The Memory Remains

Everyone needs to reconnect. To go back to basics/the beginning. To return to what was even if only to gaze wistfully from a distance because you really can't go back. Ask yourself, what is it all for and what did all my choices achieve? A very poignant and emotional end to the episode that really allowed you to look back with fondness, happiness, and sorrow.

I think if you read between the lines of the story so far, the writers are building up to season 13 being a wrap up season. Little details like the carving of their names into the bunker table, which hearkens back to the same thing they did as children in the Impala, arguably bringing Mary Winchester back into the fray, the nod to JDM with 'Lucille' earlier in the season, the re-entrance of the colt and the link between John, Mary and Azazel, Sam's demon blood etc. More overtly, Dean and Sam pondering on their legacy. There will be a lot of loose ends to tie off, and just shy of 30 episodes in which to do it. Personally, I think it would be great if somehow Lucifer's baby was integral to the whole thing. It would be tedious to have a re- enactment of the whole Amara's accelerated development phase again, I think they should strive for something different. If it is morally wrong for the Nephilim to be killed as a baby, perhaps Sam, Dean, Mary, Crowley and Castiel could attempt to co-opt it over to the good side. (Difficult for Crowley to do admittedly, but he could still play some role). It might initially require the intervention of God and his sister Amara in some way, but then the main cast could cooperate to mould the Nephilim into an ethical being, along the lines of Kevin Lomax in DA. If his phenomenal power is primarily psychic, it would make for more nuanced plot lines and less special effects than were required with Amara.

On a side note, before the show ends production for good, maybe they could devote an episode or two to American politics and the batsh*t crazy stuff that went on at Bohemian Grove, as well as examining the Kennedys in some way. It would be a very difficult sell, given the public affection for that family. I don't know if BG and the Kennedys are related, but that would have to be ascertained. If doing so, perhaps wisest to leave it towards the end of S13, if at all. There is a lot of occultism that occurred there, some pretty sordid stuff. Whatever the incumbent C-i-C's faults are, and they are manifold, that type of w*nk is not one of them - in fact, the BG cabal conspired to elect HRC, and in thereby doing, their agenda failed massively.

"The Memory Remains," the eighteenth episode of Supernatural's twelfth season, directed by Philip Sgriccia and written by John Bring, is a deceptively simple monster-of-the-week tale that skillfully weaves nostalgia, suspense, and thematic depth into a memorable hour. The episode sees Sam and Dean dispatched by the British Men of Letters to investigate a string of disappearances in the small town of Tomahawk, Wisconsin, where local legend blames a goat-headed figure for the abductions. What unfolds is a classic Supernatural case with a dark, folkloric twist, but beneath its familiar structure lies a thoughtful meditation on legacy, memory, and the nature of evil-both human and supernatural.

The plot kicks off with the disappearance of a young man, Jarrod, who is dragged off by a monstrous figure with the head of a goat. When the Winchesters arrive, they quickly discover that the town's history is steeped in secrets: the Bishop family, founders of the local meat-packing plant, have long been rumored to be involved in occult practices. Interviews with the current Bishop brothers, Sheriff Barrett and the shifty Pete, reveal a family rift and a legacy of violence. The investigation is peppered with the show's signature humor-Dean's flirtation with a waitress, Sam's exasperation with Dean's cockiness now that he's carrying the Colt, and clever FBI aliases referencing Game of Thrones characters. These lighter moments are balanced by a growing sense of dread as more townsfolk go missing and the truth about the Bishop family's pact with the pagan god Moloch comes to light.

Visually, Sgriccia's direction is confident and atmospheric. The episode makes excellent use of shadowy, claustrophobic spaces-most notably the Bishop family's mansion and the meat-packing plant's basement freezer, where victims are held captive. One standout sequence involves a slow pullback from a trapped victim's desperate pleas for help, only to reveal Sam and Dean just missing him as they walk away-a shot that teases the audience and heightens suspense. The fight choreography, particularly Dean's struggle with Pete and the final confrontation with Moloch, is tight and effective, using mirrors and doorways to create a sense of disorientation and danger.

