#as he also functions as a parallel to Sam's journey with his powers

[shallowrambles]

A bad Dean, "Abbadon."

So after seeing how closely some of Henry's and Cas's words line up, in some cases almost word-for-word…

I've been thinking a lot about the spectre of Josie Sands...and the initial shadow self to Josie: the OG knight of Hell, Abaddon.

Abbadon seized on Josie's sacrificial sense of love to defeat enemies and secure her position in Hell, the way Crowley will seize on Dean's self-sacrifice for his fam and loved ones to secure his Hell position.

And idk, it's just so interesting as a lead-in to how I think of Dean's next arc, which is a reversal of power. Cas gets to get the idealized role of Dean, reading ppl and taking care: talking almost like a thematic narrator at times, a mouthpiece for "killing of innocents" and "not becoming a monster", a de facto “wife” with (clown college?) Colette (Colt?) treatment. Sam gets to do the ballad of the Campbell "my-way-of-the-highway," taking extremes to keep his family safe.

When Dean moves to the Cain parallel and enters his full-on reversal arc, Charlie gets killed, and it's "Sam's fault," the way that Kevin getting killed was "Dean's fault." It's notably reversed. (Albeit in a Sam fashion, with more, uh, "Sam-typical" strategies.)

////

Anyway, back to Dean and the mark. After knocking out Crowley's enemy, Dean will continue on a failed crusade to save Cas from his enemy, Metatron. The implication is that defeating Metatron will get the angels home, and maybe even release Cas from his work obligations. Obligations which Dean has been, once more, struggling with.

///

Anyway. Abaddon could indeed be a "shadow" Josie, a stand-in for her worst self: her darkest, deepest jealousy. Josie is actually a lot like Hannah. She's a figure that is "more like Henry." She's in Henry's social class, higher ranking, "more equal" and "closer to him" through work.

Josie is committed to the cause (like Cas's lieutenant Rachel was), and she entices the Henry away from Millie and John, the way Hannah takes Cas away from his human family.

I mean, there's also this whole line running through SPN that we need work and work gives us purpose, but it can spiral into meaninglessness when it takes us away from our loved ones. (Hunting functions the same way. Live to work; work to live etc etc.)

Anyway, BOTH Josie and Hannah try to renew his loyalties to career and underline to him how important his work is:

//

Back in season 9, Dean is weird at the sight of Hannah, and Sam shoots Dean a weird side-eye for it. Feeling like an outsider, and bristling at seeing the work that "takes Cas away from them," at being in Cas's "frat bro world" again, Dean immediately jumps to trying to show off his and Sam's skills.

///

SPNwin Millie and Ada.

Seems like women who worked with Henry were a fear of Millie's. After giving (misplaced, presumptive) "parenting advice" to Millie (hi, that's so Sam-coded for her to be a know-it-all here!), Ada puts her whole foot in her mouth, and Millie's back straightens up SO FAST.

But Ada clocks Millie's defensiveness, so underlines that she and Henry just worked together:

Ada is herself a parent, but she was so gloriously annoying in this scene at first. I'm with Millie on Ada's stock advice of John needing more time, more space--that he'd be fine:

"Wow you learn all that from one week on the road with my son?"

Ada recovers with some grace, giving Millie the address where John's staying for her peace of mind, and Millie thanks her for that.

Like the protective jasmine, Millie still loves Henry, so Ada coming out of the gate so ham-fisted was pretty ill-chosen, haha! Poor dear.

Millie's journey will be accepting that Henry made his mistakes (Ada says of Henry in this very convo: "He had his secrets. He made his mistakes." BUT Henry was always motivated by love and wanting to protect them, and Millie makes her peace with that.

The same way Dean makes his peace with Cas wanting to protect him in The Trap in taking on the Mark and in Despair with, "She's gonna kill you, and then she's gonna kill me." There's some tacit acceptance for HOW Cas operates in the last season.

Societal expectations of protection are in the mix. But also fear.

[samclownchester]

Supernatural Rewatch 04x04

Metamorphosis

(Next Episode | Masterlist | Previous Episode) 

Alright, we’re gonna look at this episode from two different perspectives:

1. Dean’s role as an older brother throughout the episode

Dean is in an extremely emotionally vulnerable place at the beginning of the episode, he just met his parents as young adults before they were destroyed but monsters, he watched his grandparents die, he saw his father dead and brought back to life by a demon who he knows is the one who will kill his mother. He was already filled with emotions, then Cas shows him that Sam has been lying to him and doing things that look unnatural with a demon Dean already doesn’t trust.

So, he’s emotionally vulnerable. And what does Dean do when he’s emotionally vulnerable? (say it with me class) that’s right, he responds with cruelty. He is so overwhelmed already, and he’s scared, Sam’s powers have always freaked him out, although he tried to hide it at first, and he’s worried, and he feels betrayed, so he lashes out. He says things rashly, he cuts Sam where he knows it’ll hurt.

DEAN Slippery slope, brother. Just wait and see. Because it's gonna get darker and darker, and God knows where it ends.… If I didn't you know... I would wanna hunt you.… tell me. If it's so terrific... then why'd you lie about it to me? Why did an angel tell me to stop you? … Cas said that if I don't stop you, he will. See what that means, Sam? That means that God doesn't want you doing this. So, are you just gonna stand there and tell me everything is all good?

And he succeeds, he hurts Sam because he feels hurt. Honestly, I think that this is less about what Sam is doing and more about the fact that he kept it a secret from Dean. I’ve talked before about how Dean rarely lies to the people who are important to him, and although both brothers have kept secrets from each other before, it was never about something this big, or this scary. John was the one who kept secrets, but Dean always knew that he and Sam would have each other’s backs. So, to find out that his brother had been lying cut him really deeply.

However, throughout the episode there are little moments where it feels like Dean is trying … to apologize, in a way? Trying to act like their just good brothers who didn’t have a hurtful argument just a few hours before: Some examples

Playful teasing like he normally does

TRAVIS You still a.. oh, what was it... a mathlete? SAM No. DEAN Yep, sure is.

When Travis is offended that Sam felt the need to do further research and not just trust Travis’s experience (it’s more teasing but he’s also trying to protect Sam from having to defend himself to Travis).

DEAN Sam loves research. He does.

Also, when Sam says he doesn’t want to talk Dean tries to playfully tease him again

SAM Look, if it's all the same... I'd really rather not talk about it. DEAN Wait a minute. What? You don't want to talk? You?

And I think there’s a few more instances like that, with subtle little signs of affection that show that Dean is trying to get things back to normal with Sam, although Sam reacts to all of these a little stiffly, because he’s not ready for things to be back to normal.

(Also, and this continues throughout the season, all of these instances are Dean remembering Sam as his nerdy little brother, poking fun at things that he sees as Sam’s defining attributes, but Sam isn’t the nerdy, emotional kid that Dean wants him to be. He’s tired, with harder edges and he doesn’t really want to be seen as the mathlete, research loving, emotional little brother. So, Dean’s attempts at brotherly bonding fall flat.)

But, he’s also a little passive aggressive:

SAM I should have told you. I'm sorry. DEAN You've been saying that a lot lately, Sam. But whatever. You don't want to tell me, you don't have to. It's fine.

…

TRAVIS John would have been damn proud of you. Sticking together like this. DEAN Yeah. Yeah, we're as thick as thieves. Nothing more important than family.

Then, because Dean’s not an idiot and he knows his brother and he can see the parallels to 01x14 as clearly as we can, he tries to bring it up. This is actually pretty big, because we know that Dean is not big on talking about feelings, so the fact that he is the one trying to open up a conversation about this stuff shows that he really does care about how Sam is feeling. I think he’s aware that he made a pretty deep cut at the beginning of the episode and he really is trying to fix it the best way he can (he just sucks at it). Which brings a heartbreaking monologue from Sam that we’ll discuss in a moment.

And then, to Dean’s credit, he tries it Sam’s way, much like he did in 01x14 and 02x03, despite his belief that they should shoot first and ask questions later, he stands down, tries to talk it out with Jack first. This, to me, was the biggest sign that Dean didn’t mean what he had said at the beginning of the episode. Because if he had lost trust in Sam, if he truly believed that Sam deserved to be hunted, he would not have even tried to have this conversation with Jack.

