My Beautiful Man S2 Episode 1 VOSTFR.mp4
The season aired on Thursdays at 9:00 pm ET in the United States,[1] and was the first season to air on The CW television network, a joint venture of The WB and UPN. The previous season was broadcast on The WB.[2] It averaged only about 3.14 million American viewers, and was in danger of not being renewed. The show gained mostly positive reviews, with the cast and crew garnering many award nominations and praise being given towards the brotherly chemistry between the two leads, however the formulaic structure of the episodes was criticized.
My Beautiful Man S2 Episode 1 VOSTFR.mp4
The season was internationally syndicated, airing in the United Kingdom on ITV,[3] in Canada on Citytv and SPACE,[4][5] and in Australia on Network Ten.[6] It was released on DVD as a six-disc box set September 11, 2007, by Warner Home Video in Region 1. Although the season was split into two separate releases in Region 2, the complete set was released on October 29, 2007, and in Region 4 on October 3, 2007. The episodes are also available through digital retailers such as Apple's iTunes Store,[7] Microsoft's Xbox Live Marketplace,[8] and Amazon.com's on-demand TV service.[9]
In this table, the number in the first column refers to the episode's number within the entire series, whereas the number in the second column indicates the episode's number within this particular season. "U.S. viewers in millions" refers to how many Americans watched the episode live or on the day of broadcast.
Many factors went into the casting decisions of the season's guest stars. Linda Blair, famous for her role in the horror film The Exorcist, appeared in the episode "The Usual Suspects". Though a fan of the show, Blair had turned down a guest appearance in the first season because she did not want to return to horror, having spent years getting a "clean slate". This changed after the television series Extra aired a three-part profile on her acting career and work with animals. It attempted to find a series that would write a role for her as "an actor's piece", rather than a cameo. Kripke, a fan of The Exorcist,[41] offered to write an episode specifically for her, and she was "really touched" when he listened to her request to leave out demons in the storyline.[42] During automated dialogue replacement, Jensen Ackles added in a reference to The Exorcist with the statement, "I could really go for some pea soup."[43]
The casting of Battlestar Galactica's Tricia Helfer in "Roadkill" stemmed from the producers' preference to hire actors important to Supernatural's fanbase. This was the first episode to have the Winchesters as supporting characters, and Kripke felt "Tricia had the charisma to perform the leading role".[44] Kripke enjoyed Emmanuelle Vaugier's work in television series such as Smallville, and believed she was an "easy choice" for the large role of the soon-to-be werewolf Madison in "Heart". Director Kim Manners felt Vaugier brought to the character a vulnerability like that of Lon Chaney Jr. in The Wolf Man, which made viewers sympathetic.[45] Conspiracy-theorist Ronald of "Nightshifters" was envisioned by writer and consulting producer Ben Edlund as the unsympathetic "semi-drunk Randy Quaid from Independence Day". However, this changed with Chris Gauthier's casting, and Edlund felt that Ronald turned out to be a "really cool" character fans would enjoy.[46] The producers considered Summer Glau for the role of the zombie Angela for "Children Shouldn't Play with Dead Things", but she could not accept due to scheduling conflicts.[47]
As much as I love season one, we actually had a pretty formulaic structure. There'd be an obituary that would take the guys into a town, they'd do a little research, they'd have a skirmish with the monster, they'd meet a girl, they'd have a showdown with the monster, they'd learn something about themselves, and then they'd roll out of town again. Pretty much every episode had that structure. And we worried that the viewers would get bored with the show if we did that again for a whole other season.
