风竹千声

LOST&SUPERNATURAL

风竹千声 — Tue, 02 Mar 2010 07:43:00 GMT

supernatural停播期间腾出点空闲，看了lost。虽然lost已经让我迷失的失去了兴趣，好歹被折磨了四季，这最后一季还是要看看的。早听说lost越看越像supernatural了，果然不看不知道一看吓一跳，这两部完成不同类型的电视剧却有着惊人的一致，不说lost上的神祗jaccob和supernatural里的lucife是同一个演员，两个角色同样是亦正亦邪，同一本虚拟的杂志出现在两部剧里，还有不时冒出的黑烟，频繁的时空穿梭，都相当的supernatural，就连主题都越来越接近了，命运能否被改变，以何种方式去改变，不管是lost还是supernatural都在这个问题上挣扎。

对电影《大明宫》的一句话影评

风竹千声 — Sat, 20 Feb 2010 03:11:07 GMT

一部制作精良的纪录片，梦回唐朝，那个最迤俪的年代

邪恶力量中的爱情（Sam和怪物，dean和鬼魂？）

风竹千声 — Wed, 10 Feb 2010 07:20:00 GMT

supernatural里的女性角色从来都是做炮灰的，从marry,jessica,到ruby,bela到第五季中为兄弟俩而死的jo 和 ellen,在刚刚播出的一集中ana也死了，看到这一篇文章讨论supernatural中的爱情，虽然我们都知道在supernatural里爱情一点都不重要，但她们毕竟让我们更了解温彻斯特兄弟，这篇文章还不错，翻译过来以此纪念supernatural中那些成为炮灰或未来将成为炮灰的女性角色

以下翻译的英文原文出自http://www.sequentialtart.com/article.php?id=1647

邪恶力量中的爱情

Sam和怪物，dean和鬼魂怎么样？

Sam和dean在邪恶力量中少有爱情，但是从我们已经看到的几次，我们可以看出他们的爱好。他们喜欢哪种类型，和采取什么样的方式。

Sam:恶魔爱人

Sam总是和怪物搞在一起（正如deans所言），但那并不是他想要寻找的女人。

鉴于他家族猎人传统和恶魔血统的影响，sam会被那种有着美好未来的女人吸引：Jessica是他渴求的安全正常的生活中的伴侣(1.01 "Pilot")，Madison则代表着战胜他恶魔本性的可能性(2.17 "Heart")，Ruby则帮助sam获得他渴望的力量(整个第四季)。

但sam所希望的这些通常只是短暂的。正如哥特式的文艺传统描述的那样，sam过去的决定总是被他的野心所左右——连同他的女人。

一旦发现ruby实际上是推着sam往地狱制定的日程表上走，而不是逃离他注定的魔化，dean杀死她，有效的结束了萨姆短暂的独立和对肆无忌惮的恶魔力量的欲望，萨姆立刻就把温彻斯特家族和人的原则重新放到了首位。

在麦迪森的案子中，猎人的行为准则要求必须杀死她，因为当她变成狼人时她的人性已经控制不了她的兽性：sam梦想的幸福爱情和正常化的超自然生活伴随她的死破灭了。

杰西卡的死把sam逼上了他一直反抗的那条路，也就是他的父亲强迫他走上的猎魔之路，但杰西卡的死其实是因为sam.正如路西法所说，从杰西卡遇到sam的时候就注定了她的死亡(参见第五季第三集 "Free to Be You and Me")：任何接近sam的人都注定了要成为这场灵魂之战中的炮灰。

讽刺的是，萨姆杀死了所有这些女人——杰西卡是间接为他而死，麦迪森直接被他杀死，ruby也是在他的协助下被dean杀死的。不管你是否同意这个观点，每个人都应该能够实现他们的梦想——他并不理解dean为什么不愿回顾过去的打猎：“一定有什么是你想为你自己做到” (1.16 "Shadow)－sam无可避免的作了英雄式的抉择，将责任放到了自己个人的幸福和力量之上。这似乎意味着sam在杀死那个潜在的自我。
在对这些挫折习以为常后，萨姆所期望的和这些女人的将来和他的猎人生活比起来变得越来越模糊。杰西卡代表着美国梦。麦迪森代表着与那个和你一样的人的生活。Ruby代表着sam可以使用他恶魔的力量去做正确的事，即使这意味着他个人的毁灭。

唯一和sam有过关系还活着的女人是cara。她也是唯一一个没有代表着sam梦想中的未来的女人。他和cara的连接只是猎人生活中的一次露水情缘。当dean惊讶于他那个感性的弟弟绝不会不对cara说再见时，sam只是说“那没有什么意义”。

在约会时，萨姆也许还在学着dean的方式，但当这些变成更重要的关系是就不一样的。下次dean再指责sam和怪物纠缠不清时，温家小弟就可以指责dean总和鬼魂相爱。

Dean:浪漫的爱情

Dean是一个理想化的传奇英雄，或者至少过去看起来是。他在约翰拙劣的养育方式下总是压抑着，但当他被迫面对时他也会爆发，正如在第四季19集"Jump the Shark,"中，他嫉妒他同父异母的弟弟和约翰有着他从来没有过的一般美国家庭的父子关系。

Dean在爱情中是很浪漫的。While we don't know what Dean is like during casual hook-ups with the Double Mint Twins and bar wenches that populate the Winchesters' Midwest（这句实在不知道应该怎么翻），当他真的在意某个人时，他的爱情方式是更在乎精神层面而不是肉欲（与他弟弟直捣目标的方式相反）（严重同意这一观点，通常dean都被描述成用下半身思考的花花公子，但他对他的女友们远比sam来的坦诚真挚，他对交往了一周的cassie说出了自己做的事，而与sam交往一年的杰西卡至死也不知道sam真实的生活）。

我们看到过三个女人和dean有过特殊的关系：Cassie，他唯一记录在案的女朋友(1.13 "Route 666")，安娜，一个事实上是天使的人类(4.10 "Heaven and Hell")，还有我们此前看到的lisa-出现在dean 的梦中－甚至可能和他有一个儿子(3.02 "The Kids Are Alright")。三个都属于很有好奇心那类型：Cassie是记者，ana是新闻系学生，lisa,~～她的外号是冒险女孩，所以我们可以想象下。

她们也代表这dean过去的可能性。基于这种观点，虽然Cassie, Lisa and Anna在dean遇到她们或者和她们发生关系时，她们都是人类，但当观众看她们时，我们会认为她们对dean意味着过去的爱的鬼魂（why,没看懂）。

Dean所渴望的很可能是像他和lisa那样：他们发生过关系，对dean来说是某些可以变成正常家庭生活是东西。Lisa仍然把dean看作一个很好的情人，但她现在需要一种更为稳定的生活。那也是dean想要拥有，而未曾拥有的生活。和sam一样，dean忠于他的职责，为此放弃了自己的幸福。
和Lisa一样, Cassie代表了一种dean无法拥有的美妙生活，反之亦然。Cassie第一次甩了dean是因为她意识到他们不可能走同一条路，但在他们最后一次会面时—在dean从地狱回来并且认为一个猎人的生活必以血和悲伤结束之前的那些岁月中(4.12 "Criss Angel is a Douche Bag")—dean仍然希望能够和cassie重归于好：

CASSIE: 这次再见比上一次好多了

DEAN: 是的，也许这次再见不会像上次那样久.

