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mishavacado · 3 years

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SPN has so much spinoff potential and so much canon to work with, it's such a waste that none of it's getting used. This post is just all of my spinoff ideas, I'll apologize in advance because it is VERY long.

Wayward Sisters, obviously. There are so many possible storylines to work with, so many stories to tell. I'd really love to see some Charlie, Eileen, or Krissy Chambers cameos. I think that Charlie and Claire would get along really well (just read this post). Rowena is another character that I think could easily be worked into the canon. She could teach the girls all kinds of magic and be the fun wine aunt that spoils the girls on their birthdays. I don't think that Claire would like her very much, but, Rowena and Alex would probably get along just fine. How much I need this in my life: 1000000000000000000000000/10 when I heard that this idea had been tossed out I was so angry. Why doesn't this exist?

Men of Letters prequel that's mostly set in the bunker. This show could really expand on the canon lore and give us some more background on the Men of Letters, as well as any other similar/rival organizations that were around before the main show's time. The Men of Letters have so much story potential for a spin-off; corrupt leadership, new monsters, other organizations, expanding the MoL to outside the U.S. Episodes could be in a monster-of-the-week (MOTW) format, starting and ending with the Man of Letters the case is assigned to making notes in his journal or case file or talking about the case, as well as the overall season arcs. Episodes would be titled by their case number, i.e S1 E1 Case No. 1925-4, etc How much I need this in my life: 1000000/10, the supernatural/historical drama combo would be absolutely stunning.

A series focusing on all of the alternate timelines and universes, both the ones mentioned in the main show and ones just randomly created for an episode. There are infinite possibilities. Each episode would be in a MOTW format, but with different versions of Sam and Dean. The HunterCorp universe, Jared and Jensen from the French Mistake, a universe where their names are switched, a universe where Dean went to college and was the one with the demon blood powers, a universe where they drive a Mustang instead of the Impala, a universe where Sam isn't scared of clowns. I could go on, but I'm going to stop myself here. How much I need this in my life: 9/10 I think it would be pretty funny, but it's not my best idea.

A Bobby and Rufus spin-off where they talk about cases they worked on together or with other hunters, but the stories are told similarly to Tall Tales. It's the same story but told from different points of view depending on who's talking. I wish we'd gotten to see more of Bobby and Rufus because I think those two are hilarious and really think that this could be funny, even if it was just a web series with twenty-minute episodes. How much I need this in my life: 10/10, I love Bobby and Rufus and I think that they have a lot of interesting hunting stories to tell.

GHOSTFACERS GHOSTFACERS GHOSTFACERS. How much I need this in my life: 100000000000000000000000/10, I love the Ghostfacers. That's my whole idea.

A Jack-centric show that's almost a political drama. Jack is the ruler of heaven and is constantly being manipulated by angels, demons, and Death herself. He just wants to make an afterlife paradise, but power-hungry angels won't leave him alone. Remember that Jack is very young and trusting by nature, so there is a lot of potential for disaster if he gets goaded into doing something, like making new universes or ending existing ones. Cas is a main character and he does his best to protect Jack, but he has to be careful to not seem overprotective/like another manipulator or Jack won't trust him either. I have no idea if I'm making any sense, but shoutout to me if I am. For some reason, I've always thought that heaven would be an interesting setting for a spin-off, and those angels are pretty similar to power-hungry politicians. How much I need this in my life: 800/10, I would totally watch this.

