#lenore plays the guitar

[jockw]

Duiveltje Lenore is mad

I'd like to add a fun fact that she'd grow out her horns and nails out whenever she gets heavily emotional.

Little idea from @your-decadent-madam where Lenore tries to play Everlong :)

Dit is mijn enige ontsnapping van het echte wereld

[coconut530]

Hello Nevermore Nation to celebrate my favorite Nevermore song returning to all streaming platforms after disappearing for many many weeks I am posting it here so I don’t lose it again

Lenore by Meeghan Darling my beloved ❤️❤️❤️❤️❤️❤️

[mlmxreader]

Old Country Songs | John Price x m!reader

anonymous asked: 🪳 bonk!

Anyway I feel like these would fit Ghost really well however I’m tempted to ask for Price. I can’t choose so I’ll let you be fate.

"I can't keep doing this"

"We can't keep hiding this - us"

"Please don't leave me alone"

summary: you and Price talk about what to do about your relationship

tws: swearing, smoking

support your fanfic writers by reblogging what you read & enjoy

Things were getting more and more difficult, sneaking away from one flat in the middle of the night to go stay at another, wrapped in the arms of a lover who couldn't be known, dirty laundry scattered on one floor yet cleaned in a different washing machine each time; hiding scents that lingered on coats and hoodies with cheap cologne, all the Lenor in the world wouldn't clean that kind of dirty laundry.

Secrets well hidden and stuffed away at the back of wardrobes, confidential texts sent on encrypted phones, hidden walks just in case the car or the motorbike was compromised.

It was getting harder and harder to keep things a secret, but it was for the best, as no one would exactly take kindly to a Sergeant having a romantic relationship with his own Captain, it was a lawsuit waiting to happen and, even worse, could have caused you both to put each other's necks on the line; no one was allowed to know.

Even your best friend. Even his own task force. No one. Sure, family and friends who weren't connected knew, but they were the only ones.

It was getting harder and harder, though; nearly too hard to hide the stolen kisses in the shed.

Sitting on his lap as he told you how much he missed you, fearing anyone would walk in. Disappearing together for a smoke break, only to end up pinned against the wall as he kissed you with desperation yet broke away if so much as a twig snapped.

You were both starting to crack under the pressure of it.

It was the middle of the night, around three hundred hours, when you abandoned Price in your bed; letting him sleep while you headed to get yourself a can of Red Bull, shaky hands and tired eyes as you opened it, wincing at how loud the sound had been.

You put one earbud in, relaxing a little when you heard 'In War and Pieces' by Sodom playing quietly through it.

You were certain that you had some time to think, but when the light switched on, your certainty was crushed; Price stood by the fridge, hands in the pockets of his black camoflauge patterned jogging bottoms.

Greying hairs in his moustache and mutton chops and hair hardly visible from the distance.

"What are you still doing up, pup?"

You shrugged, swiping a hand down your face and grumbling softly. Bags under your eyes, hardly able to bite back yawns the way you usually could. "Keep thinkin' 's all."

Price licked his lips, drew closer so that he was leaning against the sink, raising his brows a little as he hummed ever so lowly. "You wanna talk about it?"

You nodded, and when you met his gaze, you knew that he held a worry behind those usually icy blue eyes. "I don't think I can cope anymore."

He nodded.

"I mean," you sighed. "We've been hiding for years, John... it's too hard to keep doing it."

Price frowned as he searched for his cigars, but when he couldn't find one, he settled for stealing one of your Marlboro golds. "Keep going."

"I can't cope," you explained, "we can't keep hiding this - us... fuck me, I can't keep doing this."

"Alright." He nodded curtly, coming to stand beside you and allowing you to rest your head on him as he grumbled quietly. "We'll tell everyone in the morning, yeah?"

You nodded. "You're not mad?"

"No," he told you. "If you don't wanna keep our relationship a secret, then that's fine by me, pup... I love you, I'd do anything for you... remember when we took a ride down to your mate's farm?"

"When you played the guitar," you smiled at the memory as you nodded. "Wasn't it... fuck... can't think."

"I played Hey Good Lookin' by Hank Williams," Price laughed ever so softly, daring to put his arm around you. "And y'know what?"

"What?"

"I still think of you every time I hear it."

You wanted to roll your eyes, to tell him that he was just soft and to tease him about it, but you couldn't bring yourself to; not when you were nearly crushed into him, your arm slung around his waist just above the waistband of his jogging bottoms. You could feel his bare skin against you, and you sighed as you cleared your throat.

"Say hey, good lookin', what you got cookin'?" He started, "how's about cooking somethin' up with me? Hey, sweet baby - don't you think maybe we can find us a brand new recipe? I got a hot rod Ford, and a two dollar bill and I know a spot right over the hill, there's soda pop and the dancing's free, so if you wanna have fun, come along with me."

You couldn't deny it, it was absolutely precious that he was singing it so quietly, his voice so gruff and baritone; he wasn't the best singer in the world, and you could tell that he had been to more heavy metal concerts and sang along to more heavy metal bands than anything else, but you had never heard Hank Williams sound so fucking sweet before.

You couldn't help but to smile, nearly grinning. "You're an absolute softie."

"Course I am," Price agreed softly, a fond smile on his lips as he dared to steal your spare earbud. "Sodom?"

"Sodom," you nodded. "Pretty sure it's one of your favourites, too - M-16."

He nodded. "Yeah, that's the one... but if I remember right, yours is Body Parts, innit?"

You yawned, daring to stretch as you leaned into him a little bit more, your eyes starting to drift shut as you stood there, feeling him against you, his gentle humming along with the song as he tapped his foot softly and kept his arm around you.

He only dared to move when he had finished the cigarette, stubbing it out in the ashtray before he gently tapped your shoulder. "C'mon, pup, why don't we get you back to bed, eh?"

You nodded, leaving your energy drink on the side as you followed him closely; Price got into bed first, as always, and only dared to move once you got in beside him. Earbuds left in their case on the bedside table, silence taking over.

You snuggled into his side, throwing one leg and an arm over him as you always did, letting him crush you against his side as he held you tightly.

"Please don't leave me alone," you murmured against the side of his neck. "Ever."

"Never," Price promised. "I got your six."

You grumbled, and he could feel the way you smiled against him as he tugged the blankets over, making sure that they were over your shoulders. "D'ya think you could sing to me a bit?"

"Can it be Johnny Cash?" He asked with a soft chuckle.

You shrugged. "Why not? But... for a metalhead... you're awful fond of that shit."

"Shut it," he warned playfully. "Do you want me to sing, or not?"

"Fine," you huffed.

"Atta boy," Price chuckled softly before he cleared his throat and started to sing. "It's knowing that your door is always open and your path is free to walk that makes me tend to leave my sleeping bag, rolled up and stashed behind your couch and it's knowing I'm not shackled by forgotten words and bonds and the ink stains that are dried upon some line, that keeps you in the backroads by the rivers of my memory that keeps you ever gentle on my mind."

Price could feel it, the tell tale signs that you were sound asleep by the time he took a moment to think about what lyrics came next, which ones were before and after the chorus, and he smiled.

Maybe you didn't detest country music as much as you claimed, or maybe you fell asleep to escape it, but either way, he didn't mind.

You were absolutely sound asleep, and although he was starting to hear that sweet call himself, he chose to ignore it for a moment; he grabbed his phone from under his pillow, and although by now it was nearly four o'clock in the morning, he didn't really think twice.

He told the group chat - the one that Laswell and her wife, the one four one, Los Vaqueros, and Farah and Alex were in - that he had been in a relationship with you for years.

He thought carefully about which picture to send them, but chose for the one that he kept as his phone's wallpaper when he wasn't around them; it was a picture of you, wearing his beanie and kissing him when he had taken you to a Sabaton concert.

It had been raining, and he could still see the single raindrop that clung to your eyebrow as he smiled at it for a moment; he hit the send button, turned the phone off, and stuffed the phone back in its place.

"It's not clinging to the rocks and ivy, planted on their columns now that bind me or something that somebody said because they thought we fit together walking," he continued to sing softly, "it's just knowing that the world will not be cursing, or forgiving when I walk along some railroad track and find. That you're moving on the backroads by the rivers of my memory and for hours you're just gentle on my mind."

He didn't want to continue the song as he made himself comfortable next to you, a soft yawn leaving the back of his throat as he grumbled softly and dared to let out a soft sigh of content. "Let's see what the morning brings, eh, pup?"

[likeastars]

Pss, hey! Ya got any of that *looks around* band au?

- totally not Not incorrect_nevermore why would you think that?

Omg hi Totally Not incorrect_nevermore!!!! I'm always happy to see new people in the fandom

ANYWAY YOU WANT SOME BAND AU UR GONNA GET UR BAND AU

We're gonna do 💫backstories💫 today

Annabel and Lenore are both from very very very very rich families

Like

Ceo levels

Lenore comes out tho and she gets cut off (and this is the MAX of angst I'll go with this we have enough in the comic itself) and this is when she meets Annie!!!!

Because.

Lenore's father asked her to be a straight good influence on her deviant daughter. (I lied. This is is the max angst lol) Yay!!!!!

But Annabel isn't all that straight so not so yay

She discovers it while she hangs out with Lenore and she goes "oh this will be a problem"

I feel Annabel's internalised homophobia would make them separate up and have a big fight but this is all in the past alright? The gays have done their drama we doth not care they are together they are dumbasses right now

When did all of this happen???? No idea. Zero. College? High school? No-one knows.

Annabel's parents support her music career but they're also in control of it at the beginning, so the more famous she gets the more power she strips fro mher parents and this point they're not even a problem

Wanting her own manager is one of the first liberties she takes and so her parents hire Ada as almost a joke because she has no prior experience but she's surprisingly competent????? Also one of Annabel's first fans

Prospero has always been her bf so the second he meets Ada he goes "lat me handle finance" and Ada falls instantly in love bc she thinks he's a gentleman but Prospero just doesn't trust her with money. Or math (sorry Ada wove u but ur too gay 4 dis)

Annabel currently also wants to become the owner of their company and Lenore is having Big Bad Thoughts about her gf in a suit and bossing ppl around but we'll skip over that

The Spectreless become famous a while after The White Lady but they BLOW UP.

I feel like Annabel would do a bit more mainstream music (always imagining her as Ariana Grande-esque) while Lenore more indie-rock this kind of stuff??? Like sir chloe but more dynamic

Theo taught her to play the guitar!!!! So she associated the guitar with good times and her brother (WHO IS ALIVE AND TRAUMATISED AT THE NEWS SHE'S FUCKING A BRIT WE'RE KEEPING THEO IN THIS) and the piano with coercion from her parents.

But also whatever she plays Annabel sings with her so she's learned to love them both at last.

AND LAST BUT NOT LEAST

Montresor also plays the guitar and Lenore always makes the same joke that "the only time any woman will say that he's skilled with his hands is when he plays the guitar" lol

Will is the tired assistant that runs around him

[beevean]

Whose revenge bad story is worse? Isaac's....

......or Ellie's from TLOU2? :)

Interesting comparison, because while both stories end with a bland "revenge bad" moral that doesn't account for everything that happened beforehand... I would say that Ellie is N!Hector, while Abby is N!Isaac.

Simply put, Abby is the one who the story wants us to sympathize with. We are meant to understand why she played golf with Joel's head, to think that she's not so bad after all because she plays with the cute doggos. Her ending is uncertain, but hopeful. She finds a chance at a better life, and that's it - oh please forget that one time she was gleefully about to cut a pregnant girl open, it's okay, she had Trauma 🥺

Ellie's story ends in the most depressing way possible. She loses everything she cares about. Her girlfriend dumps her and takes their son with them, much like Lenore prefers to sun herself rather than keeping him company, after all that show about how much they love and understand each other. Abby goes scot free at the last minute, much like N!Hector big plan of bringing Dracula back goes up in smoke at N!Isaac's first "don't". She even loses her fingers, and thus can't play Joel's guitar anymore. And generally speaking, she artificially loses her morals to push a narrative, like N!Hector who slowly loses parts of his character and moral code to be either a passive element of the plot, or simply fetish fuel. Both of them suffered for absolutely nothing, if not for shallow, edgy cynicism points.

... and even then at least Abby gets eventually captured and tortured, which is more than I can say for Gary Stuaac who literally gets wonded once (1) in the whole show, fucking narrative darling babyboy

[daniel-profeta]

I just listened to your livestream and was surprised to hear you're 19 and just 2 years older than me. How old were you when you started playing/making music?

