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Supernatural: Looking Back on Season 2 |
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Tuesday, 29 May 2007 |
By John Keegan
Visit Critical Myth for an archive of John's TV Review archives, with more than 1100 entries.
 The first season of “Supernatural” set the bar fairly high. The structure of the series was in place quickly: deep character exploration hidden within the weekly conceit of a new monster each and every week. Even so, there were some basic flaws to be repaired, minor as they were. By the Critical Myth ratings system, the first season averaged 7.4 out of a possible 10. That was above average as compared to other genre shows.
Because the hook of each episode was the legendary monster or legend at its center, the episodes would succeed or fail on how well the concepts were treated. Despite the fact that Dean was the more vivacious character, the story often focused on Sam, leaving Dean as somewhat two-dimensional. Too often, the writers would include a requisite “hottie” to lure in the audience. Finally, the season arc was relatively consistent, but some elements felt rushed.
The challenge of the second season was to take on each and every one of those obstacles and overcome them accordingly. Many shows would have been content to rest on familiar laurels, and given the situation with the CW network and the constant demand for better ratings, it would have been understandable (if disappointing) had the easy road been taken. It’s to the credit of everyone involved with “Supernatural” that they chose the more difficult path. Again, by the Critical Myth ratings system, the second season averaged 7.9 out of a possible 10: a significant half-point improvement.
While much of the promotion for each new episode centered on the “monster of the week”, the scripts themselves were far more focused on psychological exploration of the dynamic between the Brothers Winchester. This began with the season premiere, which left Dean with a death wish and Sam wondering about his true nature. With so much heavy material on the table, it’s no surprise that every new encounter became an excuse to mine the emotional state of one or both of the Winchesters. In essence, the show was less about flash and style and more about substance and character.
 In the first season, Sam was by far the weaker character. That was corrected in the second season. Either Jared Padakecki has settled into the role better or the writers have consciously adjusted his characterization. Whatever changes were made, they obviously worked. The two leads are more balanced now, and the result is meaningful depth for both characters. One can accept and internalize Sam’s compassionate approach as a counterpoint to Dean’s brash physicality.
Setting aside the “hottie” factor for a moment, the season arc was far more consistent and complex because it was directed tied to the psychological character arcs. With a few minor exceptions, nearly every episode was in some way connected to the big picture. Some elements of the season finale still felt rushed, but that was a function of the amount of material that had to be explored. Most of the elements had a reasonable build over time, and there was never a point where the plot threads felt like they were dragging or meandering.
The most controversial attempt at resolving issues from the first season, however, was the introduction of Ellen and Jo. Ellen was meant to fulfill a maternal role for the brothers, though the writers made her more complex than that over time. Jo, on the other hand, was clearly conceived as a potential love interest for Dean, partially in response to the criticism that every episode had yet another damsel in distress.
A sizable and vocal percentage of the audience despised Jo, attacking the producers and the actress for perceived shortcomings. While the writers did struggle to find a purpose for the character, the actress may have simply been miscast for the role or unable to transcend the weaknesses written into Jo. Whatever the case, this is the most likely area for future improvement: the writers struggle to find long-term female supporting characters that have the depth and independence necessary to stand beside the Brothers Winchester as equals. As such, while the “hottie” factor has been lessened this season, it still remains a valid criticism.
 Additionally, the writers chose to introduce something that worked well for the series’ thematic forebear “The X-Files”: dark comedic episodes. As with “X-Files”, the results varied wildly. The first attempt at self-mockery, “Tall Tales”, was one of the best episodes of the season. The second effort, “Hollywood Babylon”, was the only sub-par episode of the season. While most fans appreciate the attempt to break up the darkness with a little tongue-in-cheek light, like with “X-Files”, it has to say something about the characters for the time to be well spent.
Thankfully, the other improvements far outweigh whatever issues might still exist, and the third season has more than enough ground to cover. Dean’s on the clock, with only one year until eternal damnation, leaving the brothers with a difficult mission to save his soul. Meanwhile, Sam’s true nature is still a matter of debate, since he came back from the dead and may not be entirely himself. In terms of the big picture, there’s a massive war with a demonic army and federal agents still on their heels. All in all, it sounds like the foundation for another stellar season.
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