So, as Sam goes back to spend some QT with his laptop and dig deeper into the hunt, Dean heads to a schwanky bar (they actually say the name of the bar a couple of times, but I’m sorry, I didn’t make a note of it and it’s left my brain…not a big deal, but the bar location is important because of the links for the MotW so I’m just going to call it Hunting Ground Bar) and is at a high-top table talking with a pretty girl named Lydia. The conversation is very flirtatious, and it’s obvious where things are heading. Whoever directed this episode did a fantastic job with this scene, IMO.
The basic important parts of the conversation include Dean passing himself off as an investment banker (the suit helps seal that deal) and his usual self-deprecating demeanor that just pulls us – and Lydia – in. The way he half-smiles, a high ball of whiskey hanging from loose fingers, glancing down slightly as he replies, “Yeah, look at me,” in response to Lydia’s obviously attracted, “Well, look at you,” could turn any perfectly mature, sane woman into a quivering ball of goo.
What the director did, though, was push the conversation to the background allowing us to pull out whatever we deemed important about the words they’re saying. The focus instead is on body language: the camera pulling close to Lydia’s eyes and then her lips – showing us what Dean is seeing. Then broadening the shot before shifting close to Dean’s eyes and mouth (bottom lip rolling up against his teeth as he swallows). It’s seductive and sensuous and tells us all we need to know about how things jump from “can I buy you a drink” to “you want to take this conversation somewhere more private.”
And then the director makes another interesting choice – interspersing scenes from Dean’s first love scene in three seasons with vicious murder number five. Now, the Dean girl in me would have loved to have focused the whole shebang on the sex scene because seriously…hummina hummina. But I thought stylistically and storytelling-wise, it was effective. The only thing I’d say is that doing it this way pretty much hit us over the head with the anvil of reveal that Lydia was A Bad Guy (not that any of us thought it would be different based on, y’know, previews and Dean’s sad track record with women).
Doesn’t mean I can’t recap it though. *wicked grin*
So, the murder is pretty much the same as the first one we saw – man thrown across room, man hacked up with blood everywhere, man dead. But the pacing and timing is in line with the hard-rocking chords of “Shook Me All Night Long” and Lydia and Dean hurriedly pulling at each other’s clothes, Lydia shoving Dean hard against the French doors of her bedroom, Lydia tearing Dean’s shirt off — *pauses for a moment to remember that lovely moment* — and then shoving him back on the bed. She definitely drove the entire encounter.
And I have to say, it’s so rare that Dean is shirtless – when we’ve seen Sam sans shirt quite a few times over the years – I was appreciative on a basic level. It wasn’t (just) a gratuitous oh-my-god-he’s-so-hot-look-at-those-hip-dents appreciation. It was more that everything I found attractive about Dean was enhanced because de-clothed, he appeared both powerful and vulnerable at the same time. I was happy to see the anti-possession Devil’s Trap tat, but noticed when he rolled Lydia over, curving over her with his body (*pauses to bite lip*) that the hand-brand from Castiel wasn’t there. Don’t know if that was meant to insinuate that the mark ‘healed’ – or if it was a continuity ‘oops.’ I prefer for the sake of our Show to believe the former.
Lydia doesn’t let Dean to dominate the situation long. She turns him over on his back, their rhythm matching the drive of AC/DC’s song until finally she rolls away leaving Dean to look up at the ceiling, exhaling with a world-has-been-rocked, “Whoo.”
Whooo is right. *fans self*