13-14 I think for playing music (self taught on guitar and vocals, still fairly incompetent)

I saved money for what seemed like forever working odd jobs and doing local acting work to get FL Studio (in retrospect, probably should have obtained it in other legal ways) and I finally got my hands on it when I was 17. Up till that point I had recorded a bit on the free program Audacity, but most of that stuff sucked.

The first song I ever completed was Lenore, which was rerecorded later. The original version was actually a school project hahaha:)

From 17-18 I made about three albums worth of original material, and it all SUCKED. Practically none of that has seen the light of day, except for a few lyrics that got reworked into my newer stuff.

On April 1st 2022 I released Mania Machinations on bandcamp. Bob Dylan said this is his favorite album of 2022. Steven Wilson said he wishes he had thought of it first. Phoebe Bridgers said she wanted to sign me to Saddest Factory records. And Abraham Lincoln said don't believe everything you read online.

Since then, I've released two more projects in earnest (Paper Skies and The Sighting), a couple comedy/parody songs, and some demos here on tumblr and youtube.

A new album is on the way, and I think those of you who have enjoyed my previous work will find a lot to like about the next phase of the daniel profeta project.

777

We are Legion.

[werkboileddown]

If you like this, visit http://koramusic.net to see Alhaji Bai Konte's grandsons continuing the family tradition - the Great Gambian Griots kora duet videos - from the grandsons of Alhaji Bai Konteh!  16mm film by Oliver Franklin and Marc Pevar.  "Alhaji Bai Konte," depicts a day-in-the-life of the now-deceased Gambian Mandinka kora virtuoso, Alhaji Bai Konte, shot on location in Brikama, Gambia (plus one scene in Dakar, Senegal), West Africa, and narrated by world-famous bluesman Taj Mahal.  The film was co-produced by Oliver Franklin and Marc Pevar, and filmed by Harold Yates and Lenore French and edited by Rob Wallace. Alhaji Bai Konte's son, Dembo Konte, accompanies in the performance, and various family members and friends make cameo appearances. His wife, Nafi Kouyate, appears in the final scene, praying. Kora is a 21-stringed harp unique to the Mandinka, played by Griots who are oral historians as well as musicians. This group of Mandinka preserve and propagate genealogical and historical information through song and story, and are a source of immense pride and identity to the Mandinka people. Alhaji Bai Konte was the first griot to introduce the kora widely throughout North America, where he toured major folk, jazz and blues festivals, gave private concerts and mingled with many professional musicians.  His tours continued for seven years in the 1970's, often accompanied by Dembo Konte and Malamini Jobarteh, whose excellent musical skills were also a delight to their audiences. Alhaji Bai Konte appeared on TV and radio many times, most famously on the PBS TV series Jump Street, narrated by Oscar Brown Jr., and also on a historic NPR radio show recorded in Vermont, where he shared the stage with Elizabeth Cotton and Taj Mahal. That radio show aired for many years, with these iconic musicians representing the roots from Africa, the adaptation of kora picking styles to guitar, and the synthesis of the two fused into the modern era.  Both Elizabeth Cotton and Taj Mahal acknowledged that their music and instrumental techniques arose from the Kora, which Pete Seeger also credited as the source of blues and Jazz. Alhaji Bai Konte performed with many musicians including: Taj Mahal, Elizabeth Cotton, The Paul Winter Consort, Tony Bird, Pete Seeger, David Amram and many other musicians.  Alhaji Bai Konte's performances and media appearances opened the door to the American music market for the kora musicians who followed in his footsteps, and opened the minds of many Americans and musicians world-wide to the classical beauty of the kora, Gambian musicianship, the Griot culture, and the sophistication if this musical tradition that extends in time back 800 years to the era of the Mali Empire. - Marc Pevar

[numetaltrash]

𖤐 about me 𖤐

- poc, bisexual

- i like to draw, play guitar, skate, fashion, eat shit and get hurt, and recording shit with my friends (we're the next cky/jackass🙄)

- horror movie enthusiast

- metalhead

- mall goth

- juggalo

- skater

- real life vampire🙀🙀

no specific pronouns but im a girl

favorite games

- tony hawks pro skater

- manhunt

- silent hill

- resident evil

- dnd

- gta

favorite (sub)genres

- nü metal

- riot grrrl

- black metal

- death metal

- crust punk

- electro-industrial

- grindcore

- dark wave

- funk metal

- shoegaze

- thrash metal

i like to read comics and books, some of my favorite are emily the strange, invader zim, johnny the homicial maniac, lenore the cute little dead girl.

my favorite artists are jhonen vasquez, roman dirge, and tim burton

i love anything creepy or weird

i also love clowns/jesters and the circus/carnival, i love collecting jack in the boxes and antique clown dolls

i love collecting weird things that may be haunted from thrift shops and halloween stores

𖤐 p.s, message me if you wanna talk about music, movies, art, or anything we have in common!! 𖤐

[bustyasianbeautiespod]

Episode 25 Transcript: I Get It, You Hired A Model

[intro guitar music]

G: Hello, my name is Grey.

C: And my name is Crystal.

G: And this is Busty Asian Beauties, the Supernatural commentary podcast where I, someone who has seen this show several times...

C: And I, someone who only knows the show through social media, discuss every single episode of Supernatural from start to finish. Also, we are both Asian.

G: Both Asian.

So for today's episode, we'll be discussing Season 2, Episode 3: "Bloodlust," written by Sera Gamble, directed by Robert Singer. This is our first Sera Gamble episode that it's just her.

C: Yeah, do you think Raelle Tucker was the only one holding her back from becoming a violently antiblack? [G laughs]

G: Oh my god. Okay, so before going in, Crystal, what did you know about this episode?

C: So I knew that this was gonna be our first introduction to Gordon, and I guess what I know about Gordon is that he is a hunter who got along pretty well with Dean when they first met up, but Supernatural characterized his tactics as like, too ruthless, and that at some point, his sister got turned into a vampire and he had to kill her. And also, I knew that season 2 would have Lenore, the vampire who drinks cow blood and tries to not hurt humans, so I assumed she was probably going to be in this episode as well.

Okay, so before we get into this episode, Jared Padalecki apparently once said that this episode alludes to quote unquote "racial issues" but not blatantly, rather they're explored in a quote unquote "fun" way. Jared Padalecki was probably referring to the fantasy racism in the vampires' portrayal, but the actual racial issues that are a lot stronger in this episode is how fucking racist it is to Gordon, specifically antiblack racism. So I mean, I guess trigger warning for talk and description of that. And also, we do wanna say that neither of us are Black, so we are probably not qualified to like, go very deeply into all this, and if you're looking for a like, fully-informed perspective, like, we're not the ones for that.

G: Yeah, exactly.

-

C: Okay, so the episode starts with a "Then" section, which is quite fun. There's a lot of flashbacks to "Dead Man's Blood" and vampires, but then there's a lot of lines about the Sam and Dean relationship with John. Like, it goes from "I just don't understand the blind faith you have in the man." "It's called being a good son!" to Sam yelling, "You were just pissed off that you couldn't control me anymore!" And then straight from there to Azazel saying, "If only those boys knew how much their daddy loved them." So that's very fun. And then they have Dean saying, "I'm dealing with Dad's death" - cut to him hitting the Impala. "Are you?" [both laugh]

G: He sure is dealing with that death!

C: Yeah, and I suppose it's supposed to be a setup for what they say later, that Gordon is- that Dean is using Gordon as a John replacement, but like, it's like, a very fun "Then" section and this episode doesn't deserve it.

G: Yeah. And also, like, the very end, like, the last thing they talk about, about how Dad taught them, you know, to hate monsters, so it's like that's the blind faith that Sam is talking about.

C: Yeah.

G: It's a pretty good "Then" sequence!

Okay, so for the episode itself, we start in Montana - Red Lodge, Montana, to a woman who is running. She is being chased down by someone. It's a very unexciting chase. Like, she trips, she hides behind a tree, and just when you think she's safe, the person chasing her down shows up and slices her head off with a sickle. And that's the entire scene.

C: Yeah, and this woman is a white woman. She's like, wearing gauzy white clothing, so she's very much like, an image of pure white womanhood who's being hunted by this terrible beast. So that's not very good when we find out later who it was.

G: It's- I think it's important to note that every single person in this episode, aside from Gordon, is white.

-

C: So we start on the road and AC/DC's "Back in Black" is playing as we see a bunch of shots of the Impala. Like, the wheels turning, all the angles as it goes down the road. And it looks shiny, it looks beautiful.

G: At first I was like, "Why are they doing this?"

C: Me too! [laughs]

G: I literally forgot that the whole, like, "The Impala was destroyed, and now it's back!" is like, a whole thing, so I was just like, "Why? Why are we doing this car montage?" and then I realized like, "Oh, the car is fixed!"

C: Yeah.

G: Pretty cool.

C: They like, reminded us in the "Then" sequence too that the car was busted, and we still both forgot.

Dean's in a really good mood. He's like, dancing a bit along to his music and he says about the Impala, "Listen to her purr! Have you ever heard anything so sweet?" And Sam says, "If you two wanna get a room, just let me know." [both laughing] And Dean says, "Don't listen to him, Baby, he doesn't understand us." Literally that guy who's in a relationship with his car.

G: He literally wants to fuck this car.

C: He- his dick has literally been inside the exhaust pipes.

Sam mentions that Dean's in a good mood, a bit suspiciously, and Dean says, like, "WHy shouldn't I be? We have a case, we have our car, everything's good." And turns out that they're heading to Red Lodge. Oh, they also- sorry, they mention that the case involves severed heads and mutilated cows, so I guess they thought at first that they were chasing Azazel because of the cow deaths being a demon sign, yeah. So that might be what's happening.

-

G: So Sam and Dean are in the police station, and they're posing as journalists.

C: Sam's wearing the cutest little tweed-ish suit. Like, he looks adorable.

G: They're talking to an officer, and they mention the cattle death and the two murders by decapitation. Sam and Dean propose that this may be ritual stuff, and at first, the officer laughs at them until he realizes that they're not kidding. So he goes on to this explanation about how cattle just die [both laugh] and literally just bloat and split open under the sun after they die. Which is a very fun visual. Do- is that true?

C: Yeah. I have no idea and I didn't wanna Google it. [laughs]

G: I know, me too. I was like, "Wait. Hm." And then I realized what I was typing into google search bar, and I was like, "Actually, I don't want to see." [both laugh] Anyway, Sam and Dean get sent out of his office.

C: So now they're heading into a hospital morgue in white lab coats, and the person working there has a name tag that says "J. Manners," which, I guess Kim Manners probably gave that last name to that guy. Dean pretends to know the guy by calling him John, which, ooh. [laughs] There's something there. And the guy replies, "The J stands for Jeff." So Dean gets Jeff to leave the room, and they start inspecting the dead body. They take out the corpse, they open up the box with the head. There's some banter about like, "You open it." "No, you open it." And there's no obvious markings, but Dean says that they should check if there's anything stuffed down her throat, like the moth in Silence of the Lambs, which is the first Hannibal reference in this episode.

G: Yeah.

C: And Sam starts poking at her mouth and says that he's gonna puke. [laughs] And Dean notices that when Sam pulls up her lip, there's something on the gum, like an indentation. And he presses on it, and a fang comes out, which means that this dead woman is a vampire.

G: So-

Why are we not doing any commentary? [laughs]

C: [laughing] It's because we had too many conversations about how long we are and how everyone hates us. [both laughing]

G: I know!

C: I'm just like, trying to speed through every scene.

G: I literally- like, my notes are so short this time.

C: [laughing] Yeah, I'm like, "If I talk any more, all our listeners will leave us."

No, okay, let's do some commentary. I don't know, do you have any thoughts on this scene?

G: [laughing] Absolutely nothing.

C: Yeah!

G: Okay, so Sam and Dean stop over at the bar. And as they enter, we get lingering shots of this guy like, sitting at the side of the bar. He seems to be listening in on them. They head over to the bartender, and...

C: He's played by Ty Olson, who plays Benny!

G: Yeah. Literally, it's fucking Benny.

C: No we know that Benny isn't just this guy under a different name later?

G: Eli?

C: Yeah, like what if he just changed it?

G: Yeah, but he has a different accent. But maybe that's just something he put on like, a couple of years later, you know?

C: Yeah, yeah.

G: [laughs] Maybe the psychosexual obsession with Dean is a result of Dean saving him early on. [C laughs]

C: Maybe so.