And I think he understands what it means to Sam that they failed, that Jack gave in to his impulses and that Travis died (largely because they didn’t take the preventative measure that Travis suggested). Dean knows that Sam is seeing this all as a metaphor and he sees how much it hurts him. 

2. Now, Sam’s emotional journey throughout the episode:

At the beginning, with Ruby, he seems to be happy and proud of himself. He didn’t get a headache this time! They saved the vessel! Everything is going well. Until Dean ruins everything with his controlling, paranoid, attitude.

SAM I'm pulling demons out of innocent people. DEAN Use the knife! SAM The knife kills the victim! What I do, most of them survive! Look, I've saved more people in the last five months than we save in a year. DEAN That what Ruby want you to think? Huh? Kind of like the way she tricked you into using your powers? Slippery slope, brother. Just wait and see. Because it's gonna get darker and darker, and God knows where it ends. SAM I'm not gonna let it go too far.

And this is one of the things I really hate because Dean proves to be right, in the end, even though he’s the one acting irrational and jumping to conclusions, while Sam has some really good points! But it’s whatever…

And then Dean says something that shakes Sam to his core.

DEAN If I didn't you know... I would wanna hunt you.

If it's so terrific … Why did an angel tell me to stop you? … Cas said that if I don't stop you, he will. See what that means, Sam? That means that God doesn't want you doing this. So, are you just gonna stand there and tell me everything is all good?

This feels especially cruel coming from Dean, who’s never even believed in God, who insults every angel he meets. He has no reverence for heaven or their plan, so he only brings it up knowing that Sam has faith in God. Knowing that it will mean something to him, and scare him into stopping.

So, now Dean has effectively called Sam both a monster and a sinner (without using the exact words but that’s what he said) and the two of them have to shove that aside, not deal with it, and go hunt a man who has monster genetics and works as a perfect metaphor for what Sam is going through.

(I see you Chuck, and I hate you)

Sam sees himself in Jack, yes, but he also has an intrinsic belief that people are basically good. That, given the choice, people will choose to be kind and decent, and not give in to their evil nature. I like to think that, even if he hadn’t been struggling with his own “monster” nature, he would have fought to give Jack a chance.

However, Dean pokes at the problem and Sam explodes

SAM Stop the car or I will! … You want to know why I've been lying to you, Dean? Because of crap like this. … The way you talk to me, the way you look at me like I'm a freak … You know, or even worse, like I'm an idiot! Like I don't know the difference between right and wrong! DEAN Do you know the difference, Sam? I mean, you've been kind of strolling a dark road lately. SAM You have no idea what I'm going through. None. DEAN Then enlighten me! SAM I've got demon blood in me, Dean! This disease pumping through my veins, and I can't ever rip it out or scrub it clean! I'm a whole new level of freak! And I'm just trying to take this - this curse... and make something good out of it. Because I have to.

(Every time that Sam yells I find it very therapeutic. Like YAASS QUEEN tell them how it is!)

We haven’t really heard the word freak for a while. It was a recurring theme throughout the first 2 seasons, but it was mostly dropped in season 3. Here it is again, twice, reminding us that Sam’s always been afraid of being a freak, of being different.

At the end of the episode, Dean finally, actually says the words “I’m sorry” (I haven’t checked but I bet you could count on 2 hands the number of times Dean says those words throughout the entire series). But Sam doesn’t want to have a heart to heart about it.

DEAN Sam, I wanna tell you I'm sorry. I've been kind of hard on you lately. SAM Don't worry about it, Dean. DEAN It's just that your, uh, your psychic thing, it scares the crap out of me. SAM Look, if it's all the same... I'd really rather not talk about it. … There's nothing more to say. I can't keep explaining myself to you. I can't make you understand … Because this thing, this blood, it's not in you the way it's in me. It's just something I got to deal with. DEAN Not alone.

And exactly when Dean says “not alone” the camera cuts to a shot of Sam looking out the window, staring at his own reflection, showing us that, despite what Dean is saying, Sam really is alone in this.

But ... the events of the day have been enough to convince him not to use his powers. After all, if Jack couldn’t fight off his monstrous nature, who’s to say that Sam can?

[bereft-of-frogs]

so this last gifset has got me thinking about the Loki series and its relation to other Marvel films, and this sort of feeds into the debate around costuming and whether or not he should have gotten a bit dramatic costume change. I know people have been getting heated that Loki stays in the same TVA costume throughout the series, but I don’t think the dramatic costume change actually would have fit in the series and I don’t think it would have satisfied audiences.

Because the climax of Loki isn’t like Wandavision, or Falcon & Winter Soldier or Ragnarok: it is Captain America: The First Avenger.

Stick with me here for a minute.

First off, I don’t think a big costume change into a cool new outfit would have actually fit into the series. The costume changes in the other MCU films come at a moment of transformation, largely about accepting something about themselves. It’s a visual representation of the internal character journey. Sam reckons with the complicated history of the United States and the supersoldier program, and becomes Captain America despite the struggles he’s sure to face. Thor gets his literal glow up (slightly less a costume change) when he learns that he didn’t need his hammer to unlock the power within him. Valkyrie gets her old costume when she stops running from her past and her trauma. Wanda gets her new outfit in the finale when she accepts that she has the power and responsibility to control her magic and not be controlled by it.

The climax that Loki builds towards is also one of self-acceptance, but in a much more subtle way. He doesn’t have to accept the weight of his power or responsibility; as the first episode shows, he’s already aware that the things he says about other people are really weapons he’s wielding against himself. Through the series, he works to accept that those attitudes have been a limiting factor, keeping him trapped in the role that (Kang) has cast him in and that he desires to move on from that role, and change the way he thinks about others, and then by extension himself. The final stage of that takes place during his and Sylvie’s confrontation in Kang’s creepy (cool) castle beyond the end of the timeline.

And a costume change at that moment...yeah would have been really distracting.

Which I think is the point of that quote from the costume designer, that seems to have sparked some of the discourse - about not letting a costume ‘distract’. But it’s true. Honestly, any appropriate thematic moment would be undermined if it were accompanied by a big flashy costume change. The stages of the character journey happen gradually, and every moment I can think of where Loki undergoes a part of that internal transformation (watching the reel of the end of his life, connecting with Sylvie on Lamentis, admitting why he cut Sif’s hair, etc...), would have been made significantly weakly by interrupting the performance to change costumes. It would be a big tonal shift as well. Both Wandavision and The Falcon and the Winter Soldier were much more classical superhero/MCU movies (outside of WV’s internal sitcom). This was much more...weird (in a fun way). It would have been a big tonal shift, imo, to shift from the quieter, stranger mood that Loki was aiming for to have suddenly a more traditional superhero/magical girl transformation moment.

I think the only place a costume change would made any sense would have been when they were about to fight Alioth and at that point...I don’t know, it would have felt a little superfluous. Like it would have been a purely aesthetic change, which, y’all know me, I’m all about aesthetics for aesthetics’ sake lol, but I can also understand why they decided to keep everyone in the same costumes. (No one changes costumes in the series. The only thing is Sylvie loses her cape....wait, and Loki loses his jacket, and....ohhhh.) Like I guess it could have been a bit more like Captain Marvel, when it’s in the quiet of pre-battle but Captain Marvel also had a thematic reason for changing the colors of her suit (to break away from Kree influence now that she’s remembered and accepted her past and her true identity). Like, it’s possible it could have been fit in there, but it certainly wasn’t essential for the theme or the character development.

And I think they may have wanted to keep him in the TVA costume to set up the ending, as we see in this parallels between the ending of Loki and the ending of The First Avenger.

And ok, I might be going out on a limb here, getting on the tinfoil hat, but so much else of this show has been so intentional that I can’t help think this parallel might have been on purpose. The series and the movie end with their characters in a moment where they’ve lost something profound, in a perilous new world. Steve gets a couple costume changes in his first film, but they’re a little more gradual as the Captain America costume becomes more functional and less about the spectacle. (That’s also more about how others perceive Steve and his symbolic vs functional value as Captain America.) And they’re not part of the emotional climax, which is centered around his final sacrifice and then his waking up in that new world, which sets up his character journey through the rest of the series of films, as a man out of time, trying to find his place. (Cap does get the thematic costume change, but in Winter Soldier, when he returns to his symbolic roots after breaking free from SHIELD/HYDRA.) In the final scene, which is the most important for his character arc going forward, he’s in his SHIELD-assigned pajamas. Drab, sort of boring, in a similar muted color scheme to the TVA costumes. Which is also where we find him in Avengers. And...where Loki is left at the end of the series, in a similar color scheme, similar ordinary costume, out of place, in a frightening new world with strangers, and a cosmic threat beyond imagining.

