#<- WAS just for the ocs but. what the fuck EVAR.

[sporesgalaxy]

shout out to Kirov Ballet Swan Lake jester

[pinkandpurple360]

Trying to analyse apology tour just feels like sorting through slop

The opening is bizarre. A silent treatment has blitz crawling back to be listened to, his personality has done a large backflip from the angry pained person he was the day before. To a grinning idiot trying to make his first fan like him again.

He is used in the same way now as he was in the stupid opening song of the previous - for “mean” careless sex jokes, to be contrasted against the overly sensitive weepy, whiny, half self pitying half self aggrandising “woe is me” Prince. Who is just so above that sort of thing because he’s a deep, generous, kind, occasionally naive and silly innocent romantic precious baby boi with sad backstory. Oh brother. Bring out the violins.

This type of bias from the solo author, Medrano, is just embarrassingly obvious. She gives stolas every win, all of his points are framed as right, she only lets the other character argue if he incriminates himself by warped facts, in a way that can contribute to stolas being right. She doesn’t even try and write this as an “argument.” It’s a case of her favourite OC evar educating and schooling the OC she is less fond of right now, with his superior mind and superior super deep beautiful emotions always put in a background of stars and constellations. Feelings that in truth, don’t go beyond “I want you around cause I’m lonely.”

In between making him cry and weep for our pity, she adds in moments of unfounded indignant behaviour, rage that his privilege dare be questioned, moments of malicious torment, and shaming. Copious amounts of shame. All to pleasure her audience with the satisfaction of stolas winning.

He is just enraged that his ‘feelings’ of attachement that define his identity at this point, are not being returned adequately with acts of servitude, praise, flattery, and gratitude. And while this biased scene is bad enough, Verosika has to be inserted to enable stolas and build him up as if Vivziepop isn’t doing it enough herself with this writing. Because as we probably all know, stolas doesn’t have any friends of his own. He only has Blitzøs adversaries to join with, or a loved one who Blitz is arguing with, to back him up because doing that makes blitz pissed off.

Nobody can defend stolas without just projecting their own feelings about something else, onto him. Or regurgitating his frankly irrelevant tragic backstory. Because this writer knows this is a very bare bones argument she’s trying to make. You have to squint terribly hard and erase a lot of events to make the owl look good and most importantly, look right. Because he isn’t. He’s a creep who believes he fell in love with his object and has never stopped treating him as just an object to throw gifts at in exchange for his loyalty.

He speaks in this whimpery, shaky but loud and overpowering voice, commanding the whole situation. But is given tears in his eyes between each breath enough that you don’t question it. It’s very hard to watch.

The party. What ensues is vivziepop having a slightly worrying fixation with torturing blitz and wishing death on him, using countless nameless voiceless characters as props. And all of them exist, of course, to be enablers of stolas and make him look morally good and correct. But they’re also made into such filthy commoners that the dear pretty clean beautiful prince is terrified of their barbaric rituals. Verosika while rich, is still his emotional support poor.

“He is better than him, he is better than all of them, he is better than everyone. He cries, he gives gifts, he sings songs about his lovely love. Stinky blitz only talks about penises and cloaca’s and says fuck. Stol’s is just so silly, he is baby. Poor baby. Speak from your heart baby.He deserves so much. He sings so fantastic. If you don’t think so, kill yourself.”

.

.

Definition of trying too hard. If you’re a writer and one of your OCs takes this much of an emotional hold over you, you need to stop writing and re-evaluate.

[eisforeidolon]

Yeah, that’s the thing for me, I’m not judging this episode in isolation solely on its own merits, I’m judging it in the context of the last four Dabbernatural seasons.

Is it an overwrought cliché fest entirely reliant on the shallowest, cheapest drama?  Yep.  Does it blatantly rip off something earlier seasons did better?  Of course.  Does it try to build up Sam in the tell while partially failing him in the show because that’s the brother Dabb defaults to if you take away all his OC toys (because Dean is just comic relief and a prop for other characters)?  Naturally.  Are there some incredibly questionable issues in terms of themes and implications?  Hoooboy.  But I expected all that and for it to also be terminally boring and even despite COVID somehow manage to focus on random side characters or McGuffins over the brothers.  I expected not to even care.  

As noted above, I think it’s tragic almost to the point of being ridiculous Dean gets exactly the end he once predicted for himself at his lowest point almost immediately* after finally getting enough of a break from world-ending crises to have time to consider hoping for more.  And Sam gets what he wistfully kept yearning for off and on most of his life - after he gave up on it, at a price he wasn’t willing to pay - to apparently ghost through it indifferent to everything but his son and what he lost.  While I’m glad all of that is ultimately tempered somewhat by them ending up in a “better” heaven together again, it doesn’t actually make it a happy ending for me. 

Except I don’t think I’d have actually bought into a truly happy ending either and for whatever reason, they refused to do an open-ended one.  Sure, I would have preferred something a little more nuanced than The Biggest Most Ironical Tragedy Evar, but Dabb and nuance?  LOL.  While I think the whole Tragedy Is Real Art thing is bullshit, I also don’t think tragedy is necessarily an inherently wrong choice in general or for this specific show.

What Dabb did do right, and what makes me okay with this as an ending for the series?  Is that he took his mediocre, predictable script and let J2 elevate it to something better than it was.  Letting the two of them act their little hearts out one last time, showing us how much they loved these characters and how much these characters loved each other?  Actually letting the end of the fifteen year story of Sam and Dean be about Sam and Dean? 

Was it the best possible finale?  No, but it was never gonna be with these writers even with a year to plan in advance. Lack of talent, lack of giving a fuck, whatever it is - the snoozefest of a climactic final season proved that well enough.  In the context, allowing the characters (and their actors) the space to shine - even if it was through a soapy overwrought tragedy of a script - was itself far more than I expected to get from a petty, jealous little manchild like Dabb.

* I know Jared has now said something in a M&G about how it could totally have been years that passed, but that was not in any way explicit from what was shown onscreen. 

15.20 | Carry On

Don’t think about Sam Winchester, exactly 20 years later, still missing his brother like crazy. Today was particularly bad & he could barely get out of bed. But he wants to feel close to Dean, especially today, so he gets up and seats in the Impala, barely holding it together.