G: Sam says, "Hey, we're looking for some people," and [both laughing] the bartender says, "Sure, it's hard to be lonely." Which, like, this dude probably thought Sam and Dean were together, right? And Sam said "we," like "we are looking for some people," so I was like, "OMG, polyamory rights!" [both laugh]

C: Yeah, and Dean live slug reacts to this a bit in the back.

G: Sam hands over a $50 bill to the guy, and the guy takes it. And then they start explaining that they're looking for people who moved here about six months ago, who are probably frequently rowdy in the bar.

C: And my question is, $50, Sam? Fifty? For this.

G: That's a lot, right? That's a lot.

C: Yeah. "Are there people in this bar who are loud? Here's $50 for your answer." Bro, what?

G: The man confirms that yes, some people moved to this place called Barker Farm a while back, and they're drinkers, and they're noisy and had to be thrown out once or twice. Sam and Dean head out. They've gotten their information. And as they walk through the door, we see that the man sitting in the corner, who we were lingering around, earlier is gone.

-

C: Yeah, so we head out into the alleyway. And he's- we switch to Gordon's point of view as he follows Dean and Sam and loses sight of them. So there's like, a lot of like, foreboding music playing during this scene, it's very dark outside, so like, we're supposed to be suspicious of this man, I suppose. And he turns around, and then Sam and Dean are there, and they shove him against the wall, and Dean holds a knife to his throat. And it's already very bad to look at, but we got even more violence on Gordon later! So yeah, Dean-

G: I didn't find this part that- I guess because it's overshadowed by what happens later on.

C: Yeah.

G: So, like, this part for me was like, "Oh, they're just, you know, doing their usual routine."

C: Yeah, but, like, I saw Dean shove Dr. Sexy against a wall when he thought that something was up [G laughs], and that was a very different vibe and violence level.

So Dean tells Gordon to smile and then elaborates that he wants to see his teeth. Gordon says, like, "Stick that thing someplace else. I'm not an vampire. I heard you guys in there." And Sam asks what he knows about vampires, and Gordon says, "How to kill them. Now, seriously, bro, that knife's making me itch." I think he's like, very likable here, right? Like, I was like, "Wow, what a fun, cool guy."

G: He is a charming man.

C: Yeah, yeah, he's charming; he's like, the right amount of cocky; he's like, a good hunter intro character.

G: Yeah, in different circumstances - and I mean in this circumstances too, I guess - he got along well with Dean, and that makes sense.

C: Yeah. He shows them that his gums don't have any fangs, and they finally let go of him. After they let go of him, he says, "Now, who the hell are you?"

G: And then we cut to the car where he says, "Sam and Dean Winchester." [both laugh] And first things first: this car is fucking fantastic. I love this car. It's bright red, number one. Number two: apparently, I looked it up, and it's a Chevy El Camino, and like, it looks pretty cool! It's a cool car, it's like, a two person car, right, and because it's like, a truck in the back, but it's very small. It's just so different from what you would think a hunter's car would look like, I feel. Like, it's a classic car but - well, I don't know if it's a classic car. It's an old car. -But because of the color, I guess, like, you wouldn't expect someone like Gordon to have this car. But it looks cool, and it's driving around, it looks pretty cool, so fun car. But what happens in this scene is Gordon proceeds to fucking monologue about how good of a hunter John is [both laugh] and how the Winchester brothers have big shoes to fill, but they fill them, and they're great trackers, and I was like, "I'm so sorry, Gordon [C laughing] that they're making you monologue about how good the Winchesters are." [laughing] I was like, "Gordon, I know this is not your heart." [C laughing]

C: [laughing] Me when Kevin tells Sam and Dean he loves them.

G: He also offers his condolences, because he is made aware that John died. And Dean remarks that "Oh, you know so much about our family," and Gordon says, "Word travels fast. You know hunters talk." Dean says, "We don't, actually," and Gordon says, "There's a lot your father never told you, huh?" They start talking about the case, and Gordon did take down those two vampires, and Dean asks if Barker Farms is a lead. Gordon says, "No, I checked it already, it's just a bunch of hippies." So Dean asks where the nest is, and Gordon says that it's a real pleasure meeting the Winchester brothers, but he's got this one covered. He doesn't wanna reveal where the nest is. And apparently, he followed this nest all the way from Austin, and he wants to finish this by himself. Dean says, like [both laughing], "Pretty please, can we go with you? I really wanna hunt right now. Like, I've been craving for a hunt." And Gordon's like, "Go somewhere else, bro! I don't need you here." And he directs them to a Chupacabra case two states away. But he genuinely seems enthused about meeting Sam and Dean. And he drives away with his amazing car.

C: Yeah, and says that he'll buy them a drink. His car's so good.

G: Yeah, I know. His car's fucking beautiful. Did you know I - when I was younger, I tried to get into classic cars. [both laugh]

C: Was it because of Supernatural?

G: I mean, it was partly because of Supernatural, partly because I had a friend who would draw them, and I wanted to be able to recognize his drawings. Like, I wanted to point that like, "Oh, that's this car that you drew!" Because he was really good at it, so I wanted to get into it. But it's just, I guess the barrier to being a car person, especially a classic car person, is quite high, so I just never got into it.

C: Well, I think, Gordon so far as a good continuation from us meeting Jo and Ellen and Ash in The Roadhouse last episode. Like, this season seems to be like, expanding the hunter community and seeing how isolated John kept them, and I guess I'm curious to see if that goes anywhere else.

G: Because we're already like, two or three episodes into season 2. Well, actually, even in episodes 1, right, like, they had Bobby around. So we're already 3 for 3 expanding the hunter circle. I think that's really interesting. And I don't remember if - well, I do remember what happens to these people, but specifically for season 2, I don't know how they play out.

-

C: We cut to a mill where there's a man named Conrad who is there working. He hears a noise, and he goes out to investigate. And it seems like everything's fine, and then he turns around, and Gordon is there attacking him with a machete. So the man - his fangs come out, and they start fighting near an electric saw.

G: God, it's such a thrill to watch! [C laughs] So good.

C: Yeah, it's a good fight scene. So Conrad turns on the saw and he pins Gordon down next to it, so-

G: Ooh, yes!

C: He was like, lowering the saw down, like, sorta about to cut off his head-

G: And then Sam comes in!

C: And yeah, so Sam comes in, he yanks Gordon out of the way, and then Dean attacks Conrad and pins him under the saw. And then we like, just cut to Dean's face as he lowers the saw down, and like, presumably, this guy's head is being sawed off, and Dean's face is getting totally sprayed with blood.

G: Good shot. Like, people- I've seen this screencapped a lot. I didn't know the context, but I've seen the screencap, and he looks like, you know, very bloodied and shit. The context of makes it a lot more like, "Oh my god," you know?

C: Right. And Gordon says, "So, I guess I gotta buy you that drink." Meanwhile, Sam and Dean are sort of looking at each other, and there's sad music, and I think, generally, the idea is just like, "Wow, that was a really violent murder you just did there, bro."

G: Yeah.

C: Which it is. I think it's one of the most visceral kills we've seen Dean do so far, because usually it's just, you know, like, a gun or an arrow.

G: A good slice.

C: Yeah. This was very messy. And especially since we know that Dean is doing this because he's been "itching for a hunt" since John died like, I guess his violence is sort of concerning on a him emotional level, and also on a "this poor guy's head just got cut off" level.

G: Yeah, but also, like, it's fascinating the way they frame it this episode that like, you have to do your job, right? It's a job, and you are required to do it, but you shouldn't enjoy it. Because like, if Dean in this scene enjoyed this thing, like, that would be a source of a lot of concern. And in fact that's what they do with Gordon, right? Like, he keeps on saying that like, "You have to love your job, you have to love your job," and that's a source of concern. So it's just fascinating to me that, like, you can do murders, you can do violence; as long as you don't enjoy it, it's fine. [laughs]

-

G: Back in the bar, Sam and Dean and Gordon are drinking, and Gordon insists on paying for the drinks. So Dean and Gordon, specifically, are talking, and they're having a good time over, you know, what just happened, and Dean notices Sam is not talking, so he asks, "You alright, Sammy?" Sam says, "Yeah, I'm good," and Gordon says, "Well, lighten up a little, Sammy." And Sam says [pouty voice], "Only Dean gets to call me that." [both laugh]

C: I mean, I liked that. It's consistent. He gets mad at the guy who's in the cage with him for calling him Sammy in "The Benders."

G: Yeah, but it's quite rude. I thought it was rude because - I get that he was upset, and specifically he's upset at Gordon, right, for being so chummy after what happened, but I was like, "Don't be so rude!: Like, you can tell him politely to not call you Sammy. Like, Dean literally just called you Sammy. It's an easy mistake to make.

C: Yeah, yeah, that's fair.

G: But Gordon remains polite. He says, "Okay, no offense meant. We're just celebrating a little for a job well done." Sam says, "Decapitation is not my idea of a good time." And Gordon says, "It's not like it was human. You should have a little more fun with your job." Which is what I was saying earlier, like, they portray Gordon as someone who does hunting and likes it, and apparently that's a fucking sin. I mean, Gordon's case runs deeper than that, but that is, like, at this moment, in this scene, that is something that you're supposed to go "You're not supposed to enjoy it!" [laughs]

Dean says, "See, I told you, Sam." And Sam's like, "Fuck it. I'm gonna bring- I'm not gonna bring you guys down. I'm gonna go back to the hotel." Dean tosses him the car keys, and Sam leaves, and Gordon asks, "Was it something I said?" Dean says, "He just gets like that sometimes" and proposes that him and Gordon drink some more.

-

C:Okay, like, Jared Padalecki said that this episode "alludes to racial issues," which means that the vampires sort of fall into the trope of fantasy racism, where, yeah, like, a creature that's not a human is used as a stand-in for people of color, and then discrimination against them is used as a stand-in for racism. So in this episode, the white vampires are POC-coded and Gordon, a Black man, is racist-coded [laughs], which, you know, sure is something. And the "It's not like it was human" is supposed to be a, "This is just like how racist people dehumanize people of color!" except they're putting it through the mouth of a Black man who like, if he was a real guy, would probably have a lot more experience with that dehumanization.

It's strange, it's a lot. We've seen Supernatural try to tackle racism directly in "Route 666," and that wasn't great. And now we're seeing them try to tackle it symbolically in this episode, and it's also incredibly not great. Especially because here, it seems like they're saying like, "We will only get you to care about vampires and view them as a group that is victims if the perpetrator of the harm is a Black man, and you will only care about fake racism if it's against people who on screen are white and pale."

G: Yeah.

G: yeah, yes.

C: So we- so Sam goes back to the motel room and he puts the car keys on like, this little hook thing that looks kind of like a cactus. And then, at the bar, Dean is telling a story. He says that he "picked up this crossbow and hit that ugly sucker with a silver-tipped arrow right in the heart." And Sam's waiting in the car, he and John burn up the body, and then he says, "I'm sitting there and looking into the fire, and I'm thinking to myself, I'm 16 years old." And I start screaming and kicking my legs and bashing my teeth into it, but like, because Sam was 12 and had to wait in the car while his family killed people [G laughs], not really- I don't care about Dean that much. [laughs] He's 12! He's literally doing his little math homework in the car while like, knowing that his family might not come back alive!

G: Sam should be fine. Sam- it's okay. I was 10, I was left at home. It's fine. [laughs]

C: But he knows that they're on a hunt because they drove him out there. He's not in the motel, you know. Like, he's probably there to be their, like, getaway driver if they need to run. As a 12-year-old.

G: [laughing] He's 12!

C: I know. Do you think John wouldn't make a 12-year-old be a getaway driver?

So yeah, and also, yeah, I guess it's sad that Dean had to hunt when he was 16. Whatever. [laughs]

So, he says, "Most kids my age are worried about pimples, prom dates. I'm seeing things that they'll never even know. Never even dream of. So right then, I just sort of..." And Gordon interrupts him and says, "Embraced the life?" And Dean says "Yeah," and Gordon says "Yeah," which - how do you think Dean was actually gonna end that sentence?

G: I have no fucking idea. The only thing I had in my head was like, "If Gordon and I were talking, I would fucking hate this guy." [laughing] He keeps on interrupting!

C: [laughing] Crystal-coded.

G: Literally. To the uninformed, like, I have literally cut off the segments of the podcast where I just tell off Crystal for interrupting me. Like- [laughs] I'm very pissy about it.

He was definitely gonna say something else other than "embrace the life." Like, "Embraced the life" is the farthest thing that you could possibly say - that Dean could possibly say in that situation.

