Exile on Main St.

One year ago, Dean moved to Lisa's house to live a normal, "apple-pie" life with Lisa and her son Ben, as recommended by Sam, working as a construction worker.

One day, Dean finds scratches of Djinn in several places and he chases the supernatural being. When his is attacked by the Djinn, he is saved by Sam that tells him that he was released from hell one year ago and teamed-up with their Grandfather Samuel and three Campbells. Now Dean has to decide whether he wishes to leave Lisa and Ben to hunt demons again or stay with his regular life.

I have just bought the 6th Season of Supernatural and the first episode, "Exile on Main St.", is absolutely overrated and disappointing. Sam is back without any explanation and Dean is absolutely contradictory is his behavior. Further, he lives in a typical quiet suburb but no neighbor notes the weird things happening in Lisa's house. My vote is four.

Title (Brazil): "Exílio na Rua Principal" ("Exile on Main St.")

This entire show gets a 5. It stopped being fun when they stopped doing monster of the week. Yes, I love story arcs like the next person or it would be just another sitcom. I know a few people that idolize this show but to me it's just become crap like Vampire Diaries and Walking Dead. Most of the show has been filler since about season 4 on. I'm going to keep watching though. Everything deserves a chance right? I really hope this won't be Fringe and fizzle out. The writers love to kill people off in this show. Someone above mentioned Heroes...Heroes was good, the problem I think...was that people like all magic...all the time. Okay, done ranting. I'll be entertained until I'm not.

Season 5 ended the main story arc of the first 5 years of the show. Starting season 6 having to basically reboot the series was always going to be tough and there was bound to be tons of haters. With the challenges the writers faced trying to find a way to basically start over, it was decent all things considered.

One gripe though is when shows that feature characters who are supposed to be weapons experts make even the most basic mistake in terminology....in a handgun, it's called a MAGAZINE, not a clip.

"Exile on Main St.," the opening episode of Supernatural's sixth season, directed by Phil Sgriccia and written by Sera Gamble, marks a significant tonal shift for the series as it transitions from Eric Kripke's apocalyptic narrative to a more grounded exploration of the Winchester brothers' lives post-apocalypse. Set one year after the events of "Swan Song," this episode reintroduces Sam (Jared Padalecki) and Dean (Jensen Ackles) under drastically different circumstances. Dean has embraced a domestic life with Lisa (Cindy Sampson) and her son Ben (Nicholas Elia), while Sam has mysteriously returned from Lucifer's Cage, bringing with him a new family dynamic in the form of the Campbells, their maternal relatives. The episode successfully sets the stage for a new chapter in the series, though not without some uneven moments.

The narrative begins with Dean's seemingly idyllic suburban life, which is quickly disrupted by strange occurrences that hint at supernatural activity. Dean's hallucinations of Azazel (Fredric Lehne) and claw marks on doors serve as ominous reminders of his past. These moments are effectively unsettling, drawing viewers into Dean's internal conflict as he struggles to reconcile his desire for normalcy with his instincts as a hunter. The tension escalates when Sam reappears, revealing that he has been alive-and hunting-for the past year. This revelation is both shocking and emotionally charged, particularly as it becomes clear that Sam deliberately stayed away to allow Dean to live a peaceful life.

Phil Sgriccia's direction captures the duality of Dean's world, juxtaposing the warmth of his domestic life with the cold, threatening presence of the supernatural. The cinematography by Serge Ladouceur uses muted tones to emphasize Dean's isolation and unease, particularly in scenes where he navigates his neighborhood at night. The editing ensures a steady pace, though some transitions-such as those introducing the Campbells-feel abrupt and underdeveloped. The Djinn, while visually striking with their black tattoos and venomous abilities, serve more as a plot device than fully realized antagonists, which detracts slightly from the episode's overall impact.

Jensen Ackles delivers a standout performance as Dean, portraying his internal struggle with nuance and emotional depth. His scenes with Lisa and Ben are particularly poignant, highlighting his yearning for stability even as he is pulled back into the hunter's life. Jared Padalecki brings a colder edge to Sam, reflecting his time in Hell and his newfound detachment. Mitch Pileggi reprises his role as Samuel Campbell with authority, though his character's motivations remain enigmatic. The introduction of Gwen (Jessica Heafey), Christian (Corin Nemec), and Mark Campbell (David Paetkau) adds intrigue but feels rushed, leaving little room for character development.

Thematically, "Exile on Main St." explores identity and belonging, raising questions about whether one can ever truly escape their past. Dean's struggle to adapt to normalcy mirrors broader cultural anxieties about reintegration after trauma, while Sam's secrecy underscores themes of trust and familial obligation. The episode also touches on legacy through the Campbells' reintroduction, positioning them as both allies and potential threats within the Winchester brothers' world.

One of the episode's most striking moments occurs when Dean hallucinates Lisa and Ben dying in a scene reminiscent of Mary Winchester's fiery death-a visual callback that underscores how deeply ingrained his fears are. This sequence not only heightens the stakes but also reinforces Dean's protective instincts, ultimately motivating him to place Lisa and Ben under Bobby Singer's care for their safety. The climactic confrontation with the Djinn is tense but somewhat overshadowed by the emotional weight of Sam and Dean's reunion.

"Exile on Main St." is an effective season premiere that balances character-driven drama with supernatural intrigue. While its introduction of new characters feels somewhat rushed and its central threat lacks depth, the episode excels in reestablishing the Winchester brothers' dynamic in a post-apocalyptic world. By focusing on themes of identity and sacrifice, it lays a solid foundation for the season ahead while inviting viewers to reflect on how past experiences shape present choices. As Supernatural embarks on this new chapter under Sera Gamble's leadership, "Exile on Main St." serves as both a continuation and a reinvention of its narrative legacy.

Sam is back from hell and nobody knows why. Mitch Pileggi was brought back from the dead, and nobody knows why either. Just a couple of miracles, cause that's how they roll in Supernatural.

So it turns out a year has passed, which puts season six in the future, but that's OK too. Dean has been in a very happy relationship with Lisa and her son for the past year, working as a car mechanic. Suddenly he is being attacked by genies (djinns) and Sammy boy is rescuing him from death.

It should have been a great moment for Dean, but when he finds out Sam has been back for a year, Dean is outraged. How could Sammy let him be in a positive and loving relationship with Lisa, for a year? Why didn't Sammy come back from hell running to be Dean's lapdog and punching bag? How could Sammy dare to have his own life?? So now Dean has to do the incredibly cliche & predictable break-up with Lisa, so he can be a "hunter" again.

Dean's attitude is beyond creepy and ridiculous. This series should have tried to keep Sam as the main hunter character working with the Campbells, and followed Dean and his family life as a subplot for a lot longer than just a couple of episodes. It would have been even better if Dean stayed in his "normal-guy" life, and got written off the show. It was better without Dean and his never-ending negative attitude and god-complex. He thought he was better than everyone else, but he was just an angry drunk in denial.