This is so long, you guys. And about ninety percent of it is faces, which probably says quite a lot about the episode. Full of gorgeous black shadows that well up and spill over.
And the opaque depths of that lake. Shiver. The contrast of her profile.
There is darkness encroaching where darkness has absolutely no business being, in this episode.
The quintessential Dean shot. Man, those eyelashes.
Even the random nowhere diners have the insane lighting. Sam’s eyes look practically green.
The bars of light. I wonder how many sets of Venetian blinds the SPN team have in storage. Or maybe they just re-use the same ones.
I love this. It’s dreamlike.
As is this. Talk about romanticised. That angle, and the pearly sky.
Just realised that this is shot from the perspective of someone in the lake. Chills. Also, look at that misty forest. You can practically feel the cold.
Big lovely sincere closeup of Dean looking all open. And the sheriff doing his looming.
Because it’s so daaaaaaaaark and the wallpaper is reflected in the mirror and it looks awesome.
The line of light delineating her profile. The blurry space.
The look on Dean’s face tickles me so hard. Nice composition, too. Nice black/green/assorted shades of drab colour palette in this ep.
So, this breaks my heart a tiny bit.
Those lamplike lights in the background. This one’s actually pretty vibrant. Probably because it’s a playground and, you know, evoking the four actually happy years of Dean’s life and all.
So dingy! The light from that lamp doesn’t seem to be going anywhere. It just gets sort of soaked up by the gloom.
I really like this one. His eyes are all shadowed.
Goooorgeous. White and green. That lake gets scarier every time. It’s so still and glassy and impenetrable. And it’s always right fucking there.
High-contrast. His irises are the same green as the background.
Totally up in Sam’s grill. You can actually see the peach fluff on his cheeks. Also: light hitting his irises.
My god Amy Acker’s big anime eyes. Kim Manners, man. The IRISES.
How does Manners manage to get the light to hit their eyes in that specific way? I mean…
All the detail here. The army men, the football, the lamps, the wallpaper, the mirror with the little camera flare, and the shadowy grown-ups. We’re on Lucas’s level.
Might be my favourite closeup of the episode. Those luscious shadows.
Even the Impala on a bright morning is dark as all fuck.
Lovin’ that violet camera flare. It’s like a flower, or a stain.
Really really cool shot. And deeply creepy. Our own faces, overlaying the dead’s.
So a) the lighting and b) the composition and c) the army men and d) the fact that Sam’s looking right at us.
Beautiful, haunting, resonant.
Love his eyelids, and the reflections in the mirror.
Again: that calm lake.
This is so awesome. You can see all his pores. I love the angle. It’s overwhelming. We are given no SPACE.
Random encroaching darkness. Or rather, not random at all.
He looks starkly traumatised. And incredibly beautiful while he’s at it, of course. Cheekbone shadows. The world moves on behind him.
Venetian blinds. The Face.
I can’t handle the army men. It’s like they KNOW.
Painterly to the last detail.
So much oil-paint beauty that I don’t know what to do with myself.
Love that we see them reflected in the window first, and the sunrise light.
Beautifully lit. More irises.
Lucas looking incredibly tiny and incredibly powerful. That kid is called Lucas, right? I didn’t just make that up?
Her eyes are basically blackened pits. It’s so gorgeous.
Ominous as HECK. The trees pressing in.
The very fabric of horror.
And this is pure agony, and I’m terribly sorry to leave you at that but these are in more-or-less chronological order and that was my last cap.