C: Yeah, though I guess on one hand, he is trying to impress Gordon this entire conversation, right? So maybe he was gonna end it with, "And then I was like, 'Who cares about prom and pimples? I'm so cool and I shoot guns!'" So, we don't know.

G: I love that they're discussing all this so loudly in the middle of a buzzing bar. Like, they're like, "And I fucking killed that ugly sucker!" [both laughing] And the guy beside them is just like, "What the fuck is going on over at that table?"

C: Eli probably overheard them, which is why he is warned against them.

G: Yeah, that's how he knows that they celebrated.

C: Yeah, yeah, okay. Yeah, Eli is standing over there like, "Please stop. What the fuck."

Dean asks about Gordon's backstory, and he says that he saw a vampire for the first time when he just turned 18. He was home alone with his sister, and he heard the window break in her room, so he ran to her room with his dad's gun, but it was too late. And he says that he shot the vampire, but obviously, that didn't do anything, and it knocked him out, and his sister was gone after he woke up. And after that, he left home and went around alone, learning stuff about vampires, how to track them down and kill them. And then he finally found that vampire, and that was the first creature he'd ever killed.

Dean says, "Sorry about your sister," and he says, "Yeah, she was beautiful." Which- is that- do you think that's a normal sentence? Because I was offput.

G: No, I think it's normal.

C: Okay.

G: You do say that about dead relatives, I feel.

C: Hm, interesting. Yeah, maybe so.

G: You don't say "he was handsome," though, so [laughs] I don't know. I think "she was beautiful" is- it's a weird- I understand why it's rubbing you off because it's like, "Oh, I'm sorry about your dead sister," and you're like, "She looked fucking-" [C laughing]

C: [laughing] No! No!

G: [laughing] "She was hot as fuck!" Like, you know. It's a weird thing to be like, someone's dead, and your first remark is regarding their like, looks. But I don't think that that's what's going on here, like, I think beautiful is, just like, "She had a beautiful soul" type of thing.

C: Yeah, yeah, that makes sense.

Gordon says, "I can still see her, you know. The way she was. But that was a long time ago." And then he brings it back to John and says, like, "Your dad. That's gotta be rough." And Dean is open about John stuff for the first time. He says, "He was just one of those guys. He took some terrible beatings, just kept coming. So you're always thinking to yourself, 'He's indestructible. He'll always be around. Nothing can kill my dad.' Then, just like that, he's gone." And he says, "I can't talk about this to Sammy, you know?"

G: Aww.

C: "I gotta keep my game face on." Yeah, aw. But why do you think he needs to keep his game face on? Like, Sam's made it very clear-

G: I have no fucking idea.

C: that he's ready- that he's down to talk about it, that he wants Dean to open up and like, for them to support each other. So yeah, what is it that is holding Dean back?

G: I think it's just the whole like, "You can't ever rely on someone younger than you like, a younger brother for that kind of support." Like, it's just how he was raised that "You need to be taking care of Sam, not the other way around, and certainly no one's gonna take care of you." So he can't feel like he can open up to his family. Which is sad, because Sam is very open to it.

C: He says, "The truth is, I'm not handling it very well."

G: [laughs] Yeah, we saw, Dean.

C: [laughing] Yeah, we saw.

"I feel like I have this..." and then Gordon says, "Hole inside you? And it just gets bigger and bigger and darker and darker?" And he says, "Good. You can use it. Keeps you hungry. Trust me, there's plenty out there needs killing and this will help you do it." And then he says, "Dean it's not a crime to need your job."

G: What do you think about that?

C: I like, the idea that hunters are all just fucked up little guys using their trauma to create more trauma in the world. [laughs]

G: [laughing] They're saving people, Crystal! They're hunting things!

C: Yeah, yeah, yeah. Sure. Well maybe- maybe people should just get eaten by werewolves and it's fine? Like, maybe that's the circle of life. [both laughing] Have you considered that?

G: [laughing] Maybe his sister wanted to be a vampire! Like, maybe she read Twilight and she was like, "Bella's so fucking cool, this is my goal in life," you know?

C: I think that if you're hunting from a place of revenge or inner emptiness, you're going to end up missing out on a lot of nuance and causing a lot more collateral damage than you should, which we see with Gordon and with John. So I don't think it's a crime to like your job as a hunter or to take pride in your job as a hunter, but I think if you need it, then you're probably like, doing something wrong when you're doing it.

-

G: So we go to Harvelle's Roadhouse, and Ellen is around. She picks up the phone, and it's Sam! I just find it so fascinating - because they do it in episode 1 as well, right, where Bobby's in there for literally, like, maybe two minutes, three minutes, you know?

C: Yeah.

G: And they do it here too where Ellen is around for literally so little. And it's fun because I'm used to in later seasons, where someone is around, they're around for the entire episode, right? When you have an extra hunter, an extra guest character, it's because they're gonna be around for the entire episode. So it's fun to have just, you know, like, random people picking up the phone, and you see them. I feel like it expands the universe.

C: Right, and it's nice to think about the fact that they have a network of people that they can call up for help whenever.

G: Yeah, like, imagine if, a little bit later, like, when Cas comes around, like, you know how like, every time Cas shows up, it has to be, like, because he's in the entire episode? So he can't just be like, "Oh, we just need a phone call." And every time they do that, he's off screen. Like, it would be fun to just see Cas like, show up for two minutes in an episode, you know?

Sam called to ask about Gordon. Ellen says, "Oh, he's a good hunter, why are you asking?" And Sam says, "Oh, we're working with him," and Ellen seizes up and says, "Don't do that, Sam." Sam says, "I thought he was a good hunter," to which Ellen replies, "And Hannibal Lecter's a good psychiatrist." Ellen says, "Gordon is a danger to everyone and everything around him, and if he's working a job, just let him be. Let me handle it."

C: Do you think that the Hannibal reference is supposed to be foreshadowing for the later reveal that Gordon killed his sister? 'Cause isn't Hannibal's backstory-

G: Ohh, yeah.

C: - that he had to kill- that he ate his sister.

G: Yeah! That's a pretty good one. Nice catch. That's pretty good. I didn't know if that was like, an actual thing that happens in the canon of Hannibal or just happens in Hannibal the TV show.

C: I mean, what is the canon of Hannibal, really? Like, the books?

G: Yeah.

C: Okay, I think his sister matters in the books, too, but yeah, I'm not sure.

-

G: Back in the bar, Gordon and Dean are still talking, and Gordon starts saying that in hunting, there are no shades of grey/ You just find a bad thing and kill it, and that's it. Just black and white. Dean says, "I don't think Sam would agree," and Gordon says, "He's different. But you and I, we were born to do this. It's in our blood." Throughout this, we are lingering over Dean’s face, and he is looking quite uneasy.

C: Okay, so I think Dean's uneasiness is probably because now that he's had a bit of time to process, he's realizing a little more of the extent of what John asked him to do, and also because he's looking at Gordon, he's going like, "By Gordon's standards, like, Gordon will probably kill Sam."

G: I didn't actively think about that, but you're right.

C: Yeah.

G: Do you think Dean was actively thinking that? Like, Gordon would kill Sam?

C: I think he was like, "Well, I am definitely never telling Gordon about Sam's psychic powers," at least. I think he at least thought that. And the fact that Gordon specifically says, "It's in our blood," and then we know that it's in fact in Sam's blood - that he has demon blood in him and that's what makes him not human - is like, fun foreshadowing. I don't really know where to bring up-

-

G: Okay, so back in the motel, Sam is outside. He's getting a soda. And he's looking around suspiciously, and the camera work is also supposed to make you feel uneasy, you know. When he gets inside his room, he kind of laughs at himself, probably thinking like, "Oh my god, I'm such a nervous wreck," when suddenly, two guys jump him and knock him out.

C: So we see that he's in a truck going over a bridge and then going to a farm house. Sam is tied up to a chair and there's a sack over his head, and someone pulls it off, and it's Eli the bartender. And he shows fangs and hisses at Sam, but then, a woman, Lenore, appears in the doorway and tells him to stop. She goes over and introduces herself to Sam, says that she's not gonna hurt him, they just have to talk. And Sam says, "Talk? Yeah, okay, but I might have a tough time paying attention to anything besides Eli's teeth." Which is like, Sam, do you want to die? [laughs] Like- just chill.

Lenore says, "He won't hurt you, you have my word." And Sam goes, “Your word? Great, thanks. Listen, lady, no offense, but you're not the first vampire I've met." Sam's- like, okay, I get it, he's just been kidnapped, like whatever, but like, Sam, stop being so rude!

G: He's so pissy this entire episode.

C: Mm. She explains that "We're not like the others. We don't kill humans, we don't drink their blood. We haven't for a long time." Sam thinks that it's a joke, and then asks how they're still alive, and she says that they can subsist off of cattle blood. It's disgusting, but it allows them to survive. Sam asks why, and she says, "Survival. No deaths, no missing locals, no reason for people like you to come looking for people like us. We blend in. Our kind was practically extinct. Turns out, we weren't quite as high up the food chain as we imagined."

G: I love that she says "people like us."

C: Yeah, same.

G: And she uses the word "people."

C: It's very good. And the thing is- 'cause the last time we get vampires, they also sort of tried a little bit of the [overlapping] "creatures are people too" thing. Yeah, with Luther going "We have a right to live," etc., except, you know, Luther's doing a lot of killing of people, so it kind of just sounds stupid. But I'm glad that they revisited the idea, and that they're doing a decent job with it, if only they weren't being racist.

Eli asks, "Why are we explaining ourselves to this killer?" which is also a good line because, you know, like, suddenly you're like, "Oh, I guess 'saving people, hunting things' involves killing people. Uh oh."

G: This is the part where it's it's really obvious-

C: Yeah, what they're trying to do.

G: - that the hunters, like, the hunters are the monsters of this episode, and they do the whole, like, "They were laughing in the bar right after they killed Conrad," you know, shit like that, and you, the audience, are supposed to be like, "Oh, like, we're the bad guys!" And I think that's an interesting take to have.

C: I think that they are making Gordon like, so irredeemable-seeming - it's because this is an episode where they're like, "Oh god, are we the bad guys?" but they can turn around, and be like, "No, Sam and Dean are fine."

G: Yeah.

C: "Gordon is the bad guy." Like, we're not actually gonna properly question Sam and Dean's actions, we're only gonna do a little bit of questioning of hunting, it's just this one bad apple who happens to be a dark-skinned Black man who we make out to be very, very evil and violent, and he's soo scary for standing. Ugh.

G: That's a good - like, yeah, this is a bad apple story. This is what's happening. Like, the way Ellen rejects him, right? Like, you're supposed to think the entire hunting community is rejecting him because Ellen is a stand-in for the hunter community. So this is a story - that's a really good way to put it. This is a bad apple story. That's what they're trying to tell.

C: Yeah. Eli specifically says, "We choke on cows blood so that none of them suffer." Ugh, poor dude. And Lenore says, "Eli, that's enough," and [laughing] Sam says, "Yeah, Eli, that's enough." Sam! Sam!

G: [laughing] I wish Benny fucking killed you, Sam. [both laugh]

C: They literally should've just eaten you, like, right there.

She tells him that "What's done is done. We're leaving this town tonight." And Sam asks, "Okay, well, if you're heading out, why are you talking to me?" And she says, "because I know your kind, and once you have the scent, you'll keep tracking us. It doesn't matter where we go. Hunters will find us."

G: That's very interesting parallel to what was said in "Dead Man's Blood" about vampires, that if they caught your scent, it's for life.

C: Mm-hmm.

G: So it's another push in the direction of "the real vampires are the hunters" scenario, yeah.

C: Yeah, yeah. And Sam says, "Okay, so you're asking us not to follow you." and she says, "We have a right to live. We're not hurting anyone." Which is the good version of the Luther line from "Dead Man's Blood." And Sam says, "Give me one good reason why I should believe you." And she says, "Fine. You know what I'm going to do?" And there's a tense moment, and then she says, "I'm going to let you go." And she has two other people take Sam back to the truck with the sack head and they drive them back.

-

G: In the motel, Dean and Gordon are talking about the case. Gordon points out the general location of the nest, and they discuss it some more, when Dean starts wondering where Sam is. Gordon says, "Maybe he went for a walk. He seems like a 'take a walk' kind of guy." [both laugh]

C: [laughing] What does that even mean? Like, it feels like he's calling him gay, but I'm not sure why.

G: [laughing] No, but the thing is, he literally is a take a walk type of guy, like, Gordon literally said "I will fucking clock this guy for what he is," and he did. [C laughs]

Just then, Sam enters the room and asks Dean if they can talk alone.