A very short series that just destroys the canon finale. Twelve episodes, detailing the storylines that were ignored or destroyed by Carry On. E1: Rescuing Cas from the Empty and he and Dean have a long talk about their ~feelings~. They kiss, and for the first time, Dean’s mind is free of doubt about whether or not anyone could ever love all of him. E2: Eileen returns. She says nothing when she sees Dean and Cas holding hands, just raises her eyebrow and smiles knowingly. Some excellent movie night content. E3: 1 year later. Sam and Eileen’s wedding. Dean and Cas aren’t legally married, but their matching gold rings are very prominently shown. It isn’t mentioned. The wedding is almost canceled because of the rain, but with a wave of Jack’s hand the clouds disappear and the birds start to sing. E4: Sam and Eileen have moved out of the Bunker. Cas finally convinces Dean to downsize, so they find a little house in Lawrence and settle down. Cas works as a special ed teacher. Dean works as a mechanic. Miracle loves the backyard but makes sure to stay away from the beehives in the back corner. E5: Sam and Eileen’s twins, Mary and Maura, are born. Dean and Cas love their nieces, and Jack loves them too. He doesn’t know what to call himself, so they settle on Uncle and call it good. E6: Deaths. They all die old. Cas’s vessel has aged, but he can’t die, so when Dean finally passes away in his sleep, Cas scatters his ashes in the woods and disappears, ascending to heaven, to spend eternity with Dean. The closing scene is a dark screen, with the whoosh of wings and a soft “Hello, Dean.” OK. That was a long one. My apologies. How much I need this in my life: 100000000000000000000000000000000000000000000000000000000000000000000000000000000/10. I would reach nerdvana thirty seconds into episode one.

Another spinoff of that idea is just...Dean and Cas living a normal life. Short episodes. Cas goes to the grocery store. Dean drags Cas to a horror movie fan convention. Cas meets a roomba. How much I need this in my life: I can’t type enough zeroes to express it.

Campbell prequel that focuses on Mary and her childhood. Mary being raised as a hunter but not being allowed on hunts. Mary rushing home to finish her chemistry homework so she can help her dad track a nest of vampires moving east. Mary missing her prom to help Samuel on a hunt. Mary trying to keep her real life secret from John, a man she knows loves the parts of her he knows about. Mary always being an outsider, the kindest and most beautiful girl in her class, but so slow to trust and quick to speak that everyone is afraid to be her friend. Mary is a character that has the potential a lot more development, for twelve seasons she’s the burning martyr in every Winchester’s imagined paradise. She deserves more. How much I need this in my life: 11/10, Mary isn’t my favorite character but I would die for her.

Gabriel spin-off. That’s it, that’s the idea. How much I need this in my life: 10000000/10, Gabriel is a character that we don’t know a lot about so there are so many possible directions for a story about him to go.

Show set in the SPN universe that doesn’t really interact with the main show’s canon. It’s about two cops in the 30s that become hunters by accident. After investigating the apparent suicide of a hunter in their small town, they become enthralled by her library, filled with books about ghosts and vampires. They pour over her journals on their own time, fascinated by what they’re reading. They get to know the hunter through her writings, her accounts of her hunts and travels. Eventually, a nest of vampires settles in the town and the two put their newfound knowledge to the test. This show would just be based on canon lore, there wouldn’t be any mention of the Winchesters or other main characters, although a few MoL team-ups is definitely a possibility. The two become quite a team, tracking werewolf backs on bulletin boards in their basements and hoarding rock salt. How much I need this in my life: 89/10, I think this could be really interesting and I am a sucker for historical hunters.

Speaking of historical hunters-Samuel Colt prequel. Cowboys, vampires, cowpires. Hunting in the wild west, galloping across the prairie chasing a pack of werewolves. This show could also tell us a lot about how different types of monsters spread across the U.S. Ghosts will go anywhere people go, but what about vampires? Shapeshifters? Ghouls? What was it like to hunt without technology to help with research? The hunters in this series would be the authors of the journals that modern hunters use every day. They’re the ones that tested tracking and trapping methods. Again, no idea if this is making sense, but I think that a supernatural western would be really awesome and would expand/substantiate the canon lore. How much I need this in my life: 1000000000000000000000000000000/10, I love cowboys and I love Supernatural. This is literally the best thing that could ever happen to me.

Crowley. I want to know more about him. A series that tells us all about Fergus Roderick MacLeod, starting with when he was born in Scotland and ending with his death in All Along the Watchtower. We know that Rowena was his mother, that he was a tailor, that he sold his soul for an extra three inches ~down there~, and that he was a terrible dad. I want to know more about his childhood, about the people he made deals with, about how he became king of the crossroads and of Hell. Crowley was a very interesting character that was abused by the story. I want to know more about him. How much I need this in my life: 10000000000000000000000000000000000000/10, I really do love Crowley and I would watch this a thousand times over.