Anyway. I hope this makes sense. I feel a little like I’m wearing a tinfoil hat, and I definitely had to under-develop or quickly summarize some of the supporting points to avoid turning this into a really long post, but...

it’s almost like Loki is being set up to be the ‘man out of time’ in Phase 4.

[tldr: I actually do think that a costume change would have been distracting at any of the appropriate thematic points, and I think they might have been purposefully keeping Loki in the TVA costume to set up a parallel between the ending of the series and the ending of Captain America: The First Avenger, making Loki the new ‘man out of time’ in Phase 4 of the MCU.]

[deans-haunted-baby]

Curious. What do you mean by Dust till Dawn going against it's Characters? I know I have my own feelings, or confusion, with how they left Kate's story.

From Dusk Till Dawn effectively character assassinated every single character in the very last episode including Kate Fuller. No one is acting like themselves in that series finale it's like some deranged fanfic writer came aboard and hijacked the show while no one was looking. If you thought 15x18 & 15x19 of Supernatural were bad and believe me they really are; those episodes are minorly salvageable against the slaughterhouse that Dusk 3x10 was. It utterly contradicts and ignores everything the show put forward in all 3 seasons. I will never watch that episode again.

I'll first explain what that piece of shit did to the show's lead protagonists, the Gecko brothers. Regardless of how you or anyone else feels about Supernatural's series finale; that show was a saint to Sam and Dean's storyline beginning to end compared to how From Dusk Till Dawn definitively butchered Richie and Seth. I'm sad saying this because Zane Holtz and DJ Controna are outstanding as these characters. I freaking love their chemistry man, it's a great rival to J2! They're the badass dark clones of the Winchesters.  Their arc starts out fascinatingly complex because they went from cold-blooded criminals/bad guys and meanwhile during their escape over the Mexican border with this hostage family the audience is told pretty quick by Professor Aiden Tanner that the Geckos are destined to become these foresworn warriors The Mayan Hero Twins in an ancient prophecy (based on real Mesoamerican lore) who battle the Underworld. So right away the show is telling us ahead where Seth and Richie are suppose to end up in their journey and when you introduce a storyline this big I expect a satisfying payoff.

At the end of season 1, Richie Gecko is *SPOILER ALERT* transformed into a culebra (snake-vampire) while Seth Gecko remains human symbolizing their night and day Hero Twin counterparts from the legend. And they're separated in the first half of season 2 where both try to navigate this new supernatural world they've stumbled on individually. What they find, no different than the Winchesters, is that neither can function properly without the other making their destiny all the more valid. That season is practically constructed like their swan song to the criminal lifestyle since the brothers are meant to become more than crooks; and since Richie's a vampire they can't ever go back to basics. Their adopted father aka uncle Eddie actually says the line "this is my swan song" in 2x07 to Seth and Richie in reference to their final heist together which is not a coincidence. That's the writers telling us that the Gecko Brothers' role in the show is going to shift from anti-heroes to heroes very soon. Eddie and Kate Fuller's fates in S2 act as the primary catalysts for this transition taking shape in the finale.

Going into season 3 it's business as usual for the boys until the prophecy of the twins officially rips a hole in the damn universe via demon queen Amaru. Who's now possessing Kate. Throughout that season Seth and Richie embark on a journey of heroism; find themselves battling monsters, actually saving civilians and dealing with their own personal demons (guilt and remorse over past sins). That year is presented as their redemption arc and final phase into their new role. No one ever tells them about their destiny (despite most of the other characters knowing) but we as the audience are already aware as we watch the brothers in action. The best episode is without a doubt 3x06 the crown jewel of From Dusk Till Dawn because it's about overcoming the darkness inside. And who best represents that than Richie; the show's most important central character whom began the series as a deadly clairvoyant criminal into the tortured vampire hero struggling with his own humanity. Now I won't spoil the whole episode for anyone who hasn't seen it or the show in general but it's an incredible moment of character development for both the Gecko brothers. Not only does it cement their powerful bond it's the episode that defines who these two are once and for all. The ones who lead the battle between good and evil; keep the balance of light and darkness. One day I plan to do an entire analysis of that episode because it's so fucking brilliant and shot so incredibly eerie at the same time 😁

You want to know what 3x10 does to these characters? It shits all over their entire storyline and pisses away THREE FUCKING SEASONS of character development. Just flushes it all down the toilet rendering everything they've ever done up to that point completely pointless! Their destiny which is the WHOLE POINT OF THE SHOW is suddenly dropped last minute and the Geckos hit reset on their former criminal escapades; dragging Kate along with them. I hate that finale with the fire of a thousand suns for what it does to Richie and Seth 😡

Moving on to Carlos Madrigal. He is the best villain character in the history of show villains hands down. I can actually say that without blinking. Wilmer Valderama is phenomenal, he steals the show as Carlos. He's is so freaking awesome, evil and badass! I just want to keep seeing this man tear things apart while being the sexy asshole he is 😈For all intents and purposes I don't want to spoil his whole storyline on the show for those following me in case they're interested. But what I will say is 3x10 destroys this character; so don't watch it if you want to keep the memory of who he was alive. I'm actually depressed over what was done to him as much as I feel sorry for Wilmer having to perform that shitty script. It's laughable in a very bad way. Gotta hand it to the writers and showrunners of FDTD they certainly knew how to humiliate their best characters in this series. Carlos basically goes from charismatic yet lethal Hannibal Lecter to a very captain obvious Gandolf caricature. Yah you heard that right, it's really fucking sad.

Next we have Freddie Gonzalez; the audience's avatar into the series. This character is connected to everyone on the show for a reason because of the crucial part he plays in this universe. The "Peacekeeper" destined to police the line between the supernatural world from the human world. In the beginning he's a Texas deputy on a quest to avenge the murder of his father figure/partner Earl McGraw via the Gecko Brothers. But once he steps in that territory of monsters there's no going back. And FDTD repeatedly tells him and the audience this in the first 2 seasons. But then 3x10 pulls the ultimate fuckery by giving him the most cliched, nonsensical hallmark ending effectively cancelling out his entire purpose in the series. He instantly forgets that he ever cared about Kate, watching her bleed out on the ground, then leaves the Geckos high and dry rushing his family (who isn't injured) to the hospital. And he stays there while the battle continues 😣

Kate and Scott Fuller OMG words cannot describe my anger over what was done to them so I'll make it fast. I'll begin with Kate the bright light and heart of the series. Her arc in the first two seasons is excellent. It's emotionally driven because she begins as an ordinary girl in broken yet seemingly-happy family to a young woman finding her way around the supernatural world maintaining her faith and moral compos while trying to help her brother after he's *SPOILER ALERT* been turned into a vampire; paralleling the Geckos's situation. Scott being only a 16 year old kid, like Richie, struggles immensely after his transformation; searching for meaning as a cursed individual and coping with his duality. He was already different to begin with so being a vampire adds some interesting layers to his character.

Btw Kate plays a vital role in Richie and Seth's lives, though in my opinion is more strongly connected to Richie. The show even goes as far as developing the early glimpses of a romantic arc between Kate and Richie (seeing as they kiss twice) with angst at the end of season 2 that is never resolved. You want to know why it wasn't? Not only does season 3 mute Kate's voice and agency but 3x10 ruins her character and demolishes her whole arc with Richie (who spent all of season 3 trying to save her) at the last second due to fan pressure of those who shipped her with Seth. They don't exchange one word nor barely look at one another it's like seasons 1&2 never happened. This is the biggest fuck you to fans of these characters I've ever witnessed in a series and they did my boys Adam and Michael so dirty in Supernatural. Poor Scott whom the show enjoyed kicking around all season barely gets a thing to do in that series finale either than listening to his sister and Seth gab about prom lol. Yah you heard me I'm not making this shit up I swear. Then he gets abandoned by Kate while she goes off to be a bank robber with the character assassinated versions of Seth and Richie. How extraordinary 😖

Santanico Pandemonium is really the only character in the series who manages to get out unscathed. HOWEVER her arc is handled very poorly beginning to end. They set up an arc between her and Seth that also goes absolutely nowhere. Give her zero closure with Richie whom she sired, dated and used in S2. And randomly throw her in a scene with Kate that makes no fucking sense after these two had nothing to do with one another all series. On top of that Santanico is barely in season 3 so by the time the show wraps her arc feels incomplete.