CASSIE: 你知道的，我是个现实主义者. Dean,我看不出我们之间有未来。

Dean和安娜的关系也是过去式的，对他们俩而言都是如此。那是安娜最为人的最后一晚，她在体验一些她将会失去的东西。Dean从安娜身上感受到一个相似的灵魂，在她作为天使的过去，她是一个好战士，无可置疑的遵循上帝的指示，－那就像dean和john的关系。但安娜选择反抗，一个dean不会做但是羡慕的艰难选择。他承认他多羡慕自己的弟弟有选择：“你总是知道你要什么，追寻什么。勇敢的抵抗父亲，你一直是这样。我希望我也能这样做。我羡慕你，我为你骄傲，sammmy” (1.11 "Scarecrow").(dean ,不是你不够勇敢，是你背负了所有人都不愿意承担的责任，放弃了自己的一切，这正是影迷尊重、喜欢你的地方)
dean倾向于使过去的一切浪漫化，这加强了他对死神Tessa的渴望（2.01 "In My Time of Dying" and 4.15 "Death Takes a Holiday").Tessa是作为一个年轻、有吸引力的女性形象出现在dean面前的。Dean和女性角色最感人的场景之一就是，dean告诉Tessa他多想让她带走活着的痛苦：“我感到我内心有个洞，像我遗失了什么。那就是你”

糟糕的男朋友

当男孩们注定走上悲剧英雄的道路时，dean永远都不会拥有他所梦想的蓝领，西部田园生活（像在第三季第十集中的完美的郊区草坪，或4.20 "The Rapture"中的平静的钓鱼）。Sam也是一样，在被过去不断骚扰的时候他不可能在一个闪亮的城市里做着建筑师之类（应该是律师吧）。他们所期望的女人都被他们遗失在他们已经放弃的生活中了。
无家可归、没有工作，法律上已经死了的温彻斯特兄弟很显然不是好男友的料，并且他们知道这一点。当sam 对Sarah有好感时，那个在第一季19集中优雅的艺术系学生，他很现实阐述了自己的生活。“这不是我们挖的第一个墓”，他对她说，强烈的暗示这也不会是最后一个。“仍然认为我是一个可以托付终身的人吗？”

Supernatural Romance

What's with Sam and monsters, Dean and ghosts?

By Suzette Chan
February 8, 2010

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Sam and Dean have had very few love interests on Supernatural, but from what we've seen, we can conclude that each of the boys has a "type." Their respective preferences tell us quite a bit about the motivations of each character and his literary path.

Sam: The Demon Lover

Sam gets a bad rap (mainly from Dean) about having a penchant for monsters, but that's not what Sam looks for in a woman.

Stiffling under the weight of his family, the hunting tradition and the demon legacy in his blood, Sam is attracted to women who represent a better future: Jessica was to be his partner in the safe and normal life that he craved (1.01 "Pilot"), Madison represented the possibility of overcoming his demon nature (2.17 "Heart") and Ruby helped Sam access the powers he needed (throughout Season 4).

But Sam's hopes for the best of all possible worlds are usually short-lived. In the tradition of Gothic literature, Sam is thwarted by past decisions that doom his ambitions — along with the women associated with them.

Once it's revealed that Ruby actually helped Sam in order to advance Hell's agenda instead of Sam's intention to dodge his demon-written fate, Dean kills her, restoring the primacy of the Winchester family unit and human principles by effectively putting an end to Sam's independent path and appetite for unbridled demon powers.

In the case of Madison, hunter ethics dictate that she must be killed because her humanity cannot control her animal nature when she turns into a werewolf: Sam's twin dreams of happiness in love and a normalized supernatural life die with her.

Jessica's demise put Sam square on the path that he was rebelling against, namely, his father's obsessive demon hunt; but there was nothing about Jessica herself that brought about her destruction, other than being associated with Sam. Lucifer speaks true when he says that Jessica was doomed from the moment she met Sam (5.03 "Free to Be You and Me"): anyone who could get close to Sam would ultimately be considered collateral damage in the war for his soul.

Ironically, Sam has a role in killing all of these women — Jessica by association, Madison directly and Ruby in an assistive manner. Despite subscribing to the ideal that everyone should be able to fulfill their own dreams — he doesn't understand why Dean won't see past the hunt: "There's got to be something you want for yourself" (1.16 "Shadow) – Sam inevitably makes the heroic decision to chose duty over personal happiness or power. It's as if Sam is destined to kill his own potential.

Becoming accustomed to these setbacks, the futures that Sam envisions with each woman becomes depressingly less and less ideal the longer he hunts. Jessica represented the American dream. Madison was about living with what you are. Ruby presented Sam with a way to use the evil part of him to do some good, even if it meant his own destruction.

The only woman to survive Sam's attentions is Cara. She is also the only one who does not represent a dream future for Sam. His meaningless hook-up with her is the harsh reality of a hunter's path. When Dean is surprised that his heretofore sentimental brother will not call Cara to say goodbye, Sam says, "What's the point?"

In the field of drive-by dating, Sam may be taking after some of Dean's patterns, but when it comes to more significant trysts, the next time Dean ribs Sam about sleeping with monsters, the younger Winchester should point out that Dean is in love with ghosts.

Dean: The Romantic Romantic

Dean is a Romantic hero who prefers idealized, or at least heavily readacted, versions of the past. He represses the meaner sides of John's parenting skills but explodes when forced to face it, as in 4.19 "Jump the Shark," when he becomes insanely jealous of the half-brother who had the kind of All-American father-son relationship that Dean never had with John.

Dean is also a romantic in love. While we don't know what Dean is like during casual hook-ups with the Double Mint Twins and bar wenches that populate the Winchesters' Midwest, when he's with people he cares about, his style of lovemaking emphasizes the spiritual over the carnal (in contrast to his brother's more ahem goal-oriented style).

We meet three women that Dean has a special connection with: Cassie, his one and only on-record girlfriend (1.13 "Route 666") and Anna, a human who discovers that she's really an angel (4.10 "Heaven and Hell"). We also meet Lisa and hear about the long-ago fling that Dean thinks — even hopes — may have resulted in a son (3.02 "The Kids Are Alright"). All three have have a streak of curiosity: Cassie is a crusading reporter, Anna is a journalism student and Lisa ... well, her nickname is Gumby Girl, so we'll have to use our imaginations about that!

They also represent possible pasts for Dean. In this sense, although Cassie, Lisa and Anna are very much human when Dean meets or reunites with them, when viewers see them, we are seeing what they represent to Dean: the ghosts of loves past.

Dean pines for what could have been, much as he did after his reunion with Lisa: they had something in the past, something that might have become a normal family life for Dean. Lisa still sees Dean as a good time boy, and she wants a more stable life now. That's what Dean wants, too, but not just yet. Like Sam, Dean defaults to his duties, delaying or just plain saying no to happiness.

Like Lisa, Cassie actively leads an admirable life that Dean cannot participate in, and vice versa. Cassie dumped him the first time because she recognized there was no reconciliation for their paths, but at their last meeting — years before Dean returned from Hell and concluded that a hunter's life "ends bloody or sad"(4.12 "Criss Angel is a Douche Bag") — Dean was still hopeful that he and Cassie could recreate what they once had:

CASSIE: This is a better goodbye than last time.

DEAN: Yeah, well, maybe this time it'll be a little less permanent.

CASSIE: You know what? I'm a realist. I don't see much hope for us, Dean.

