Hell's Angel

Um....I have absolutely attempted to CRUCIFY Buck-Leming here before (and not without good reason - see 'Dark Dynasty' *shudder*), but this....this....

It was an absolute gem of a story.

The jokes were on target. The plot made sense. The establishing shots and scenes were often breathtaking.The lore fit....

The cynical part of me, taking in the sampling of past Buck-Leming disasters, wants to ask if they really, really wrote this.

The rational thinking part says this: if you guys keep writing like this, there are going to be some harsh critics being forced to re-think their opinions.

Absolutely on-target, awesome episode.

"Hell's Angel," the eighteenth episode of Supernatural's eleventh season, directed by Philip Sgriccia and written by Brad Buckner and Eugenie Ross-Leming, marks a decisive return to the season's central mythology, bringing together nearly all the major players in a tense, high-stakes confrontation. The episode opens with Crowley in Saudi Arabia, securing the Horn of Joshua-one of the fabled "Hands of God"-from an archaeologist who sold his soul for historic discoveries. The cold efficiency with which Crowley snaps the man's neck after retrieving the artifact immediately reestablishes his ruthless pragmatism, setting the tone for an episode where alliances are uneasy and trust is in short supply.

The narrative quickly shifts to Heaven, where Lucifer-still inhabiting Castiel's vessel-asserts his dominance among the angels. Mark Pellegrino's performance is a highlight, blending sardonic humor with genuine menace as Lucifer dispatches a dissenting angel and rallies the remaining heavenly host to his cause. His pitch is simple: only he can stop Amara, but in exchange, he wants to be worshipped as the new God. The angels' fearful acquiescence underscores the season's recurring theme of leadership by intimidation and the fragility of celestial order in the face of existential threats.

On Earth, Crowley approaches Sam and Dean with a proposal: he will hand over the Horn of Joshua if they agree to exorcise Lucifer from Castiel and return the archangel to the Cage. The brothers are divided-Dean insists on saving Castiel first, while Sam argues that Castiel chose to be Lucifer's vessel for the greater good. This moral debate is one of the episode's strongest elements, highlighting the Winchesters' evolving dynamic and their struggle to balance personal loyalty with the demands of the larger cosmic war. Their disagreement is not just philosophical but deeply personal, as both brothers grapple with the cost of sacrifice and the limits of agency.

Meanwhile, Amara is recovering from the angels' failed attempt to smite her, aided by Rowena, who has survived her apparent death thanks to her own magical resilience. The scenes between Amara and Rowena are laced with tension and dark humor; Ruth Connell and Emily Swallow play off each other with a mix of fear, admiration, and mutual manipulation. Amara's demonstration of power-a concussive "Hear Me" that shakes Heaven and Earth-serves as a chilling reminder of her status as the season's ultimate threat, while Rowena's shifting allegiances keep the audience guessing about her true intentions.

The episode's centerpiece is the confrontation in a church, where Crowley, Sam, and Dean attempt to lure Lucifer with the Horn of Joshua. Their plan is to exorcise Lucifer from Castiel with Rowena's spellwork, but the ritual is interrupted when Lucifer arrives, overpowering Crowley and threatening the Winchesters. The exorcism sequence is visually dynamic, with holy fire, incantations, and the ever-present risk of failure. Crowley's brief possession of Castiel's body, and his desperate plea for Castiel to fight back, provide a rare moment of vulnerability for the demon, and Mark Sheppard's performance adds a layer of pathos to the chaos.

Just as Lucifer is about to destroy Sam and Dean, Amara bursts onto the scene, effortlessly subduing Lucifer and rendering the Horn of Joshua powerless. The ensuing showdown is a visual highlight, with special effects depicting the transfer of energy and Amara's invulnerability. The episode cleverly subverts expectations: despite all the build-up, the Hand of God artifact is useless in Lucifer's hands, prompting the brothers to theorize that only "God's chosen" can wield such power. Amara's decision to capture Lucifer, intending to torture him as bait for God, raises the stakes for the final stretch of the season and leaves the Winchesters to regroup and reconsider their strategy.

Thematically, "Hell's Angel" is an exploration of power, agency, and the futility of half-measures. The episode questions whether ends justify means, as each character-Crowley, the Winchesters, Rowena, Lucifer, and Amara-pursues their own vision of victory, often at the expense of others. The script is dense with exposition but punctuated by sharp dialogue and moments of dark comedy, especially in the interactions between Crowley and the brothers, and between Rowena and Amara. The episode's pacing is brisk, moving quickly from one confrontation to the next, though some critics have noted that the rapid succession of plot developments occasionally comes at the expense of deeper character exploration.

Visually, the episode is polished, with Philip Sgriccia's direction making effective use of contrasting settings-Heaven's sterile corridors, the shadowy church, and Amara's lair. The special effects, particularly during the "Hear Me" sequence and the Horn of Joshua's activation, are ambitious and largely effective, contributing to the episode's sense of escalating danger. The editing maintains a tight rhythm, ensuring that the various plot threads converge smoothly in the climactic showdown.

Performance-wise, the ensemble is strong across the board. Mark Pellegrino's Lucifer is magnetic, oscillating between charm and menace; Ruth Connell brings nuance to Rowena's blend of cunning and vulnerability; and Mark Sheppard's Crowley is as sardonic as ever, even when on the back foot. Emily Swallow's Amara exudes both power and inscrutability, making her a formidable presence in every scene. Jensen Ackles and Jared Padalecki anchor the episode with their portrayals of the Winchesters' moral conflict and determination, even as they are repeatedly outmaneuvered by forces beyond their control.

In conclusion, "Hell's Angel" is a pivotal, action-packed episode that successfully reignites the season's central conflict and sets the stage for the final arc. While the episode's brisk pacing and dense plotting may leave some character moments underdeveloped, its blend of spectacle, moral ambiguity, and high-stakes drama exemplifies Supernatural at its most ambitious. By bringing Lucifer, Amara, Crowley, Rowena, and the Winchesters into direct conflict, the episode crystallizes the season's themes of power, sacrifice, and the unpredictable consequences of desperate choices. As Amara prepares to use Lucifer as bait for God, the stakes have never been higher, and the path forward is as uncertain-and compelling-as ever.

Some good aspects to this episode, Rowena for example and the brothers and the story line moves on a little but that is as long as you can get past the bad Misha Collins, the weird Lucifer faces he pulls , the unconvincing acting and Lucifer in heaven......

Has great Cassifer bits in heaven. Rowena is good too but her and Amara's thing is whatever. Crowley has his charm after a long time, he is best interactimg with the boys not the wall street type absolutely pathetic potrayal of demons. The whole trapping thing is fine.

Very good I put off watching this for years but after 14 seasons I figured what the hell. And glad I decided to watch it it's been way better than I thought it would be.