Other characters go missing that no one notices, the new bad guy whom they've set up at the end is just left hanging. And Richie Gecko, you know the show’s other lead, is horribly sidelined after 3x06 to make way for the Seth Gecko solo show. When I say FDTD series finale is bad I mean it's really fucking terrible and blasphemous.

[mittensmorgul]

I’m rewatching 13.15, A Most Holy Man, right now, and... and I remember when it first aired. The reaction was largely “meh,” or “the noir format doesn’t really do it for me and the episode was kinda boring overall.” It’s possibly the s13 episode I have the least amount of posts for on my blog. It was largely skimmed over as mostly irrelevant, with the only takeaway being:

A. They got the macguffin they needed to progress the A plot by the end of the episode

and

2. They really should’ve cut that scene of Dean going on about how he’d kill everyone who tried to steal his car...

But... this was a Dabb episode. I wrote this post back in May, but I think it merits an additional look now:

https://mittensmorgul.tumblr.com/post/184946657745/so-im-still-out-ahead-of-the-tnt-loop-but-i

Because this single episode functions as a microcosm of their entire lives, at least thematically, if not in a 1:1 fashion. I mean, it is just a 42 minute episode. There were only so many twists and layers they could reasonably shove in, and the Rule Of Three is a convenient metric for demonstrating the pattern in narrative shorthand that invites us to consider the unspoken “etc. etc. ad nauseum” ourselves.

I’d go into the entire structure of the episode, but I’m hoping that just explaining the outcome-- after reading the post I linked above-- everyone will be able to see the parallel itself without me having to write 5k words on the subject today. :P

Let’s start with the exchange at the end of the episode that prompted this realization. Because it’s a bit of chicanery:

FATHER LUCCA: I think I got shot. [DEAN lifts up FATHER LUCCA’s shirt to see only a little blood.] DEAN: Looks like he just grazed you. A few more inches to the left and, uh... FATHER LUCCA: It’s a miracle. [SAM and DEAN, with FATHER LUCCA behind them, search the warehouse and find GREENSTREET still hiding.] GREENSTREET: I didn’t know this would happen. I… I’ll give you anything you want, huh? DEAN: The blood, where is it? GREENSTREET: It, uh… doesn’t exist. SAM: You… what? Wait a second. You told us– GREENSTREET: Exactly what you wanted to hear. It was just a bit of… DEAN: Chicanery? GREENSTREET: Exactly. DEAN: Well… chicane this. [DEAN punches GREENSTREET to the ground.] ACT FIVE EXTERIOR – WAREHOUSE – NIGHT [There are police cars outside the warehouse. A policeman leads GREENSTREET to a car and sits him inside.] GREENSTREET: No, no, no, no. Wait. Don’t – you – you – you’ve made a mistake.

For a refresher, Greenstreet was the author of this entire bit of chicanery. For a while, it appeared as if it was actually each of the other people involved:

Margaret Astor, the first person we meet, and also the one APPARENTLY holding all the cards when they walk into the final deal, who ends up backstabbed (well shot in the back anyway, close enough) by her own assistant

she sent them to Greenstreet, who introduced the term “chicanery” to the narrative, which I’m gonna focus on next, because despite all his plotting, his narrative didn’t end the way he wanted (he’s getting hauled off to jail, but heck, at least he didn’t end up dead like most of the rest of these conspirators...)

Greenstreet sent them to Scarpatti, with the partially true information that he’d been the one to have the artifact stolen in the first place, only to learn that it had been stolen from his man in turn...

(and remember, the skull isn’t actually what Sam and Dean need... it’s the currency they believed they needed in order to trade for what they DO actually need... it’s a bit of a chicane... which I’ll get to... sorry for this meandering on the way to the conclusion, but this little side journey is 100% relevant... you’ll see what I mean in a minute)

While investigating Scarpatti’s side-detour, they end up having to investigate a murder, and inadvertently stumble over Father Lucca Camilleri... but Sam and Dean have no idea that they’re now traveling through this episode with the thing THEY actually need. But rather than just... take what they need because that fact hasn’t been revealed to them yet, or even continue to pursue the currency they believe they need to trade for the elusive thing they need, they selflessly choose to do the morally right thing despite believing that in doing so they are forfeiting their chance to get the macguffin they need.

Ain’t it just Winchesters vs The Cosmos on a microscopic level?

Because one thing I’ve learned about Dabb as showrunner is that his absolute favorite thing is gleefully pointing back at canon and explicitly clarifying things. It’s not always obvious, he tends to be incredibly subtle, but if you’re looking for it, it’s impossible not to see in pretty much all of his writing. He LOVES messing with prior perception, and making us work for the satisfying moment where all the pieces fall into place.

Chicanery and the chicane. THAT ITSELF IS A CLARIFICATION. From vague to specific. Because “a chicane” is a very different thing than “chicanery.” And it’s all a bit of a winding deception.

For reference, the definitions of these two very different words:

chi·can·er·y /SHəˈkān(ə)rē/ noun, the use of trickery to achieve a political, financial, or legal purpose. "an underhanded person who schemes corruption and political chicanery behind closed doors" synonyms: trickery, deception, deceit, deceitfulness, duplicity, dishonesty, unscrupulousness, underhandedness, subterfuge, fraud, fraudulence, legerdemain, sophistry, sharp practice, skulduggery, swindling, cheating, duping, hoodwinking

and

chicane (/ʃɪˈkeɪn/) noun, a serpentine curve in a road, added by design rather than dictated by geography. Chicanes add extra turns and are used both in motor racing and on roads and streets to slow traffic for safety.

What the definition of “chicane” doesn’t provide is that in auto racing, a chicane isn’t seen as a “safety” measure, but an obstacle. If you’ve ever watched road racing, the chicane is where a lot of drivers wipe out. It’s a choke point where everyone HAS to slow down, but when you’re RACING each other, the objective is to remain out in front, you know? Jockeying for position, trying to get through the obstacle as quickly as possible to get back to direct racing toward the finish line. So while a chicane literally slows the racing by design, forcing drivers to adapt to the physical reality of safely navigate through the pinch point while not wrecking themselves, they need to maintain absolute focus to retain their position, as well. It’s not about slowing down for safety but about finding the balance point between “safely navigating through without wrecking myself or being wrecked by the other cars trying to achieve the same objective I am” and “but we’re still racing and I can’t let anyone pass me so I’m still gonna push it as fast as I can while still conforming to the laws of known physics.” It’s... difficult.

THREE TIMES in this episode, they use the word “chicanery” before Dean clarifies it to “chicane.” For reference, out of the other 306 episodes of this show that exist at the time of writing this post, they’ve used “chicanery” a grand total of ZERO other times. Seems significant, yes?

In the same way the show has frequently used Wizard Of Oz imagery to convey these same points, with the reminder in the end of the “you had the power inside you all along” sort of themes, this episode takes it one step further. Which... logical considering the nature of the spiral narrative, that when it comes around again, the circumstances aren’t exactly the same. Think of it in terms of that racetrack with the chicane.

In the case of the plot of this episode, a similar comparison can be drawn to The DaVinci Code, since through most of the wild goose chase running through all the games and puzzles, the guy is literally traveling with the object he seeks. It just doesn’t become obvious, like with Dorothy and her Ruby Slippers, until they’ve worked their way through all the puzzles and subterfuge along the way. As Dean says in Scoobynatural when Sam points out that if he knows how the episode ends, why don’t they just get to the point already, and Dean replies “Because sometimes it’s about the journey.” Rather intuitive meta observation about the point of the narrative structure, yes?