Final idea: MOTW only. No season arc, no overall storyline. New hunters every episode, from all different times, from over the world. All kinds of monsters. One episode in Victorian England, the next in 1990s Los Angeles. Very few recurring characters, if any. The recurring characters would be the Bobby Singers of the world; the lore guys that you call when you need help. Each new character has their own style, own car, own music, own personality. The show could have some a m a z i n g guest stars because they’d only appear in a few episodes. There are so many possibilities for episodes, even if they weren’t full length. How much I need this in my life: 100000/10, I love MOTW episodes and would really like to get to know the characters. It would be very easy to write one-off fanfics for this show, and also very easy to introduce this show’s characters into Supernatural’s canon.

You made it to the end!!!!!!!! That’s all I have for now. Sorry for writing so much, I just can’t stop thinking about SPN and all of the wasted stories.

#al speaks #spn #spn spin-offs #my ideas #i worked hard on this #big brain time #do you like it?

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nellie-elizabeth · 5 years

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Supernatural: Raising Hell (15x02)

I swear, every time I see Buckleming's names attached to an episode of Supernatural, I try to keep an open mind. I try to believe that they'll pull out a decent episode, which on occasion, they have managed to do. But this one... Gosh. I don't even know where to start.

Cons:

So crowded! Always with the so, so crowded! There are so many things going on in this one episode that it's like I can't even catch my breath. And I do not mean that in a good way. We've got Rowena, we've got Kevin, we've got Ketch, Amara... all of these reappearances should have been really fun to see, but instead they are all so jumbled up and very few of the moments actually have the impact they should.

A main example of this is Kevin. What a lackluster return for such a beloved character! He's there, the boys are glad to see him, he depressingly leaves because apparently he can't get into Heaven since he's been in Hell this whole time. So that's... sad, and pointless. We find out in this episode that all this time, when we thought Kevin was at peace in Heaven, he's actually been in Hell because... Chuck is a dick, I guess? There's no explanation given for why God put Kevin in Hell. And now he's here, he's used as bait, and he decides to leave and wander the earth as a ghost because it's better than going back to Hell. Why would you bring back a fan favorite just to make his ending much sadder?

Also, Ketch and Rowena's sexual tension thing was so uncomfortable. This is part of another big problem I have with Buckleming episodes. Their dialogue is just bad. Not always, not every line, but there are enough awkward, stilted moments to make me cringe. All of the stuff with Rowena and Ketch was like that. There were clumsy exposition moments, and things that should have felt fraught and emotional, like the boys' reunion with Kevin, fell extremely flat. There are exceptions to this, and I'll talk about them in a moment, but for the most part even the stuff in this episode that would have worked, came across as much less than it should have.

And that's just an overall issue with this episode and others like it. So much happens, and as individual pieces, there's a great deal of potential here. But when it's all crammed together, it can't make a whole as strong as its parts.

Pros:

There are exceptions to what I've been saying above. Basically, the only things I can praise about this episode are little snippets, moments in the chaos that cut through the overcrowded and yet still lackluster totality.

Let's start with Chuck and Amara. I love that we're seeing a more human-ish side to Amara, which makes sense if she's been spending time in the human world, playing craps and getting massages in Reno. Chuck is hanging around because he's not at full strength, and Amara, when she realizes that he just needs her because he's hurt, decides to ditch him. It was cool to see her being a bad-ass who isn't about to stick around and take care of little bro. Chuck as a villain works so well, because we can now see every benevolent action he's ever taken over the years as just part of his game. He liked the Winchesters because they were interesting, because they did what he wanted and kept him entertained. Now, for the first time, he's in a weakened position and he truly doesn't have control. It seems clear he wants to write this world off and move on, but he's not at full strength, and Amara is his only hope. I'd love to see more of her, as she might be the solution to the need for an all-powerful being to help our heroes in their fight against God.

