Baby

Not only is this the best episode of all the series but it is one of the best hours in television of the last 30 years. Whether you are new to the series or have watched every episode repeatedly "Baby" lands perfectly as an encapsulation of the show's vibe, ethos and heart. And it does so by combining a great concept with an even more better realization. It is everything a fan of the show can ever want from an episode.

Supernatural combines a family melodrama-two brothers with a strained relationship filled with secrets-with a experimental take on legends, folklore and mythology. This is precisely what the script does in its purest form. By limiting the perspective to Impala's literal point of view the writer is forced to break up the script into radically different sequences. There is the use of French scenes (i.e. the scene changing by the entrance, exit of characters) compressed time changes, vision etc. to keep the plot moving while keeping the Impala involved. None of this feels forced and makes intelligent use in a lot of implied things the Winchesters must have done, i.e. sleep in the car, over the years. Thompson also manages to work in every call back you would expect-i.e. the legos, army men, but also "Goodnight jerk" while having it feel organic. John's cameo is quite emotional and the various mythos forwarding bits (monsters fighting the darkness) are subtle enough to make this feel like the very early monster of the week standalones. Even the monster are inventive and the humor is just *perfect* for what the episode does.

On the script level the best bit of business is how Thompson finds a way to give the Impala a secret vis-a-vis the valet and how that secret works into the climax of the episode. But as good as the script is it is the direction that makes this episode so special.

Wright's technical direction is among the best I have seen in the television format. Keeping an hour within a car is hard; not only did Wright find ways to keep the shots fresh and interesting but the overall vibe of the episode personifies the Impala. Supernatural-especially in the first few years-is really a show with two characters but the Impala has a good of a case as Bobby, Crowley, Cas etc. as being the third character. Wright sells this completely. Baby comes alive like she has never been before. This lessened in the later years but Supernatural is primary a road show and "Baby" is the most on the road the show has ever been.

Wright makes the most out the script's character interludes; the "Night Moves" sequence is pure mood and joy for the fans of the show. Jared and Jensen are give such natural, comfortable performances that only come about from playing the same characters for more than a decade. Season 11 overall has the show in notable decline but this masterpiece only comes about after years of crew, cast honing the show.

In one word, phenomenal.

My favourite episodes are always the odd ones: "Weekend a Bobby's (6x04)", "The Man Who Would Be King (6x20)", "The French Mistake (6x15)", "Fan Fiction (10x05)", "Monster Movie (4x05)" or "Bitten (8x04)".

But this episode... this episode IS the very essence of "Supernatural", it IS the show. The call-back to "Swan Song (5x22)" is very cool and everything else about this episode is just perfect: it hits the perfect note in every scene, on every dialogue.

This kind of episodes are why people love TV shows, and why there are fandoms. The writers have done a beautiful job and I think this episode has just become my favourite 40mins on television.

Fans can love this episode and the writers and actors for it, and newcomers can watch an impressively well executed piece of drama that'll hook anyone for 11 seasons (and counting).

The Impala hadn't received a proper episode yet, now justice has been done.

Welcome home, Baby.

Love it. This episode epitomizes this show. Its the best episode of the whole series. When im in a bad mood and dont know what to watch. Season 11 episode 4 is my all time go to...

I have been with this show since season 1 and have been seeing how it has been slowly declining and becoming more of a Soap Opera than hunting monsters and being thrilling. Hell, I've even seen where Dean has his own intro music now. But, I am with this to the end and was glad to see the release of this episode.

What truly captured my attention to this particular episode was how it was solely focused on the character (which I admit have never thought of before) that has been with the boys since the very first episode, the 1967 Chevrolet Impala. The camera work was astounding and it still remained true to the story arc of the season (which has been getting better).

As for the acting, incredible. There was seldom any action and a lot of talking. And not the usual "But I did it to save you!" and "I didn't ask to be saved!", no no this one was how two brothers, nay, how two close friends should talk to each other. Not bashing, but understanding and leaving it in the past.

The action as well was spectacular and it felt good to see the boys go monster hunting once more, as is their jobs.

Fantastic episode, though I'm sadden as I know there won't be another quite like it for quite a while. Still, 10/10, best episode this season.

...but I could tell right away this episode was really different.

Realistic, gritty, even terrifying in its economical storytelling style and very different from the other episodes I've managed to catch before.

Outstanding!

I was actually reminded (for some reason) of some of the early film noir movies I've seen that showed all of the action from the criminals point of view.

More like this would be welcome. More invention and character work, less over the top effects.