#and yet fandom forces traditional family roles that don’t canonically exist | Explore Tumblr posts and blogs

holyhellpod · 4 years ago

Photo

Holy Hell: 3. Metanarrativity: Who’s the Deleuze and who’s the Guattari in your relationship? aka the analysis no one asked for.

In this ep, we delve into authorship, narrative, fandom and narrative meaning. And somehow, as always, bring it back to Cas and Misha Collins.

(Note: the reason I didn’t talk about Billie’s authorship and library is because I completely forgot it existed until I watched season 13 “Advanced Thanatology” again, while waiting for this episode to upload. I’ll find a way to work her into later episodes tho!)

I had to upload it as a new podcast to Spotify so if you could just re-subscribe that would be great! Or listen to it at these other links.

Please listen to the bit at the beginning about monetisation and if you have any questions don’t hesitate to message me here.

Apple | Spotify | Google

Transcript under the cut!

Warnings: discussions of incest, date rape, rpf, war, 9/11, the bush administration, abuse, mental health, addiction, homelessness. Most of these are just one off comments, they’re not full discussions.

Meta-Textuality: Who’s the Deleuze and who’s the Guattari in your relationship?

In the third episode of Season 6, “The Third Man,” Balthazar says to Cas, “you tore up the whole script and burned the pages.” That is the fundamental idea the writers of the first five seasons were trying to sell us: whatever grand plan the biblical God had cooking up is worth nothing in face of the love these men have—for each other and the world. Sam, Bobby, Cas and Dean will go to any lengths to protect one another and keep people safe. What’s real? What’s worth saving? People are real. Families are worth saving.

This show plugs free will as the most important thing a person, angel, demon or otherwise can have. The fact of the matter is that Dean was always going to fight against the status quo, Sam was always going to go his own way, and Bobby was always going to do his best for his boys. The only uncertainty in the entire narrative is Cas. He was never meant to rebel. He was never meant to fall from Heaven. He was supposed to fall in line, be a good soldier, and help bring on the apocalypse, but Cas was the first agent of free will in the show’s timeline. Sam followed Lucifer, Dean followed Michael, and John gave himself up for the sins of his children, at once both a God and Jesus figure. But Cas wasn’t modelled off anyone else. He is original. There are definitely some parallels to Ruby, but I would argue those are largely unintentional. Cas broke the mold.

That’s to say nothing of the impact he’s had on the fanbase, and the show itself, which would not have reached 15 seasons and be able to end the way they wanted it to without Cas and Misha Collins. His back must be breaking from carrying the entire show.

But what the holy hell are we doing here today? Not just talking about Cas. We’re talking about metanarrativity: as I define it, and for purposes of this episode, the story within a story, and the act of storytelling. We’re going to go through a select few episodes which I think exemplify the best of what this show has to offer in terms of framing the narrative. We’ll talk about characters like Chuck and Becky and the baby dykes in season 10. And most importantly we’ll talk about the audience’s role, our role, in the reciprocal relationship of storytelling. After all, a tv show is nothing without the viewer.

I was in fact introduced to the concept of metanarrativity by Supernatural, so the fact that I’m revisiting it six years after I finished my degree to talk about the show is one of life’s little jokes.

I’m brushing off my degree and bringing out the big guns (aka literary theorists) to examine this concept. This will be yet another piece of analysis that would’ve gone well in my English Lit degree, but I’ll try not to make it dry as dog shit.

First off, I’m going to argue that the relationship between the creators of Supernatural and the fans has always been a dialogue, albeit with a power imbalance. Throughout the series, even before explicitly metanarrative episodes like season 10 “Fan Fiction” and season 4 “the monster at the end of this book,” the creators have always engaged in conversations with the fans through the show. This includes but is not limited to fan conventions, where the creators have actual, live conversations with the fans. Misha Collins admitted at a con that he’d read fanfiction of Cas while he was filming season 4, but it’s pretty clear even from the first season that the creators, at the very least Eric Kripke, were engaging with fans. The show aired around the same time as Twitter and Tumblr were created, both of which opened up new passageways for fans to interact with each other, and for Twitter and Facebook especially, new passageways for fans to interact with creators and celebrities.

But being the creators, they have ultimate control over what is written, filmed and aired, while we can only speculate and make our own transformative interpretations. But at least since s4, they have engaged in meta narrative construction that at once speaks to fans as well as expands the universe in fun and creative ways. My favourite episodes are the ones where we see the Winchesters through the lens of other characters, such as the season 3 episode “Jus In Bello,” in which Sam and Dean are arrested by Victor Henriksen, and the season 7 episode “Slash Fiction” in which Dean and Sam’s dopplegangers rob banks and kill a bunch of people, loathe as I am to admit that season 7 had an effect on any part of me except my upchuck reflex. My second favourite episodes are the meta episodes, and for this episode of Holy Hell, we’ll be discussing a few: The French Mistake, he Monster at the end of this book, the real ghostbusters, Fan Fiction, Metafiction, and Don’t Call Me Shurley. I’ll also discuss Becky more broadly, because, like, of course I’ll be discussing Becky, she died for our sins.

Let’s take it back. The Monster At The End Of This Book — written by Julie Siege and Nancy Weiner and directed by Mike Rohl. Inarguably one of the better episodes in the first five seasons. Not only is Cas in it, looking so beautiful, but Sam gets something to do, thank god, and it introduces the character of Chuck, who becomes a source of comic relief over the next two seasons. The episode starts with Chuck Shurley, pen named Carver Edlund after my besties, having a vision while passed out drunk. He dreams of Sam and Dean larping as Feds and finding a series of books based on their lives that Chuck has written. They eventually track Chuck down, interrogate him, and realise that he’s a prophet of the lord, tasked with writing the Winchester Gospels. The B plot is Sam plotting to kill Lilith while Dean fails to get them out of the town to escape her. The C plot is Dean and Cas having a moment that strengthens their friendship and leads further into Cas’s eventual disobedience for Dean. Like the movie Disobedience. Exactly like the movie Disobedience. Cas definitely spits in Dean’s mouth, it’s kinda gross to be honest. Maybe I’m just not allo enough to appreciate art.

When Eric Kripke was showrunner of the first five seasons of Supernatural, he conceptualised the character of Chuck. Kripke as the author-god introduced the character of the author-prophet who would later become in Jeremy Carver’s showrun seasons the biblical God. Judith May Fathallah writes in “I’m A God: The Author and the Writing Fan in Supernatural” that Kripke writes himself both into and out of the text, ending his era with Chuck winking at the camera, saying, “nothing really ends,” and disappearing. Kripke stayed on as producer, continuing to write episodes through Sera Gamble’s era, and was even inserted in text in the season 6 episode “The French Mistake”. So nothing really does end, not Kripke’s grip on the show he created, not even the show itself, which fans have jokingly referred to as continuing into its 16th season. Except we’re not joking. It will die when all of us are dead, when there is no one left to remember it. According to W R Fisher, humans are homo narrans, natural storytellers. The Supernatural fandom is telling a fidelitous narrative, one which matches our own beliefs, values and experiences instead of that of canon. Instead of, at Fathallah says, “the Greek tradition, that we should struggle to do the right thing simply because it is right, though we will suffer and be punished anyway,” the fans have created an ending for the characters that satisfies each and every one of our desires, because we each create our own endings. It’s better because we get to share them with each other, in the tradition of campfire stories, each telling our own version and building upon the others. If that’s not the epitome of mythmaking then I don’t know. It’s just great. Dean and Cas are married, Eileen and Sam are married, Jack is sometimes a baby who Claire and Kaia are forced to babysit, Jody and Donna are gonna get hitched soon. It’s season 17, time for many weddings, and Kevin Tran is alive. Kripke, you have no control over this anymore, you crusty hag.

Chuck is introduced as someone with power, but not influence over the story, only how the story is told through the medium of the novels. It’s basically a very badly written, non authorised biography, and Charlie reading literally every book and referencing things she should have no knowledge of is so damn creepy and funny. At first Chuck is surprised by his characters coming to life, despite having written it already, and when shown the intimidating array of weapons in Baby’s trunk he gets real scared. Which is the appropriate response for a skinny 5-foot-8 white guy in a bathrobe who writes terrible fantasy novels for a living.

As far as I can remember, this is the first explicitly metanarrative episode in the series, or at least the first one with in world consequences. It builds upon the lore of Christianity, angels, and God, while teasing what’s to come. Chuck and Sam have a conversation about how the rest of the season is going to play out, and Sam comes away with the impression that he’ll go down with the ship. They touch on Sam’s addiction to demon blood, which Chuck admits he didn’t write into the books, because in the world of supernatural, addiction should be demonised ha ha at every opportunity, except for Dean’s alcoholism which is cool and manly and should never be analysed as an unhealthy trauma coping mechanism.

Chuck is mostly impotent in the story of Sam and Dean, but his very presence presents an element of good luck that turns quickly into a force of antagonism in the series four finale, “Lucifer Rising”, when the archangel Raphael who defeats Lilith in this episode also kills Cas in the finale. It’s Cas’s quick thinking and Dean’s quick doing that resolve the episode and save them from Lilith, once again proving that free will is the greatest force in the universe. Cas is already tearing up pages and burning scripts. The fandom does the same, acting as gods of their own making in taking canon and transforming it into fan art. The fans aren’t impotent like Chuck, but neither do we have sway over the story in the way that Cas and Dean do. Sam isn’t interested in changing the story in the same way—he wants to kill Lilith and save the world, but in doing so continues the story in the way it was always supposed to go, the way the angels and the demons and even God wanted him to.

Neither of them are author-gods in the way that God is. We find out later that Chuck is in fact the real biblical god, and he engineers everything. The one thing he doesn’t engineer, however, is Castiel, and I’ll get to that in a minute.

The Real Ghostbusters

Season 5’s “The real ghostbusters,” written by Nancy Weiner and Erik Kripke, and directed by James L Conway, situates the Winchesters at a fan convention for the Supernatural books. While there, they are confronted by a slew of fans cosplaying as Sam, Dean, Bobby, the scarecrow, Azazel, and more. They happen to stumble upon a case, in the midst of the game where the fans pretend to be on a case, and with the help of two fans cosplaying as Sam and Dean, they put to rest a group of homicidal ghost children and save the day. Chuck as the special guest of the con has a hero moment that spurs Becky on to return his affections. And at the end, we learn that the Colt, which they’ve been hunting down to kill the devil, was given to a demon named Crowley. It’s a fun episode, but ultimately skippable. This episode isn’t so much metanarrative as it is metatextual—metatextual meaning more than one layer of text but not necessarily about the storytelling in those texts—but let’s take a look at it anyway.

The metanarrative element of a show about a series of books about the brothers the show is based on is dope and expands upon what we saw in “the monster at the end of this book”. But the episode tells a tale about about the show itself, and the fandom that surrounds it.

Where “The Monster At The End Of This Book” and the season 5 premiere “Sympathy For The Devil” poked at the coiled snake of fans and the concept of fandom, “the real ghostbusters” drags them into the harsh light of an enclosure and antagonises them in front of an audience. The metanarrative element revolves around not only the books themselves, but the stories concocted within the episode: namely Barnes and Demian the cosplayers and the story of the ghosts. The Winchester brothers’s history that we’ve seen throughout the first five seasons of the show is bared in a tongue in cheek way: while we cried with them when Sam and Dean fought with John, now the story is thrown out in such a way as to mock both the story and the fans’ relationship to it. Let me tell you, there is a lot to be made fun of on this show, but the fans’ relationship to the story of Sam, Dean and everyone they encounter along the way isn’t part of it. I don’t mean to be like, wow you can’t make fun of us ever because we’re special little snowflakes and we take everything so seriously, because you are welcome to make fun of us, but when the creators do it, I can’t help but notice a hint of malice. And I think that’s understandable in a way. Like The relationship between creator and fan is both layered and symbiotic. While Kripke and co no doubt owe the show’s popularity to the fans, especially as the fandom has grown and evolved over time, we’re not exactly free of sin. And don’t get me wrong, no fandom is. But the bad apples always seem to outweigh the good ones, and bad experiences can stick with us long past their due.