Dean's tryst with Anna is also about the past, for both of them. It's Anna's last night as a human, and she's experiencing some of the things that she will miss. Dean recognizes a kindred soul in Anna. Deep in her past as an angel, she was a good girl soldier, following her Father's orders without question — that's very much how Dean related to John. But Anna chose to rebel, a tough choice that Dean can't help but admire. He has admitted to Sam how much he envied his younger brother's choice: "You've always known what you want and you go after it. Stand up to Dad, and you always have. I wish I had. Anyway, I admire that about you. I'm proud of you, Sammy" (1.11 "Scarecrow").

Dean's tendency to romanticize the past is reinforced when he becomes wistful about Tessa, the reaper (2.01 "In My Time of Dying" and 4.15 "Death Takes a Holiday"). Tessa is actually just the young, attractive female form that the reaper projects to connect with Dean. But in one of the most affecting scenes that he has with any female character, Dean tells Tessa how much he wanted her to take away the pain of living: "I felt like I had this hole in my gut, like I was missing something. That something was you."

Bad Boyfriends

As long as the boys are doomed to follow the path of tragic heroes, Dean will never attain the blue collar, Midwestern pastoral that he dreams about (the perfect suburban lawn in 3.10 "What Is and What Should Never Be" or the peaceful fishing hole in 4.20 "The Rapture"). Neither will Sam be the architect of a shining new city on the hill when the past keeps knocking off his perch. The women that they hope will lead them to these ideal states will either be left behind by Dean or doomed by Sam.

In practicality, the homeless, unemployed and legally dead Winchester brothers are not particularly good boyfriend material, and they know it. When Sam hits it off with Sarah, the posh art-school grad in 1.19 "Provenance," he's realistic about his prospects. "This isn't exactly the first grave we've dug," he tells her, heavily implying that it won't be the last. "Still think I'm a catch?"

对电影《海军犯罪调查处》的一句话影评

风竹千声 — Tue, 09 Feb 2010 06:46:09 GMT

超喜欢gibbs，最有意思、最神出鬼没的帅老头

对电影《阿凡达》的一句话影评

风竹千声 — Mon, 11 Jan 2010 06:36:56 GMT

画面绝美，情节一般，潘多拉星——梦想中的世界

我想要飞——古城童话

风竹千声 — Wed, 06 Jan 2010 13:38:00 GMT

《我想要飞》

我睁开迷茫的眼睛

世界是这样陌生

不觉中童年已过去

岁月之中我已长大

我迈开蹒跚的脚步

踏上那人生旅途

春去秋来恍然而去

带走了我童年的梦

我想要飞

哪怕前方乌云密布

我想要飞

无论路途多遥远……

无意间看到这首歌的歌词，让我又想起了《古城童话》，这个拍的和他的剧名一样单纯唯美的电视剧。还记得剧中有个叫童话的小女孩，长在王府的深宅大院里，她经常跑到王府的大门口，透过门缝看着外面陌生的世界，这个没落的王府就和没落的王朝一样在风雨飘摇中各自凄凉。有一天，尘寂的大门响起了敲门声，小女孩终于有了打开门的机会，她从邮差那接过送来的信兴奋的奔跑着拿给母亲童谣，可是母亲、祖母看到这封信后却是悲痛欲绝，原来这封信带来的是这个王府唯一的男人、童话的舅舅战死的消息，整个王府拉起了白练，小女孩走在她往日奔跑的走廊，看着这些莫名的白布，委屈的流着眼泪说：我再也不去大门口了，在她眼里这一切仿佛都是她惹的祸，她不去好奇外面的世界，不去开门、不去拿信，一切就不会发生。

童话的祖母，一个享尽繁华，也历尽沧桑的格格，她一生没有踏出王府，也不会踏出王府，就像从没有下过船的1901一样，门外的世界发生的一切已与她无关，她固守着那份早已不复存在的荣耀在王府的大火中走向属于她和她的时代的永远。

童话的舅妈，一个旧时贤良的女人，童话的舅舅走的时候曾说我会踏着红霞回来迎娶你，精神失常的她在王府的大火中翩翩起舞，她终于看到了漫天红霞。

童话的母亲童谣，一个挣扎在旧时代与新思潮中的女人，一个无法留住丈夫的女人，一个有勇气抛弃过往一切拥抱新生活的女人。

童话的父亲，在两个女人之间徘徊，在梦想和现实中徘徊，最后既没抓住梦想也没抓住现实，正如他生命里最重要的两个女人都说过的话“不是他生不逢时，而是他性格中的缺陷注定了他的悲剧”。有多少人在慨叹生不逢时，有多少人在责怪别人毁了自己的生活与梦想，他们远没有这两个女人的清醒与犀利。

从孩子的视角去看待风云变幻的世界中发生的一切，看似复杂的事情都变得简单而可笑。不过是面对陌生世界的迷茫，是丢弃童年梦想的失落，是想飞而无法飞翔的无奈，是春去秋来的恍然～～～～

视频: 电视绿幕技术应用展示

风竹千声 — Tue, 05 Jan 2010 07:03:00 GMT

以后还有多少电视会用实景拍摄呢，技术替代一切，真假难辨啊

supernatural第五季第十集剧照

风竹千声 — Fri, 11 Dec 2009 04:52:00 GMT

bt全部被封，yyet改版了，sfiles也进不去了，真是如晴天霹雳，supernatural归来之日我到哪去下呢

放两张剧照算是抚慰下受伤的心灵吧

这张拍的相当好啊

sam越来越暴戾了

dean成长历程（第一季）

风竹千声 — Sat, 05 Dec 2009 07:34:00 GMT

停播期又开始一轮“前情回顾”，好吧，我知道我很无聊，看了那么多遍还没厌吗？！谁让我那么喜欢dean呢。看到这篇很完整的分析了第一季dean的心理历程和状态，拿上来分享。现在发现第一季其实是温馨而轻松的，没有后来的沉重与复杂，简单而快乐的两兄弟（我自动忽略了sam失去女友的悲伤）公路旅行，寻找失踪的父亲，顺便消灭邪恶，途中斗斗嘴，互相捉弄下，一句bitch,一句jerk,快快乐乐又一天，而如今的sam和dean,再也回不去了吧。人生若只如初见，何事西风悲画扇

dean成长历程英文文本的中文翻译

(翻译整理自伊甸园)

“尽快把你弟弟带出去，不要回头，现在就走，迪恩！”——John Winchester Supernatural pilot.
“事情就是这样，当我们还小的时候，我把他带出了火场。从那之后，他就是我的责任，我的工作就是保护他的安全”——迪恩.The Benders

Supernatural 的开场就是迪恩生命中最重要的成长经历。1983年11月2日，W家的父母约翰和玛丽，迪恩和小萨姆——还过着完美的、正常的美国中产家庭的生活，直到某一个恶魔闯进它们家，把玛丽定在萨姆婴儿床上方的天花板上，使她燃烧起来。在此变故下，约翰命令迪恩带萨姆离开着火的房子，让迪恩担负照顾弟弟生命的责任，此时迪恩才4岁。

玛丽的死永远改变了W家族的生活。约翰以后则决定为自己的妻子复仇，他从一个机械师变成了猎人。他开始猎杀每一个他寻找到的超自然生物，希望最终能够找到杀死玛丽的凶手。他同样这样培养他的儿子，从小就训练他们使用武器和格斗技巧。