Back to our road race analogy now, after passing through the chicane chicane. Every lap, the drivers are driving through the same essential course. The shape of the road doesn’t change in the most fundamental way. The same parts are still paved, the walls around the edges don’t move, etc. But each time they drive around, other conditions vary. Their tires wear down so their traction changes. Heck, the drivers themselves are wearing out physically and mentally. Maybe a dude’s just thirsty or has an itch on his nose or just has to pee real bad. Maybe the wind speed or direction has changed. Maybe the sun has moved so different turns become more tricky with a glare in their eyes. Their engines are slowly shifting as wear and tear of operating at a high performance level alters performance. Their brakes might be wearing down. They may be in need of more fuel and are driving more conservatively, or may have just gotten new fuel or new tires or made some other alteration to their car that shifts not only their ability to go faster, but changes how they handle corners, etc. But there’s also the factor of all the OTHER cars driving around them. Maybe they’ve hit the chicane all by themselves because they’re out ahead of the pack (or trailing far behind it). Maybe they’re clustered tightly together with other drivers. Maybe there was a wreck that altered the road surface... cleaning up fuel/oil spills, sand or dirt having “spilled” out onto the road surface, maybe a slight drizzle started making it more slippery, or even random trash has blown from the stands into the road, or debris from a wreck-in-progress hampers their progress. There are SO MANY FACTORS at play that make each lap around the course an entirely different experience, you know?

Same with the spiral narrative. The major landmarks might be similar, but everything else is new.

And the moment Dean says “chicane this” and punches the author of this series of events in the face, that’s basically 14.20, yes?

They’re tired, and they’re on the last lap, and they’ve been through this chicane so many times now. And they’ve just been told that after every lap, Chuck refused to wave the checkered flag. They kept reaching the finish line over and over, only to discover it was also the starting line and the race was still going. And each time through Chuck’s big chicane, he’d deliberately change those variables, so the more experience they gained on the track, there’d always be a bit of new debris to navigate, a new difficulty level added.

And now in 14.20, it’s like they finally caught him in the act of throwing thumbtacks down on the road, you know? They caught him at his tricks.

And like, to use a favorite metaphor of Dabb’s, it’s like the roadrunner and the coyote. Only the roadrunner had always known all along that the coyote was laying traps for him and always found the most hilarious ways to foil the coyote’s plans and turn it back around on him. It took them 14 seasons for TFW to finally pull a roadrunner.

This has always been Dabb’s ending, because it’s actually the story he has been telling all along. The spiral’s broken, and instead of continuing lap after lap with no end in sight, they’ve finally realized they can just... stop driving in carefully paved loops and drive in a direct line to the finish.

(and maybe the only way to make it to the finish is to pave their own road around all of Chuck’s chicanery... it’s gonna be some heavy lifting and some rough off-roading, but it’s the only way to get off the track to victory lane)

(apologies, this is the sort of place my brain goes when Mr. Mittens is watching nascar at Road America in the background... but it’s super apt, and full disclosure, I started writing this about an hour before he turned the tv on. I was already on this road course >.>)

[dustydreamsanddirtyscars]

Sorry if you've answered this already but based on the current trajectory/pieces on the board and your own awesome ideas on the show -- if you were in charge, what would S14 look like/be about?

Hello. I have a question, and it may seem weird. But is it confirmed that Jensen’s new character is Dean possessed by something? or does everyone just assume that? Because Judging on the pictures we’ve seen of him as the new character, his outfit is pretty ‘old timey,’ you’d think if he was possessed that whoever/whatever possessing him would just wear whatever Dean is wearing at the time right? Or am I wrong and looking too much into it?            

Hey there!

I’ll tackle these asks together as well if you don’t mind. :)

I’m sorry for only replying so late and also only with this short reply, but I am truly so short on time due to traveling for work atm that in my days off I just have so much other stuff to do and plan prior JIB that I simply can’t be online as much atm. So sorry again! *hugs*

Given the latest episode I personally think that we will likely end this season on a mixture of endings such as in S8 and S9. I get the feeling that possibly none of the main characters will actually end the season in the same place, but will each face their respective “all goes to hell”-moment. And with that I don’t mean they are in different universes, but they’ll be split up and each of them focused on a different obstacle. And I also kind of think that the Apocalypse World thing may not be resolved this season.

But to make it a bit easier, I’ll give you some things I could imagine happening in S14 or the end of S13 that takes us over to S14 and that being things I’d pick to explore if I was to be part of the writing team.

Judging from official descriptions it seems that in 13x21 the Winchesters may enter Apocalypse World once more and trying to bring Mary and Jack back. From spoilers we know however that won’t go as smoothly as expected because Mary seems to see that world as her form of purgatory and doesn’t want to go back. Futhermore in 22 apparently they plan on saving lots of innocents which I suppose could mean they will try to bring all of the resistence over to the normal SPN world including Kevin, Bobby, etc.. At the same time it seems Rowena is dealing with Lucifer in some way as the official description for 13x22 says that Rowena’s interaction with Lucifer will have an effect on the outcome of the journey for one of our heroes. Now question is does journey mean the journey to the other world or their story in a broader sense? In any case the hook line is called “hitching a ride” which at the very least feels ominously alluding to possession or something like Dean carrying Benny out of purgatory in his arm. That said based on these infos I could imagine that

a) Lucifer may be wounded ot even dead after his confrontation with Rowena, which is the reason for

b) the last bits of his power keeping Heaven stable enough (where was he btw? because he seemed to not have been in Heaven since the whole low on bettary thing and lights flickering wasn’t a thing when he was around) are gone and Heaven would fall and that leading to

c) all souls kept in Heaven crashing to earth and causing chaos - and the show using a parallel to how it was in S9 with the angels that possibly some of those ghosts, because they are unable to deal with this opt for possession.

d) the falling souls thing would be of course another perfect possibility to bring back deceased characters (this is also where I could imagine the show truly got JDM for some short scene as John), but much more than that truly re-arrange the whole natural order (and with that also give Death a whole lot more trouble), because

e) with Heaven falling and apparently Hell being run by no one, I think they could really let a few big bads come out to play from Hell.

f) Furthermore Heaven falling and God remaining absent and Jake possibly also staying back in the AU would make for a blank in power structure that so far jas been filed by everything christian belief/lore and in that regard Gabriel going after demigods of other cultures and beliefs feels important, because those smaller religions, etc. could be filling that blank space.

And that brings me to the main characters and what may be in store for them. The least ideas I have for Sam’s story tbh, but I think whatever it will be it will be tied to Rowena and witchcraft (possibly even his psychic abilities coming back or his demon blood addiction playing a role again) since for seasons the show has been framing Sam with witchcraft in particular and with Rowena as well.

Cas I could imagine is either the one to finally remember there exists another archangel in their universe that they may try and contact and in so far could be trying to rise Michael from the cage in a desperate attempt or could even go as  far as tyring to reach back to the Empty and get that place’s entity to allow more angels to return. In any case they will make this angels dying out thing a very personal journey for Cas I assume.

And last but not least there is Dean and that is probably who everybody is thinking about most and while the show has been alluding to Michael!Dean or Death!/Reaper!Dean or more generally Dean dying quite heavily I think it will be none of that or at the very least in the shape we have come to know.

As I have said before on this topic of spoilery pics from set and that Jensen posted himself, the vibe I am getting is that whoever Jensen plays is something/someone that hasn’t been walking earth in a long time or never (really, their “it’s someone from a while back” could just be distraction). Just look wise I fangirled over the outfit because as a massive Peaky Blinders fan it reminded me a great deal of those costumes, but moreover reminded me also of “Baron Samedi” (who could fit the bill of someone from way back and something related to Death).

At the moment I think that what- or whoever Jensen will play (and of course they could truly just opt for a doppelgänger plot with Hevane falling and possibly different world collapsing someone looking like Dean but not being Dean could pop up, but I think this is a more unlikely possibility) is a creture/character that only comes into being due to the situation and blanks left by Heaven going out of business and there needing to be someone to “guide those souls” to their new resting place. If they wanted to they could perfectly use  Baron Samedi like figure here to do that. Now question is why that creature would look like Dean but dress differently or would chose Dean as his vessel. I have no good explanation or idea, but it could be the Billie as Death knows Dean’s expertise in that regard and knows something will come - she was very interested truly about what would happen if Sam died (you could even argue that Sam getting hurt/death could have brought about the chnge in Dean Billie is after - again I don’t think Billie will survive this season) - and that Dean would be the right one for the job. More generally I think Dean is in a mindset where he would make a deal - even possession of some sort - if it meant they could save the world. Also, reapers are supposedly a league of angels, couldn’t they possibly be “promoted” to angels and power Heaven and therefore someon who has worked as a reaper before filling their place? Anyway...