However, portraying us as losers with no lives who get too obsessed with this show — well, you know, actually, maybe they’re right. I am a loser with no life and I am too obsessed with this show. So maybe they have a point. But they’re so harsh about it. From wincestie Becky who they paint as a desperate shrew to these cosplayers who threaten Dean’s very perception of himself, we’re not painted in a very good light.

Dean says to Demian and Barnes, “It must be nice to get out of your mom’s basement.” He’s judging them for deriving pleasure from dressing up and pretending to be someone else for a night. He doesn’t seem to get the irony that he does that for a living. As the seasons wore on, the creators made sure to include episodes where Dean’s inner geek could run rampant, often in the form of dressing up like a cowboy, such as season six “Frontierland” and season 13 “Tombstone”. I had to take a break from writing this to laugh for five minutes because Dean is so funny. He’s a car gay but he only likes one car. He doesn’t follow sports. His echolalia causes him to blurt out lines from his favourite movies. He’s a posse magnet. And he loves cosplay. But he will continually degrade and insult anyone who expresses interest in role play, fandom, or interests in general. Maybe that’s why Sam is such a boring person, because Dean as his mother didn’t allow him to have any interests outside of hunting. And when Sam does express interests, Dean insults him too. What a dick. He’s my soulmate, but I am not going to stop listening to hair metal for him. That’s where I draw the line.

Where “the monster at the end of this book” is concerned with narrative and authorship, “the real ghostbusters” is concerned with fandom and fan reactions to the show. It’s not really the best example to talk about in an episode about metanarrativity, but I wanted to include it anyway. It veers from talk of narrative by focusing on the people in the periphery of the narrative—the fans and the author. In season 9 “Metafiction,” Metatron asks the question, who gives the story meaning? The text would have you believe it’s the characters. The angels think it’s God. The fandom think it’s us. The creators think it’s them. Perhaps we will never come to a consensus or even a satisfactory answer to this question. Perhaps that’s the point.

The ultimate takeaway from this episode is that ordinary people, the people Sam and Dean save, the people they save the world for, the people they die for again and again, are what give their story meaning. Chuck defeats a ghost and saves the people in the conference room from being murdered. Demian and Barnes, don’t ask me which is which, burn the bodies of the ghost children and lay their spirits to rest. The text says that ordinary, every day people can rise to the challenge of becoming extraordinary. It’s not a bad note to end on, by any means. And then we find out that Demian and Barnes are a couple, which of course Dean is surprised at, because he lacks object permanence.

This is no doubt influenced by how a good portion of the transformative fandom are queer, and also a nod to the wincesties and RPF writers like Becky who continue to bottom feed off the wrong message of this show. But then, the creators encourage that sort of thing, so who are the real clowns here? Everyone. Everyone involved with this show in any way is a clown, except for the crew, who were able to feed their families for more than a decade.

Okay side note… over the past year or so I’ve been in process of realising that even in fandom queers are in the minority. I know the statistic is that 10% of the world population is queer, but that doesn’t seem right to me? Maybe because 4/5 closest friends are queer and I hang around queers online, but I also think I lack object permanence when it comes to straight people. Like I just do not interact with straight people on a regular basis outside of my best friend and parents and school. So when I hear that someone in fandom is straight I’m like, what the fuck… can you keep that to yourself please? Like if I saw Misha Collins coming out as straight I would be like, I didn’t ask and you didn’t have to tell. Okay I’m mostly joking, but I do forget straight people exist. Mostly I don’t think about whether people are gay or trans or cis or straight unless they’ve explicitly said it and then yes it does colour my perception of them, because of course it would. If they’re part of the queer community, they’re my people. And if they’re straight and cis, then they could very well pose a threat to me and my wellbeing. But I never ask people because it’s not my business to ask. If they feel comfortable enough to tell me, that’s awesome. I think Dean feels the same way. Towards the later seasons at least, he has a good reaction when it’s revealed that someone is queer, even if it is mostly played off as a joke. It’s just that he doesn’t have a frame of reference in his own life to having a gay relationship, either his or someone he’s close to. He says to Cesar and Jesse in season 11 “The Critters” that they fight like brothers, because that’s the only way he knows how to conceptualise it. He doesn’t have a way to categorise his and Cas’s relationship, which is in many ways, long before season 15 “Despair,” harking back even to the parallels between Ruby and Cas in season 3 and 4, a romantic one, aside from that Cas is like a brother to him. Because he’s never had anyone in his life care for him the way Cas does that wasn’t Sam and Bobby, and he doesn’t recognise the romantic element of their relationship until literally Cas says it to him in the third last episode, he just—doesn’t know what his and Cas’s relationship is. He just really doesn’t know. And he grew up with a father who despised him for taking the mom and wife role in their family, the role that John placed him in, for being subservient to John’s wishes where Sam was more rebellious, so of course he wouldn’t understand either his own desires or those of anyone around him who isn’t explicitly shoving their tits in his face. He moulded his entire personality around what he thought John wanted of him, and John says to him explicitly in season 14 “Lebanon”, “I thought you’d have a family,” meaning, like him, wife and two rugrats. And then, dear god, Dean says, thinking of Sam, Cas, Jack, Claire, and Mary, “I have a family.” God that hurts so much. But since for most of his life he hasn’t been himself, he’s been the man he thought his father wanted him to be, he’s never been able to examine his own desires, wants and goals. So even though he’s really good at reading people, he is not good at reading other people’s desires unless they have nefarious intentions. Because he doesn’t recognise what he feels is attraction to men, he doesn’t recognise that in anyone else.

Okay that’s completely off topic, wow. Getting back to metanarrativity in “The Real Ghostbusters,” I’ll just cap it off by saying that the books in this episode are more a frame for the events than the events themselves. However, there are some good outtakes where Chuck answers some questions, and I’m not sure how much of that is scripted and how much is Rob Benedict just going for it, but it lends another element to the idea of Kripke as author-god. The idea of a fan convention is really cool, because at this point Supernatural conventions had been running for about 4 years, since 2006. It’s definitely a tribute to the fans, but also to their own self importance. So it’s a mixed bag, considering there were plenty of elements in there that show the good side of fandom and fans, but ultimately the Winchesters want nothing to do with it, consider it weird, and threaten Chuck when he says he’ll start releasing books again, which as far as they know is his only source of income. But it’s a fun episode and Dean is a grouchy bitch, so who the holy hell cares?

Season 10 episode “fanfiction” written by my close personal friend Robbie Thompson and directed by Phil Sgriccia is one of the funniest episodes this show has ever done. Not only is it full of metatextual and metanarrative jokes, the entire premise revolves around fanservice, but in like a fun and interesting way, not fanservice like killing the band Kansas so that Dean can listen to “Carry On My Wayward Son” in heaven twice. Twice. One version after another. Like I would watch this musical seven times in theatre, I would buy the soundtrack, I would listen to it on repeat and make all my friends listen to it when they attend my online Jitsi birthday party. This musical is my Hamilton. Top ten episodes of this show for sure. The only way it could be better is if Cas was there. And he deserved to be there. He deserved to watch little dyke Castiel make out with her girlfriend with her cute little wings, after which he and Dean share uncomfortable eye contact. Dean himself is forever coming to terms with the fact that gay people exist, but Cas should get every opportunity he can to hear that it’s super cool and great and awesome to be queer. But really he should be in every episode, all of them, all 300 plus episodes including the ones before angels were introduced. I’m going to commission the guy who edits Paddington into every movie to superimpose Cas standing on the highway into every episode at least once.

“Fan Fiction” starts with a tv script and the words “Supernatural pilot created by Eric Kripke”. This Immediately sets up the idea that it’s toying with narrative. Blah blah blah, some people go missing, they stumble into a scene from their worst nightmares: the school is putting on a musical production of a show inspired by the Supernatural books. It’s a comedy of errors. When people continue to go missing, Sam and Dean have to convince the girls that something supernatural is happening, while retaining their dignity and respect. They reveal that they are the real Sam and Dean, and Dean gives the director Marie a summary of their lives over the last five seasons, but they aren’t taken seriously. Because, like, of course they aren’t. Even when the girls realise that something supernatural is happening, they don’t actually believe that the musical they’ve made and the series of books they’re basing it on are real. Despite how Sam and Dean Winchester were literal fugitives for many years at many different times, and this was on the news, and they were wanted by the FBI, despite how they pretend to be FBI, and no one mentions it??? Did any of the staffwriters do the required reading or just do what I used to do for my 40 plus page readings of Baudrillard and just skim the first sentence of every paragraph? Neat hack for you: paragraphs are set up in a logical order of Topic, Example, Elaboration, Linking sentence. Do you have to read 60 pages of some crusty French dude waxing poetic about how his best friend Pierre wants to shag his wife and making that your problem? Read the first and last sentence of every paragraph. Boom, done. Just cut your work in half.

The musical highlights a lot of the important moments of the show so far. The brothers have, as Charlie Bradbury says, their “broment,” and as Marie says, their “boy melodrama scene,” while she insinuates that there is a sexual element to their relationship. This show never passed up an opportunity to mention incest. It’s like: mentioning incest 5000 km, not being disgusting 1 km, what a hard decision. Actually, they do have to walk on their knees for 100 miles through the desert repenting. But there are other moments—such as Mary burning on the ceiling, a classic, Castiel waiting for Dean at the side of the highway, and Azazel poisoning Sam. With the help of the high schoolers, Sam and Dean overcome Calliope, the muse and bad guy of the episode, and save the day. What began as their lives reinterpreted and told back to them turns into a story they have some agency over.

In this episode, as opposed to “The Monster At The End Of This Book,” The storytelling has transferred from an alcoholic in a bathrobe into the hands of an overbearing and overachieving teenage girl, and honestly why not. Transformative fiction is by and large run by women, and queer women, so Marie and her stage manager slash Jody Mills’s understudy Maeve are just following in the footsteps of legends. This kind of really succinctly summarises the difference between curative fandom and transformative fandom, the former of which is populated mostly by men, and the latter mostly by women. As defined by LordByronic in 2015, Curative fandom is more like enjoying the text, collecting the merchandise, organising the knowledge — basically Reddit in terms of fandom curation. Transformative fandom is transforming the source text in some way — making fanart, fanfic, mvs, or a musical — basically Tumblr in general, and Archive of our own specifically. Like what do non fandom people even do on Tumblr? It is a complete mystery to me. Whereas Chuck literally writes himself into the narrative he receives through visions, Marie and co have agency and control over the narrative by writing it themselves.

Chuck does appear in the episode towards the end, his first appearance after five seasons. The theory that he killed those lesbian theatre girls makes me wanna curl up and die, so I don’t subscribe to it. Chuck watched the musical and he liked it and he gave unwarranted notes and then he left, the end.

The Supernatural creative team is explicitly acknowledging the fandom’s efforts by making this episode. They’re writing us in again, with more obsessive fans, but with lethbians this time, which makes it infinitely better. And instead of showing us as potential date rapists, we’re just cool chicks who like to make art. And that’s fucken awesome.

I just have to note that the characters literally say the word Destiel after Dean sees the actors playing Dean and Cas making out. He storms off and tells Sam to shut the fuck up when Sam makes fun of him, because Dean’s sexuality is NOT threatened he just needs to assert his dominance as a straight hetero man who has NEVER looked at another man’s lips and licked his own. He just… forgets that gay people exist until someone reminds him. BUT THEN, after a rousing speech that is stolen from Rent or Wicked or something, he echoes Marie’s words back, saying “put as much sub into that text as you possibly can.” What does Dean know about subbing, I wonder. Okay I’m suddenly reminded that he did literally go to a kink bar and get hit on by a leather daddy. Oh Dean, the experiences you have as a broad-shouldered, pixie-faced man with cowboy legs. You were born for this role.