We see a brief moment where Sam and Chuck appear to still be linked through their injury. This is leading me to the natural (and devastating) conclusion that Sam will need to die in order to defeat Chuck, the ultimate Big Bad. We'll see if Supernatural decides to go the tragedy route. I really hope they don't, but in any case, I'm up for the angst along the way. We see that Dean is still tracking Sam's injury, and Sam is trying to brush it off as no big deal. Oh, this is going to hurt so good.

While I have many, many problems with the way Rowena was written in this episode, I continue to find the interplay between her and the Winchesters fascinating. These actors do a masterful job of conveying the complexity of their friendship in small moments, even when the script itself does not substantiate the relationship much. Dean and Rowena share a look of understanding and respect as the episode ends. Sam and Dean both seem genuinely grateful to see her, and it's telling in and of itself that she showed up to assist. Her ally-ship with the Winchesters is in some ways a lot more interesting than Crowley's relationship with them was in the later years. She's not still pretending to be their enemy, and yet of course she's not just their buddy with no complicating factors involved.

The same can actually be said for Ketch. So much about the British Men of Letters plot line was botched a few seasons back, but Ketch came out of it as a somewhat interesting relic. I like that he and Dean have this weird yet natural-seeming camaraderie. Dean was willing to shoot him when he was possessed, and Ketch doesn't seem to have hard feelings about that at all. They're just... like that. I could do without the Ketch/Rowena thing, but I wouldn't mind seeing Ketch around once or twice more this season (although, let's be real, it would have been kind of hilarious if Dean had actually killed him).

I'm disappointed in how little we got of Kevin, but it was still lovely to see Osric Chau. It's so cute to think of him having like... street cred in Hell because God himself sent him there. And as sad as his fate is, maybe there's a way to spin it in future episodes? Even if it's just a cameo, they could give Kevin a happier ultimate fate, depending on how this whole show winds up.

I've saved the Destiel of it all for last. See, when you get episodes like this, that are frantically paced and full of characters and action and plot, the moments that work the best are always the ones that slow down and take a beat, allow for the characters to shine and relationship dynamics to be explored. So here, we have Cas' only real scene in the episode - he's mostly just a background character, except for this one key moment, and it's one of the episode's only truly quality scenes. Not just for the fact that it involves Dean and Cas staring at each other while soft music plays in the background, and they have an angst-y talk about their relationship. I mean, all of that was great and my soul ascended instantly to heaven or whatever. But what's really great about this scene is the way it's solidifying the arc of the season, specifically the motivations and feelings of Dean Winchester, our protagonist. He said much the same thing to Sam last week, and here he's reiterating it to Cas - what is the point of anything? Was anything they've ever done real? If Chuck was pulling the strings all along? I think it's going to be particularly difficult for Dean to get out of that mindset, and it doesn't help that he's still angry with Cas. For Jack, for Mary. And he's still angry at the world for screwing him over. Again.

So yeah. For obvious reasons, I freakin' loved that scene, and I can't wait to see more of Cas and Dean's relationship angst for the rest of the season. I'm not quite naive enough to expect a romantic confirmation, but I do hope that their bond gets a focus in this final season. And while this episode wasn't exactly a winner in my books, there were plenty of little moments within it that make me excited about what comes next. And that promo... oh gosh. If Sam has to kill Rowena I'm going to cry so many tears.

