but Lucifer/Cas reassures him by saying that they can use that to lure her out.

But back to the banshee: this week's episode was a little unusual in the fact that Sam doesn't discover the monster of the week by just searching online or looking through books. Eileen actually captures Sam in some sort of blood-locked symbol, thinking that he's a banshee because she misunderstood his words to Dean while reading their lips. Eileen’s both another hunter and another descendant of the Men of Letters, who's been seeking revenge on the creature who slaughtered her parents and left her to die in her cradle. So, perhaps more so than any other character ever on this show, she and Sam have a lot in common.

As they suspected, the banshee seems to strike out at Mildred (who has a heart problem) next, but it's Dean she nearly devours before Eileen and Mildred team up to destroy it. (So, yes, this is another episode where neither Sam nor Dean kill the monster in the end.) Sam and Dean leave Eileen and Mildred (for now), and go back home to have a heartfelt talk, but with the image of a sleepless Dean ending the episode, we're left wondering: "Does Amara make him vulnerable?"

Like most Supernatural fans who only want the best for their favorite show, I've been a little hard on season 11. Maybe it's just the recent lack of complex show mythology and fewer appearances by the annoying Amara, but the show now seems headed in the right direction. "Into The Mystic" played like a classic, early Supernatural episode, with some great shots of the Impala, cool musical selections, spot-on humor, a stylized creature-of-the-week, and the hopeful addition of two new recurring characters. Let's hope next week's episode, in which we get a look at Sheriff Jody Mills (Kim Rhodes), Alex (Katherine Ramdeen), and Claire's (Kathryn Newton) home life, lives up to these high expectations.

9

The year in song reflected the state of the world around us. Here are the 70 songs that spoke to us this year.

70. The Horrors - "Machine"

On their fifth album V, the Horrors expand on the bright, psychedelic territory they explored with Luminous, anchoring the ten new tracks with retro synths and guitar fuzz freakouts. "Machine" is the delicious outlier and the most vitriolic cut on the record, with Faris Badwan belting out accusations to the song's subject, who may even be us. The concept of alienation is nothing new, but here the Brits incorporate a beautiful metaphor of an insect trapped in amber as an illustration of the human caught within modernity. Whether our trappings are technological, psychological, or something else entirely makes the statement all the more chilling. - Tristan Kneschke

Keep reading... Show less

This has been a remarkable year for shoegaze. If it were only for the re-raising of two central pillars of the initial scene it would still have been enough, but that wasn't even the half of it.

It hardly needs to be said that the last 12 months haven't been everyone's favorite, but it does deserve to be noted that 2017 has been a remarkable year for shoegaze. If it were only for the re-raising of two central pillars of the initial scene it would still have been enough, but that wasn't even the half of it. Other longtime dreamers either reappeared or kept up their recent hot streaks, and a number of relative newcomers established their place in what has become one of the more robust rock subgenre subcultures out there.

Keep reading... Show less
Theatre

​'The Ferryman': Ephemeral Ideas, Eternal Tragedies

The current cast of The Ferryman in London's West End. Photo by Johan Persson. (Courtesy of The Corner Shop)

Staggeringly multi-layered, dangerously fast-paced and rich in characterizations, dialogue and context, Jez Butterworth's new hit about a family during the time of Ireland's the Troubles leaves the audience breathless, sweaty and tearful, in a nightmarish, dry-heaving haze.

"Vanishing. It's a powerful word, that"

Northern Ireland, Rural Derry, 1981, nighttime. The local ringleader of the Irish Republican Army gun-toting comrades ambushes a priest and tells him that the body of one Seamus Carney has been recovered. It is said that the man had spent a full ten years rotting in a bog. The IRA gunslinger, Muldoon, orders the priest to arrange for the Carney family not to utter a word of what had happened to the wretched man.

Keep reading... Show less
10

Aaron Sorkin's real-life twister about Molly Bloom, an Olympic skier turned high-stakes poker wrangler, is scorchingly fun but never takes its heroine as seriously as the men.

Chances are, we will never see a heartwarming Aaron Sorkin movie about somebody with a learning disability or severe handicap they had to overcome. This is for the best. The most caffeinated major American screenwriter, Sorkin only seems to find his voice when inhabiting a frantically energetic persona whose thoughts outrun their ability to verbalize and emote them. The start of his latest movie, Molly's Game, is so resolutely Sorkin-esque that it's almost a self-parody. Only this time, like most of his better work, it's based on a true story.

Keep reading... Show less
7

There's something characteristically English about the Royal Society, whereby strangers gather under the aegis of some shared interest to read, study, and form friendships and in which they are implicitly agreed to exist insulated and apart from political differences.

There is an amusing detail in The Curious World of Samuel Pepys and John Evelyn that is emblematic of the kind of intellectual passions that animated the educated elite of late 17th-century England. We learn that Henry Oldenburg, the first secretary of the Royal Society, had for many years carried on a bitter dispute with Robert Hooke, one of the great polymaths of the era whose name still appears to students of physics and biology. Was the root of their quarrel a personality clash, was it over money or property, over love, ego, values? Something simple and recognizable? The precise source of their conflict was none of the above exactly but is nevertheless revealing of a specific early modern English context: They were in dispute, Margaret Willes writes, "over the development of the balance-spring regulator watch mechanism."

Keep reading... Show less
8
Pop Ten
Mixed Media
PM Picks

© 1999-2017 Popmatters.com. All rights reserved.
Popmatters is wholly independently owned and operated.

rating-image