Metatron is my favourite villain. As one tumblr user pointed out, he is an evil English literature major, which is just a normal English literature major. The season nine episode “Meta Fiction” written by my main man robbie thompson and directed by thomas j wright, happens within a curious season. Castiel, once again, becomes the leader of a portion of the heavenly host to take down Metatron, and Dean is affected by the Mark Of Cain. Sam was recently possessed by Gadreel, who killed Kevin in Sam’s body and then decided to run off with Metatron. Metatron himself is recruiting angels to join him, in the hopes that he can become the new God. It’s the first introduction of Hannah, who encourages Cas to recruit angels himself to take on Metatron. Also, we get to see Gabriel again, who is always a delight.

This episode is a lot of fun. Metatron poses questions like, who tells a story and who is the most important person in the telling? Is it the writer? The audience? He starts off staring over his typewriter to address the camera, like a pompous dickhead. No longer content with consuming stories, he’s started to write his own. And they are hubristic ones about becoming God, a better god than Chuck ever was, but to do it he needs to kill a bunch of people and blame it on Cas. So really, he’s actually exactly like Chuck who blamed everything on Lucifer.

But I think the most apt analogy we can use for this in terms of who is the creator is to think of Metatron as a fanfiction writer. He consumes the media—the Winchester Gospels—and starts to write his own version of events—leading an army to become God and kill Cas. Nevermind that no one has been able to kill Cas in a way that matters or a way that sticks. Which is canon, and what Metatron is trying to do is—well not fanon because it actually does impact the Winchesters’ storyline. It would be like if one of the writers of Supernatural began writing Supernatural fanfiction before they got a job on the show. Which as my generation and the generations coming after me get more comfortable with fanfiction and fandom, is going to be the case for a lot of shows. I think it’s already the case for Riverdale. Correct me if I’m wrong, but didn’t the woman who wrote the bi Dean essay go to work on Riverdale? Or something? I dunno, I have the post saved in my tumblr likes but that is quagmire of epic proportions that I will easily get lost in if I try to find it.

Okay let me flex my literary degree. As Englund and Leach say in “Ethnography and the metanarratives of modernity,” “The influential “literary turn,” in which the problems of ethnography were seen as largely textual and their solutions as lying in experimental writing seems to have lost its impetus.” This can be taken to mean, in the context of Supernatural, that while Metatron’s writings seek to forge a new path in history, forgoing fate for a new kind of divine intervention, the problem with Metatron is that he’s too caught up in the textual, too caught up in the writing, to be effectual. And this as we see throughout seasons 9, 10 and 11, has no lasting effect. Cas gets his grace back, Dean survives, and Metatron becomes a powerless human. In this case, the impetus is his grace, which he loses when Cas cuts it out of him, a mirror to Metatron cutting out Cas’s grace.

However, I realise that the concept of ethnography in Supernatural is a flawed one, ethnography being the observation of another culture: a lot of the angels observe humanity and seem to fit in. However, Cas has to slowly acclimatise to the Winchesters as they tame him, but he never quite fit in—missing cues, not understanding jokes or Dean’s personal space, the scene where he says, “We have a guinea pig? Where?” Show him the guinea pig Sam!!! He wants to see it!!! At most he passes as a human with autism. Cas doesn’t really observe humanity—he observes nature, as seen in season 7 “reading is fundamental” and “survival of the fittest”. Even the human acts he talks about in season 6 “the man who would be king” are from hundreds or thousands of years ago. He certainly doesn’t observe popular culture, which puts him at odds with Dean, who is made up of 90 per cent pop culture references and 10 per cent flannel. Metatron doesn’t seek to blend in with humanity so much as control it, which actually is the most apt example of ethnography for white people in the last—you know, forever. But of course the writers didn’t seek to make this analogy. It is purely by chance, and maybe I’m the only person insane enough to realise it. But probably not. There are a lot of cookies much smarter than me in the Supernatural fandom and they’ve like me have grown up and gone to university and gotten real jobs in the real world and real haircuts. I’m probably the only person to apply Englund and Leach to it though.

And yes, as I read this paper I did need to have one tab open on Google, with the word “define” in the search bar.

Metatron has a few lines in this that I really like. He says:

“The universe is made up of stories, not atoms.”

“You’re going to have to follow my script.”

“I’m an entity of my word.”

It’s really obvious, but they’re pushing the idea that Metatron has become an agent of authorship instead of just a consumer of media. He even throws a Supernatural book into his fire — a symbolic act of burning the script and flipping the writer off, much like Cas did to God and the angels in season 5. He’s not a Kripke figure so much as maybe a Gamble, Carver or Dabb figure, in that he usurps Chuck and becomes the author-god. This would be extremely postmodern of him if he didn’t just do exactly what Chuck was doing, except worse somehow. In fact, it’s postmodern of Cas to reject heaven’s narrative and fall for Dean. As one tumblr user points out, Cas really said “What’s fate compared to Dean Winchester?”

Okay this transcript is almost 8000 words already, and I still have two more episodes to review, and more things to say, so I’ll leave you with this. Metatron says to Cas, “Out of all of God’s wind up toys, you’re the only one with any spunk.” Why Cas has captured his attention comes down more than anything to a process of elimination. Most angels fucking suck. They follow the rules of whoever puts themselves in charge, and they either love Cas or hate him, or just plainly wanna fuck him, and there have been few angels who stood out. Balthazar was awesome, even though I hated him the first time I watched season 6. He UNSUNK the Titanic. Legend status. And Gabriel was of course the OG who loves to fuck shit up. But they’re gone at this stage in the narrative, and Cas survives. Cas always survives. He does have spunk. And everyone wants to fuck him.

Season 11 episode 20 “Don’t Call Me Shurley,” the last episode written by the Christ like figure of Robbie Thompson — are we sensing a theme here? — and directed by my divine enemy Robert Singer, starts with Metatron dumpster diving for food. I’m not even going to bother commenting on this because like… it’s supernatural and it treats complex issues like homelessness and poverty with zero nuance. Like the Winchesters live in poverty but it’s fun and cool because they always scrape by but Metatron lives in poverty and it’s funny. Cas was homeless and it was hard but he needed to do it to atone for his sins, and Metatron is homeless and it’s funny because he brought it on himself by being a murderous dick. Fucking hell. Robbie, come on. The plot focuses on God, also known as Chuck Shurley, making himself known to Metatron and asking for Metatron’s opinion on his memoir. Meanwhile, the Winchesters battle another bout of infectious serial killer fog sent by Amara. At the end of the episode, Chuck heals everyone affected by the fog and reveals himself to Sam and Dean.

Chuck says that he didn’t foresee Metatron trying to become god, but the idea of Season 15 is that Chuck has been writing the Winchesters’ story all their lives. When Metatron tries, he fails miserably, is locked up in prison, tortured by Dean, then rendered useless as a human and thrown into the world without a safety net. His authorship is reduced to nothing, and he is reduced to dumpster diving for food. He does actually attempt to live his life as someone who records tragedies as they happen and sells the footage to news stations, which is honestly hilarious and amazing and completely unsurprising because Metatron is, at the heart of it, an English Literature major. In true bastard style, he insults Chuck’s work and complains about the bar, but slips into his old role of editor when Chuck asks him to.

The theory I’m consulting for this uses the term metanarrative in a different way than I am. They consider it an overarching narrative, a grand narrative like religion. Chuck’s biography is in a sense most loyal to Middleton and Walsh’s view of metanarrative: “the universal story of the world from arche to telos, a grand narrative encompassing world history from beginning to end.” Except instead of world history, it’s God’s history, and since God is construed in Supernatural as just some guy with some powers who is as fallible as the next some guy with some powers, his story has biases and agendas. Okay so in the analysis I’m getting Middleton and Walsh’s quotes from, James K A Smith’s “A little story about metanarratives,” Smith dunks on them pretty bad, but for Supernatural purposes their words ring true. Think of them as the BuckLeming of Lyotard’s postmodern metanarrative analysis: a stopped clock right twice a day. Is anyone except me understanding the sequence of words I’m saying right now. Do I just have the most specific case of brain worms ever found in human history. I’m currently wearing my oversized Keith Haring shirt and dipping pretzels into peanut butter because it’s 3.18 in the morning and the homosexuals got to me. The total claims a comprehensive metanarrative of world history make do indeed, as Middleton and Walsh claim, lead to violence, stay with me here, because Chuck’s legacy is violence, and so is Metatron’s, and in trying to reject the metanarrative, Sam and Dean enact violence. Mostly Dean, because in season 15 he sacrifices his own son twice to defeat Chuck. But that means literally fighting violence with violence. Violence is, after all, all they know. Violence is the lens through which they interact with the world. If the writers wanted to do literally anything else, they could have continued Dean’s natural character progression into someone who eschews the violence that stems from intergeneration trauma — yes I will continue to use the phrase intergenerational trauma whenever I refer to Dean — and becomes a loving father and husband. Sam could eschew violence and start a monster rehabilitation centre with Eileen.

This episode of Holy Hell is me frantically grabbing at straws to make sense of a narrative that actively hates me and wants to kick me to death. But the violence Sam and Dean enact is not at a metanarrative level, because they are not author-gods of their own narrative. In season 15 “Atomic Monsters,” Becky points out that the ending of the Supernatural book series is bad because the brothers die, and then, in a shocking twist of fate, Dean does die, and the narrative is bad. The writers set themselves a goal post to kick through and instead just slammed their heat into the bars. They set up the dartboard and were like, let’s aim the darts at ourselves. Wouldn’t that be fun. Season 15’s writing is so grossly incompetent that I believe every single conspiracy theory that’s come out of the finale since November, because it’s so much more compelling than whatever the fuck happened on the road so far. Carry on? Why yes, I think I will carry on, carry on like a pork chop, screaming at the bars of my enclosure until I crack my voice open like an egg and spill out all my rage and frustration. The world will never know peace again. It’s now 3.29 and I’ve written over 9000 words of this transcript. And I’m not done.

Middleton and Walsh claim that metanarratives are merely social constructions masquerading as universal truths. Which is, exactly, Supernatural. The creators have constructed this elaborate web of narrative that they want to sell us as the be all and end all. They won’t let the actors discuss how they really feel about the finale. They won’t let Misha Collins talk about Destiel. They want us to believe it was good, actually, that Dean, a recovering alcoholic with a 30 year old infant son and a husband who loves him, deserved to die by getting NAILED, while Sam, who spent the last four seasons, the entirety of Andrew Dabb’s run as showrunner, excelling at creating a hunter network and romancing both the queen of hell and his deaf hunter girlfriend, should have lived a normie life with a normie faceless wife. Am I done? Not even close. I started this episode and I’m going to finish it.

When we find out that Chuck is God in the episode of season 11, it turns everything we knew about Chuck on its head. We find out in Season 15 that Chuck has been writing the Winchesters’ story all along, that everything that happened to them is his doing. The one thing he couldn’t control was Cas’s choice to rebel. If we take him at his word, Cas is the only true force of free will in the entire universe, and more specifically, the love that Cas had for Dean which caused him to rebel and fall from heaven. — This theory has holes of course. Why would Lucifer torture Lilith into becoming the first demon if he didn’t have free will? Did Chuck make him do that? And why? So that Chuck could be the hero and Lucifer the bad guy, like Lucifer claimed all along? That’s to say nothing of Adam and Eve, both characters the show introduced in different ways, one as an antagonist and the other as the narrative foil to Dean and Cas’s romance. Thinking about it makes my head hurt, so I’m just not gunna.

So Chuck was doing the writing all along. And as Becky claims in “Atomic Monsters,” it’s bad writing. The writers explicitly said, the ending Chuck wrote is bad because there’s no Cas and everyone dies, and then they wrote an ending where there is no Cas and everyone dies. So talk about self-fulfilling prophecies. Talk about giant craters in the earth you could see from 800 kilometres away but you still fell into. Meanwhile fan writers have the opportunity to write a million different endings, all of which satisfy at least one person. The fandom is a hydra, prolific and unstoppable, and we’ll keep rewriting the ending a million more times.