C: Yeah, okay, so they head out to the parking lot, and ugh, I wish Sam had prepared some flashcards for this 'cause it's not going well. He tells Dean, "Maybe we have to rethink this hunt." And Dean says, "What are you talking about? Where were you?" And Sam says, "In the nest. They found me." Dean says, "How'd you get out? How many did you kill?" Sam says, "None," and Dean goes, “They didn't just let you go.” And Sam said, "That's exactly what they did." The whole time, Sam's, like, letting Dean control this conversation here. Like, bro if you want Lenore to get out alive, like, you have to start talking and interrupt.

Dean asks where the nest is. Sam says that he doesn't have any info, etc, and then he says, "We shouldn't go- maybe we shouldn't go after them. I don't think they're like other vampires. I don't think they're killing people." And Dean doesn't believe him, but Sam says that they live off of animal blood, that's what the cattle mutilations were. And Dean is still disbelieving, even though they let Sam go without a scratch, and Dean goes, “No, man. No way. I don't know why they let you go, I don't really care. We find 'em, we waste 'em."

Dean asks, "What part of vampires don't you understand, Sam? If it's supernatural, we kill it, end of story. That's our job."

G: God, I wish they killed Supernatural. [both laughing]

Just end it on season 2, bro.

C: Yeah. Sam goes, "No, Dean, that is not our job. Our job is hunting evil, and if these things aren't killing people, they're not evil." And you know how Dean in "Faith" was like, "Okay, the Reverend is a human, but he is killing people, and that makes him monster enough for me, so let's kill him." And Sam was like, "No, we're not gonna kill a human." What do you think Sam and Dean's little dictionary definitions of who they can kill is?

G: I think Sam just doesn't like killing. 

C: That's true.

G: Like, I think this is what it boils down to. Like, he's just like, "Let's kill as little people as possible." I think his line is, if it's like, something that you can reason if, then it's not something you have to immediately kill. So you can reason with a vampire, you can reason with a human. For Dean, what do you think?

C: I think Dean's definition is "anything that's not human and/or anything that kills people." Like, he's got a broad range of things that he's willing to kill.

Dean says, "Of course they're killing people. That's what they do. They're all the same, Sam. They're not human, okay? We have to exterminate every last one of them." Which, oh, okay. What a line.

G: Is this what Jared Padalecki is talking about?

C: Yeah, like, is Jared Padalecki saying that, like- what is Jared Padalecki saying? That, like, Dean is a genocider white supremacist?

So, and Sam says, "No, I don't think so. Not this time." Dean says, "Well, Gordon's been going after these vampires for a year. He knows." And Sam says, "You're taking Gordon's word for it? Ellen says he's bad news." And Dean goes, “Well, I'm supposed to listen to Ellen? We barely know her either. I'll just go with Gordon." And Sam says, "Right, because Gordon's such an old friend. You don't think I can see what this is?" [in unison] Oooh! [laughs] But no. And Dean says, "What are you talking about?" And Sam says, "He's a substitute for Dad, isn't he? A poor one. He's not even close, Dean. Not on his best day." Dean says, "You know what? I'm not even gonna talk about this." And Sam says, "You know, you slap on this big fake smile, but I can see right through it. Because I know how you feel, Dean. Dad's dead, and he left a hole, and it hurts so bad you can't take it, but [both start cracking up]-" No, this is a serious scene, but- [continues in hysterics] "but you can't just fill up that hole with whoever you want to." [both still laughing]

G: [laughing] Yeah, it's a very serious scene, Crystal. Why are you laughing?

C: [laughing] No reason at all. No reason at all.

Yeah, he says it's an insult to John's memory. I guess a few things here. First, the "hole" thing is obviously a [laughing]

G: Yeah, the hole thing.

C: The hole thing is a reference - well, sort of a callback to Gordon's line about the hole that's left in Dean after John's death, and, you know, like, Gordon's take is that Dean needs to fill it up with the act of hunting with like, the satisfaction that he has with revenge. Sam's take us that Dean needs to - basically like, I guess like, have emotional support from people, which, you know, good for Sam for being a healthy little boy. And I guess my second thing is just like, how, okay, I guess, like, what do you think is the reasoning behind Sam saying that it's an insult to John's memory? Like, why does Sam care.

G: I didn't really question the line. I just accepted it as like, "Yeah, it is an insult John's memory, for you to-" Okay. Here's the thing. I don't really get what Sam's trying to say, that the Dean is trying to replace Dad with Gordon. How? Like, following Gordon's orders? Following Gordon's philosophy. Maybe that one.

C: Yeah, I think following Gordon's philosophy. And I think he is sort of starting to see Gordon, as you know, the invincible hunter that he viewed John as, so, you know, just as a figure of like, "Wow, what a good hunter." And I guess he also just really wants to impress Gordon which I guess he also did with John. But yeah, I think it's mostly just the philosophy thing.

Gordon definitely seems more like, a peer for Dean, or like, a love interest than a father figure.

G: Yeah, than a father figure.

G: The line kind of threw me off because, I don't know, it's not how I saw like, the Dean and Gordon relationship to go down, I feel. Sam saying, "You're replacing your father- you're daddying this man" [laughs] is like, so weird.

C: Yeah, I think, maybe if they dug a bit more into- because Gordon mentions that he knew John, so maybe if Dean and Gordon had more conversations about John where Dean's very clearly trying to learn more stories about John through Gordon, I could see Sam's point of view better, but like, that's not really what we got at all.

So Dean says, "Okay." And then he turns away slightly, and then he turns back and punches Sam in the face like, really hard.

G: Whoo! Yes! [laughs] Violence, hate, and anger!

C: My response to this was violence hate and anger at Dean. [G laughs]

G: I love it when they punch each other. Like, yes! My favorite Bible story's Cain and Abel. [C laughs] I love it when they recreate that story.

C: See, okay, it's okay when Sam tries to shoot Dean dead in "Asylum" [G laughs]; it's super cool and sexy when he beats Dean up in season 4, but Dean is not allowed to lay a finger on Sam. It's- I think that if you're the big sibling, you're not allowed to hit your younger siblings, and they're allowed to murder you. [laughs] Like, I think that's the rule.

G: Well, I mean, it depends- we've talked about this before, but it depends on the age gap. If you're like, two years older, just fucking kill each other. It's fine. [both laugh]

C: I guess what I don't like is just how Dean says, "Okay" and turns away, so- you know, like, the anger here is not- it doesn't feel that explosive because he's so quiet beforehand. It feels like the sort of, like, John's quiet resentment form of anger, which I think scares me more than- Because in the pilot, we see Dean get really angry at Sam and shove him up against the bridge for saying that "Mom's dead, and nothing we can do can break her back," but like, he's yelling, right. Like, that was clearly like, an act of sudden emotion. I feel like this one was like, scarier to look at.

G: Well, this one is a buildup. Like, he is irritated at Sam from like, last episode because of all the whole like, asking asking everything, and then.

C: Yeah, he already beat up the Impala, though. Like, is he not over it yet? Like, come on.

G: Violence is the answer. [both laugh]

C: Yeah, so Sam turns back around, and he just says, "You hit me all you want. It won't change anything." I think that's what cemented the scene as so uncomfortable for me. Because, just ,out of context it's just- yeah, actually, nevermind I don't have anything to say after that, but yeah, I just don't like how it's like, very onesidedly Dean beating up on Sam.

And he- Oh, also, while their earlier conversation was happening, we see that Gordon was looking out the window at them, so probably eavesdropping on their conversation. So Dean says, "I'm going to that nest, and if you don't wanna tell me where it is, fine. I'll find it myself." And he goes away.

They go back into the motel room, but Gordon's gone, which means he probably went after the vampires already. Sam says, "Dean, we have to stop him." And Dean says, "Really, Sam? Because I say we lend a hand." And Sam asks Dean to just give him the benefit of the doubt. He says, "You owe me that." And Dean says, "Yeah, we'll see. I'll drive. Give me the keys." And Dean saying "I'll drive" made me very upset, because I know that in later seasons Sam, like, barely ever gets to drive the Impala. And there's so many good moments in season 1 that wouldn't happen if Sam [overlapping] wasn't driving the Impala. Like him cutting off John's truck, uh, I think in, and also in "Scarecrow," doesn't he- he's the one who stops the car and gets out.

G: Yeah, yeah.

C: Like, him being able to drive is basically akin to like, his [in unison] agency to rebel against Dean, John, his family in general.

G: And he loses it.

C: So, yeah, and the fact that he loses it in later season, and that he's already like, explicitly getting it taken away now is- makes me sad.

So we look over to the little cactus thing where the keys were, but they're gone! Because Gordon stole the Impala keys, which I think is so fun. Like, yes, go girl.

G: Is this why Dean was mad later?

C: I think that he was mad because, like, Gordon was like, violent Sam.

G: Ohh yeah.

C: But, yeah, I guess it could also be because he stole the Impala.

G: It's a cumulative.

-

G: So in the car, [laughs] Dean is jumping Baby, which is his dream come true. [both laughing] No, he's trying to jumpstart the car with like, the wires and shit that you usually see on TV with old cars. And Sam points out where the farm is on the map, and he apparently counted the time it took to get from the farm to the bridge, and he knows the directions in detail just by feeling it out. Good for him!

C: Oh, Dean says, "You're good. You're a monster pain in the ass, but you're good." And you know, in the context it's just like, "Yay, like, you know the directions," but you know, out of context, it's a very fun line for this episode. Because this episode is all like, "Some monsters can be good," [G starts laughing] and also with like, the underlying thing of "Sam is a monster, but is he good? And like, does he deserve to die?" So like, you know, Sam is literally a monster, parentheses pain in the ass, but he's good.

G: Yeah. [laughs] I laughed because I thought you were like, reaching for the fucking stars with that one.

C: Shh. No, no, everything is about Sam's monsterhood arc in season 2 to me.

G: In the farm, Eli is talking to Lenore and is trying to convince her to kill the three hunters. He says, "At this point, it's kill or be killed." Lenore says, no, that there's always gonna be more hunters if we kill them, and they argue some more, but eventually, Eli concedes, and we are told that they're leaving before sunrise. And that also, it's not just them two. There's like, more people in the city, so they need to collect those people first before they go. We see Gordon drive past the bridge, and then we see Sam and Dean drive past the bridge. And then we go back to the farmhouse, where Lenore is packing up in her truck, and Gordon eventually shows up in front of her and stabs her with a dead man's blood-soaked knife. And the, like, they really characterize Gordon, as, you know, kind of misogynistic, I guess because like, he says "bitch" here.

C: Yeah, 'cause earlier in the bar, he says, "Thank you, sweetie" to a waitress as well.

G: Yeah. He calls Lenore "bitch" a lot. So this is like, when he says, like, "Dead man's blood, bitch," that's like, kind of like, the turning point, right? Like, that's when you're supposed to be like, "Oh, this guy is horrible because he's misogynistic." [both starting laugh]

C: Right. [both still laughing] Who else could have said this exact line? Only Gordon would call a vampire "bitch"!

G: [laughing] Who else- Who else could be misogynistic in the show?

C: [laughing] He's so evil! He's uniquely bad! He's so scary and evil because he says bitch! Nobody else could ever- Yeah. You get the point. Jesus Christ, guys.

It's fully in the framing of it. It like, closes on that line, and you're supposed to be like, "Oh, he's so scary," like, they have absolutely- yeah, whatever. We already said all of it.

Okay, so we're to the farmhouse where Lenore is tied to a chair, and she's got cuts all over her, and he seems to be dipping his knife in dead man's blood and then like, slicing her up a bit for torture.

G: We're supposed to see this as evil, right?

C: Yeah.

G: Well, the things we're supposed to see as particularly evil is that he wants to kill people who are not harming human beings and that he's torturing this woman. Both things Sam and Dean do pretty much all the fucking time in later seasons.

C: Right.

G: Like, the very last episode of Supernatural features vampire torture, and like, a couple episodes back, like, in "Last Holiday." This is season 15, right? Between season 2 and 15, you literally have 13 seasons to, you know, expand on this even more. And yet they just repeat what Gordon does, but now it's fine because Sam and Dean doing it. I think that's where a lot of my frustration with this episode lies because, like, it is so evident that it does rely just a lot of the times in the framing of the action, you know. If this was the same thing, the same scenario, but Sam and Dean are doing it, like, it would be framed as good.

C: Yeah, they'd be like, "Wow, they're so cool. Look at the cocky one-liners they're throwing out while torturing this woman."