So to answer your first anons questions (and this really just a brief collection of ideas I have, I could also imagine Cas trying to get some angels from AU to this world for example, but there are so many ideas but I can’t get them in order or at least can see them work on their own but nor woven together, so I left those out)

All that said if I had to take over from here on out, I would work with Heaven falling and the aftermath of that and explore that. Likewise one would also have to take a look at the state of Hell, because who runs that atm? I’d stick to this main thing and would work everything around that in terms of personal arcs and would chuck the million tiny stories Dabb opens up with each new episode without resolving or truly takin time to develop them.

And now to the second ask. No, I don’t think it was said anywhere that Dean will get possessed. It is just based on allusions throughout the season one could think that was foreshadowing, but also it would be the easiest explanation and the current staff seems to go with the most obvious options. But no, in general it could be someone who looks like Dean or appears in his shape, but is not possessing Dean. If Jensen playing someone else than Dean and Dean disappearing would be a dead serious confirmation imo that this mini arc won’t last longer than 3 episodes or 4 at most, because the show simply cannot function without Dean as Dean, because Dean builds the emotional core and serves as the narrartor of the show, so if he isn’t there, the show lacks it’s heart and soul. That is not to say Sam isn’t important or that Cas isn’t, but I am saying this without any maliciousness involved, the show can function and has shown to function when they are not around as Cas or Sam (see all the times we had Not!Sam or Not!Cas), but that would not be the case with Dean. He is the stepping stone and core of it all holding it together, so... I’d be surprised if the show went with Dean not being Dean for much longer.

[almaasi]

reaction post typed while watching SPN 13x15 “A Most Holy Man”

three of the seven deadly sins, linguistics, and overall enthusiasm, oh my!!

04:22pm

no idea what to expect but it’s not written by the deadly duo so i’m therefore exciteddd

right now i’m too exhausted to do anything because those chickens in our bathtub glutened me a few weeks ago (hence my silence on tumblr) so i’ve just been catching up on season 5 of Downton Abbey. and once i’ve watched this i’m probably just gonna go back to watching that

(WHEN WILL THOMAS GET TO BE HAPPY??)

-

04:25

i’m two seconds in and my brain is like THIS IS A LOT MORE SENSORY INPUT THAN DOWNTON ABBEY

-

04:28

dean.......

....by “so?” ..... i assume you mean..... “good morning sammy”

who raised you

...

oh right, nobody

-

04:29

“cas is in syria dodging bullets trying to find the fruit from the tree of life”

okay first of all, WHO PUT OUR WINGLESS BABY ON A PLANE. WHO GAVE CAS A PASSPORT. HOW THE FUCK DID CAS GET TO SYRIA

IMAGINE CAS TRYING TO GET HIS ANGEL BLADE THROUGH CUSTOMS

OH NO

and second of all, i’ve been reading a book on etymology and linguistics, and there was a whole section on how the fruit of life, or the golden apple of eden, was actually an orange

etymology and linguistics and history is the coolest shit ever, and oranges are more awesome than apples

(the book is called “The Book of Babel: Words and the Way We See Things” by Nigel Lewis, if anyone is interested)

-

04:36

also in regards to the archangel grace..... i think we’re all agreed that it’s somehow going to be gabriel’s grace instead, right? at least it seemed obvious to me since gabriel is now back in play

-

04:39

dean: “ah, the internet. you’re not just for porn any more”

aw baby

-

04:42

oh man that lady in san francisco. her little finger walk was so weirdly awkward? i can’t tell if it’s the actress, the editing, or maybe the character is slightly disingenuous

or maybe she’s a witch and she’s just fucked up sam’s brain

-

04:45

dean’s face

stow it, ya idjit, sam learned all of this from you

-

04:47

DEAN’S LIL LIP-LICK WHEN HE SEES THE DUDE EATING THE DONUT

boy does not discriminate between desserts. or genders for that matter

-

04:49

OH MY GOD 

I JUST GOT IT

THIS EPISODE THEY’RE GOING ON A QUEST TO FIND THE BLOOD OF A HOLY MAN AND THEY’RE MEETING ALL THE DEADLY SINS

THEY JUST MET LUST, NOW GLUTTONY

aND EVENTUALLY THEY’RE GONNA REALISE THEY ACTUALLY NEED SOMEONE WHO ISN’T LIKE THESE PEOPLE AT ALL

someone humble and generous and abstinent etc. etc

except they’re going to need to not play into what that person wants, unlike what they’re doing now

so basically the blood of the holy man could be either of them, so long as they don’t buy what the other person is selling, essentially??

idk, just a theory

man i freaking love storytelling techniques like this

-

04:54

pausing for a moment to eat, brb

-

05:01

oKAY here we go

-

05:02

ooo, chicanery. good word

-

05:04

in WHAT WORLD does someone go up to a stranger in a coffee shop and disturb them from their book and thEY LOOK UP ALL SEXY

DEAN ARE YOU FANTASISING ??

none of these characters feel completely real, this is a weird dream journey they’re on

i think maybe the music and the directing is giving that impression too, none of this flows especially naturally, it’s a little too.... artistic? like they’re making a long music video rather than giving the facts

edit: .............wait, what was the point of this? in hindsight, when this character never served any purpose at all, this scene now looks like unnecessary heterosexuality and/or asian fetishism, fuck offffffffffffffff

-

05:12

HI FRIEND

cat’s like

<  •____•  >

-

05:15

i am slightly reminded of the devil tarot card

-

05:19

and this guy’s like “devil’s bargain” and i’m like....... yup

that was an episode title before

they’re meeting all the aspects of the concept of the devil, one by one

except their eventual season-arc salvation is probably gonna be, in some form, gabriel (who i’m pretty sure is kind of like the old trickster god pan, whose concept was appropriated by the romans to become the devil)

-

05:25

anyway this guy with the cronies and the cat is easily the deadly sin of greed

so far they’ve come up in order, so i’ll assume we’re next gonna meet sloth, wrath, envy and pride

edit: never mind, they stopped at three

-

05:29

there’s a sexy little soundbite just as dean stops sam from walking into the hallway

right at the moment when dean says “cop” and then there’s some radio noise from the cop’s walkie-talkie, some bass, and then more seductive trumpet tootling

it’s like 2 seconds but my ears enjoy it

-

05:31

also!!! sam is always prepared, but doesn’t know what dean is

dean runs on gut instinct, so that’s why he can “feel it” that there’s something important in that room

that’s what dean is

a soft, stomach-first soldier

(edit: has anyone done any meta on dean’s magic intuition powers? maybe by compiling all the times he had a gut feeling and it turned out to be rational. which i’m pretty sure is 100% of the times he’d say it aloud. i think in the general human population, any time anyone has a bad feeling about anything, they’re correct. i can’t think of a single instance where it’s not real, besides just an anxiety condition)

-

05:34

for the record, i’m really enjoying the end-to-end jazz soundtrack playing in this episode, and the whole 1920s hotel mobster/seductress/detective vibe

kind of film noir-esque

aesthetically and aurally this episode is gold but IT NEEDS MORE CAS AND MORE BROWN WOMEN, like pretty much everything in the world does

(sidenote: linguistically the letters au- usually indicate a gold-related word and now i’m wondering if the word ‘aural’ is related? the same way aura is about a golden sky, and orange is basically aurange. and it wasn’t even mentioned in that book i’m reading but i’d bet anything that the scientific letters being AU isn’t a coincidence)

(NOT SORRY I JUST REALLY ENJOY LINGUISTICS and that section on gold was my favourite so far, i’m about a third of the way through the book)

-

05:41

HOW THE FUCK DOES SAM NOT HAVE BRAIN DAMAGE YET

like if anything, cas-haters oughta at least appreciate how cas booping the brothers better is likely the only thing keeping them functioning within acceptable parameters

-

05:43

OH

clearly i’m a silly seagull ‘cause i JUST GOT why the directing felt weird at the start. they literally are doing a film noir thing

dammit, i kept mentioning the shots and the music and never actually twigged

pfgfhdfghf

(raise your hand if you facepalmed)

-

05:45

dean to sam: “i know that disney princess hair gives you some padding”

look pals, i can’t think of a good punchline right now but basically the core of it would be “dean wants disney princess hair, and is also bisexual, hooray”

-

05:49

i really like those italian face dimples

they’re weird to look at but they suit his face and his accent

-

05:51

i feel like this guy miiiiight be their holy man

except there’s probably gonna be a twist later and ultimately it’s not gonna be him

edit: occam’s razor THAT theory then

-

05:55

sam: “if somebody stole the impala, what would you do?”

dean: “murder. i’d murder them all”

dean later: “there’d be torture first.... there’d be, like, a lot of torture. and then, it w- it would end up with death. if i can’t have it, nobody can.”

someone get this boy some help

...........and some car insurance

-

05:58

cute non-white boy exists on screen

edit: no comment, just an observation

he’s very cute

dean would think he’s cute anyway, and i was WAITING for a scene to parallel the one where he eyed up the book-reading lady, but nope

-

guard: “what are you doing here?”

priest guy: “creating a distraction”

such a cas thing to say

-

06:09

that fade-out from muttered prayers to choir music and gunfire was a liiiiiitle cheesy but... y’know, it’s A Look, i guess

-

06:10

jesus christ, do these guys even realise that if they stopped shooting for one freaking moment and hid, they’d eventually just win from not being exposed to flying bullets????