And all this is not even talking about the fact that Chuck is a man, Metatron is a man, Sam and Dean and Cas are men, and the writers and directors of the show are, by an overwhelming majority, men. Most of them are white, straight, cis men. Feminist scholarship has done a lot to unpack the damage done by paternalistic approaches to theory, sociology, ethnography, all the -ys, but I propose we go a step further with these men. Kill them. Metanarratively, of course. Amara, the Darkness, God’s sister, had a chance to write her own story without Chuck, after killing everything in the universe, and I think she had the right idea. Knock it all down to build it from the ground up. Billie also had the opportunity to write a narrative, but her folly was, of course, putting any kind of faith in the Winchesters who are also grossly incompetent and often fail up. She is, as all author-gods on this show are, undone by Castiel. The only one with any spunk, the only one who exists outside of his own narrative confines, the only one the author-gods don’t have any control over. The one who died for love, and in dying, gave life.

The French Mistake

Let’s change the channel. Let’s calm ourselves and cleanse our libras. Let’s commune with nature and chug some sage bongs.

“The French Mistake” is a song from the Mel Brooks film Blazing Saddles. In the iconic second last scene of the film, as the cowboys fight amongst themselves, the camera pans back to reveal a studio lot and a door through which a chorus of gay dancersingers perform “the French Mistake”. The lyrics go, “Throw out your hands, stick out your tush, hands on your hips, give ‘em a push. You’ll be surprised you’re doing the French Mistake.”

I’m not sure what went through the heads of the Supernatural creators when they came up with the season 6 episode, “The French Mistake,” written by the love of my life Ben Edlund and directed by some guy Charles Beeson. Just reading the Wikipedia summary is so batshit incomprehensible. In short: Balthazar sends Sam and Dean to an alternate universe where they are the actors Jared Padalecki and Jensen Ackles, who play Sam and Dean on the tv show Supernatural. I don’t think this had ever been done in television history before. The first seven seasons of this show are certifiable. Like this was ten years ago. Think about the things that have happened in the last 10 slutty, slutty years. We have lived through atrocities and upheaval and the entire world stopping to mourn, but also we had twitter throughout that entire time, which makes it infinitely worse.

In this universe, Sam and Dean wear makeup, Cas is played by attractive crying man Misha Collins, and Genevieve Padalecki nee Cortese makes an appearance. Magic doesn’t exist, Serge has good ideas, and the two leads have to act in order to get through the day. Sorry man I do not know how to pronounce your name.

Sidenote: I don’t know if me being attracted aesthetically to Misha Collins is because he’s attractive, because this show has gaslighted me into thinking he’s attractive, or because Castiel’s iconic entrance in 2008 hit my developing mind like a torpedo full of spaghetti and blew my fucking brains all over the place. It’s one of life’s little mysteries and God’s little gifts.

Let’s talk about therapy. More specifically, “Agency and purpose in narrative therapy: questioning the postmodern rejection of metanarrative” by Cameron Lee. In this paper, Lee outlines four key ideas as proposed by Freedman and Combs:

Realities are socially constructed

Realities are constituted through language

Realities are organised and maintained through narrative

And there are no essential truths.

Let’s break this down in the case of this episode. Realities are socially constructed: the reality of Sam and Dean arose from the Bush era. Do I even need to elaborate? From what I understand with my limited Australian perception, and being a child at the time, 9/11 really was a prominent shifting point in the last twenty years. As Americans describe it, sometimes jokingly, it was the last time they were really truly innocent. That means to me that until they saw the repercussions of their government’s actions in funding turf wars throughout the middle east for a good chunk of the 20th Century, they allowed themselves to be hindered by their own ignorance. The threat of terrorism ran rampant throughout the States, spurred on by right wing nationalists and gun-toting NRA supporters, so it’s really no surprise that the show Supernatural started with the premise of killing everything in sight and driving around with only your closest kin and a trunk full of guns. Kripke constructed that reality from the social-political climate of the time, and it has wrought untold horrors on the minds of lesbians who lived through the noughties, in that we are now attracted to Misha Collins.

Number two: Realities are constituted through language. Before a show can become a show, it needs to be a script. It’s written down, typed up, and given to actors who say the lines out loud. In this respect, they are using the language of speech and words to convey meaning. But tv shows are not all about words, and they’re barely about scripts. From what I understand of being raised by television, they are about action, visuals, imagery, and behaviours. All of the work that goes into them—the scripts, the lighting, the audio, the sound mixing, the cameras, the extras, the ADs, the gaffing, the props, the stunts, everything—is about conveying a story through the medium of images. In that way, images are the language. The reality of the show Supernatural, inside the show Supernatural, is constituted through words: the script, the journalists talking to Sam, the makeup artist taking off Dean’s makeup, the conversations between the creators, the tweets Misha sends. But also through imagery: the fish tank in Jensen’s trailer, the model poses on the front cover of the magazine, the opulence of Jared’s house, Misha’s iconic sweater. Words and images are the language that constitutes both of these realities. Okay for real, I feel like I’ve only seen this episode max three times, including when I watched it for research for this episode, but I remember so much about it.

Number three: realities are organised and maintained through narrative. In this universe of the French Mistake, their lives are structured around two narratives: the internal narrative of the show within the show, in which they are two actors on a tv set; and the episode narrative in which they need to keep the key safe and return to their own universe. This is made difficult by the revelation that magic doesn’t work in this universe, however, they find a way. Before they can get back, though, an avenging angel by the name of Virgil guns down author-god Eric Kripke and tries to kill the Winchesters. However, they are saved by Balthazar and the freeze frame and brought back into their own world, the world of Supernatural the show, not Supernatural the show within the show within the nesting doll. And then that reality is done with, never to be revisited or even mentioned, but with an impact that has lasted longer than the second Bush administration.

And number four: there are no essential truths. This one is a bit tricky because I can’t find what Lee means by essential truths, so I’m just going to interpret that. To me, essential truths means what lies beneath the narratives we tell ourselves. Supernatural was a show that ran for 15 years. Supernatural had actors. Supernatural was showrun by four different writers. In the show within a show, there is nothing, because that ceases to exist for longer than the forty two minute episode “The French Mistake”. And since Supernatural no longer exists except in our computers, it is nothing too. It is only the narratives we tell ourselves to sleep better at night, to wake up in the morning with a smile, to get through the day, to connect with other people, to understand ourselves better. It’s not even the narrative that the showrunners told, because they have no agency over it as soon as it shows up on our screens. The essential truth of the show is lost in the translation from creating to consuming. Who gives the story meaning? The people watching it and the people creating it. We all do.

Lee says that humans are predisposed to construct narratives in order to make sense of the world. We see this in cultures from all over the world: from cave paintings to vases, from The Dreaming to Beowulf, humans have always constructed stories. The way you think about yourself is a story that you’ve constructed. The way you interact with your loved ones and the furries you rightfully cyberbully on Twitter is influenced by the narratives you tell yourself about them. And these narratives are intricate, expansive, personalised, and can colour our perceptions completely, so that we turn into a different person when we interact with one person as opposed to another.

Whatever happened in season 6, most of which I want to forget, doesn’t interest me in the way I’m telling myself the writers intended. For me, the entirety of season 6 was based around the premise of Cas being in love with Dean, and the complete impotence of this love. He turns up when Dean calls, he agonises as he watches Dean rake leaves and live his apple pie life with Lisa, and Dean is the person he feels most horribly about betraying. He says, verbatim, to Sam, “Dean and I do share a more profound bond.” And Balthazar says, “You’re confusing me with the other angel, the one in the dirty trenchcoat who’s in love with you.” He says this in season 6, and we couldn’t do a fucken thing about it.

The song “The French Mistake” shines a light on the hidden scene of gay men performing a gay narrative, in the midst of a scene about the manliest profession you can have: professional horse wrangler, poncho wearer, and rodeo meister, the cowboy. If this isn’t a perfect encapsulation of the lovestory between Dean and Cas, which Ben Edlund has been championing from day fucking one of Misha Collins walking onto that set with his sex hair and chapped lips, then I don’t know what the fuck we’re even doing here. What in the hell else could it possibly mean. The layers to this. The intricacy. The agendas. The subtextual AND blatant queerness. The micro aggressions Crowley aimed at Car in “The Man Who Would Be King,” another Bedlund special. Bed Edlund is a fucking genius. Bed Edlund is cool girl. Ben Edlund is the missing link. Bed Edlund IS wikileaks. Ben Edlund is a cool breeze on a humid summer day. Ben Edlund is the stop loading button on a browser tab. Ben Edlund is the perfect cross between Spotify and Apple Music, in which you can search for good playlists, but without having to be on Spotify. He can take my keys and fuck my wife. You best believe I’m doing an entire episode of Holy Hell on Bedlund’s top five. He is the reason I want to get into staffwriting on a tv show. I saw season 4 episode “On the head of a pin” when my brain was still torpedoed spaghetti mush from the premiere, and it nestled its way deep into my exposed bones, so that when I finally recovered from that, I was a changed person. My god, this transcript is 11,000 words, and I haven’t even finished the Becky section. Which is a good transition.

Oh, Becky. She is an incarnation of how the writers, or at least Kripke, view the fans. Watching season 5 “Sympathy for the Devil” live in 2009 was a whole fucking trip that I as a baby gay was not prepared for. Figuring out my sexuality was a journey that started with the Supernatural fandom and is in some aspects still raging against the dying of the light today. Add to that, this conception of the audience was this, like, personification of the librarian cellist from Juno, but also completely without boundaries, common sense, or shame. It made me wonder about my position in the narrative as a consumer consuming. Is that how Kripke saw me, specifically? Was I like Becky? Did my forays into DeanCasNatural on El Jay dot com make me a fucking loser whose only claim to fame is writing some nasty fanfiction that I’ve since deleted all traces of? Don’t get me wrong, me and my unhinged Casgirl friends loved Becky. I can’t remember if I ever wrote any fanfiction with her in it because I was mostly writing smut, which is extremely Becky coded of me, but I read some and my friends and I would always chat about her when she came up. She was great entertainment value before season 7. But in the eyes of the powers that be, Becky, like the fans themselves, are expendable. First they turned her into a desperate bride wannabe who drugs Sam so that he’ll be with her, then Chuck waves his hand and she disappears. We’re seeing now with regards to Destiel, Cas, and Misha Collins this erasure of them from the narrative. Becky says in season 15 “Atomic Monsters” that the ending Chuck writes is bad because, for one, there’s no Cas, and that’s exactly what’s happening to the text post-finale. It literally makes me insane akin to the throes of mania to think about the layers of this. They literally said, “No Cas = bad” and now Misha isn’t even allowed to talk in his Cassona voice—at least at the time I wrote that—to the detriment of the fans who care about him. It’s the same shit over and over. They introduce something we like, they realise they have no control over how much we like it, and then they pretend they never introduced it in the first place. Season 7, my god. The only reason Gamble brought back Cas was because the ratings were tanking the show. I didn’t even bother watching most of it live, and would just hear from my friends whether Cas was in the episodes or not. And then Sera, dear Sera, had the gall to say it was a Homer’s Odyssey narrative. I’m rusty on Homer aka I’ve never read it but apparently Odysseus goes away, ends up with a wife on an island somewhere, and then comes back to Terabithia like it never happened. How convenient. But since Sera Gamble loves to bury her gays, we can all guess why Cas was written out of the show: Cas being gay is a threat to the toxic heteronormativity spouted by both the show and the characters themselves. In season 15, after Becky gets her life together, has kids, gets married, and starts a business, she is outgrowing the narrative and Chuck kills her. The fans got Destiel Wedding trending on Twitter, and now the creators are acting like he doesn’t exist. New liver, same eagles.

I have to add an adendum: as of this morning, Sunday 11th, don’t ask me what time that is in Americaland, Misha Collins did an online con/Q&A thing and answered a bunch of questions about Cas and Dean, which goes to show that he cannot be silenced. So the narrative wants to be told. It’s continuing well into it’s 16th or 17th season. It’s going to keep happening and they have no recourse to stop it. So fuck you, Supernatural.