And I think something else to bring up about this is the fact that, again, Gordon is a dark-skinned Black man and Lenore is a very pale and I guess, like, pretty young white woman. And historically, like, the relationship between Black men and white women is that a lot of white supremacists like, often stir up a lot of racial hate by capitalizing on anxieties about Black men brutalizing white women, raping white women, just- you know, just like, the image of a Black man torturing a white woman is like, very historically loaded, and the fact that they're doing it to show how evil he is draws on that historical baggage and that white supremacy, whether or not it was intended.

Sam and Dean come in, and Gordon's acting like things are normal, I guess, at them. He says, "I'm just poisoning Lenore here a bit so she'll tell us where all her little friends are. Do you wanna help? Grab a knife. I was just about to start in on the fingers." And Dean says, "Whoa, hey, let's all just chill out, okay." And Gordon says, "I'm completely chill." Sam tells him to put the knife down. Sam starts heading towards Gordon, but Dean stops him. Sam tells him again to like, stop torturing Lenore, and he says, "You're right. I'm wasting my time here. This bitch will never talk. Might as well put her out of her misery." And then he takes out a knife and says, "I just sharpened it, so it's completely humane." And - does he say this in sort of a mocking tone?

G: Yes. He's saying it to Sam specifically because Sam is the one with the issues.

C: Right.

G: [laughs] Just issues in general. [C laughs] But yeah, he says it in a very mocking and tone. And you know this, but I was, like, googling stuff earlier about how the casting choice was made in Supernatural, right? And like, I found an article that said "the casting choice was perfect because even when he's at his calmness, that's when he's scariest."

C: Jesus fuck.

G: [laughs] Yeah.

C: And that person did not like, for a single second think like, "Maybe I'm being incredibly terrible right now"?

G: I don't know. I didn't read the whole thing. When I saw that, I was like, "Okay, let's click off. [laughs] Maybe this is not for me." But this is the scene that they're referring to, right?

-

C: Sam tells Gordon that like, he's gonna let Lenore go, but Gordon points a knife at Sam and tells him that he's not gonna do anything. Dean says, "Hey, Gordon, let's talk about this," and Gordon says, "What's there to talk about? It's like I said, Dean. No shades of grey." Dean says, "I hear ya, and I know how you feel. That vampire that killed your sister deserved to die, but this one-" and then Gordon laughs, and we get the reveal where he says, "Killed my sister? That filthy fang didn't kill my sister. It turned her. It made her one of them. So I hunted her down, and I killed her myself."

G: Was she the vampire from Austin?

C: Ohh. Oh, that makes it even more interesting because that means that she probably was drinking cow blood and being chill.

G: Yeah, no, but like Sam said, right, like, he knew all along that they are not a danger to humans.

C: Right.

G: But like, why turn someone, then?

C: Yeah. Well, I guess, doesn't Lenore mentioned like, "We're going extinct and we're drinking cow blood so that we survive so hunters stop going after us?" So I guess it could be a recent development, or it could just be that, like, as vampires, they want community, [laughing] but it's sort of rude to do that by breaking into someone's house and forcing them to be a vampire, so, you know.

G: Yeah, like, is the instinct of reproduction present in vampires? Like- [laughs]

C: Maybe.

G: Can you just not get pregnant, then?

C: Oh, if you're a vampire? I assumed that you couldn't.

G: 'Cause you're essentially dead, in a way.

C: Yeah, yeah.

G: What do they do in Twilight?

C: I mean, I don't know. I mean, I'm assuming that they fuck and then they have a little vampire baby, but I don't actually know.

G: Well, we'll never know [laughing] because I'm never interfacing with Twilight..

C: So Dean says, "You did what?" And Gordon says, "It wasn't my sister anymore. It wasn't human. I didn't blink, and neither would you." Which is, I think, where we very- where we really go hard on the parallels, where like, Dean is someone with a not-human sibling who has been told to kill that sibling.

Sam says, like, you, Grey, said, that "Oh, so Gordon, you knew all along that these vampires weren't killing anyone. You just didn't care." And Gordon says, "Care about what? A nest of vampires suddenly acting nice? Taking a little time out from sucking innocent people? Trust me. It doesn't change what they are, and I can prove it." And he slices Sam's arm and then forces him over to Lenore. And Dean starts pulling out his gun and pointing it at Gordon. And Gordon says, "I'm not trying to kill him, I'm just making a point." So he holds Sam's arm over Lenore so that the blood drips on her face, and Lenore starts hissing really hard. Her fangs come out. And Gordon says, "You think she's so different? Still want to save her? Look at her. They're all the same. Evil, bloodthirsty." But Lenore eventually gains control of her face again, and she says, "No, no." And, gosh. Like, okay. I think it's really sad that, like, Lenore has to, you know, be better than you need someone to be to prove that she's a person, you know?

G: Yeah.

C: Like, I think that if you're a vampire and someone's dripping blood on your face, you definitely have the right to go batshit about it.

Yeah, Sam pushes Gordon away and says, "We're done here." And he picks up Lenore and starts taking her out. Gordon tries to follow, but Dean points his gun at him and says, "Uh-uh, Gordon, I think you and I have got some things to talk about."

-

G: Dean is still pointing the gun at Gordon at this point, and we get some really nice shots of like, close up on Gordon, close up on Dean, and then Dean does the whole "If you wanna go get her, you gotta go through me first" thing. Gordon puts down his knife on the table, and then puts down his gun, and then they start fighting. Gordon throws the first punch, it's a whole thing, and then immediately, when he can find the opportunity, Gordon picks up the knife again, and Dean goes, "Aww." [both laugh] And Dean eventually gets Gordon to drop the knife by like, smashing his hand against the wall. And they start talking while fighting. Gordon is trying to convince Dean that they're on the same side, and Dean says, "I don't think so, you sadistic bastard!" Gordon does more of the "you're just like me, you're a killer!" thing. "It's in your blood!" Dean eventually knocks him out and ties him up.

So it's the next day, and Sam comes back, and Gordon's still tied to the chair. It's been like, hours, and Dean's just been watching him the whole time. And we find out that Sam helped Lenore and everyone else get out. I hope he spent all night like, helping them pack, you know? Like, putting things into boxes. [laughs]

Dean says, "I guess our work here is done." And then he says, "How you doing, Gordy? Gotta tinkle yet?" So, yeah, he's just being very condescending towards him. And then he says, "Well, get comfy. We'll call someone in two or three days, have them come out and untie you." And can't you die of dehydration within three days?

G: Yeah.

C: Yeah. I just think that Dean's just being like, incredibly brutal here.

He sticks Gordon's knife into a table behind him, and when Sam says, "Ready to go, Dean?" he says, "Not yet," and then, "I guess this is goodbye. Well, it's been real." And then he hits Gordon like, really, really hard. And like, so hard that it knocks the chair all the way over, so Gordon's flat on his back on the ground and he will be for the next three days. And then he says, "Okay, I'm good now. We can go."

G: It's so necessarily violent. And if it's not against your brother, then it doesn't count, because it's not a Cain and Abel moment, so I don't enjoy it. [both laugh] But like, a part of me is thinking about it in this way: it's Dean- you know how you said earlier how like, this entire episode is like, "oh, hunting is bad, but Sam and Dean are not that bad; their specific brand of hunting is not that bad." It kind of feels like that in this moment, right? Like, he is separating himself from Gordon.

C: Yeah.

G: By punching Gordon in the face, he's kind of like, saying to himself and to the audience that "I'm not as bad as Gordon! I am separate from this man! Look! I just hit him!" you know?

C: Yeah.

G: And I feel like it absolves Sam and Dean. By hitting Gordon, it absolves Sam and Dean of any possible like, emotional repercussions or moral dilemmas to come along with it. Because "Hey, we just destroyed the bad guy, so it's fine." And it frustrates me because it could have been- like you said, it could have been an interesting exploration of what hunting means and whether it's morally right or wrong, but we don't get that because they, like, scapegoat the entire situation with Gordon.

C: And also, in terms of the unnecessary violence, like, I'm comparing this to the interrogation scene with Meg, right, where she's also tied up in a chair and Dean's being all rude at her. But he only punches her once, and immediately Bobby's like, "No, you can't, that's a real person." Gordon's a real person!

G: And Iike, also, Sam goes-

C: Yeah, Sam goes, like, "Bro, like, you're going too far." The whole framing of the Meg interrogation scene is that Dean has gone off the rails, that he is like, way too violent. This scene, Dean is being way more violent, and it is framed as triumphant, and it's because they're framing Gordon is not a person.

G: Yeah, exactly.

C: [sighs] Yeah.

G: As they walk out of the farmhouse, Dean tells Sam to clock him. Dean says, "I won't even hit you back, so it's fine! You can hit me!" And Sam says, "No, you look like you just hit 12 rounds with a cement block, Dean." [laughs] I love it when Sam tries to be funny. [both laugh]

C: [laughing] He is funny. To me.

G: As they walk back to the car, Dean laments that he wished he never took this job at all, because now everything's fucked. And he says, like, "What if we killed things before that didn't deserve killing? The way Dad raised us..." dot dot dot, and Sam defends John, saying that with after what happened with their mom, John did the best he could. Dean says, "Yeah, but the way he raised us to hate those things-" like, that specifically. Dean says, when he killed the vampire at the mill, he enjoyed it. Sam says, "You didn't kill Lenore," and Dean says, "Every instinct of me did. I was gonna kill her. I was gonna kill them all." Sam says, "Yeah, but you didn't. And that's what matters." Again, like, they're absolving themselves, you know.

C: Yeah.

G: They're like, "We're okay!" Like, "We're fine!" Dean says the pain in the ass line again, and Sam says, "Guess I have to stick around and continues being a pain in the ass." And Dean says, "Thanks," and Sam says, "Don't mention it." And Sam gets in the car, and we get the iconic shot of lens flare Dean-

C: Boo.

G: - looking at the camera as it zooms in on him. And I was like, "Why are we doing this?" [laughs]

C: Exactly!

G: Like, I love a good Dean shot, you know. But why this episode specifically? Like, it's not a Dean-centric episode. So why is the last shot of Dean looking all- Like, I get it, you hired a model. [both laugh] But like, let's calm down.

They drive away, and the episode ends.

-

G: So, Crystal? [laughs] What did you think of this one?

C: I think that the ideas that Lenore presents in this episode are pretty interesting and shape a lot of how I think about hunting in the world of Supernatural. I think that the episode is also racist garbage and Sera Gamble should not be writing things. [laughs]

G: For me, I think my perspective in this episode is, it is interesting. I think the best word to summarize it - aside from like, "it's racist" - is "it's interesting." It presents a lot of interesting ideas, it's just that... why is Gordon Black? It's just because - prior to recording this episode, me and Crystal tried to google whether Supernatural does blind casting for its side characters, and we didn't find a concrete answer. But, like, did they just not consider the visuals? Like, what it would look like, and what it would imply, knowing that Gordon is Black and is the only Black character in the episode, you know?

C: And also, the Superwiki says that Gordon's character might be a reference to Charles Gunn from Angel, who is a black vampire hunter whose younger sister was turned into a vampire, which means that like, they cast a Black man on purpose, and they were still like, "yeah, this script looks all, like, really great, and also, yes, I agree that we should cast all the vampires to be white and that won't look bad at all." Like, hello? [laughs]

G: So, Best Line/Worst Line. Fuck. [C sighs] I have no idea what to say.

C: Uh, okay, for best line, I think I like when Dean asks Sam, "Think about all the hunts we went on, Sammy, our whole lives. What if we killed things that didn't deserve killing?" 'Cause, you know, that line does live rent-free in my head every time I look at hunting in episodes of Supernatural.

G: To follow that out, I'll save my worst line is Sam's reply. It doesn't matter anymore that you have vitriolic hatred [both laugh] for people who are pretty much innocent, what matters is you don't murder them! [both laugh]

C: Except when you do, with a chainsaw!

G: Yeah. It's- yeah. That's my worst line. My best line, I would say is... my best line are the Gordon's lines regarding the hunter and how word travels fast in the community. I just think it's a very interesting- especially because this season, right, we said earlier, they're establishing the whole hunter community thing, so it's interesting that we're learning a little bit about the culture of it, like, in passing. I think that's really fun.

C: Yeah.

G: What's your worst one?

C: I guess my worst line is just "Dead man's blood, bitch" because, like you said, it's supposed to be the moment that we go, "Oh my god, Gordon's so evil! [laughing] Dean would never say that!"