-

06:12

let me guess, the blood of saint ignacius doesn’t exist

WELP  it’ll be mr italian priest guy and his bleeping hip then

-

06:15

i seriously hope they got more than that tiny vial of blood, given how often things get lost/stolen/broken or spells go wrong around here

this episode had a my little pony: friendship is magic season 4 feel to it?? in the sense that the brothers go on a quest to get something, but end up helping a pony in need and then find, purely by fate, that that pony has the exact thing they needed all along

-

06:18

dean smoothing his finger over his lips

this gesture is ??? sexy and sweet and comforting and intriguing and enticing and thoughtful and ???????????? also makes me think dean’s thinking about kissing tbh

SMOOCH CAS, SETTLE DOWN AND RETIRE

and/or get transplanted into the tv and have cartoon adventures with scooby doo

-

06:22

dean: “i have faith”

a nice, sweet note to end on

dean learned some things and i’m proud of him

THIS WAS GREAT and i enjoyed it

let’s say 9/10, needed more cas and representation

cool directing, awesome music.... generally some good shit here

thUMBS UP

but I AM SO FUCKING READY FOR SCOOBY DOO NEXT WEEK at the end of march

I KNOW PRACTICALLY NOTHING ABOUT IT BUT THE CONCEPT EXCITES ME WILDLY

ESPECIALLY BECAUSE I’M PRETTY SURE IT’S GONNA BE TEAM FREE WILL AND THE SCOOBY GANG SOLVING MYSTERIES AND AAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAH (PLEASE BE TRUE)

8x08 HUNTERI HEROICI REMAINS MY ALL-TIME FAVOURITE EPISODE mostly because i haven’t really bothered to re-review which ones are my all-time favourites SO I’M REALLY HOPING THIS ONE WILL SIT NEXT TO THAT IN MY PERSONAL HALL OF FAME

//stops yelling and posts this post

[aion-rsa]

How Darth Maul Would Have Completely Changed the Star Wars Sequel Trilogy

https://ift.tt/3eKDszn

Darth Maul is one of the most recognizable, visually impressive characters to have emerged from the post-Original Trilogy Star Wars films, despite being dealt a dubious fate in his very first appearance in Star Wars: The Phantom Menace. However, it seems that the franchise’s father, George Lucas, originally had plans for the double-bladed lightsaber Sith lord that were far grander than getting sliced in half and sent plummeting down a Naboo air shaft.

While we already know various tidbits about Lucas’ original plans for the Star Wars Sequel Trilogy, some major new info has dropped in The Star Wars Archives 1999–2005 by Paul Duncan, a 600-page behind-the-scenes tome in which Lucas himself lifts the veil on crucial plot details for his never-realized plans to complete his vision of the franchise. The biggest revelation in the book, via Polygon, is that Darth Maul was destined to not only return in Lucas’s Sequel Trilogy but serve as the overall big bad. Intriguingly, Maul’s main Light Side opponent would have been Leia herself—more on that aspect in a second.

Stream your Star Wars favorites right here!

“Maul eventually becomes the godfather of crime in the universe because, as the Empire falls, he takes over,” explains Lucas. Indeed, the way the creator originally intended to bring Maul back to the big screen is a profound revelation in more ways than one, firstly because it tells us that Maul’s eventual cinematic reemergence in Solo: A Star Wars Story—in which he was revealed to be the hidden mastermind behind crime syndicate Crimson Dawn and big boss to Emilia Clarke’s shady Qi’ra—was always the general plan for the character.  

Read more

TV

Star Wars: What the Boba Fett Disney+ Series Could Be About

By Rosie Knight

TV

Star Wars: Best Darth Maul Moments from The Clone Wars and Beyond

By Megan Crouse

Of course, Maul’s journey in the post-Disney Star Wars canon continued to much acclaim. He was voiced by actor Sam Witwer on animated series Star Wars: The Clone Wars and Star Wars Rebels, which led to the subsequent onscreen cameo in Solo. Thus, one might take the idea of Maul’s return for granted, especially since his survival of a seemingly definitive fate has also been adopted in various ways in numerous non-canonical works. Most notably, Dark Horse Comics’ various pre-Disney-era Star Wars titles introduced the general idea that Maul survived being cut in half (and, not for nothing, the fall itself), but was driven insane by the ordeal, left to run around causing chaos with robotic legs, which made him resemble a kind of Sith satyr.   

Those Dark Horse comics would have been further mined for the movies, since Lucas’s Sequel Trilogy Maul would have been served by an apprentice in Darth Talon, a female Twi’lek (a “Lethan” with red skin that’s rare for her species) whose body is covered with Sith tattoos similar to Maul’s. However, the character (pictured below) would likely have carried a different backstory than the comics.

First introduced in the non-canon Star Wars: Legacy comics, Darth Talon exists over a century after the events of the Original Trilogy, a graduate of a Sith academy led by Darth Krayt and given the sinister (ultimately unsuccessful) task of trying to turn Jedi family descendant Cade Skywalker to the dark side. In 2011, an eventually-canceled LucasArts video game, titled Battle of the Sith Lords, apparently bore Lucas-approved plans to have Darth Maul team up with Darth Talon, an idea that may have been a manifestation of these Sequel Trilogy plans.  

It seems that Lucas’ sequels could have culminated with Maul somehow tangling with Carrie Fisher’s Princess Leia Organa, who would have stepped into focus as the mythos’ main hero, and a central figure in the post-Return of the Jedi effort to rebuild galactic civilization. Lucas’ sequel plot details describe a story set in the aftermath of a great war (rather than the retread of one). Thus, it would have centered on the concept of reconstruction, which, as he put it, is “harder than starting a rebellion or fighting a war.”

Leia’s task would have been increasingly perilous, since the Empire’s fall left a sizable power vacuum, which would be filled by the crime syndicate run by the reemerging Maul and evil apprentice Talon. According to Lucas, this storyline would have paralleled world events at the time: the Iraq War, the fall of Saddam Hussein, and the subsequent emergence of radicalized factions to fill the void. Thus, while Mark Hamill’s Luke Skywalker would have been busy rebuilding the Jedi Order, Leia would have walked a different path by rebuilding the Galactic Republic while battling Maul’s criminal organization, and would have eventually emerged as the Supreme Chancellor. As Lucas plainly put it, “she ended up being the chosen one.”

cnx.cmd.push(function() { cnx({ playerId: "106e33c0-3911-473c-b599-b1426db57530", }).render("0270c398a82f44f49c23c16122516796"); });

While a key moment on Rebels seemingly set the (presumably permanent) endpoint of Maul’s rather circuitous post-Phantom arc, the popularity of the character continues to permeate, and it does seem doubtful that we’ve seen the last of him—either in animated or live-action form. This seems especially true with Disney+ having successfully taken the Star Wars franchise to the small screen with The Mandalorian and future serial offerings set across various points in the timeline such as the untitled Obi-Wan Kenobi, a possible Boba Fett series, and a Cassian Andor spy show. It may not be quite what Lucas had in mind, but it’s nevertheless profound.

The post How Darth Maul Would Have Completely Changed the Star Wars Sequel Trilogy appeared first on Den of Geek.

from Den of Geek https://ift.tt/2JVU7Vj

[specsnsarcasm]

My Review of... ‘Passengers’

I finally got around to seeing the movie Passengers (2016) and umm… what the hecking heck was that?!?!