I did write the start of a speech about representation but, who the holy hell cares. I also read some disappointing Masters theses that I hope didn’t take them longer to research and write than this episode of a podcast I’m making for funsies took me, considering it’s the same number of pages. Then again I have the last four months and another 8 years of fandom fuelling my obsession, and when I don’t sleep I write, hence the 4,000 words I knocked out in the last 12 hours.

Some final words. Lyotard defines postmodernism, the age we live in, as an incredulity towards metanarratives. Modernism was obsessed with order and meaning, but postmodernism seeks to disrupt that. Modernists lived within the frame of the narrative of their society, but postmodernists seek to destroy the frame and live within our own self-written contexts. Okay I love postmodernist theory so this has been a real treat for me. Yoghurt, Sam? Postmodernist theory? Could I BE more gay?

Middleton and Walsh in their analysis of postmodernism claim that biblical faith is grounded in metanarrative, and explore how this intersects with an era that rejects metanarrative. This is one of the fundamental ideas Supernatural is getting at throughout definitely the last season, but other seasons as well. The narratives of Good vs Evil, Michael vs Lucifer, Dean vs Sam, were encoded into the overarching story of the show from season 1, and since then Sam and Dean have sought to break free of them. Sam broke free of John’s narrative, which was the hunting life, and revenge, and this moralistic machismo that they wrapped themselves up in. If they’re killing the evil, then they’re not the evil. That’s the story they told, and the impetus of the show that Sam was sucked back into. But this thread unravelled in later seasons when Dean became friends with Benny and the idea that all supernatural creatures are inherently evil unravelled as well. While they never completely broke free of John’s hold over them, welcoming Jack into their lives meant confronting a bias that had been ingrained in them since Dean was 4 years old and Sam 6 months. In the face of the question, “are all monsters monstrous?” the narrative loosens its control. Even by questioning it, it throws into doubt the overarching narrative of John’s plan, which is usurped at the end of season 2 when they kill Azazel by Dean’s demon deal and a new narrative unfolds. John as author-god is usurped by the actual God in season 4, who has his own narrative that controls the lives of Sam, Dean and Cas.

Okay like for real, I do actually think the metanarrativity in Supernatural is something that should be studied by someone other than me, unless you wanna pay me for it and then shit yeah. It is extremely cool to introduce a biographical narrative about the fictional narrative it’s in. It’s cool that the characters are constantly calling this narrative into focus by fighting against it, struggling to break free from their textual confines to live a life outside of the external forces that control them. And the thing is? The really real, honest thing? They have. Sam, Dean and Cas have broken free of the narrative that Kripke, Carver, Gamble and Dabb wrote for them. The very fact that the textual confession of love that Cas has for Dean ushered in a resurgence of fans, fandom and activity that has kept the show trending for five months after it ended, is just phenomenal. People have pointed out that fans stopped caring about Game of Thrones as soon as it ended. Despite the hold they had over tv watchers everywhere, their cultural currency has been spent. The opposite is true for Supernatural. Despite how the finale of the show angered and confused people, it gains more momentum every day. More fanworks, more videos, more fics, more art, more ire, more merch is being generated by the fans still. The Supernatural subreddit, which was averaging a few posts a week by season 15, has been incensed by the finale. And yours truly happily traipsed back into the fandom snake pit after 8 years with a smile on my face and a skip in my step ready to pump that dopamine straight into my veins babeeeeeeyyyyy. It’s been WILD. I recently reconnected with one of my mutuals from 2010 and it’s like nothing’s changed. We’re both still unhinged and we both still simp for Supernatural. Even before season 15, I was obsessed with the podcast Ride Or Die, which I started listening to in late 2019, and Supernatural was always in the back of my mind. You just don’t get over your first fandom. Actually, Danny Phantom was my first fandom, and I remember being 12 talking on Danny Phantom forums to people much too old to be the target audience of the show. So I guess that hasn’t left me either. And the fondest memories I have of Supernatural is how the characters have usurped their creators to become mythic, long past the point they were supposed to die a quiet death. The myth weaving that the Supernatural fandom is doing right now is the legacy that will endure.

References

I got all of these for free from Google Scholar!

Judith May Fathallah, “I’m A God: The Author and the Writing Fan in Supernatural.”

James K A Smith, “A Little Story About Metanarratives: Lyotard, Religion and Postmodernism Revisited.” 2001.

Cameron Lee, “Agency and Purpose in Narrative Therapy: Questioning the Postmodern Rejection of Metanarrative.” 2004.

Harri Englund and James Leach, “Ethnography and the Meta Narratives of Modernity.” 2000.

https://uproxx.com/filmdrunk/mel-brooks-explains-french-mistake-blazing-saddles-blu-ray/

#transcripts #supernatural #supernatural podcast #<60mins #this is first and foremost a podcast about cas and misha collins

12 notes · View notes

that-shamrock-vibe · 5 years ago

Text

Movie Reviews: Star Wars: Episode IX - The Rise of Skywalker (Spoilers)

Spoiler Warning: I am posting this review a few days after the movie first drops in the U.K, so if you haven’t yet seen the movie don’t read on.

Fan-Service:

Alright so before jumping into the character analysis, which I probably should just do because I have a lot to say, I want to quickly talk about a major problem with this movie, and yes I will be saying that a lot, and that is the fan-service.

There is a heeping load of fan-service moments and things just thrown in to either make fans nostalgic of what has come before or just to say they did it and I at large am pissed off because every bit of fan-service here I personally did not ask for and nothing I wanted as a fan was there.

For instance, Lando. I love Lando and will talk about him in his own section further down but I did not see the point of him in this movie. Billy Dee Williams still looks good in the role, but the man did nothing to contribute to the progression of the movie or the mission other than go off and get reinforcements which anyone else already in this trilogy could have done, like Maz Kanata...what did she contribute also?

Also Ewoks, I’m sorry I know the last part of this movie was on Endor because said system is around the place the Death Star fell and Palpatine still resides, but my freakin’ god seeing a split second shot of two Ewoks, who again I loved in Episode VI, but also to get Warwick Davies back to play Wicket (I think that’s the same one anyway)...what was the freakin’ point?

My final rant point is on the quite blatant fan service of LGBT representation. This particular topic is personal to me as a gay man and someone whose academic venture over the last three years has been about LGBT representation.

When you have quite a clear fanbase or sub fandom that are screaming for certain shipping couples, but then refuse to deliiver on the gay male ship in favour of the predictable hetero ship, to the point where this movie gives both Finn and Poe female love interests and makes Finn look slightly like a tool for having two other love interests but still wanting Rey...all of this I can forgive because it is kind of like the “Stucky” ship in the MCU.

However, to then, out of nowhere, have a lesbian kiss between two Resistance members at the end of the film during celebrations, one of whom was apparently the harbinger of doom because she delivered all the bad news and the other was a pilot, who I know was also Rosa Parks in Doctor Who so happy she has a role like this, but again it just felt forced, out of nowhere, with characters no one cares about and honestly I would have been happier seeing Poe and Finn kiss.

Characters:

Rey:

As I said in my non-spoiler review, Rey truly comes into her own as a Jedi in this movie. I do think The Last Jedi only really serviced her and moved her piece forward on the development chessboard.

However, while it is great to see Leia mentoring Rey at the start of the movie and doing a serviceable job, the fact Luke is still mentoring her from beyond the grave and his teachings are being upheld and honoured by Rey is really great to see.

This does not however justify the end of this movie, which is where we begin with Rey’s character.

One of the biggest mysteries of this trilogy has been discovering who Rey is and where she fits in with Star Wars lore. We know that Finn was a Stormtrooper and Poe fulfills that Han Solo role, but while Rey fills the Jedi quota for the trilogy, fans have long-suspected that she is somehow related to either Luke, Leia, Han or even Obi-Wan Kenobi.

I don’t think anyone was expecting her to actually be revealed as the granddaughter of Emperor Palpatine...and to be honest I don’t think anyone actually wanted it.

It’s a losing battle comparing any movie to Avengers: Endgame, but during Avengers: Endgame when big character and plot moments hit, the audience erupted in either shock or cheers. I get the feeling that the reveal of Rey being a Palpatine was supposed to ignite that type of response. I had a moderately full audience and there was no reaction from them.

However, not only does this service Rey as a character for the second half of the movie because her character motivation is not only about battling her inner demons and heritage, but also discovering who she is in her own right...something she has been searching for since we first met the character on Jakku in The Force Awakens

This leads to the last scene of the movie which is a culmination of not just the last three movies but also her confrontation with Palpatine. On Tatooine just outside the Lars Homestead, Rey buries both Luke and Leia’s lightsabers. She then surprisingly pulls out her own lightsaber which happens to be yellow...or gold (if it’s meant to be grey or white the lighting did it no favours) and with her sidekick BB-8 heads off into the twin sunsets, but not before some random old woman asks who she is, she responds with “Rey” but when she asks “Rey who?” she looks to the left and sees the Force Ghosts of Luke and Leia and turns back to the woman answering with, “Rey Skywalker”.

This is what is meant by the title “The Rise of Skywalker” as the name will now live-on in Rey, who has adopted the name only. She is not actually a Skywalker and if you think about the fact Rey and Kylo kissed a few scenes prior to this, it is kind of disturbing that she sees both Luke as a father figure and Leia as a mother figure.

I am not happy with this development for two reasons 1) It’s a cheat, not only is it a cheat of promise in the title but it’s a cheat in practise because Rey wasn’t revealed to be a secret Skywalker she merely decided to use the name as a surname because I guess “Rey Palpatine” would not serve her well.

I also don’t like the idea of a surname being used as a mantle, we now have seen six “Skywalkers” either officially or unofficially so in the movie canon and out of the six, five either are or were Jedi or at least “ones with the force” because both Leia and Ben (Kylo Ren) have never been Jedi at least in the movies but while Ben was a Sith, Leia was an apprentice and both had access to the force.

Shmi I believe (Anakin’s mother) is the only named “Skywalker” to not have any attachment or affiliations with the force. Now I don’t know if Skywalker is her maiden name or married name but aside from her, as I said, everyone with the Skywalker bloodline has at least had a “force sense” so to make Rey the last of the Jedi, that we know of, and also now giving her the name of Skywalker just to honour Luke and Leia and not actually be related does seem a tad cheap to me.

It’s not like when Han and Leia named their son Ben after Ben Kenobi, Obi-Wan’s hermit name, because that was honouring a fallen friend. I get Rey officially has no living family, particularly after killing her grandfather, and choosing to adopt the Skywalker name is both a way for the name to live on in her and to honour both her mentors, but this is supposed to be the end of the Skywalker era and with Rey newly being a Skywalker at the end of the movie and also once again seemingly being on her own (with BB-8) on her adventures at the end it just seems like there is more to come from her and I really don’t think there should be.

I am not saying Daisy Ridley can never come back as Rey in any future Star Wars movies but I’m thinking more in a Harrison Ford/Billy Dee Williams way not a Mark Hamill/Carrie Fisher way, at least not for now.

Also, I mentioned in my non-spoiler that a lot was promised leading up to this movie and something the trailers teased heavily was “Dark Rey”. The two biggest theories surrounding this reveal of Rey as a Sith with collapsible double-edged red lightsaber were that 1) Rey would legitimately turn to the dark side and Ben Solo would be the one to bring her back to the light or that 2) The Dark Rey we saw would be some sort of vision, hallucination or dream akin to when Luke believed he was fighting Vader during his training with Yoda on Dagobah and in fact it was an illusion used as a metaphor for him fighting his inner darkness.

It turned out, of course, to be the latter theory but the movie at least had the reveal of Rey being a Palpatine to explain why the 30 second scene we see this vision in exists...no lie it’s about the same amount of time as Luke battled himself for in Episode V.

Basically when Rey was filled with rage over Kylo Ren while trying to save Chewie from being taken by the First/Final Order, she succumbed to her anger and rather than using the force in the traditional sense she was discovered to have the ability to produce force lightning, as only Sith Lords have been able to do.