一系列的邪恶事件可以让我们看到迪恩的成长过程。约翰出去捕猎，留下九岁的迪恩和五岁的萨姆在汽车旅馆中，他交了一把枪给迪恩，并命令他守在那保护他的弟弟，看到任何人靠近就开枪。在困在屋里几天后，迪恩失去了耐性，跑出去打电动。他回到旅馆的瞬间就看到萨姆被他父亲猎杀的怪物袭击，——一种以小孩精气为食的变形物，约翰及时赶到并救了萨姆。但是怪物逃跑了，迪恩不但觉得自己要为弟弟几乎被杀死负上责任，还要为其他被那逃走的怪物杀死的孩子负上责任。因此，他再也没有违背过父亲的命令。

全心全意接受了猎杀邪恶的家族使命，并且变成了他父亲的副手的迪恩充当了保护者的角色，他使萨姆能够更长久的扮演与其他正常家庭一样的角色。剧中曾经提到萨姆作为一个孩子做着和大多数孩子一样的事——加入足球队、在高中参加比赛，没有像迪恩那样成长。结果是萨姆性格发展与迪恩截然不同。当萨姆长大后，他反抗父亲的权威和施加给他捕猎生活的压力，冲突逐渐加剧，最后当萨姆说他拿了奖学金去斯坦福大学的时候，约翰对他说去了就不要回来。萨姆走了，断了和父亲的所有联系。我们无法准确的知道萨姆离开了多久，以及为什么没有与迪恩再联系，但是再那段时间里兄弟俩至少有两年没有再说话。迪恩继续和父亲捕猎直到约翰在加里福尼亚捕猎时失踪。（迪恩那时不在那儿，而在新奥尔良独自捕猎）

为了搜寻父亲，dean 去了斯坦福寻求 sam帮助，sam勉强的答应了搜查一周，之后准备继续留在学校。但是当他回去，他的女朋友像玛丽一样被神秘谋杀了（黄眼大叔真好，开始为两兄弟在一起创造条件），sam决定复仇，在这集末尾， dean驾驶着心爱的impala带着 sam 开始寻父（其实是开始了JQ之旅）

亲情
dean：我一个人干不了
sam: 你当然可以
dean：但是我不想一个人做

恶魔猎手papa养大的dean并不善于人际关系，他偏向通过枪，车来和别人交流。他喜欢和别人开善意的玩笑，喜欢一夜情，不经意的谎言。真正诚实的情感交流 dean并不擅长，除非是与小孩子有关的事件（小时护照顾sam的经验）。在“route 666”这集，我们发现dean在过去与cassie robinson有一段感情，但是在cassie知道 dean的工作以后，她不相信 dean并且甩了他，现在的dean 只剩下老爸老弟，他们是dean最关心的人，dean的理想生活就是一家三口幸福的猎魔（好简单纯洁...）

可惜这是一个不切实际的梦想，dean母亲mary的死亡在一定程度上分裂了3人，相比sam，dean年长到能记住这起悲剧，他没有了简单幸福的童年生活，还好mary的死亡并没有像对john一样给dean带来了一生的困扰，而年幼的小sam基本毫无影响，他对猎魔并无兴趣也不想承担责任。直到
女朋友 jessica的死亡，sam才开始和papa一起寻求复仇。sam和papa只对谋杀 mary和 jessica的黄眼恶魔感兴趣，而dean也猎杀其他的鬼魂，恶魔，怪物，他已经把猎魔当成了自己的工作和责任（博爱善良的美人啊），当提到自己为何要这么做的时候（小两口还为此吵架），dean只说到是为了救助别人，从不提及复仇，可是在他心里做普通人的英雄和做家族的保护者的想法却时常纠结在一起。dean只喜欢无偿得帮助别人，不喜欢别人把自己当成英雄，当人们想表达自己的谢意的时候，dean却常感觉到不安或者说一些不合时宜的话。

在“shadow”这一集，sam反复的提起在复仇以后，他要结束猎魔,返回校园,这话伤了 dean的心啊，sam问起 dean在杀了黄眼大叔以后有什么打算，dean说道“永远不会完结，还会有其他的恶魔”，dean少有的真情流露说道，他叫sam离开斯坦福，是想在找到老爸以后可以重新做回一家人，他认为一家人该一起猎魔，但是他却不知道在sam心里，即时一家人分开，不是一起猎魔也还是一家人。

这场生活和家庭的争论持续的影响着dean和sam的关系，不过dean依然爱着sam，保护着sam，他希望sam能够开心，但是他却不懂sam（咋sam这么像dean老婆...），因为sam所追求的正常生活并不是他想像中的，dean感觉sam背叛了自己。习惯了遵循父亲命令的dean，对sam不听父亲指示感到不解，他指责sam自私和不忠，在 “scarecrow”这集，因为是否服从父亲领导上的不一致，两兄弟暂时的分道扬镳，不过在后来的电话中，dean告诉sam 他很高兴 sam能够追寻自己所想和勇敢的反抗父亲
（分手了还是想着sam啊，有爱的大哥）

在“skin”这集，一个变形人，披上dean的外貌，通过心灵感应了解到dean的一些内心想法，他对被俘的sam说道“我必须和父亲留在家里，你认为我就没有自己的理想吗？但是父亲需要我，而你又在哪里？我很嫉妒你有朋友，你有自己的生活，而我，只是一个猎魔人，人们眼中的怪人，迟早，大家都会离开我”，不过变性人是邪恶的，他为了达到自己的目的，选择性的说了一些想法，并且夸大歪曲了dean的真实感情。

结束了猎魔争论以后，dean和sam终于成为了一对有爱的兄弟，这季早期，dean为刚失去女友的脆弱sam提供了坚强的臂膀，聆听sam心声，在sam心理创伤恢复以后，两兄弟开始玩闹，互相开玩笑，心有灵犀地知道对方要做什么。"hell house"这集用了大篇幅有爱地描述两兄弟捉弄对方，玩恶作剧。在“provenance”种，dean 耐心鼓励 sam去追求自己喜欢的女人，甚至愿意在猎魔工作结束以后还呆在小镇上一阵子（牺牲自己幸福）。
在整季中，尽管两兄弟一直不停争吵，不过jq却始终闪现其中（好有爱的作者。。。）

Sam：怎么？我们永远都得遵循爸爸的要求吗？
Dean：当然，这是我们的职责。--- Asylum

Sam：我就是不明白你对他的盲目信任。我是说，好象你觉得一切都毫无疑问。
Dean：没错，这就是传说中的乖儿子。-- Scarecrow

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Dean与其父的关系，虽然不如与Sam的那样激烈，但也是纠结复杂的。在“Dean Man‘s Blood”一集中，John承认在养育孩子这方面，他表现得更像个指挥官而不是一个父亲，这些在前面多少已经有些暗示了。作为乖巧的长子，Dean在成长过程中更多的经历了John的那种训练式教育。“Something Wicked”的记忆闪回证明了年幼的Dean承担了很重的成人才该有的责任感。对这种责任感的承担塑造了Dean日后的性格和与John的关系。Dean虽不拥有Sam的反叛意识，但他也具有Sam所不具备的John式的责任心和军事化管理模式。

在“Asylum”的开头，当John匿名的把一串的信息发送到Dean的手机上，Dean自然而然的把这当作叫他去找出并补猎那些要补猎的东西的指令。当Sam怀疑这些是否是来自John的指令并且并不认同去照做时，Dean的本能反应却是遵循命令。在本集后面的故事中，当他们在调查这个案子时，Sam发现了Dean对John的那种过分的顺从。当Sam受到一个鬼魂的附体时，他内心的感觉和愤怒及怨恨完全的爆发了出来。他指责Dean一直当爸爸的“小乖兵”，一直对John怀有莫名的信任以及失去了自我。