7/10

#review #supernatural #supernatural review #spn #spn 15x02

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doctorwhonews · 6 years

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Torchwood: The Death of Captain Jack

Latest Review: Writer: David Llewellyn Director: Scott Handcock Featuring: John Barrowman, James Marsters, Eve Myles, Gareth David-Lloyd, Kai Owen, Tom Price, Samuel Barnett, Rowena Cooper Big Finish Release (United Kingdom) Running Time: 1 hour Released by Big Finish Productions - March 2018 Order from Amazon UK After two full seasons of monthly releases set in the lives of Cardiff's least covert secret agents, each entry packed with as much nostalgia as world-building, not to mention a wealth of box-sets taking place in the eponymous organisation's past, present and future, some might reasonably wonder just where Big Finish can take Torchwood next - at least without fulfilling the rule of diminishing returns. To date, we've spent hours in the company of not only every member of the Season One-Two team but also Yvonne Hartman, Suzie Costello, Torchwood America's Charlie's Angels-esque terrific trio, Rhys Williams, Sergeant Andy Davidson and undercover recruits in World War Two. Who else could the studio possibly hope to focus on, then, sans perhaps the elderly woman bemoaning "bloody Torchwood" in the Season Two premiere, "Kiss Kiss, Bang Bang"? The answer, coincidentally enough, lies in that exact same episode, albeit not in the form of Menna Trussler's brilliantly non-plussed Elspeth Morgan, but instead in the form of another oft-forgotten veteran of the show's televised tenure: Captain John Hart. Yes, everyone's other favourite Time Agent has returned for another round on the blood-soaked carousel in The Death of Captain Jack, a disorientating rollercoaster of a season premiere which delivers all of the raunchy setpieces, deliciously macabre humour, Steven Moffat-level time-travel paradoxes and further raunchy setpieces fans could possibly hope for. Every work of fiction has its flaws, of course, and we'll get to Death's blemishes later, but if nothing else, there's never been a Torchwood audio production quite like this one. To quote Amy Pond, okay kids - this is where it gets complicated. Unlike most of these monthly vignettes, Death's place in its source material's continuity starts out sketchy and doesn't become much clearer the further we move through its running time. Suffice to say that any long-running franchise devotees will have their work cut out trying to ascertain quite when the narrative - or at least its framing device, which essentially serves as the crux of proceedings - occurs in relation to John and Jack's fractured romantic / anarchistic relationship across time and space, since there aren't many direct references to on-screen encounters between the pair such as "Kiss Kiss" or Season Two finale "Exit Wounds". What we do know, however, is that the former unashamed megalomaniac decides to finally bring their competition to best one another to an explosive end, causing a wealth of paradoxes destabilising enough to leave Jack on the brink of a permanent demise and John as the King of England. If that sounds like a recipe for a glorious hour of unhinged science-fiction hysteria, then take comfort in the knowledge that your ears are working perfectly. If anything, the play's wright David Llewellyn takes those expectations and extrapolates them tenfold, his script gleefully embracing the explosive carnage that its two Time Agent protagonists bring to anyone caught - figuratively or often literally - between them, with the pair's at times lust-driven, at times hopelessly self-destructive relationship an empowering wildcard that keeps the hour refreshingly unpredictable. Whether he's having John compare Torchwood Three to Scooby Doo "without the cartoon dog or the lesbian" or depicting fan favourite characters like Ianto Jones or Rowena Cooper's Queen Victoria in hilariously risque new lights, Llewellyn takes evident delight in the audio range's producer, James Goss, giving him free reign to steer many of the show's core tenets totally off the rails with a chaotic, constantly expectation-subverting romp that can't fail to keep even the most emotionally apathetic listener entertained. Sure, we're left in almost no doubt that the events depicted here can't come to affect future Torchwood storylines, but who cares when the results are such visceral fun to consume through our earlobes? That wouldn't necessarily have been the case, though, without two such accomplished lead performers at Death's helm. Enter John Barrowman and long overdue returnee James Marsters, both of whom wholeheartedly embrace the opportunity to deliver a psychologically warped comedy-drama where the only rule is that there are no rules. In many ways Barrowman's gifted with the chance to play two roles - the good Captain whom we know and love as well as the aged soul who lies before John on seemingly the final day in their centuries-spanning conflict - and, naturally, does a stellar job on both fronts, as intoxicatingly