While Dark Rey did look cool, I’m glad she wasn’t actually Rey and we actually had to spend a chunk of the movie with her as a Sith, particularly not with that lightsaber.

I’ll be talking about him again when I talk about Palpatine but the only master of the double-edged lightsaber for me is Darth Maul. That’s his thing in my opinion aside from his looks and he owns it.

On the positives of Rey, I do like the fact that they have set her up as the feminist hero in the same sense that Moana and Belle are feminist Disney princesses. I think obviously making Rey the focus of the trilogy meant that more young girls would look up to her as opposed to Leia or Padmé before her and so making her the strong and tenacious Jedi Knight that she is was one of the best things about this trilogy, when done right.

I did also like how she interacted with Finn and Poe, I’m not entirely sure why they have the type of banter they had due to the lack of the trio interacting in this trilogy but I enjoyed the sparring between Rey and Poe over the Falcon damage and BB-8 damage and even when it seemed Finn was about to profess his love for Rey before dying but then not dying and so going quiet about it and Rey effectively calling him out for it.

However, what did Rey wrong throughout this trilogy is just how easy everything seemed to come for her. As I said before she was often off on her own mission without Poe and Finn with only BB-8 and sometimes Chewie for company. The fact we never saw her properly train with a lightsaber or the force before being revealed as an expert with both still annoys me and here, the fact she goes to give up after Leia’s death but is stopped by Luke, a Force Ghost, who then reveals that she is in fact not stranded after burning her ship because Luke has his old X-Wing summoned from the depths of the sea was just stupid.

Also, where did Rey get her new lightsaber from? Because unless Leia left it for her or R2 created it for her we don’t know where it came from or why it is distinctly different to Luke and Leia’s.

Finn:

Finn I feel revealed himself as my favourite character of the new trilogy during this movie, meaning originating in this trilogy, because I haven’t really had one up until now due to the lack of any likeable development throughout.

However, John Boyega really does Finn justice here not only making the character more likeable but also giving him a potentially great character development arc that could see him come full circle from when we first met him during The Force Awakens.

The only problem is, from what we see, this story abruptly goes completely nowhere.

The development comes when the trio arrive on Kef Bir where the Death Star remains are and come across a tribe of freedom fighters led by Naomi Acke’s waste of a character Jannah.

It’s revealed that Jannah and her tribe were once in fact Stormtroopers but, like Finn, decided to rebel against their Sith overlords and vowed to aide the resistance to thwart them.

This could have been how Finn’s story ended had he made the decision to join the freedom fighters by the end of the movie, now granted with no Sith or First Order there’s no need for freedom fighters but just for Finn to have found his people and his place to belong would have been a fitting ending for him.

Also to any shippers out there hoping for a Finn/Poe romance, I think the writers made it quite clear in this movie that both guys have eyes for the ladies with Finn apparently interested in Rose, Rey and Jannah.

The Finn-Poe bromance is in full bloom here though, finally, and it is filled with both the banter that I so hate in laddish behaviour but still enjoy here and also the fact that they can both be real with each other even when it’s something the other may not want to hear.

I am annoyed they never really wrapped anything up for Finn, aside from him finding his tribe but not actually sticking with them. The movie kept throwing out curve balls to do with his story and character but never had them either caught or thrown back, so his story is still all over the place.

Would I want to see John Boyega return? I guess yes if he does return with Jannah and maybe even Lando, I have a theory on where that will go, because at least it is a newer direction for the character.

Kylo Ren:

I never liked Kylo Ren or Adam Driver, I have never really seen the appeal in either of them and believe Kylo is simply Darth Vader-lite. I’ve always hated that mask and even now it has notable cracks I still don’t like it. I just feel as though the mask was always Vader’s thing and Kylo’s is the fact that he has that lightsaber sword.

That being said, once again the most notable plot point in this movie is the relationship between Kylo and Rey. The chemistry is quite easily there, I do see these two as a couple in another reality and Daisy Ridley and Adam Driver do sell that rather well.

I did come to enjoy their shared force communication in this movie particularly as it was noted to have some interesting side-effects, most notably the ability to take something from the other’s location. I audibally gasped when Kylo snatched that necklace from Rey and that’s how he knew where she was, similarly how when Rey accidentally destroyed that plinth with Vader’s helmet on and it fell at Kylo’s feet he knew she was in his quarters.

My favourite example of this go was at the very end when Rey was facing off against Palpatine and Ben (Kylo reformed) was facing off against the Knights of Ren and Rey was able to psychically transport her lightsaber to him. I can’t remember if it was Luke or Leia’s she gave to him but I do hope it was Leia’s because him fighting with his mother’s lightsaber would have been so awesome.

Speaking of his reform, I found that to be the sloppiest moment in the movie. I really did not understand the quickness in which he went from wanting to turn Rey to the dark side to denouncing the Sith altogether. Now yes, your mother dying is going to be a turmoil for any individual and seeing the ghost of your father, because yes Han Solo returns in this movie, is going to throw you...but there was no real internal struggle and it just seemed again very rushed and the almost as if the writers were saying “Well the audience know this is where we were always going to take the character so there’s no need for the internal struggle to be shown”.

Also, I understand that he didn’t exactly have time for a costume change and merely took off his Kylo Ren armour, but then he merely looked like he was wearing pyjamas in that final battle. I wasn’t expecting an Elsa level transformation or anything but something a bit more...more.

Then when it did come to Ben joining Rey in battling Palpatine and Palpatine, quite strategically in my opinion, sent him flying down that pit, the fact that he anticlimactically climbed up the pit I originally thought was the movie saying “See a Skywalker rose” similarly to how The Dark Knight Rises had Batman climbing up that cliff-face. But no, apparently the “Rise of Skywalker” was nothing to do with an actual Skywalker.

The most confusing part of this movie though is what exactly happened at the very end of the movie when Ben died and Leia faded away at the same time. Leia’s “last great act” was to stop Ben from battling Rey, this seemingly caused her to die. However, when Ben died, Leia faded. So are we presuming that somehow Leia enthralled her son to be good? If so, was his redemption a fake? Also if so, did Rey technically kiss Leia not Ben?

Yes, this kiss was the biggest anti-climax in the entire trilogy. Everyone has been pushing for a “Reylo” coupling and it finally happens only for Ben to die immediately after, it was pure and simple fan service.

Poe Dameron:

I have never really cared for Poe, nothing particularly against him or Oscar Isaac but I just felt as if the character was always trying too hard to be Han Solo and failing every time.

This movie not only emphasised how much of a waste Poe had been, but also why you should always be careful what you wish for because it may happen and it may transpire that you are not as attuned to it as you thought you were.

I am talking about Poe now being the General of the Resistance after Leia’s death and effectively leading the Resistance to their doom. I remember when Han was made a general during Return of the Jedi and while he was also slightly incompetent he at least learned from mistakes whereas Poe...got so many people killed he should have been court-marshalled.

Every action he made in this movie seemed to be wrong and he was continuously pulled up on it by everyone, Finn, Rey, Chewie, even 3PO. I quite liked the concept of doing that lightspeed jumping that apparently you’re not supposed to do because it reminded me of Guardians 2, but they weren’t supposed to do it there either and that wasn’t at the consequence of damaging the Millennium Falcon!

Also, they made a blatant reference that Poe had a previous lover in Kari Mitchell’s character, but the only problem with this is we’ve never heard anything about Poe’s history prior to the events of this trilogy so we are supposed to care about it now? When the trilogy is about to end?

Had we heard from episode 1 about hints of Poe’s history and maybe a lost or abandoned lover then seeing their reunion here may have held some weight...but with what we got it didn’t work.

I don’t even know where we left Poe aside from obviously being a war hero for being the leader of the Resistance. But unlike Rey who has gone off to do her own thing and Finn who has the potential to be going off with Jannah and her tribe, Poe doesn’t really have a place.

Even BB-8, who seems to be Poe’s main concern throughout this movie, goes off with Rey, so where does that leave him?

General Leia:

As I said in my non-spoiler review, it is such a shame that this is the lasting impression fans will have of General Leia. I am not saying they should have altered Episode VIII to include Leia’s death but there was something so disjointed about her involvement in this movie.

That being said, I did enjoy some of her lines to Rey at the start of the movie and they did try very hard to make it flow with the story despite clearly being lines meant for another situation. I liked all her pearls of wisdom to her about trusting droids and being comfortable with who you are.

However, this movie’s greatest insult is definitely showing a flashback to Luke and Leia training as Luke was clearly Leia’s Jedi Master at some point after Episode VI.

Now yes, we were shown a de-aged Luke and Leia so they looked slightly like how they did during Episode VI, and it was dark enough a setting that they didn’t look as bad as Leia did at the end of Rogue One, but that one scene sparks a great controversy with this whole trilogy.

Why the heck haven’t we ever had a follow-up movie to Episode VI that simply focuses on Luke, Leia and Han? A movie that shows Leia being trained as a Jedi would have not only satisfied a lot of movie-centric fans curiosities but also would have set up this trilogy slightly better with maybe showing Leia pregnant with Ben and why Luke chose to isolate himself, why Leia and Han’s marriage broke down. Something just to give fans of the original trilogy closure and then introduce these new characters rather than having the original trilogy and new trilogy all try to co-exist and wrap up at the same time.

Also, I swear in this one scene we saw Luke’s lightsaber was green so why were both his and Leia’s lightsabers blue when Rey had them?

Then also with her actual death, as I said with Kylo felt rather anti-climactic and weird. I understand fully that Carrie Fisher’s passing was a complete shock for everyone and so they had to work with what they had, but not only does it simply feel like Leia getting into bed and then death, you have Maz expositioning it before it happens...is that why Maz is back? To be the exposition of the movie?

Again I love Lupita and understand why she was cast in Episode VII because she was the hot ticket to have back then, but she doesn’t do anything in these movies.

I did appreciate her line of “Goodbye princess”, that did spark some emotion that wasn’t annoyance or rage and was sadness for both Leia and Carrie Fisher so the movie got me there.

Lando Calrissian:

Billy Dee Williams as Lando was one of my favourite things about the original trilogy. I loved how similar he was to Han but while Harrison Ford had an almost smouldering rogue quality about him, Lando was suave and cool with this real jazzy vibe about him.

Even seeing him back it was a bright spot in this movie, however, I don’t think he was utilised as well as he could have been. After Leia died and Poe was gathering the Resistance for a mission debrief, Lando looked like that old war veteran that was simply there to lend advice, when in actuality he was the one with the most experience, who fought the Empire once before and won so why wasn’t he saying what was what?

Then at the very end when everyone is celebrating the victory, Lando randomly comes across Jannah who asks where he’s from and he responds “Gold System” while she responds with not knowing where she is from and so he says “Let’s find out”. I don’t know if they’re trying to go down the route that Lando is Jannah’s father maybe but they are definitely pushing for either a spin-off or some form of continuation to this particular story.

Now again, I liked Jannah here, and feel a movie focusing on Lando, Jannah and even Finn would work. But it was so randomly placed at the very end of the movie that it just seemed like the writers had no idea what to do with either character.

Also I did not like the fact Lando never had a scene with Leia in the movie, just simply one scene where the two reminisce about old times or talk about Han would have been good but instead we had another Star Wars alum return and not interact with anyone else from the alumni cast.

The Resistance:

I mentioned the Resistance a bit with most characters but here is my problem with them as an organization, they are not organised! The Resistance was formed in Episode IV to thwart the Empire, they destroyed two Death Stars and seemingly saw the death of the Emperor...when in actuality the Emperor survived and simply rebranded the Empire into the First Order so they failed on their main mission.

Then for the last three movies what exactly have they achieved? Because I cannot point out one successful thing this organisation has managed to achieve on their own. Rey was the one to kill the Emperor which saw the end of the First/Final Order, all the Resistance did was provide cannon fodder.

Also, when Lando finally arrived with the cavelry, I don’t know if they were trying to imply that some of the voices you heard were cameos from the shows but again, I don’t watch the shows. I know I saw both John Williams and Lin Minuel Miranda in cameo roles during the big air battle which I felt were both good and bad elements because they were so random but all in all, I have never been a fan of the Resistance.