[Warning: SPOILERS AHEAD!]

CASTING PROBLEMS:

First of all, I know it’s supposed to be everybody’s cinematic wet dream, putting Jennifer Lawrence and Chris Pratt together (the way people wanted to see what the offspring of the two so-called “most beautiful people in the world” - Angelina Jolie and Brad Pitt - would look like). It was the people’s experiment! Put these two “likeable”, “relatable”, “funny”, good-looking people together, and watch the movie magic unfold! So riddle me this: why put these two in a sci-fi drama of all things, when a simple rom-com would have sufficed!?

Second, I don’t think these two had much chemistry. Sure, they don’t do anything empirically wrong (save a little overacting here and there), but I just didn’t believe them as a couple. I was very aware that I was watching two people acting the way you think two people should when they’re in love. You can practically see the weight of everyone’s expectations on their shoulders. Be sexy! Be charming! Be perfect! I wondered if they had any fun making this movie at all!

I also found something very odd about this pairing. Maybe it’s the age difference (25, at the time, to his 36)? I find that Lawrence tends to play too mature for her real age, playing a lot of late-20′s or 30-something characters. She has lots of time for that, but I guess she’s highly bankable right now and can physically play a wide range? Hollywood is not kind to women. They cast a 25 year old as a 35 year old, and a 35 year old as dust (but that’s another story). Or maybe it’s the imbalance of star power? She is arguably the bigger star. Either way, something was off. 

I maintain that Pratt’s best work is as a comedic actor. I know he’s trying to branch out or whatever, but I just don’t buy him as a “leading man”. Not in an all-out, dramatic role. Not yet, anyway. He was good in Guardians of the Galaxy (2014) as the wise-cracking, cocksure rebel. And in Jurassic World (2015) as a more rugged, wise-cracking, cocksure rebel. And in The Magnificent Seven (2016) as an EVEN MORE rugged, wise-cracking, cocksure rebel. He just didn’t quite fit the bill here for me. Although he plays it straight, he kept making me laugh unintentionally (that’s the problem with getting typecast). Especially with three, count em’, one, two, THREE gratuitous butt shots. (We get it!!! BUTTS!). Anyway, dozens of other, half-decent “name” actors could have done a perfectly serviceable job in this role, so by casting Pratt, you’re asking for something that only Pratt can do well. Let him do his thing if that’s why you like him so much!

CHARACTER/STORY PROBLEMS:

Right away, the movie has parallels to the extremely hard-to-top The Martian (2015). But this film has neither the charm, humour, or the gravitas. I found myself comparing Jim to Mark Watney. Both are stranded and alone, both have technical skills. However, unlike Jim, Mark has the mental fortitude NOT to crack almost immediately under pressure. Not that I judge Jim, but the emotional progression in The Martian seems more steady and realistic than in this, which dealt with its characters' emotional journeys very superficially. I didn’t feel that the movie did a good enough job of tapping into Jim’s early despair, psychology, or the agoraphobia of space. At one point when things start to go wrong with the ship, Lawrence’s character says that she was trapped in her room for days. Show me, don’t tell me! That would have been interesting to see! Just as it would have been interesting to see (not just glean) how Jim and Aurora live out the remainder of their years. I thought the movie would eventually get to it. They don’t. Superficiality was a running theme.   

Another one of the film’s downfalls is the lack of curiosity about its own premise: the science fiction of it all! I wondered about their training on Earth beforehand, and why Jim doesn’t scan through the other bios to find a doctor, biologist, or another engineer - someone with whom he can work the problem! I want so badly for Jim to “science the shit” out of something, as Watney does. Instead, he opts for the company of the aptly named (if not a little on-the-nose) sleeping beauty, Aurora; a writer, who isn’t very helpful in that regard. For such a futuristic premise, the story is disappointingly regressive. (i.e. a love interest with nothing to offer but being pretty? Okay). 

The two of them experience no real sense of existential wonder/dread, curiosity about the ship, about the technology, about space. It's all restaurants and fucking on cafeteria tables! They might as well have been at an Earth resort! At one point, they are literally standing up close to a Red Giant, but they look at it for all of two seconds before they’re like “OK cool. Welp! Let’s go have sex now!” This isn’t so much a science fiction movie as it is a 'bottle' drama, that happens to be set on a space ship. The location is completely secondary, and the beautiful visuals of space and the ship are just convenient backdrops to the “will they or won���t they?” romance. *Sigh*.

One of the most interesting parts of the story, I found, which they don't even discuss, is the nebulous “Homestead Corporation”. It manufactures faulty pods, and even in the future on other planets, it treats passengers by class. I wonder what sort of civilization they hope to create on a new planet by doing this. Is this the reality that people have accepted in the future? Is there any opposition to this? By whom? They mention other colonies: what do they look like? How do they function politically? Do other countries or competing companies possess these technologies too? Is it completely private, non-governmental or governmental? If so, do countries own planets, or is it just corporations? They could make a whole movie out of this! (Copyright: Specsnsarcasm, 2017. haha)! In essence, it’s similar to the Weyland Corporation in Alien (1979) & Prometheus (2012).

MAJOR PROBLEMS

Arthur and its whole vibe. I was instantly creeped out by Arthur the android (played by the delightful Martin Sheen). It operates a bar that is decorated in 70′s decor that is reminiscent of The Shining (1980). The reason for this retro aesthetic is kind of confusing and jarring on such a futuristic vessel (but sure!). But it also primed me to think that, like the bartender in The Shining, there was something amiss about Arthur. It befriends (as much as an android can) Jim first, then Aurora. Early on, Jim entrusts it not to divulge his terrible secret to Aurora. A promise which Arthur makes, yet readily betrays. But why would Arthur tell her? It’s an android, it has no moral imperative to divulge the truth. Nor does it have any reason to show loyalty to Aurora over Jim or betray an expressed request. This tricked me into thinking there was an Alien/Prometheus situation going on with Arthur, in that it was secretly behind some of the mischief that was going on aboard the ship. But OF COURSE that turned out to be a red herring (because that would be TOO interesting). The reason for Arthur’s slip is NEVER explained, nor is it ever addressed. Jim isn’t even mad! He doesn’t even find it strange that he was outed by the machine, and they literally never mention it again. WTF?  

Laurence Fishburne is utterly wasted in this film! Practically blink-and-you’ll-miss-him (rude)! He only wakes up so that the two protagonist can have a mind-boggling, deus ex machina way of saving themselves with his security clearance bracelet thingie. And why was his pod the only faulty pod to cause terminal illness? (THAT'S RACIST! Jk. lol). Shouldn’t Jim have also had some health problems, though less severe? (Sometimes I wonder why Larry and Sam Jackson put up with this shit, but ANYway...👀). Also embarrassingly wasted in his role is Andy Garcia there at the end. Poor, poor Andy. Such disrespect! He grew that great big beautiful bushy beard for nothing! lol.

Also, why is there only ONE medical pod on a ship with 5000 ppl and 258 crew? That ratio seems dangerously low and irresponsible to me, even if they were only intended to survive on the ship out of suspension for 4 months before reaching the planet.

CONCLUSION

In the end, I’m not upset because this was a romance posing as sci-fi film. I would have loved to see a good sci-fi OR a good romance movie. Unfortunately, this rather middling on both fronts. It had boundless potential, and I guess I just expected more. With the quality of TV shows these days (as well as the price of a movie), you’re going to have to do a lot more than toss two good looking people on screen with some candy coloured effects to get people interested.  

I suspect this film started out as an entirely different movie than the one we ended up with (judging from the big name actors in almost cameo roles). Perhaps it had more of a sci-fi story, but it was changed to feature the love story more heavily?

On the pairing: as much as the internet likes to get its way and see the fruits of its fan pairings come to life on screen, I think this is a cautionary tale about how real life sometimes falls short of our imagination (see: the Veronica Mars movie). It’s also yet another cautionary tale for Hollywood about why they need to re-evaluate their strategy of big budget SFX movies with paltry scripts. The ability to develop interesting, in-depth characters is why cable television and streaming services are eclipsing movies, who routinely struggle to meet box-office expectations. 

[Note: These are just my opinions. I’m not a professional critic, I just like to watch movies and write about them!].