charismatic and complacent ever in the former guise while the most vulnerable and morally crushed that we've seen him since Miracle Day in the latter. As for Mr. Masters, whereas some of Doctor Who and Torchwood's past cast members needed time to adjust to portraying their characters in audio form, the Buffy the Vampire Slayer and Marvel's Runaways star takes to Big Finish like a devilishly handsome duck to the Time Vortex's waters, his constant barrage of witty retorts, pop culture references, beguiling pick-up lines and pre-murder zingers voiced with the kind of unsettling enthusiasm that only an actor of his calibre can truly muster. Much as Big Finish are rightly striving to entice series regulars like Eve Myles and Burn Gorman to find time amidst their hectic schedules to record further Torchwood plays, this reviewer would suggest that the studio makes Masters another major priority in this regard whenever the right script and the necessary gap in his own calendar arise. So, with all of these glowing remarks, how could we possibly smell a fault in the framework of this undoubtedly successful new chapter for the only team ready for that key moment when "everything changes"? Well, kindly juxtapose that iconic quote from the show's opening sequence with our comments above and you'll ideally start to notice that despite subverting many of the show's tropes, The Death of Captain Jack does incorporate a heck of a lot of previously explored character dynamics, cameos from familiar faces, What If paradoxes and the like which we've seen done to death - many times over in Jack's eternal case - countless times before on Torchwood and elsewhere in the so-called Whoniverse (though feel free to substitute this term with any other epithets for the wider franchise that you see fit). Indeed, Llewellyn, Goss, and company could easily have gotten away with rebranding this release as Torchwood: Greatest Hits, since rather than taking us into any particularly new territory that no-one could have seen coming, the intention seems to have been to simply spend more time with the admittedly electric Jack-John pairing which only got 2 full episodes in which to shine during 2008's Season Two. That's a noble gesture to fans clamoring for further such antics to be sure but does inevitably result in a storyline which - for all its rib-tickling one-liners - will rarely catch veteran fans off-guard. That, in turn, plays into the matter of continuity which we discussed briefly earlier when summarizing Death's basic premise. On a superficial level, to call out the script for refusing to explicitly confirm whereabouts in Jack and John's timelines these events take place - a tricky business to discuss fully in this review without spoiling the exact nature of certain happenings we see play out here - may seem a prime example of nitpicking, but given that we last witnessed Masters' character wanting to understand Jack's passionate zest for Earthbound life by exploring the planet himself, having his return to his tricksome ways this time around explained by the outcome of those travels might've afforded an additional layer of depth to his character arc as well as fuel for future storylines at Big Finish. Does John's manipulative, self-serving outlook on life inevitably mean that he'll never remain content with a universe out for anyone's gain but his? Is his psyche comparable to Missy's in "Death in Heaven", whereby the pair both "wanted their friends back" no matter how devastating the circumstances? Factoring questions like these into Death just might have made the key difference between the latest Torchwood range outing coming off as a satisfying or game-changing listen. Anyway, enough grimacing for the time being - to do so for longer than necessary would be to stray far from the central fact of the matter. Even if The Death of Captain Jack doesn't necessarily start 'Season Three' of Big Finish's monthly Torchwood releases with quite the same intriguing arc threads as The Conspiracy did in 2015 or never-before-seen crossover hijinks between Jack and Queen Victoria (a total newcomer to the show) as The Victorian Age did the following year, its raw appeal as a tour de force in time-bending, romantically charged and at times unexpectedly violent storytelling can't possibly be denied. Anyone who's long craved a reunion between the only two surviving Time Agents depicted in Doctor Who and its spin-offs will almost certainly have a whale of a time with Death between its jet-black comedy, its protagonists' never-ending duel of wits and sexual prowess and its scribe's dedication to uprooting Torchwood tropes by the dozen at every turn with hilarious results. Everything mightn't change here, then, but everything's at least looking up in terms of the studio's ability to keep producing memorable monthly outings for Harkness and company. http://reviews.doctorwhonews.net/2018/04/torchwood_the_death_of_captain_jack.html?utm_source=dlvr.it&utm_medium=tumblr

#{s{BFTheDeathOfCaptainJack}}#Big Finish #Audio #Torchwood

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