Also Greg Grunberg, I like the actor, I liked him on Heroes, I know he is friends with JJ Abrams...but there is doing your friend a solid, and then there is making your movie more pointless then it needs to be. He was unnecessary and I’m glad he died.

Villains:

Okay so I have labelled this section “Villains” because I don’t think even they know what they’re calling themselves anymore. They were originally the First Order, then they changed their name to the Final Order, this got laughs from my audience because it was so stupid. Then Palpatine tried creating his new Empire which lasted all of 5 minutes...there was no order to this First, Final or Any Order.

As for Palpatine himself, his return was very abrupt as it was right at the start of the movie. I did enjoy the atmosphere they set up around the villain with the lightning and the desolate wasteland but what was with that fecking crane? I get he has no legs but the result was him looking more like a Dementor than the all-powerful formidable Emperor Palpatine.

Also, he mentioned how “The dark side of the force grants powers unthinkable”...which still doesn’t explain how he is still alive or reborn after being thrown down that tunnel in Episode VI.

Again, the reveal of him having Rey as a granddaughter came out of nowhere because we never knew Palpatine had a family, despite the fact Palpatine is one of few characters we have seen throughout the first two trilogies.

I did appreciate them establishing Ben and Rey’s bond as a type off life force energy which Palpatine utilised to rejuvenate himself. Although why he didn’t rejuvinate himself back to human form rather than the wrinkled old man is beyond me.

In regards to the First Order, the reveal that General Hux was in fact a spy giving secrets to the Resistance was again laughable, just him revealing “I’m the spy!” was enough to make me laugh.

Again Domnhall Gleeson is a good actor but this role has been so extreme and overdramatic that it has become a cartoon rather than a legitimate threat.

As for Richard E. Grant, people are really quick to insult Idris Elba for Cats but I think the actor who needs a word with his agent is Richard because, as much as he loves this franchise, he wasn’t quite enthralled in the world and rather seemingly playing the part of someone who is lucky enough to be on the movie.

My final point is on the fact that Palpatine claimed he is the culmination of all the Sith, meaning he has all the souls of all the past Sith in him. This is quite reminiscent to me of the Dark Swan arc in Once Upon a Time where Emma, and later Hook, became the Dark One and was able to summon all the past Dark Ones.

However, unlike Rey who was able to hear the voices of all the past Jedi, we only heard two past Sith Lords voices in Vader and Snoke. I know it wouldn’t be right to provide new voice clips for most of them because Christopher Lee, who portrayed Dooku, is sadly dead, but just to hear Darth Maul, Dooku and even General Grievous along with Vader and Snoke would have been a nice touch.

Meanwhile on the Jedi side you apparently had the voices of Qui-Gon Jinn, Obi-Wan both young and old, Mace Windu, Luke Skywalker, Yoda...and then you have a bunch of others who I don’t know because I don’t watch Clone Wars or Rebels so I didn’t recognise any of them.

Future:

Alright so where does the future of this franchise leave us...well we know that Disney+ is currently making waves with The Mandalorian and will soon to be hopefully making more waves with the Cassian Andor and Obi-Wan Kenobi shows, however in terms of movies I am not sure where they go from here.

I do feel the most logical step is to focus on rebuilding during the hiatus and then coming back stronger.

Overall I rate the movie a 5/10, this movie was a complete hot mess. There were no solid great moments and aside from some great lightsaber battles between Reylo as well as some okay space battles towards the end of the movie, but the story was practically non-existence and there was no finality that the end of an era requires.

So that’s my spoiler review for Star Wars: Episode IX - The Rise of Skywalker, what did you guys think? Post your comments and check out more Movie Reviews as well as other posts.

2 notes · View notes

mistahstroke · 6 years ago

Text

Spotted at Grand Central, bags in hand, {LUPITA NYONG’O}. No, that’s a mistake. It’s {ORORO MUNROE}, they are a {CANON CHARACTER} and come from {X-MEN}. They are {THIRTY-FOUR} and I’ve heard they are {EMPOWERING}, as well {REBELLIOUS}. They happen to hold {THEIR} memories. Don’t believe me? See for yourself.

Hi everybody! I’m Mipsy and this is my LIL INTRO about me: I’ve probs been rping for about 10 years now, so I’ve been around the block, and I love writing! I’m 27, I’ll be honest, I just feel old, in the central timezone! I use she/her pronouns, but you can call me ‘dude’ honestly, if you want to, dude. I don’t mind, I use it all the time. I’m nocturnal, so nighttime in the central is the best time to catch me! Despite me slowly becoming a morning person, I LIVE at night! I also really enjoy writing, so much, I like to write a lot, but please don’t be intimated! It’s just how I get my muse going, and a big reason why I joined this group, cause literate. But longer replies require some time, so I’m a little bit slow too, with longer ones. So chill activity works for me. Speaking of chill, I’m chill af, and friendly as a cucumber, is that a thing? It sounded better in my head. Anyway, enough of that, in this house we stan one queen™, and that is Ororo Munroe, aka Storm! She’s first of my six babies, and probably the one I love the most, so she could be considered my main. I’ll finish the others within the next couples days, maybe over the weekend, but If you’d like to plot with any, hmu on IMs! And I’ll do my best to explain their changed lives or kept memories. I have them all worked out in my head pretty much, so plot away! Reminder the others are: Haymitch Abernathy, Jane Volturi, Clint Barton, Mera, and Hank Pym! Did I mention I’m a hoe for dem dc/marvel comic book characters? Let’s PAUSE, I think I said enough, and move onto Storm, shall we?:

Welcome to New York, what is your character’s name?

Ororo Munroe, but many people like to call her Storm. Among other things...

Where have they been pulled from in their fandom?

Ororo is being pulled from various X-men comics, but primarily from STORM (2014) the comic, which I can send any of you the link if you’d like to read it too, all you have to do is ask. It’s basically a stand-alone comic that focuses on Storm and her time as an X-Men, as well as what she does outside of it, as she travels the world (no spoilers). She can be pulled from the end of the comic, since I read all the Issues, so she’s familiar with a number of X-Men and mutants. In this New York, she’s been here for three years now, and she’s become comfortable. Too comfortable for her liking, but she can’t leave, so she continues to do her best with the people here. Ororo retains her memories, and her abilities, so she continues to be a humanitarian to the world, mutant and human-alike, because she shares the same ideals as Charles Xavier: that we all must work together to achieve peace. Anything or anyone that disturbs that, Ororo feels she must challenge (just as she does in the comic).

Do they have a job, and if so what is it?

Storm works as a teacher or, particularly, as Professor Munroe at Xavier’s School for Gifted Youngsters. Because Xavier’s School exist here, it only makes sense to her, to teach here as well.

Is there any other information about your character that members might find helpful?

aiight, so just IN CASE any of ya’ll don’t know who my girl storm is, i’ll give you a lil background on her ( before the comics go all off into different universes and get all confusing )

ororo is a descendant of an ancient royal line of white-haired, blue-eyed sorceresses ( possibly mutants ). it’s the most distinguishable feature about her, other than her eyes turning white. here and here is an example of what she’ll look like in the rpg. tight, right?? she’s a part of the oldest royal family on the face of the earth, at least in her universe. her family’s kingdom lies in africa.

since her mother was a princess, technically, storm should be a princess / queen, she’s royalty basically. her mother, princess n’dare, rebelled against the responsibilities of their title and traditions, feeling the role was forced on her. she instead chose to marry an american photojournalist by the name, david munroe, and moved with him to manhattan. this is where ororo was born.

while she was still an infant, they moved to cairo, egypt. but when she was five, her family was caught in an arab-israeli conflict. a plane crash destroyed their home and killed her parents. ororo was left buried under the rubble, next to her mother’s body. after fighting it, she managed to escape the rubble with nothing but the clothes on her back. the trauma left her with severe claustrophobia.

homeless and orphaned, storm was forced to live on the streets. her childhood, or lack thereof, forced her to grow up fast in order to survive. her maturity now, is thanks to those severe hardships she faced, as a child. though she also learned a trick, to survive.

ororo was taken in by a band of thieves in cairo, who taught her the art of thievery and hand to hand combat, both of which she still uses to this day. thievery more so for picking locks.

she stuck with the gang and thievery life for years, until around twelve when she felt a strong urge to wander south and left cairo. it’s while traveling, ororo accepted a ride from a stranger, a man, who attempts to rape her. ororo kills the man with a knife, but from that moment on, she swears to never take a life again.

that’s the basics of ororo, i can tell ya. she meets charles for a second time ( she’s met him twice, first trying to steal from him ), and the rest is history.

abilities: storm controls the weather, hint her name “storm”. and because she also retains her powers, she can also use them here in this nyc. she can control all different aspects to the weather, even atmospheric forces, but to simplify it: she’s the natural disaster queen™. she can cause all sorts of catastrophes, kill hundreds of thousands of people, all based on her power and emotions, and that’s another thing! her abilities are emotion-based, which is why she tends to detach herself from her stronger emotions in order to protect the people around her / not hurt anyone. but i’m thinking i’d play with the much lesser version of this in the rpg, like it’s raining let’s make it sunshine, so don’t worry guys.

but i’m not lying about this, she literally had to get on the x-jet and leave the planet in order to mourn a dear friend’s death. my poor bby </3

storm has yet to do more than dab into magic. her ancestors used magic, and storm does possess the signature markings of a witch ( her blue eyes and white hair from her mother’s side ) as well as her mutant abilities.

i’d love if we got some more x-men here! or any from xmcu! or the gifted! wolverine, charles, jean, forge ( comics ), callisto ( comics ), hank mccoy, erik, mystique, jubilee, lorna dane, emma frost, yeah! even time-displaced i’ll take! i love me some mutants.

storm: “i go by many names.” haha, naw, well, yeah? ororo has gone by many titles and she’s really not defined by a single one: goddess, queen, professor, windrider, witch, high priestess, and there’s plenty more. but ororo would rather help others, than to be a queen or all powerful.

storm does feel a kind of emphatic connection to not only the weather, but to nature itself. she does care about the environment in a way. it comes from the same connection she feels from the weather.

i will interchangeably call ororo, storm and vice versa, since many of her friends call her storm. although her name is ororo. even ororo has said many people have called her storm ( comics )

okay just hmu on IMs if you’d like to plot!

#🗲‘ﾟ→ introduction. • ororo.#mention of rape tw #dear:intro #i hope i did this right

3 notes · View notes

surflove808 · 7 years ago

Text

All things “queerbait”, “so gay”, cranky shippers, etc ad infinitum. Here’s my long-ass essay on why I think it’s destructive to this show and fandom mentality in general. Part 1 :D

This is going to be sooo long. Because I am sooo fed up with the bullshit I keep seeing on here. So, I am going to break this into 2 parts. Part 1 deals with the show and its FICTIONAL characters. Part 2 will deal with the actual actors involved in making this show. I'm pissed because what could have just been supposition and discussion among fans took a wrong turn somewhere, and turned into a forum for bullying and scandalizing the actors/show. And seeing that even when they try to have a sense of humor about it, or be ingratiating to the fans about it, it always backfires on them....and ultimately, something that should be harmless (a ship) has become a toxic force of nature.

I'm going to give my 2 cents on the most annoyingly common misconceptions that I've seen being used as more can(n)on fodder because if I post and get this reblogged enough, maybe, just maybe... more people can be exposed to a more balanced interpretation.

My problem is not with the possibility of Dean being gay/bi. My problem is not with Dean and Cas possibly exploring a romantic relationship. Not at all. My problem is with the dedicated and rabid group of people that have gone over the top with their harassment on public forums regarding these characters sexuality, and linking it to the real, live human beings that portray them. Both crossing and blurring lines in a very destructive way, on Tumblr, Facebook, Twitter, Youtube, you name it... This show has so many incredible themes and messages regarding friendship, love, loyalty, trust, perseverance and family and THAT'S your takeaway? An unhealthy obsession with Dean's sexual preference??

