‘Bloody Mary’, AKA that one where Phil Scriggcia made Jared and Jensen stumble around in a pitch-black void for the entirety of the episode, because Ambience or something. It’s fucking gorgeous, actually. There’s lush ridiculous pools of shadow everywhere. Also, this got really repetitive and kinda derpy, and I think next time I do one of these posts I’m going to have to get really, really pissed first, because then at least I’ll have a excuse for essentially saying ‘look at all the DARK’ over and over again for fifteen pages.
I bingewatched the first eight seasons over February 2015, when I was a young, fragile horror-movie-virgin, and this shot made me scared of my own house. We have this creepy light switch on a string in the bathroom and, like. Have you ever seen a light switch swinging eerily back and forth in the dead flat light of two in the morning. I’m serious, it’s horrifying.
I love how the dots on the windshield speckle their faces, and I love the fact that both of them look like absolute shit in this scene.
All that gorgeous dimness. Also, I have a suggestion: rewatch the show. Every time Venetian blinds show up, everyone takes a shot. Last one to go blind gets the honour of winning.
Silhouettes; the inversion of the idea of Sam-and-Dean as heroes.
I love it when the show uses fadeouts. They’re so rare and so evocative when they do. Like the one in ABHL part one.
This shot reminds me of Citizen Kane. I have never seen Citizen Kane. Possibly this is a memory from a previous existence.
Give me all this noir shit.
This lighting is so good! You can see right through their eyes!
I kinda love the dreamy, blurry backgrounds in this scene. It’s almost too much.
I might make the next appreciation post a drinking game. Take a shot every time eyelash shadows. (Getting drunk might help me upload faster, too.)
I love all the shit with mirrors in this episode. It works with the whole doppelganger theme and also it just looks really really good.
Did… did electric lighting not exist in 2005, or…?
RIDICULOUS CRYSTALS OF LIGHT. (I think this photo’s out of sequence, but if I try to move it WordPress is going to throw a bitch fit, so never mind.)
I kind of like this shot because everything just looks a tiny bit out of focus, and that open door is all skewed and creepy, and VENETIAN BLINDS, and that thing Sam’s holding looks like a fucking black void into the floor and hello, House of Leaves.
I love this. It’s all chiaroscuro and grimy and PORES. I love it when the dirt and the sheer grubbiness of their lives is visible like this, in details.
Just. Black pits of shadow. Ridiculous.
What a shot, holy shit. Like- the stairs and the blocking and just. PHIL.
Yes yes yes blurriness and clarity and reflections.
This is also just an amazing shot. Also, everything is kind of bleached and off-colour in this episode even when it isn’t super dark.
And this is just super dark. They look like shadows. It’s subversive.
Eyelashes. And you can only see half of her face. Everyone is fragmented, or doubled, or reflected; nothing is seen cleanly. That won’t change.
They look marooned. Which, I mean. Everyone’s lost at all times on this show.
This might actually be the most gorgeous scene. Silvery glittering rain. Again: shrouding them, concealing them.
Oopy oop more mirrors.
This is weirdly pleasurable in that most of the frame is just darkness and also how often is it that we see a chandelier and a Winchester in the same frame. And there’s a sharpness to the cut of those shadows.
Give me all the weird lampshade silhouettes.
God, I love this, and it’s symbolically resonant; Dean as the shadow going towards the light, etc etc.
This is just so cool and it actually makes me excited because you can see all the individual chips of glass what the fuck.
More dreamy weird sunrise lighting!
Just… haunting. The tree full of coins, too.
I’m officially out of things to say. But I like this shot. So whatever. Next time I’ll get drunk.