Dean确实被John深深的影响，他的感情不象是儿子对父亲的，而是象士兵对指挥官的。但是，好兵不会是盲目且愚蠢的，Dean也不是。没错他是遵循着John的指示，但所谓的遵循其实是一种对John的理论及猎鬼专业性的由衷认同（另外也证明了Dean过度强烈的责任心和对失败会危及他人的恐惧感）。没错他习惯性的把John称作“长官”，但叛逆的Sam不也是一样么。而Winchester父子三人最终在“Shadow”中重聚，John和Dean一见面就立即冲到对方身边拥抱了彼此，但是John和Sam却如同小心翼翼的猫科动物一般，绕了几个圈子后才抱在一起。

“Shadow”中的家庭重聚归结于一次恶魔袭击。而在"Dead Man's Blood"里我们看到的是完全不同时期的Winchester家族，那时的他们给观众们的印象完全是Sam跑到Stanford读书前的冲突不断的温家三口。Sam和John一见到彼此就兵火相刃起来，直到Dean冲到他们中间把他们分开。Dean是个中立国，却让Sam和John都即刻就冷静下来。Sam和John对Dean的插手都不感到惊讶，而Dean也表现得习以为常并且极度厌烦这个情形一样。这就说明了Dean在这样的发生在父亲和弟弟之间的争斗中已经有过多次劝架经验了。

另一方面，当之后Dean站在Sam的角度并且不同意父亲的看法时，每个人看起来都很惊讶，包括Dean自己。在“Salvation”中，Dean气愤的指责John在他的儿子们需要他时他并没尽到自己的义务，John说他不喜欢Dean的“新调调”。但是，在之后的一幕中John决定不去独自追踪恶魔。另一幕中，他意识到Dean是正确的并且道了歉。因此，或许John已经习惯了Dean做他的小尾巴，但他也逐渐开始尊重Dean的想法并且注意自己那些并不合适的规章制度。

Sam，看看我们三个，我们是彼此仅有的。你们就是我的全部。但有时我觉得这一切离我越来越远。---Dean，“Salvation”

这一季的最后两集当Dean意识到为了摧垮恶魔，John和Sam都愿意为此作出牺牲，他表现的犹为脆弱和冲动。在"Salvation,"中他表示如果找到恶魔会危及Sam的生命，那他宁愿不继续下去。在"Devil's Trap,"中，他指责Sam（也暗示John）为了复仇所表现出的自私。“我会是那个吊唁你的人！”他抓狂了。毫无疑问的是，Dean与家庭的关系表现得很明显，他的父亲和弟弟是他生命中最重要的人。

反叛反叛

Dean:这工作最烦人的一点就在于，你不能亲近别人。
Sam：你有点不合群(谢谢大家指正~)，知道么？-- Skin

我第一次看SPN看的是"Dead in the Water."那时，我对这部剧，角色，以及演员的背景都并不了解。所以我是带着毫无偏袒的心情看的。我所看到的是一个帅气的年轻人穿着磨破的仔裤和酷酷的皮衣，有点尴尬但十分真诚的陪伴着一个受了惊吓的小男孩。他看起来有些笨拙，但这种笨拙并不是在批评Jensen Ackles表演的不好，而是表明了一个事实，这是Dean在照顾自己年幼的弟弟时所表现出的真情实感，他想要竭力劝慰男孩的母亲，同时还要厚着脸皮假扮联邦调查员。这些在Dean身上表现出的粗枝大叶和小心翼翼构成了他在与外界接触交往时的性格条框。

从外人来看，Dean很有性格，但并不总是让人欣赏的。他很有魅力，但那并不是能被所有人接受的社会交往能力。他总能与跟他说过话的人发生关系或者把他们搞的一团糟。当他在"The Benders,"中假扮成警务人员时很有说服力，但在"Nightmare."中扮成神职人员却很失败。他随时都能编出故事掩盖他的身世和目的，但在"Scarecrow"中他为了拯救别人却把自己置于一个危险的境地，当时他无奈的希望如果是Sam他就能用那“乖巧面孔”成功说服那些人。他总是表现的神气活现，除非有人拆穿他或者对他视而不见，那将使他很泄气。

业余时间，他的精力和感情都表现得像个幼稚的青少年，而这些都是他在青少年时期所得不到发展的。他穿着皮夹克，开着黑色酷车在高速路上奔驰，听着重金属乐，和遇到的每一个女人调情，让警察对他感到很头疼之类的。我怀疑他之所以不骑摩托是因为摩托没有一个后备箱能放枪。（可怜的Impala感觉会很不公的……人家可不光是为了能当仓库）

他的很多行为都与他的弟弟所追求的那种生活相悖。Dean不稀罕所谓的正常生活---他中意的是开着他的车四处奔波漂泊。他很高兴称自己是“怪人”，还宣称如果要是让他住在一间有白色栅栏的大房子里他宁愿自杀。“我可不想过正常的生活”他在"Bugs."中如是说。这是他的真实想法还是隐藏自我？问10个影迷，大概会有11个不同答案。

对我来说，Dean处于矛盾之中。我喜欢那些隐藏自我的角色，他们隐忍而具有黑色幽默感。我喜欢分析这些角色，从真实与复杂中揭示真实的他们。分析第一季的Dean Winchester已经成为我的一次绝妙的体验。

有兴趣的话可以看看英文原文

转贴自http://z14.invisionfree.com/Supernatural/index.php?showtopic=27563

QUOTE
Take your brother outside as fast as you can, don't look back. Now, Dean, go!" -- John Winchester, Supernatural pilot.

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"Here's the thing, when we were young, I pretty much pulled him from a fire. And ever since then, I've felt responsible for him, like it's my job to keep him safe." -- Dean, The Benders

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The pilot episode of Supernatural opens with what is probably the most important formative experience of Dean Winchester's life. It is November 2, 1983. The Winchesters -- parents John and Mary, toddler Dean and baby Sam -- are a perfectly nice, normal middle-American family living in Lawrence, Kansas until some unknown demonic entity comes into their house, pins Mary to the nursery ceiling above Sam's crib, slashes her abdomen open and sets her on fire. As their life collapses around them, John orders Dean to carry Sam out of the burning house, making Dean responsible for his brother's life. Dean is four years old at the time.

Mary's death changes the Winchesters' lives forever. John, an ex-Marine, becomes determined to avenge his wife, an obsession that consumes him through the present day. He begins to hunt and kill every supernatural creature he can track down in the hope that eventually, one of the trails will lead him to Mary's killer. He raises his sons to do the same, training them in weapons and combat skills from early childhood.

A series of flashbacks in "Something Wicked" provides a glimpse of what this upbringing was like for Dean. John goes off on a hunt, leaving a nine-year-old Dean and a five-year-old Sam in a motel room with a loaded shotgun and orders for Dean to stay put, protect his brother, and shoot anyone who tries to come in. After several days of being trapped in the room, Dean loses his patience and sneaks out to play a video game. He returns to the motel just in time to see Sam get attacked by the monster his father's been hunting -- a shape-changing creature that feeds on the souls of children. John arrives in time to save Sam, but the creature gets away. As a result, Dean holds himself responsible not only for his brother's close call, but for all the other children subsequently attacked by the creature. Never again will he lightly disobey an order from his father.