Dean, by virtue of his looks, charisma and personality, has chemistry with almost EVERYONE. Have you noticed?? The character of Dean is written and portrayed as a naturally charismatic, flirtatious and sensual person. He wholeheartedly dives into anything that he enjoys. Eating, hunting, fucking, drinking. He doesn't seem to really appreciate boundaries or restrictions. So, what's stopping him from exploring his sexuality with men?

As far as I can see, the character of Dean as originally conceptualized and executed brilliantly by his frigging creator, Eric Kripke, was then, as you see him now, many things. But also hetero. He's also accepting, scarred, goofy, resilient, co-dependent, loving, protective, the list goes on and on.

But what he is NOT and has NEVER been written as, is gay or bi. And if you have a problem with that, that’s not a flaw in the program you’re watching. That’s your problem. If he undergoes character development that radically redefines not only how he sees himself, but how the viewer sees him, after 12 years? That's a delicate task that I don't envy the writers having to undertake, considering, the only reason they would do that so late in the game, is because they caved to pressure from the "fandom". And I use quotation marks there because, if you want an iconic character to represent your views? Write them yourself. Create them. But don't try to bully your way into another persons creation. Here's the kicker. Out of 264 episodes that have aired so far, and countless canon instances of Dean being hetero.... here are the handful of examples that certain people have latched onto as gospel:

1. Dean and the Siren, season 4, episode 14, Sex and Violence: I can't tell you how many times I've seen some Jr. detective go "A-HA! Deans siren was a MAN! Therefore, he is GAY!" If you use just a smidge of deductive reasoning and pay attention to the season leading up to this episode, and the description of a siren that was helpfully included in the episode, you could easily and reasonably deduce that because a siren's powers of seduction come from the ability to be ANYTHING to ANYONE and be that persons greatest desire.... that it makes sense for the siren to take the form of a cool, non-judgemental, trustworthy younger brother-type who has the same taste in and love for music that Dean has. Someone he can relate to. A peer.

What do you get the man who can have almost any woman that he wants?

Not a stripper, folks.

And what does Dean really want? At this point, he wants a brother who trusts his experience and instincts. A brother that he can trust. A brother who doesn't feel like a complete stranger. A friend, for fucks sake. It's not implied. It's not a theory. It's literally written and discussed IN THE EPISODE, people. Move on.

2. Dean and Gunnar Lawless, season 11, episode 15, Beyond the Mat: If you know any guys who are into sports or bands, and have never seen them go batshit fanboy over one of their sports or music heroes...then you just haven't spent enough time with them on their turf.

3. Deans "gay thing", season 8, episode 13, Everybody Hates Hitler: If you've never been hit on when you weren't expecting it, especially by someone you weren't expecting it from, I could see why you couldn't comprehend his behavior. If you HAVE, you were probably flustered by it. Probably didn't react as smoothly as you thought you would, amiright? I know I haven’t.

It seemed he was flattered, but didn't know what to do with himself. If he were bi/gay, and attracted to the possibility of a no-strings hookup with a willing and anonymous stranger... a blow-and-go in the mens room, for example... I think Dean could/would have easily pursued it, based on his hit rate thus far. The one area in which he has 100% confidence and zero shame, is sexual conquests. Sam wasn't around. There was nothing holding him back. So, aside from being uncertain of how to extricate himself from an awkward situation, and being flustered, I got nothin’.

4. Dean and Dr. Sexy, season 5, episode 8, Changing Channels: Not much to say here. Dean clearly had a man crush on Dr. Sexy. Would he have boned him if given the chance? Maybe. Maybe not. Ask a guy friend who idolizes Aaron Rogers or Eddie Vedder (for example) if he'd let them stick it in his pooper based on principle alone. Chances are, that guy friend would probably say "Hall pass!" If the situation actually presented itself though? He might just gush over the guy and call it a day. Who knows? WE don't.

5. Dean and Crowley: Again, ask a guy friend if he would share a room and triplets with a buddy if there were no consequences (girlfriend, things getting "weird, etc), and see what he says. The answer may surprise you. Maybe I just know a lot of uninhibited, sexy bastards!

6. Dean and Benny: Brothers in arms who go through intense combat together can and more often than not, DO form close bonds. There was nothing in this friendship that even intimated at these two having any sexual or romantic designs on each other, yet.... people still try to make it work. Bless their hearts.

7. The Big One: Dean and Cas: Dean has had countless opportunities over the years to make a move. And I DO believe he loves Cas, very much. Cas clearly loves and admires Dean. They have been through some serious shit together since day one, that neither Sam nor anyone else can compete with. But some very good advice I heard once, applies here (and this is why the 10-year crush turning into romance in rom-coms is such bullshit): If someone likes you - you WILL know. They will make a move. Or you will. And neither of you will take 10 + years to do it if there are no barriers (significant other). And if a move is made and not reciprocated? It's not because they or you is holding something back. That's just a lie we tell ourselves. SOMEONE is just not interested.

Though I love their dynamic, I'm not a Destiel shipper, but I'm willing to go either way with this one. I will say, I don't by any stretch of the imagination think the writers, actors or directors are 'queerbaiting", though. That's like accusing a crush of leading you on when it was really in your head the whole time. Their chemistry is incredible. But from what I've seen with my eyes, in the actual episodes, his relationship with Cas does not say unrequited love, sexual attraction or romance. However, if I went by the slowed-down, out-of-context gifs that are prevalent on Tumblr, I could see where people get the idea. And because these are two men who love, admire and respect each other and sometimes bicker like an old married couple, I suppose that makes them different than us and our best friends, somehow? This makes me sad, because this is a unique show, in that it deeply explores mens relationships with one another (because they're human beings too), and they just can't do that without a group of immature people giggling behind their backs in the hallways because intimacy is so intimidating that it must be mitigated by making fun of it or spreading nonsensical theories about it. Right?

Small wonder that heteronormative men, as a general rule, have so much social conditioning and shame to wade through when it comes to expressing love and care for their same-sex friends and family. (Yes, men have problems too. Not as many as us, by a long shot. But this is one of them)

You see, menfolk are expected to behave in a manfolk way, and if their behavior isn’t within the traditional and narrowly defined parameters as “hetero male”, they face the perceived stigma that accompanies “coming out”, which involves the very real fears of supposition, persecution, politicizing, backlash, gossip, undermining. etc.

This show has taken many chances. And they’re not afraid to write for and represent LGBTQ characters. But Chuck forbid that emotionally resonant, well-written, vulnerable and emotional male characters exist AND allow them to be straight. Unthinkable! And that snarky, gossipy, “tee-hee” mentality is just what enforces rigid gender roles on men and women in the 1st place. Every post I see that giggles about Cas and Dean being gay for each other because....gifs...just throws us back 50 years. Your words do have meaning, people.

If you want to know what you can do to pave the way for LGBTQ representation in entertainment and the world at large? Take the small step of acknowledging that same sex characters can feel the same range of emotions that you do for your same sex friends. Can have sustained eye contact. Can love one another, and can tenderly care for one another without you sexualizing it, fantasizing about it and policing it. I’m asking you to think about this, because this way of thinking affects everyone. Gay, straight, etc.

Season 1 Sam and Dean: Hetero. Sam in an LTR at beginning, Dean with potential to re-enter his relationship with Cassie.

This show was marketed towards males in the 18-24 demographic, but curiously, more women are interested in these boys and their story. Because they’re allowed to care without judgement. Ahem.

*As seasons go by...* Clearly, judging by the polls and hate mail...neither brother can ever have or sustain a romantic relationship with a woman. EVER again!* And it as been widely acknowledged by the cast and producers that the fans don’t want to see the Winchesters spend too much time with what they deem as a threatening female.

Why do you think Castiel was even allowed to make it this far? Sure, he’s an amazing character. But if it were Anna who dragged Dean from Hell and ultimately stuck around? Yeah, no. That was never gonna happen.

Basically, these fuckers can’t win. If they’re hetero and stay hetero, that’s a bad thing. If their characters do a 180 to please the most vocal (unfortunately) fans - then they’re caving in to pressure.

Either way, I think it's safe to say, us fans are ultimately invested (I hope) in these characters achieving happiness, wherever they find it. And personally, I'll be happy either way. But seeing this hyperbolic, over the top bullshit online that this crew are queerbaiting, etc...and that "If Destiel isn't made canon, I'm gonna do X,Y,Z..." is disgusting to me.

The musings, wishful thinking and conspiracy theories are one thing. And that's perfectly fine. I’ve got nothin but love for fanficiton writers! But drawing parallels and conclusions from some of the flimsiest crumbs available, and using that limited intel to cajole, threaten, bash and attempt to shame the actors, the crew, and the producers who work their asses off to bring us this amazing show, is pretty fucking shitty in my opinion.

These aren't public servants, guys. We're not paying them to make this show. If you want to know how a show on the CW gets funded and made - google it. If you want to know how much of a time crunch/pressure cooker situation the writers are working in, not to mention the entire team in order to produce 23 episodes per season....again, google it. And then tell me how they're able to not only craft compelling episodes and cram so much storyline, exposition, dialogue, character development, arc support, scheduling, casting, art direction, stunt coordination, set design, etc ad infinitum into each and every week, and STILL have time to drop easter eggs, and "queerbait"....

Just. To. Fuck. With. You. And undermine LGBTQ efforts at representation? They are very kind and loyal to their fans. And we DON'T OWN THEM. If you don't like what you're seeing, don't watch. But for fucks sake - do the fandom and yourselves a favor and direct your crusade towards ACTUAL threats to LBGTQ freedoms and rights.

Here's a list of places to lend support (to name a few): Family Equality Council Human Rights Campaign GLAD PFLAG Transgender Law Center Your local congressman, FFS

Rant over. If you made it this far, thank you. I owe you a fruit basket! And feel free to engage, put me on blast if you want. Let's have a discussion. But if you agree with me at all, please reblog this.... just to give some folks another point of view.

Blanket statement for those who are offended and have already called me an “asshole”, etc on their own tags:

1. This is NOT by any stretch of the imagination an anti-shipper or anti-Destiel post. I clearly stated that I don't have a problem with either. And if it happened organically in the show, as opposed to under pressure? More power to them. And I do adore Castiel.

2. This is NOT an anti-LGBTQ post. Again, clearly stated throughout the post.

3. This is NOT and never was anti-headcanon post. We all have headcanons to some degree. And If anyone wants to step up and tell me not to support an organization that's doing good work, just because I sunk their battleship... they can suck it. I also belong to some of these organizations, and I'm pretty sure they're not as invested in your headcanon as you are. And thejabberwock, I still admire your insights and posts, but am bummed that you missed the damn point of mine entirely. Per your request, I have removed your association from the original post.

4. This IS an anti-harassment post, directed at individuals who have taken this ship so far, that they've tainted the word and the concept for almost everyone else with their shitty, pushy behavior. If this describes you? I'm happy to have offended you.

5. This IS an anti-ignorance post, directed at individuals who are presented with facts and reliable data from the writers, the actors and the episodes themselves, yet refuse to acknowledge anything out of their own headcanon. Who insist on "knowing the truth" and using that arrogance to try to *Out* the characters, *Out* the actors and use threats and insults towards anyone who disagrees. If you thought I was talking to you directly, after reading that? I probably was.

6. This IS an anti-misinformation campaign post aimed at clearing up some common misconceptions.

Lastly, reading comprehension is really crucial here. I know it was a lot to read, I apologize for that. But if you're skimming through and picking and choosing something to be offended over, and continuing to feel personally persecuted regardless of whether or not that's the reality... rather than reading and understanding the entire message? Well, there's nothing more I can say or do.

#destiel #dean winchester #Sam Winchester #castiel #crowley #supernatural #spnfamily #spnfandom #Jensen Ackles #Misha Collins #fedthefuckup #queerbaiting #fuckingwafflehouseidontcare #wafflehouse?#cockles #imcomingforyounext

214 notes · View notes