I don't see any real story developing or any possibility of psychological evolution or something meaningful happening in the brothers' relationship. That's just based on my reading of the show and especially its writers. It's just not going to happen.

Regarding your final paragraph, the real problem for me is that the writers always pretend that what just happened didn't really happen.

Lack of respect for the audience is how I have described it too.

I think it's time to admit to myself that I fucking hate this show and its glib idiot writers.

Crazy Clown Time doesn't seem to express anything though. Other than blandness, tedium, possibly idiocy (it's impossible to pay attention to the lyrics). It's like a long sweaty drive with a babbling uncle.

I don't really understand why the AVclub's reviews have to be so short. Every writer gets shit for not being in-depth enough, but it's obviously not their choice.

Sites and magazines also depend on the companies for access. As you say, game journalism is mostly about pre-release hype, and the companies regulate who gets invitations, interviews, exclusives, and so on. Even if there is no overt pressure, everyone understands what the realities are.

You can't trust the grades, in general, but you can find useful reviews if you concentrate on the substance. You just have to remember that there are enormous pressures for sites and magazines to give high scores to certain titles - both from the game companies and the fans - and anyone who dares to express a strong…

Watching Sam leave was slightly uncomfortable for that very reason. It wasn't quite ridiculous but everyone watching had the same feeling as Dean appeared to have: 'oh, you're leaving - again'. It's understandable on Sam's part, but it's like that card has already been played and it was all very weird and empty.

I think that relates to their inability to commit. They are cowards, basically. They don't just shy away from making hard decisions, they pretend that the decisions that they ended up making didn't really happen.

I think I know what you mean. We should start a Supernatural writers' liberation movement. The situation is no longer about prolonging dramatic tension but about a neurotic inability to make decisions, to conclude, to move on, to draw final conclusions. The show has become depressive in a very concrete sense.

Very good point. They're now the most notorious mass murderers in the country. And it's not just law enforcement: they should be enormous celebrities now, even though they're dead.

The writers of the show are paralyzed: the main bad guys always have to have the same sneering, superior attitude. No one knows why. But it's fun to ask such questions.

There is no code, Dean just pretends that there is. Questions of life and death have more to do with how much vagina Dean has received that week than any principles.

Quite a beautiful little scene too. I just rewatched it on youtube.

There's something really effective about a lingering wide shot that simply forces the viewer to observe the scene hysterically. Almost a kind of torture aspect to it. It's a shame that it isn't used more.

Felt like the writers were trying too hard and couldn't quite achieve the tone they were seeking. The dialogue was usually okay but often not as witty as they wanted it to be. It was meant to be like a Bruce Willis comedy from the early 90's. Maybe co-starring Goldie Hawn. 

Mike D'Angelo was slightly more negative in his Cannes coverage, giving Le Havre a C+.

Osiris was a jovial cliche. A waggish little pseudo-god holding court inside an abandoned barn, his only motivation to enjoy himself.

I agree that this was a pointless episode. An episode about guilt that was completely consequence-free. No one was forced to face up to anything and the lesson learned was that the only problem about the entire thing is that Dean feels bad.