By embracing the "family business" of evil-hunting and becoming his father's second in command, Dean makes it possible for Sam to longer retain his status as the protected, more "normal" member of the family. There are occasional mentions of Sam as a child doing things that most children do -- trying to join a soccer team, acting in a high school play. No such mentions ever come up in relation to Dean. As a result, Sam's character develops very differently from Dean's. As Sam gets older, he rebels against his father's authority and the pressure to devote his life to hunting. The conflict escalates, culminating in a fight when Sam announces he's going to Stanford on a scholarship and John tells him to go and stay gone. Sam goes, and breaks off all contact with his father. The canon timeline gets kind of messed up here, so it's not clear exactly how long Sam stays away and at what point he stopped talking to Dean too, but at the time of the pilot the brothers haven't spoken for at least two years. Dean stays behind to continue hunting with his father until John disappears during a hunt in California (Dean isn't there at the time, being away on a solo hunt in New Orleans).

Dean goes to Stanford to enlist his brother's aid in looking for John. Sam reluctantly goes along for one weekend, making it clear that he intends to remain in school. But when he does return, his girlfriend Jessica is murdered just as Mary was, giving Sam his own reason to seek revenge. At the end of the pilot, Dean and Sam take off together in Dean's '67 Chevy Impala to search for their father.

Family Ties

Dean: I can't do this alone.
Sam: Sure you can.
Dean: Yeah, well, I don't want to. -- Pilot

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Being raised by a vengeance-obsessed demon hunter is not conducive to developing good people skills and Dean, on the whole, seems to do a better job communing with guns and cars than with other people. He's good at light-hearted banter, one-night stands, casual lies; not so good when it comes to any sort of honest exchange or genuine emotional connection -- unless small children are involved. In "Route 666" we find out that he was once involved in a romantic relationship with Cassie Robinson, which Cassie broke off after Dean told her what he did and she didn't believe him. Aside from this, Dean has no close canonical relationships with anyone other than his father and brother. As a result, his family is of paramount importance to him, and his vision of a happy life consists of himself, Sam and John all living and working together as one tight-knit, evil-hunting family.

Unfortunately for Dean, it's a dream that stands almost no chance of ever becoming reality. The timing of Mary's murder serves to differentiate Dean from both his brother and his father in important ways. Unlike Sam, he was old enough to remember his mother's death and the loss of an ordinary, happy childhood. Unlike John, he was too young to develop a lifelong obsession. Sam had no interest in hunting either as a quest or as a duty -- until Jessica's death drove him to share John's desire for revenge. Now both Sam and John are hunting for vengeance, and neither one of them has expressed any interest in continuing to hunt down random ghosts and monsters once the demon that killed Mary and Jessica is dead. Dean, on the other hand, sees hunting as a lifetime calling and a duty. When presenting his reasons for doing what he does (usually during arguments with Sam), he always brings up the fact that he's helping people and saving lives, but almost never mentions revenge. The image of himself as a hero and protector is as central to Dean's sense of identity as family loyalty, and both are closely intertwined in his mind. At the same time, he's very uncomfortable with the idea of other people viewing him as a hero. When the people he rescued attempt to thank him, his response is usually to look awkward and say something obnoxious.

In "Shadow," when Sam reiterates his desire to eventually quit hunting and return to college, Dean is hurt and upset. When Sam asks him what he wants for himself once the hunt for the demon is over, Dean responds with "It's never gonna be over. There's gonna be others. There's always gonna be something to hunt." In a rare display of emotional honesty, he admits that the main reason he dragged Sam away from Stanford when John disappeared was the hope that once John was found, they could all "be a family again." He's unable to accept, or even understand, Sam's response that they would still be a family even if they weren't all hunting together.

This fundamental disagreement over what life and family should be is a consistent source of conflict in Dean's relationship with Sam. Dean loves his brother. He's fiercely protective of him, wants him to be happy, but he doesn't understand Sam. Having chosen not to pursue the dream of a "normal life" for himself, Dean feels betrayed by Sam's insistence on clinging to it. Having accepted his father as the central authority figure in his life, he is puzzled by Sam's refusal to "be a good soldier" and follow John's instructions. He repeatedly accuses Sam of being selfish and disloyal. In "Scarecrow," an argument over Sam's unwillingness to follow an order from John actually leads the brothers to go their separate ways for a while. However, in a subsequent phone conversation, Dean says he's proud of Sam for going after what he wants and standing up to their father.

In "Skin," a shapeshifter takes on Dean's appearance and also "downloads" some of his thoughts and memories through a telepathic link. Talking to a captive Sam, the shapeshifter says, "He’s sure got issues with you. You got to go to college, he had to stay home. I mean, I had to stay home. With Dad. You don’t think I had dreams of my own? But Dad needed me. Where the hell were you?... See, deep down, I’m just jealous. You got friends, you could have a life. Me? I know I’m a freak. And sooner or later, everybody’s gonna leave me." The shapeshifter is evil, of course, and choosing its words to suit its purposes, but the episode strongly implies that the speech is a warped and exaggerated representation of Dean's real thoughts and feelings.

And yet, when they're not arguing or hunting, Dean and Sam interact as brothers who not only love but also genuinely like each other. Dean provides steady, unobtrusive emotional support while Sam grieves for Jessica during the early episodes of the season. Despite his stated hatred of "chick-flick" moments, he makes it clear that he's willing to listen if Sam wants to talk. As the season goes on and Sam recovers, there's a lot of snarky brotherly banter and horseplay. Dean and Sam often speak in unison without meaning to, finish each other's sentences, rapidly bounce ideas back and forth while discussing the background of a case. In "Hell House," they spend most of the episode gleefully playing silly practical jokes on each other. In "Provenance," Dean goes out of his way to encourage Sam to pursue a possible romance with a woman Sam clearly likes. He even offers to stay in town for a while after their job is completed, which for Dean is a fairly major concession. Throughout the season, the brothers never fully stop bickering, yet the love and loyalty between them always shines through.

--------------------------------------------------------------------------------

Sam: So what, we gotta always follow Dad's orders?
Dean: Of course we do. -- Asylum

--------------------------------------------------------------------------------

Sam: I don't understand the blind faith you have in the man. I mean, it's like you don't even question him.
Dean: Yeah, it's called being a good son. -- Scarecrow

--------------------------------------------------------------------------------

Dean's relationship with his father, while not as argumentative as his relationship with Sam, is still difficult and complicated. Speaking to Sam in "Dead Man's Blood," John admits that he behaved more like a drill sergeant than a father in bringing up his children, something that the show strongly hinted at long before it was explicitly acknowledged. As the older, more obedient child, Dean experienced the greater share of John's boot-camp approach to child-raising. The flashbacks in "Something Wicked" indicate that Dean was given a great deal of adult responsibility at a very young age. The effort of living up to that responsibility largely shaped his character and his relationship with John. Dean couldn't afford to develop Sam's rebellious streak, and he internalized John's lessons of duty and military discipline in a way that Sam never did.

At the beginning of "Asylum," when John anonymously texts a set of coordinates to Dean's phone, Dean instantly interprets it as an order to go wherever the coordinates point and hunt whatever's there to hunt. His instinctive reaction is to follow the order, while Sam is both unconvinced that the orders come from John and disinclined to obey them if they do. Later in the episode, as the brothers investigate a haunted insane asylum, they continue to bicker over what Sam sees as Dean's excessive obedience to John. When Sam is attacked by a spirit that magnifies his existing feelings of anger and resentment, he accuses Dean of being his father's "good little soldier," of being desperate for John's approval and unable to think for himself.