G: IMDB rating, right? Crystal knows this already, but, as I said, before we recorded the episode, I was looking up things about the show, and this episode specifically. I accidentally saw the IMDB rating, so I'm opting out of this one.

God, I wish I didn't tell you, so I could just cheat. [both laugh] But, so, Crystal, what is your IMDB rating of this episode?

C: Okay, that's a rough one because I feel like- I feel like if people care about racism they're gonna rate it really low, and if people don't care about racism, they will probably consider pretty good. So I guess I'm just gonna average it at an 8.5?

G: 8.5? Okay. It's an 8.2.

C: Oh! Okay. Good.

I don't know I feel like if it was not racist, the writing would be fairly tight, so I'm glad that people still decided that it sucks, 'cause it sucks. I wonder what they have to say about it.

G: This one like, says that it shows how deep the show goes and that like, the themes of this episode are very deep. Which I partly agree with, but also, I think it's so in-your-face this episode that it's like, "Alright, like, I get it," you know, so.

C: Yeah, they said that they thought it was "Okay, but lacking in any major plot development, character depth, or insight. 'Bloodlust' totally changed my mind!" [both laugh] Go watch "Scarecrow" again!

G: Have we even watched any episode of Supernatural so far that has any subtlety whatsoever? [C laughs]

C: No. [G laughs]

G: Exactly.

-

G: That's it for this episode of Busty Asian Beauties. Next time, we'll be talking about Season 2, Episode 4: "Children Shouldn't Play With Dead Things." Leave us a rating or a review wherever you get your podcasts.

C: Follow us on social media! We are on Twitter at twitter.com/BeautiesPodcast and on Tumblr at bustyasianbeautiespod.tumblr.com. Our official tag is #BABPod, B-A-B-POD. Oh, and thank you to everyone who has donated to our Ko-Fi at ko-fi.com/bustyasianbeautiespod.

G: You can email us any feedback, comments, or inquiries at bustyasianbeautiespod@gmail.com. See you guys next time. [both] Bye!

[guitar music]

[jasonhackwith]

Dave Hackwith Celebration of Life

David Aaron Hackwith, 78 of Cheney passed away Tuesday, August 31 in Spokane.

Dave was born April 6, 1943, in Winchester, ID, to Keith and Florence Hackwith. He was preceded in death by his parents, son Clint Prather and sister Hazel Lenore.

Dave graduated from Craigmont High School in 1961. Music was a big part of his life, playing piano backup for his dad and friends at area dances when he was young, continuing with sousaphone in the school band and then with the U.S. Army. He was in the army band while stationed in Germany and got to play for President Kennedy. He learned to play other instruments as well to include bass fiddle, guitar, mandolin, and fiddle.

After his service, Dave returned to Craigmont and then attended Spokane Community College learning the autobody repair trade. He worked at several body shops over the years in Oroville, Cheney, and Spokane.

In 1981 he met Gloria Prather and they were married in March 1982. He also became a father to Gloria's sons, Chuck and Clint. Dave loved his family and being a father. He and Gloria became a part of the Gold Star Family after losing Clint in Afghanistan in 2005 and attended Windy 25 Memorial in Las Vegas almost every year.

Dave loved music, he was well known and liked for his talent on the bass. He played for Custers Grass Band for many years as well as Prairie Flyer and Bluestreak to name a few. He and Gloria loved to attend the bluegrass festivals throughout the Northwest.

He is survived by his wife Gloria, son Chuck (Brittany) Prather, daughter in laws Irene Prather and Tiffany Summers, grandchildren Summer Prather (Ashton), Carter Shurbutt, Aaron Prather (Anna), Cheyenne Prather, sister Lois Mulkey, brothers Tom (Bev) Hackwith and Denis (Kris) Hackwith as well as several nieces, nephews, and friends.

A celebration of life and music will be held on June 11 at the Cheney Congregational Church, 423 N. 6th, Cheney, WA, at 11:00 am followed by a jam for those who would like to bring their instruments.

Obituary published by Spokesman-Review on Jan. 19, 2022.

[witchamania]

Rules: Answer 17 questions and tag 17 people you want to know better.

Nickname: Hatter Zodiac Sign: Aries and Metal Sheep Height: 5′4″ / 162.56 cm Hogwarts house: Ravenclaw Last google search: I think it was “Castlevania Lenore” for reference images. I wanted to practice drawing Lenore for a bigger piece I have in mind later when I have more time for personal projects again. Song stuck in head: Wozwald, and it bounces between Will Stetson’s version and Jubyphonic’s. Following and followers: 154 & 229 Amount of sleep: Oh, honey... sweetie, it’s never consistent. Lucky number(s): I’ve never really thought about lucky numbers before. I guesss 6? If only because it’s my favorite number. Dream job: Tattoo artist, which I actually work as. Fave songs: It largely bounces around depending on what mood I’m in at any given time. Three of my favorites include ‘In the End’ by Black Veil Brides, ‘Wozwald’ especially Will Stetson’s version, and ‘Escape to the Stars’ by Cinema Bizarre. Instrument(s): I currently can’t play any instruments but I do have an accoustic guitar I need to find time to learn to play. Fave authors: I can’t say I really have any as of late, I haven’t had a lot of time to sit and read full books. Manga authors, however, include Jun Mochizuki and Kaiu Shirai. Fave animal noises: Cats cooing/trilling and wolves howling. Aesthetic: I like to think I have something of a punk aesthetic going on but that’s probably wrong.

Tagging: @stellas-multiverse​, @seleneserenade​, @airxn​, @lethal-honey​, @xmenageriie​, & you

[jockw]

Lenore's mad cause she can't play Everlong by Foo Fighters

(Real, I can't play shit on guitar no more besides In My Head by Bedroom)

[casualcatte]

[Character] Aultena Sephimiri

She demanded to be heard, so here she is...

Basic Statistics

Full Name:  Aultena Sephimiri Nickname:  ‘Tena or Tena Age: 25 Date of Birth:  22nd Sun of the 3rd Umbral Moon  (June 22nd) Species: Miqo’te, Keeper of the Moon Gender: Female Hometown:  Tailfeather, Dravanian Forelands, Eorzea Occupation: Hunter / Survivalist

This is a VERY long character worksheet.  So, consider yourself warned it’s a long read ahead!

Abilities

If they had an element, what would it be?  Aultena is best represented by Wind because of how free spirited she is.  She goes where the wind takes her. Can they use it? Aultena has no magical ability whatsover. Hand-to-Hand capability: Aultena is an excellent ranged fighter, but not so much in close quarters. She can defend herself, if pressed, but she’d rather pick off her targets from afar. When did they start learning? She has been learning the way of the bow since she could walk. Who taught them? Her mother, for her early years. Sillesti, her guardian, in later years. Weapons training:  Longbow and shortbow, dagger for close quarters self-defense. Physical strength:  Aultena is light and wiry, athletic and dextrous, but not so physically strong. Speed:  Fairly speedy. She relies on it and her dexterity to keep her out of most trouble.

Family

Maternal & Paternal Family Connection: Aultena’s extended family are also Keeper of the Moon miqo’te.  Her relationship with them is fairly non-existent on either side. Parents/Guardian: Aultena’s had a good, loving relationship with her parents who encouraged her to be independent and strong-willed. She was closest to her mother, but still had a good relationship with her father.  They were killed on a Clan Hunt when she was twelve. After that, she was cared for by a friend of the family, a Wildwood Elezen by name of Sillesti Abriel. Her relationship with Sillesti was also fairly good, though they did tend to butt heads on occasion. Birth order:  Aultena is the only child of her parents. (That she is aware of. There may be the possibility of other siblings -- for RP opportunities!) What is the character's family life like?  Growing up with her parents, Aultena was raised with a disciplined hand, but also with a lot of freedom for her to develop on her own. Miqo’te tribal traditions were explained to her, but not impressed upon her. It didn’t seem that important living out in Tailfeather among such varied people. Growing up with Sillesti, Aultena knew even more freedom, since Sillesti only disciplined her when she did something really wrong. What does their family love most about them? Her determination. Once Aultena puts her mind to something, she always tries to see it through to the end.  It’s part of what makes her an excellent huntress, she doesn’t let go of her quarry easily. Hate? Aultena has a temper, inherited from her mother. It causes her to butt heads with both her mother and Sillesti a lot, sometimes over inconsequential things. What would their family be described like by another person? From the outside, Aultena’s life with her parents seemed pretty idyllic; she got along with her parents and travelled with them often save on the more dangerous hunts they undertook. With Sillesti, it was much the same since they all lived close-by in Tailfeather; seeing her around Sillesti was nothing new. Have they ever had any pets?  Not yet. Maybe at a later date?

Relationships

Are they a virgin?  Nope! How did they lose it?  She had a literal roll in the hay in a chocobo barn with a handsome adventuring hyur, Tristane, that stayed in Tailfeather for a while. Have they ever cheated on a partner?  No. Given Aultena’s general lifestyle, her temper, and her wanderlust she’s never really been that committed to a partner.  It takes a lot for Aultena to invest that much in someone, so it takes a while and she has to build a lot of trust.  Trust she wouldn’t betray so easily. Who was their first crush?  Aultena doesn’t really crush on people. She has to be pretty emotionally invested in someone to find them attractive. First love? Her first love was that aforementioned hyur, Tristane Alexander. He was an adventurer, however, and met his end fighting a bandersnatch alpha on one of their many hunts. Aultena does NOT like to talk about this much. Are they in any kind of romantic relationship? Aultena is currently not in any sort of relationship at present.  Who is your character’s closest friend? Her current closest friend is probably her guardian, Sillesti. They get along well and he respects her space and independence while simultaneously providing a willing ear and advice when she needs it.

Favorites

Favorite foods: Miqo’bobs, of course! Least favorite food:  Anything with fish.  Living so far from the sea, she never really acquired a taste for it. Favorite colors:  Blues, she finds it soothing. Music: She loves listening to acoustic guitar. It’s what she grew up with, listening to her father play as a child. She inherited his guitar when he left it behind during that ill-fated Hunt and has learned to play it since. Literature: Sheet music?  Aultena isn’t much of a reader.  She CAN read, but rarely for entertainment. Smell: The forest after a good rain. Feeling: The softness of chocobo hatchlings. Season: Autumn. Place: Tailfeather, home, of course! Possession this character values most: Her most valued possession is her father’s guitar, since it’s really the last connection she has to them. It’s attached to many good memories sitting around the campfire as they hunted, listening to her father play it.

Physical Characteristics

Height: 5’6” Weight: 120 Body build: Wiry Athletic Eye Color:  Gold Hair:  Navy with lighter blue highlights, typically drawn back in a braid. Scent:  She smells mostly of pine. Very rarely any sort of artificial perfume, since it would be a dead-giveaway to her quarry on hunts. Voice:  See: Lenore Zann -- particularly as Aisha Clan-Clan. Health: Fairly good!  Her active lifestyle as a huntress keeps her physically fit.  She does have an allergy to cats, though.   Style:  Relaxed and easy to move in. She’s not all that fond of frilly dresses and binding undergarments like corsets.  (How do people even move in this?!) How do they walk? Aultena is very light-stepped, given how carefully she has to move on a hunt. Unconsciously graceful, but also kind of slouchy when she’s relaxed / not hunting. What are their Nervous Tics: Aultena’s ears are very expressive. When she’s nervous or afraid, her ears will tilt backward. The farther the tilt, the more severe the emotion. Usual Body Posture: When on the hunt, generally stiff and vigilant.  Not hunting, relaxed and slouchy.