Kripke instead favored the "unique and structurally interesting" self-enclosed episodes,[53] which sometimes arose from the writers' unused ideas. From the series' beginning, Kripke desired to feature an evil clown because he felt that "clowns in a context where they're not supposed to be are friggin' terrifying".[54] To fit with the series, the clown became a shapeshifting Rakshasa of Hindu mythology. This decision made the clown "less satisfying", to Kripke's chagrin, because it limited the clown-related scenes.[55] Another element of folklore favored by Kripke was the story of Robert Johnson, which he focused on in his first screenplay as a writer. He found the legend similar to Supernatural, noting, "It's a piece of real life American history and folklore, it's an American horror story, it takes place on the dusty back roads of rural America, and it's got great music."[56] However, the lore takes place in the early 20th century, and prevented the inclusion of Sam and Dean. To circumvent this, writer Sera Gamble suggested Johnson's story be made into a subplot detailed in flashbacks, with the Crossroads Demon returning in the present to make more deals.[57] Although Gamble envisioned the demon's hellhound as being similar in appearance to a Rottweiler, Kripke felt it would "look stupid". The creature was instead made invisible, which Gamble believes gave it a more terrifying presence.[58]
Before he entered the television industry, writer and consulting producer Ben Edlund had wanted to pen a metafictional script dealing with television production, but decided against it because he did not have production knowledge.[59] He later returned to it for the episode "Hollywood Babylon". Edlund decided to have the production staff look like "goofballs", and made fun of Supernatural's production staff, the network, and the studio.[60] For example, comments made by Gary Cole's "studio suit" character were based on notes from the network and studio for Supernatural during both seasons of production.[60] Other metafictional references include a character commenting on the "terrible script" of Boogeyman, a film written by Kripke;[61] Sam becoming uncomfortable as the studio tour passes the set of Gilmore Girls, a television series in which Padalecki had a recurring role; and Sam proclaiming Hollywood's weather to be "positively Canadian".[62]
Principal photography took place in Vancouver, British Columbia.[76] The crew used two cameras simultaneously for each scene, which allowed for two different angles to be filmed of the same sequence.[77] The series usually has a dark atmosphere, though production purposefully created a contrasting appearance for certain episodes. "Hollywood Babylon" details the filming of a fake horror movie, and the use of two filming styles helped make a distinction; scenes of the fake film used more saturated colors, while scenes for the actual episode were "down to reality".[61] To depict the perfect world of "What Is and What Should Never Be", the usual shadows and "moody lighting" more made colorful and warm.[77]
Because the series uses few standing sets, set designer Jerry Wanek often had to construct entirely new sets for each episode.[77] Outside elements had an influence on some designs, with the bar in the hotel of "Playthings" being an homage to The Shining.[79] A Wisconsin native, Wanek was able to incorporate personal items into the motel set for the Wisconsin-based episode "Nightshifter"; because polka is part of the state's culture, he used posters from his father's old polka band, as well as photos of his nephews and Wisconsin landmarks.[46] Due to "Tall Tales"'s atmosphere, that episode's motel was designed to be "over the top". Wanek noted, "They were in this really odd-looking motel that had crystal chandeliers and carved beds, turquoise stove and refrigerator, and this wonderful period linoleum on the floor. I thought it really matched the tempo and emotion of the show."[80] At times, however, Wanek was able to reuse old sets. The loft set from "No Exit" was redesigned into an apartment for "Crossroad Blues",[57] and the bar in "Born Under a Bad Sign" was a refurbished Roadhouse set.[81]
The mostly synthesized orchestral score of the season was composed by Christopher Lennertz and Jay Gruska.[86] The pair try to base the music on the visuals of each episode,[87] with about a third of each episode's score being newly written for the supernatural legend.[86] For example, when the werewolf's point of view is depicted in "Heart", Gruska tried to make the score predatorial.[88] For "Roadkill"'s emotional ending, Lennertz used cello and piano to "[tug] at the heart strings" and "push the tears".[89] The music was supposed to "become part of the sinister wallpaper" in "In My Time of Dying". Thus, in the scene involving John Winchester selling his soul to Azazel, Gruska wrote the music as "dark and dank", but feels the viewer would only notice the music if it was removed from the scene.[90]
In addition to the score, the series makes use of rock songs, with most being selected from Kripke's private collection.[97] Among the many bands featured in the second season are AC/DC, Lynyrd Skynyrd, and Boston. Rock songs are also usually featured in "The Road So Far" montages at the beginning of select episodes that recap previous events. The premiere used Ted Nugent's "Stranglehold", and a "coming soon" sequence midway through the season was set to Nazareth's "Hair of the Dog". The finale recapped the entire season to Kansas' "Carry On Wayward Son". The second season also began the tradition of naming many episodes after classic rock songs, with Kripke preferring Led Zeppelin songs.[53]
Through the premiere episode, it becomes clear Steven is grappling with another personality. Marc Spector has been pulling Steven away from his quiet Egypt-nerd life and taking him on international espionage adventures while he sleeps. Even more rudely, Marc asks a woman out (did he use Steven's London accent?), makes him miss the date and leaves him to deal with the fallout. 041b061a72