It's true that in his interactions with John, Dean often acts more like a soldier toward a commander than a son toward a father. However, good soldiers are neither blind nor mindless, and neither is Dean. Yes, he follows John's orders, but that obedience is driven by a genuine respect for John's authority and proven hunting expertise (and also, admittedly, by Dean's overdeveloped sense of responsibility and fear of endangering others through his own failure). Yes, he habitually addresses John as "sir," but so does the super-rebellious Sam. And when all three Winchesters are finally reunited in person in "Shadow," John and Dean immediately move toward each other and embrace, while John and Sam circle each other like wary cats for some time before finally stepping into a hug.

The family reunion in "Shadow" is abruptly terminated by a demon attack. It's not until "Dead Man's Blood" that we see the Winchesters interact for an extended period of time, which gives the audience a picture of what the family dynamic must've been like before Sam left for Stanford. Sam and John are quickly at each other's throats, shoving and yelling and flinging accusations until Dean (who's been anticipating the argument since practically the moment John showed up) steps between them to restore peace. Dean doesn't overtly take sides, but impartially orders both Sam and John to simmer down and behave -- which they instantly do. Neither Sam nor John look particularly surprised by Dean's intervention, and Dean himself acts like a man who's done this a million times before and is well and truly sick of it. It appears that Dean has had plenty of practice being the immovable object between the two irresistible forces of his father and brother.

On the other hand, when Dean explicitly disagrees with John and sides with Sam during a later argument, everyone looks surprised, including Dean himself. And in "Salvation," when Dean angrily confronts John about his previous failures to respond when his sons really needed him, John says he's not sure he likes Dean's "new tone." Yet in the first instance, John changes his mind about pursuing the demon alone, and in the second instance he acknowledges that Dean is right and apologizes. So while John may be accustomed to having Dean fall in line behind him, he also respects Dean enough to pay attention when the expected obedience doesn't materialize.

--------------------------------------------------------------------------------

"Sam, look. The three of us... it's all we have. It's all I have. Sometimes I feel like I'm barely holding it together, man." -- Dean, Salvation

--------------------------------------------------------------------------------

Dean's most vulnerable and emotionally raw moments happen in the last two episodes of the season, as he comes to realize that both Sam and John are willing to sacrifice their lives to bring down the demon. In "Salvation," he says that if finding the demon leads to Sam's death then he'd rather never find it at all. In "Devil's Trap," he accuses Sam (and, by implication, John) of being selfish in their willingness to die for revenge. "I'm the one who'll have to bury you!" he rages. However problematic Dean's relationship with his family might be, it's abundantly clear that his father and brother are the most important people in his life.

Rebel, Rebel

Dean: Look, it sucks but…in a job like this, you can’t get close to people, period.
Sam:You’re kinda anti-social, you know that? -- Skin

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The first Supernatural episode I ever saw was "Dead in the Water." At the time, I knew nothing about the show, the characters, the backstory or the actors, so I watched with no preconceptions. What I saw was an indecently gorgeous young man in frayed jeans and leather coat bonding, awkwardly but sincerely, with a frightened small boy. It could've easily come across as sappy, except for the utter lack of sappiness in Jensen Ackles's performance, and also for the fact that Dean's sincere moments were mixed with snarking at his brother, spouting really lame pick-up lines at the boy's mother, and brazenly impersonating a Federal Wildlife Service agent. This combination of gruff kindness and smart-alecky obnoxiousness pretty much sums up Dean's personality when dealing with the world outside his immediate family.

Dean's public persona is carefully constructed, but not always successful. He has a great deal of natural charisma, but not a lot by way of learned social skills, and it's always a toss-up whether he'll charm the pants off whomever he's talking to or just creep the hell out of them. He's perfectly believable while impersonating a police officer in "The Benders," but embarrassingly unconvincing dressed up as a priest in "Nightmare." He can bluff his way through any number of cover stories, but his attempt to warn off a couple of potential sacrifice victims in "Scarecrow" fails miserably, and Dean is left ruefully wishing that Sam was there to persuade the civilians with his "puppy-dog look." He carries himself with swaggering confidence until somebody challenges his lies or fails to be impressed by his manner, (like Missouri Moseley in "Home" or the Native American elder in "Bugs"), and then he quickly deflates.

When he's not hunting, Dean seems to spend most of his time and energy going through the motions of the sort of adolescent rebellion he couldn't actually afford to have as an adolescent. He wears a leather jacket, roars around the highways in a black muscle car, blasts head-banger music, flirts crudely with every half-way attractive woman he meets, and mouths off to cops and other authority figures. I suspect that the only reason he doesn't ride a motorcycle is that he needs a trunk to keep the guns in.

A lot of this behavior comes from a conscious rejection of the "normal life" his brother is so anxious to embrace. Dean is well aware that by the standards of conventional society he's trash -- a scruffy unemployed drifter whose worldly belongings all fit into the trunk of his car -- and he chooses to embrace his outsider status. He cheerfully refers to himself as "a freak" and claims he'd rather kill himself than live in a nice house with a white picket fence. "I'll take our family over normal any day," he says in "Bugs." How much of this is genuine and how much is a defense mechanism? Ask ten people in the fandom, and you're likely to get eleven different answers.

This tension between appearance and reality lies at the heart of Dean's appeal for me. I've always been fascinated by characters who wear masks, who hide their emotional layers beneath layers of stoicism or snarky humor (or, ideally, both), characters who make me work to figure out who they are, and who then reward my work by revealing genuine depth and complexity. And my first season of compulsively analyzing Dean Winchester has certainly been a rewarding experience.

邪恶力量Supernatural特效师Dan Schick制作特效视频

风竹千声 — Tue, 24 Nov 2009 05:12:00 GMT

对电影《哈尔的移动城堡》的一句话影评

风竹千声 — Fri, 20 Nov 2009 01:11:48 GMT

触动心灵的旅程

supernatural 第五季第九集观后

风竹千声 — Sat, 14 Nov 2009 01:57:00 GMT

连续几集走搞笑路线，观众的情绪舒缓的也差不多了，为下一集的abandon all hope的大虐做准备吧。

回到这一集的剧情，它所依托的鬼故事倒很一般，不过情节穿插的很巧妙，节奏把握的也很好。supernatural很善于搞这种实验性的剧情设计，让我们在一部剧里看到不同的风格，像ghostfacer（虽然这是我最不喜欢的一集）,30年代的黑白片，还有上一集穿越，虽然不是全部都喜欢，不过确实很有新意。

这一集对熟悉supernatural剧情的人来说如同参加书友会的人，是对supernatural所发生的故事的回顾盛宴，我们看到很多熟悉的人熟悉的角色，还有熟悉的对话（如果我是dean和sam，也有喝一杯的冲动）。supernatural把自己给幽默了一把，可是在搞笑的剧情外它所要传达却仍然是那个主题，“兄弟情”，我们有的只是彼此了，。
影友会，很多对山寨dean和sam，看着别人对自己生活的演绎，这种哭笑不得的感觉可以想象，对别人来说只是一个吸引人的故事，对自己来说却是真实的生活，其中的酸甜苦辣也只有dean和sam自己清楚，自己痛彻心扉的事被别人模仿，有种被嘲笑被亵渎的感觉，所以一开始时dean对那些山寨版的愤怒不言而喻，不过作为旁观者的好处是能够看的更清楚，dean似乎从中有不少领悟，从他最后的笑中可以看出很多，对“为什么是我做这些事”，对sam曾经的背叛的释然。毕竟在真实的平凡生活中醒来，谁也不会有拯救世界的大任，更不会有随时准备为你死的兄弟，假dean和sam的模仿反而成为对dean的生活的承认与肯定，即使失去了父母、即使到地狱走了一遭、即使sam曾经背叛，但他们之间的羁袢还是把他们连在了一起，那些痛苦似乎都是值得的了。