Intellectual/Mental/Personality Attributes and Attitudes

Did they go to school?  Not really. She learned to read and write in her teen years from Sillesti who was taught in Ishgard. How smart are they?  Aultena is smart when it comes to survival and being afield.  She’s not really very book-smart or knowledgable about history or Eorzea at-large.   Character's short-term goals in life: Aultena wants to see the world beyond Tailfeather, especially after hearing about it from Tristane, who was fairly well-travelled. Character's long-term goals in life: To become a good enough hunter to kill the beast that killed her parents. How does your Character see themselves? Aultena sees herself as a bit of a nuisance to Sillesti, though she adores him like a father for everything he’s done for her. Among other people, she often sees herself as a clunky backwater heathen. How self-confident is your character? While hunting, Aultena is supremely confident and in charge of herself. In any other arena, she can be uncertain, easily frustrated, and reclusive. What makes their self-confidence waver?  Her lack of knowledge. She’s not as worldly as some folk, so she sometimes feels dumb when listening to them talk about the wider world. What would embarrass your character the most? Missing a shot on a hunt. How does your character feel about love?  It always ends. Nothing lasts. Enjoy it while you have it, but don’t rely on it for anything. About crime? Criminals ruin everything for everyone. Politics? She doesn’t follow politics, so she’d just stare and not understand. People of a different sexuality? Your body, your business. Different nationality/race? She’s fine with most races, though she has little love for Gnath. How does your character show affection/love? Spending time with them, staying in one place near them. Her free time and her freedom are key to who Aultena is, so when she’s willing to give that up for someone says volumes. She also likes giving them hand-made gifts or bringing them things back from her hunts.  How does your character handle grief?  She will usually go off somewhere by herself to cry where no one is watching. She doesn’t like talking about it, but will accept comfort / distraction when it’s offered. What are they like when they cry? She’s a burst crier. She’ll weep loudly and hard for a few minutes, recover, then cry again until she exhausts herself. What can make them cry?  Loss, primarily. The loss of her parents, then later losing Tristane makes her very sensitive to losing people.  Anger, she tends to cry when she gets really and truly angry. How does your character handle physical pain? Having been injured a number of times in her life on the hunt, Aultena deals with physical pain and injury fairly well. Emotional pain? Emotional pain, however, is not something she deals with well. Like a wounded, she’ll either lash out or retreat to where she feels the most comfortable / safe. Is your character typically a leader or a follower? She is fairly independent, so she’s a leader more than a follower.  If it’s a situation she’s unfamiliar with, though, she has no issues with following someone else. Are they 'big picture' or 'little details'?  Little details matter in a hunter’s life. What kind of energy level does your character typically display? On the hunt, she’s fairly high, but controlled and focused energy.  Intent.  Anywhere else, though, she seems sort of lazily vigilant -- you know, like a cat. Describe their sense of humor:  Her sense of humor can be a bit dry.  But if she’s feels comfortable enough with someone, she can be a bit of a mischievous prankster.  Something she used to torment Sillesti with a lot. Hobbies:  Whittling / Woodcarving, playing music (esp. guitar, includes singing), cooking, leatherworking, collecting hunting trophies. Talents:  Singing, playing music, hunting. Extremely unskilled at:  Formal dancing, sewing, makeup / hairstyling If any, what musical instruments can they play?  Lute, guitar, and harp, primarily.  Pan flute.

Emotional Characteristics

How does character relate to others?  Aultena can be bluntly opinionated at times, calling things like she sees them. It can rub others the wrong way.  She tries to be understanding, but really emotional people make her uncomfortable. How does the character deal with anger? She stalks off and shoots things. With sadness? She runs off on her own or to where she feels safest to cry. With conflict? It depends on the situation. For emotional conflict, she’ll stalk off to puzzle things out for herself. Physical conflict, she’ll fight like a demon. Mental conflict, she’ll just shut down and withdraw. With change?  With as much as her parents came and went and with so many varied people and adventurers that came through Tailfeather, Aultena is relatively good with change. She likes to experience new and different things. With loss?  Given her life experiences, Aultena does not cope with loss well. What does your character want out of life? Besides to avenge her parents against the beast that killed them… I doubt she knows at this point. What would your character like to change in his/her life? Aultena would have her parents and Tristane back. She doesn’t regret much else. What motivates your character? The people she cares about.  Hunger.  Money.  Hunters live to sell their kills or to eat off the meat those kills provide.   What frightens your character?  Losing people she cares about.  Dragons.  Bandersnatches.  Are they afraid of the Dark? No, she’s spent too many nights in the wild, listening to the forest-song to be afraid of the dark. Death? Aultena is very afraid of death.  Her parents weren’t that old when they were killed.  Neither was Tristane. In the back of her mind, she wonders if she’s doomed to die an early death, too. What makes your character happy? New and different experiences.  Good food.  Fine booze.  Excellent company.  A successful hunt.  Camping under the stars.   Is your character judgmental of others?  Not really.  Like with animals, Aultena gauges things by how they act toward her and she responds accordingly. Is your character generous or stingy? A bit of both, to be honest. She’s stingy among strangers, but generous to those she cares about and her neighbors. Is your character generally polite or rude?  She can be a bit of both here, too, depending on how she’s treated or received. Optimistic or Pessimistic? She’s generally a realist. Introvert or Extrovert?  Something of an introvert until she gets comfortable. Daredevil or Cautious?  Cautious.  Hunters don’t live long by being reckless. Logical or Emotional?  Both, depending on the situation.  Hunting?  Logical.  Socially? Emotional. Disorderly and messy or methodical and neat?  Methodical and neat. Being able to know exactly where anything is at any given moment so she can go on the hunt is key for her. Would they rather be working or relaxing?  She likes both.  She loves the thrill of the hunt and to travel, but there’s little else better than relaxing after a successful day. How do they feel about animals?  Given her experiences as a hunter, Aultena has more respect for animals than she does people.

Spiritual Characteristics

Do they consider themselves religious?  She prays to them to keep her safe during the hunt, but she’s not devout by any means. What God(s)/Goddess(s) do they believe in?  As a Keeper of the Moon, she learned of Menphina from her mother. She has some small regard for Oschon, as the God of Wanderers.

Bonus: Theme Song Sunset by Daria Semikina

[sacrillegea]

IMPORTANT  HEADCANONS  TO  CONSIDER  !

CAN  THEY  USE  CHOPSTICKS     /    Yup ! Sometimes it’s a struggle if too many of her fingers are broken but she’ll still try

WHAT  DO  THEY  DO  WHEN  THEY  CAN’T  SLEEP     /      Lenore doesn’t usually sleep & usually if she does it’s only for a few hours so she spends most nights just going on long drives, if she’s feeling really up to it she’ll play her guitar

WHAT  WOULD  THEY  IMPULSE  BUY  AT  THE  GROCERY  STORE     /    dog chew toys ( for her )

WHAT  ORDER  DO  THEY  WASH  THINGS  IN  THE  SHOWER     /     face, hair than body

WHAT’S  THEIR  COFFEE  ORDER     /     black no sugar w/ an espresso shot

WHAT  SORT  OF  APPS  WOULD  THEY  HAVE  ON  THEIR  SMARTPHONE     /     Starbucks, Kik or another sort of messaging app, no social media 

ACT  AROUND  CHILDREN     /     kids have never really been her thing, she’ll only be kind if there’s a personal connection otherwise she just tries to avoid them 

WHAT  WOULD  THEY  WATCH  ON  TV  WHEN  THEY’RE  BORED  AND  NOTHING  THEY  REALLY  LIKE  IS  ON      /    Simpsons or Futurama 

TAGGED :  @daisyspat ( ty ilu ) TAGGING :  @daevour @nvctophiliac @diagnonsins

[mykingdommusic]

The Art Of Never

27 years of history, 4 albums and the new "Redefining Nothingness" coming out on October 7th, the ability to renew itself time after time always keeping faith to their style made of different facets of melodic Black Metal, fierce Death Metal and dark Gothic Metal. This is MEMORIES OF A LOST SOUL. Pioneers of the Italian Death/Black scene, the Calabrian band with "Redefining Nothingness" will definitively give voice to an album for fans of ROTTING CHRIST, DARK TRANQUILLITY and CRADLE OF FILTH! In the meantime you can pre-order the CD at: http://smarturl.it/MOALS-CD Hi Buzz, welcome. Give us a short presentation of your project MEMORIES OF A LOST SOUL and let me know more about the choice of this name. The memories of a lost soul were born in 95 at the behest of my best friend the max, from primordial death metal we have evolved over the years passing from Scandinavian to today's sound, a sort of black death mixed with gothic and prog, the name has a very obvious meaning, that is, they are my stories, my memories. MEMORIES OF LOST SOUL represent one of the historical bands of the Italian Death Black scene. Your debut dates back to the late 90s and today with "Redefining Nothingness" you come to present the fifth full-length album. How did  the band evolve over the years?   Over the years as I told you before, we have gone from death to black, to symphonic and prog to create a sort of horror soundtrack, the result is really liked by our fans that have increased over the years, now we have managed to making it much more theatrical for the new album, but without losing the nastiness. As I said "Redefining Nothingness" is your new album, the fifth of your career, which comes 8 years after the last "Empty Sphere Requiem". Would you tell me more about this release and what does it mean to you personally? It definitely means a point of arrival, both as a composition and as a choice of sounds, among other things I think I sang really well this time!

We can described your music as a mix of melodic Death Metal and Black Metal atmospheres but there are very different elements such as Mediterranean sensations, operatic voices, passages closer to Gothic and Doom. Is it easy for you to put together all these influences and how does it born a song by MEMORIES OF A LOST SOUL? The method of composition has evolved a lot over time, mainly our pieces however continue to be born from the guitar, but Adler does a great job with keyboards and violins, pianos and instruments that he plays live not as sound effects. "Redefining Nothingness" is certainly a point of arrival of the band as well as your most mature work. When I listened to your new album for the first time, I had the impression that everything was conceived with an obsessive attention to the atmospheres and the sensations that the single songs had to express. Could it be considered appropriate? Yes, absolutely, as I said after 27 years of career we are now convinced that we have reached a truly high compositional and stylistic maturity, in addition to this, however, the desire to communicate sensations has not diminished, indeed it has increased, because it's more awareness. Some musical references that I find in your songs are ROTTING CHRIST, DARK TRANQUILLITY, CRADLE OF FILTH. Do you agree? and what is your consideration about these bands? They are definitely among our favorite bands, I also listen to dimmu borgir, opeth and much more not exactly metal, many soundtracks and classical music. "Redefining Nothingness" is also the opportunity to present the new line-up with Noxifer (drums) and Morlock (bass) from LENORE S. FINGERS who will accompany you, Buzz (guitar and voice), and Adler (keyboards and violin). I think this is one of the strongest formation you had so far. Are you agree and tell me in which way their presence helped you in presenting the album like it is? All the formations of the memories of a lost soul have been important in their historical period, this is certainly the one most suited to the new type of sound, but if we are here we must also thank the previous formations, with which we have always been there. discharged for reasons unrelated to the band. 

Can you describes in a few words the songs presented in "Redefining Nothingness" as lyrically as musically in a sort of Track by Track? Let's say that the disc is composed of two concepts, one is the theme of a possible alien attack, which goes from "their coming from the stars and prometheus'key, up to" alien artefact ". Then the theme of the great monsters of the past returns like dracula, monsters that turn out to be much more human than humans. After 27 years you are still ready to face a challenge. Pure need of express yourself, simple passion or even the desire to demonstrate something that MEMORIES OF A LOST SOUL have not yet done so far? Surely we need to express ourselves and passion first of all, unfortunately our creative vein has been slowed down over the years due to our scarce means, but finally we have set up a real home engraving studio, in addition to the collaboration with my dear old sound engineer.  Would you like to leave a message? Thanx for your time... We are sure that our fans will appreciate our new work and will forgive us for waiting, as always, quality is the reward for their patience, but we promise that now we can now be much faster in the releases!

[suchwastelanders]

Eddie Wilson

Basics

Full name: Christopher Edward Wilson Nickname: Eddie Gender: Male Date of Birth: May 15th Age: Twenty-five

Sexual orientation: Demisexual; panromantic Relationship Status: Single City or town of birth: Small homestead in the Commonwealth Current location: At the Atom Cat garage, family homestead, Goodneighbor, or otherwise just around the 'Wealth Job: Mechanic; scavver Factions/Affiliations: Atom Cats Religious beliefs: None Character alignment: Chaotic Good Fighting style/Weapon of choice: Capable of using a rifle, pistol, shotgun, and any blunt weapon he can get his hands on; prefers not to fight if possible

Appearance

Height: 5'10" Weight: 155lbs General Health: Healthy Figure/build: Lean Hairstyle and color: Brown and curly; styled like an 80s hair band Eye color: Dark brown Tattoos: Various Scars: Various Piercings: None Clothing: Wasteland metalhead: worn leather jacket, denim vest, torn jeans, biker boots, etc.

Personality and Family

Likes: Music; working with his hands; poetry; storytelling; comics Dislikes: Authority figures; someone being condescending with him; being underestimated Fears/phobias: Losing his uncle; being alone Hobbies: Playing guitar; writing poetry; coming up with elaborate stories Known for: Mechanic knowledge; guitar skill; poetry; having a rather intimidating appearance despite his fluffy marshmallow interior; having a smile that'll knock the boots off your feet

Parents: Lenore Wilson (deceased); unknown father Guardian: Christopher Wilson (uncle) Significant other/s: None Siblings: Unknown Pets: None

Faceclaim: Joseph Quinn