![]() ![]() Yet it opens up storylines that set up a possible second season or more. It was definitely emotional to see Dean this way, both witnessing a different version of his young parents and trying to give them that safe life that they never got. That was all answered in the season finale, when he explained that he’s trying to make sure that Sam continues living a long, happy life on Earth. ![]() When Dean initially showed up on The Winchesters, no one knew how he was there, or if this was a different version of him, or if he was still in Heaven, etc. And then again, it was a question of, ‘Will this still be an emotional story for Dean?’ And it felt like we had a really interesting opportunity to tell a story with Dean’s character, even though he wouldn’t be necessarily in every single episode… There were dozens of ways to make it work, but this one felt like the one that would feel the most emotional, without obviously upending anything, and it felt like a story that we could tell about Dean, about where he is at when we meet him in, technically, the pilot, but throughout the finale of our first season. We’re only a few years away from, I’m going to call it, the For-Now Finale, because, hopefully, there will be more story on the road… Obviously, the idea of the multiverse was pretty one-stop shopping, in terms of that coming up pretty quickly. I had no interest in upending anything, for lack of a better expression, past, present, or future of Supernatural. ![]() Showrunner Robbie Thompson tells TVLine that bringing in the multiverse – which was technically introduced in Supernatural – was a means to expand Dean’s story while also still keeping everything intact and still keeping the bigger focus on Mary, John, and the others: ![]() That doesn't quite constitute a triumph, but the peak moments of Supernatural are some of Santana's best music of the '90s, which does make it a successful comeback.The season finale of the Supernatural prequel finally answered how and why Dean was in the 1970s, and it was due to him continuing his drive after getting to Heaven and somehow crossing the multiverse. Then again, the grooves often play better than the ploys for radio play, but that's not always the case, since Lauryn Hill's "Do You Like the Way" and the Dust Brothers-produced, Eagle-Eye Cherry-sung "Wishing It Was" are as captivating as the Eric Clapton duet, "The Calling." But that just confirms that Supernatural just doesn't have much of a direction, flipping between traditional Santana numbers and polished contemporary collaborations, with both extremes being equally likely to hit or miss. There's just a general directionless feeling to the record, enhanced by several songs that seem like excuses for jams, which, truth be told, isn't all that foreign on latter-day Santana records. The fault doesn't lay with the guest stars or even with Santana, who continues to turn in fine performances. At first listen, there doesn't seem to be a track that doesn't have a guest star, which brings up the primary problem with the album - despite several interesting or excellent moments, it never develops a consistent voice that holds the album together. In the tradition of comebacks and label debuts by veteran artists in the '90s, Supernatural, Santana's first effort for Arista, is designed as a star-studded event. Clive Davis, the man who had signed Santana to Columbia in 1968, offered him the opportunity to set up shop at his label, Arista. Santana was still a respected rock veteran in 1999, but it had been years since he had a hit, even if he continued to fare well on the concert circuits. ![]()
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