对电影《天使与魔鬼》的一句话影评

风竹千声 — Fri, 13 Nov 2009 13:11:54 GMT

还行，不过没有书那么精彩

时间

风竹千声 — Mon, 09 Nov 2009 13:27:00 GMT

古波斯袄教中的原初神泽范（Zervan），存在于时间起源之前，他通过自身，并在自身存在中存在，因为感到孤单，他希望自己怀孕给自己生个伙伴；也因为是孤身，又是个神，他只能自己给自己献祭以期得到一个儿子。但是在此过程中，他开始怀疑他的祭品能否起作用，正是在这怀疑之中意外地得到了第一个儿子阿里曼（Ahriman）——万恶之源，此后才有了泽范真正想要的儿子奥尔玛则(Ohrmazd)——正义之神。为了公平起见泽范神不得不允许他的长子阿里曼统治一段时间，但他也决定正义之神奥尔玛则必将战胜阿里曼。为使这场战斗能够进行，泽范神创造了物质世界和我们所说的时间以作为宇宙之战的背景。
　　这个神话很有意思，原来时间的存在仅仅是作为一出独幕戏的背景，那么存在于时间之中的我们又算什么呢。曾经有人说只有时间是永恒的，我想他肯定没有看过这段神话，所以不知道原来时间就是为了消除永恒而存在的。时间是对时空无限性的限制性条件，有了时间就没有永恒，而时间本身更与永恒无关，确切的说时间才是最短暂的东西，稍纵即逝。
正如柏拉图所说:"我们的凡尘世界是不完美的，因为连上帝都造不出像上帝自己那么完美的东西来。上帝所造的只是“永远像”永恒的东西，以数字般精确的旋转、安排并确定时间，我们所知道的时间便这样与实体世界连在一起，并且会在大地终了时终了"
我不知道人们为什么要追求永恒的东西，真正永恒的东西其实是没有意义的。看过《我和僵尸有个约会》就知道永恒的生命其实是一种无止境的折磨，生命之所以珍贵正在于他的短暂，总有未尽的心愿，未完成的事，所以祈求更多的时间，但无止境的的时间只是在验证一个个无法完成的心愿再也没有实现的可能性。《supernatural》则让我明白人拥有灵魂是一件多么可怕的事，那意味着即使死也不能得到安宁，那些活着折磨你的事，在你死后仍然会折磨你的灵魂，对于dean来说那是多么可悲的一件事，活着过的就是颠沛流离、险象丛生的日子，被迫面对各种各样黑暗中的邪恶，当他狠狠的义无反顾的吻向魔鬼的时候，他为sam牺牲的不仅仅是生命，他放弃的是他的灵魂安息的唯一机会，那意味着连永远死去都变成了一件奢侈的事，买了通往地域的单程车票，那里有无数等着将他挫骨扬灰的家伙，他的灵魂将经受永无止境的折磨，在这种痛苦煎熬下，我相信即使是上帝也会变成魔鬼。

spn第八集图透

风竹千声 — Fri, 06 Nov 2009 15:08:00 GMT

忙了一个星期，领导终于恩赐一天的休息时间，可以看supernatural真是so happy.

早知道这是比较搞笑的一集，所以对剧情也没太大的期待（万恶的剧透啊，为什么我就是忍不住要看呢），主要是看两兄弟的表演了，他们把自己和几个剧都幽默了一把，喜感十足。

不过我还真没想到tricker居然是大天使加百利，我一直喜欢tricker那种亦正亦邪的感觉，可他居然是、、、居然是加百利，我晕。

那种绝望主妇似的开头完全是在满足某种恶趣味嘛，怀念古旧摇滚配乐

日本人的变态节目，dean居然能蒙对，so cute

大半夜的戴墨镜，这半神,o,应该说是大天使的恶趣味

knight都出來了，想当年我可是超喜欢那辆只能车

这集cas纯粹串场，完全被忽略了

教训天使的dean,我的最爱

spn新释出的宣传照和剧照

风竹千声 — Sun, 01 Nov 2009 03:57:00 GMT

spn第四季新释出的宣传照和剧照，CW啊，SPN第五季的宣传照什么时候才会拍

图片：Jensen 2009年10月12日在温哥华机场

风竹千声 — Wed, 14 Oct 2009 01:56:00 GMT

Jensen 2009年10月12日在温哥华机场，这张拍的太好了

附送一张JARED的，比在剧中看起来帅哦

国内某网友制作的SPN1-4季经典镜头MV

风竹千声 — Mon, 12 Oct 2009 05:37:00 GMT

分享：一位国内supernatural剧迷花了3天时间，从1-4季遴选出最经典镜头，制作而成的一个MV。看了很多国外制作的mv，国内剪辑精良的还比较少见，这个MV可以让大家回顾前面的内容

supernatural season5episode5观后

风竹千声 — Sat, 10 Oct 2009 15:41:00 GMT

刚刚看完第5集，算是比较轻松的一集吧，兄弟兩不失时机的搞笑，虽然有沉重的谈话，但也以解决问题为结尾，让为他们兄弟关系纠结的人也松了口气。感觉SPN剧组的人现在都无所顾及了，怎么玩开心就怎么玩，收视率，让它见鬼去吧，反正这作为最后一季也是预期中的事。这集回归了前二季的感觉，单纯的猎鬼故事，兄弟俩回到了原点，正如第一季dean从斯坦福把sam拉走时那样，他们必须重新习惯适应彼此，重新构建兄弟俩之间的关系。不过让我很郁闷的是为什么每次做错的是sam，而每次到最后说对不起的却总是dean呢

人生若只如初见

风竹千声 — Tue, 06 Oct 2009 14:12:00 GMT

明天要去参加我曾经最好的朋友的婚礼，说不清心里是什么感觉，按理说应该为朋友高兴，应该有些兴奋，毕竟她是我第一个结婚的好友，可是我现在心中却感到忐忑、失落、迷茫、甚至是恐惧。我想到几个月前听到颖要结婚时，一瞬间的愕然，曾经最好的朋友，现在已完全失去了联系，再听到她的消息居然是她要结婚的时候，而且告诉我这个消息的不是她本人，在我们相随相伴的时候从来没有想过未来会是这样的吧！我突然想到了dean和sam,09dean听到14dean说他五年没有与sam说过一句话的时候也觉得不可思议吧，也许只是一时之气，也许只是惰性使然，也许是始终过不了自己这一关，一瞬间的犹豫，一时蹉跎就是数年，我和颖也是这样，十多年的朋友就这样音信全无，各奔东西，如果是十年前的我看到这一切肯定想狠狠的打我一拳吧。

我真怕我会在到达酒店的一瞬间转身逃跑，只要不面对，我可以把这些多年未见的陌生、好友间的疏离，现实的一切统统抛开，至少保留记忆中美好的情谊。