The narrative's emotional core lies in its exploration of legacy. The Bishop family's dark tradition-feeding victims to Moloch in exchange for prosperity-serves as a twisted mirror to the Winchesters' own family business. Pete's chilling line, "Hunting people, killing them. The family business," is a direct, unsettling echo of the show's famous tagline, and Dean's reaction underscores the episode's self-awareness. The episode also subverts expectations by having Sam, rather than Dean, deliver the killing blow with the Colt, melting Moloch into a puddle of goo and reinforcing the idea that the brothers' partnership is one of equals.

While the main case is resolved with typical Supernatural efficiency, the episode's B-plot introduces a simmering threat: Mr. Ketch and the British Men of Letters infiltrate the bunker while Sam and Dean are away, planting surveillance devices and rifling through their personal effects. The tone of these scenes, played with a touch of dark humor, contrasts sharply with the horror of the main story. Ketch's growing obsession with Mary Winchester is highlighted by a lingering, almost voyeuristic shot of him gazing at her photograph, adding a layer of psychological menace to the episode's closing moments.

The episode's pacing is brisk, with sharp editing that keeps the action moving while allowing for quieter, character-driven beats. The dialogue is crisp and often witty, with memorable exchanges about egg white omelets, Dean's dietary habits, and the brothers' reflections on their own mortality. The performances are uniformly strong: Jensen Ackles and Jared Padalecki's chemistry as Dean and Sam is as compelling as ever, while guest star Ryan Garfinkle brings just the right amount of menace and pathos to Pete Bishop. The supporting cast, including David Haydn-Jones as Ketch, adds texture to the episode's themes of obsession and legacy.

One of the episode's greatest strengths is its ability to balance humor, horror, and heart. The final scene, in which Sam and Dean carve their initials into the bunker's table, is a quiet, poignant moment that calls back to their childhood and encapsulates the episode's meditation on legacy. Sam's assertion that the people they've saved are their true legacy, even if they themselves are forgotten, is a powerful summation of the show's ethos. The act of carving their initials is both a literal and symbolic gesture-leaving a mark, however small, on the world they've fought so hard to protect.

Critics and fans have noted that, while "The Memory Remains" is structurally a "filler" episode, it stands out for its execution and emotional resonance. Some viewers found the monster plot familiar, echoing earlier episodes like "Scarecrow," but praised the episode's fresh energy, suspense, and the way it used the case to reflect on the Winchesters' journey. The BMoL subplot, though played more for laughs than menace, effectively sets up future conflict and underscores the growing threat to the brothers' sanctuary.

If the episode has a weakness, it lies in the somewhat abrupt tonal shifts between the horror of the main plot and the lighter, almost comedic scenes of the bunker infiltration. Some critics felt that the BMoL's actions could have been portrayed with more menace, and that the god storyline was a bit of a rehash. However, these are minor quibbles in an otherwise well-crafted episode that succeeds on the strength of its character work, visual style, and thematic depth.

The episode is a monster-of-the-week episode that uses its folkloric horror to explore deeper questions about memory, legacy, and the marks we leave behind. With sharp direction, strong performances, and a memorable final scene, it reminds viewers why Supernatural's blend of scares, humor, and heart continues to resonate after more than a decade. The episode's closing moments-Sam and Dean quietly carving their initials into the table-are a testament to the enduring power of family, memory, and the quiet heroism of those who fight to make the world a little bit better, even if their names are eventually forgotten.

A filler episode no doubt but it was nostalgic to see hunting monsters with the colt again and it was great to get the same spooked feelings as when i was watching the first season.

it was a good filler and i hope this season lives up to its expectations.

It feels weird to have a MOW filler episode right in the middle of the seasons story arc but there you go.