#s12 parallels

[fuckyeahgoodomens]

[imagining-in-the-margins]

Spencer Reid, CM S12E21 “Green Light,” S12E22, “Red Light”

[ananke-xiii]

Rowena and the thick, bloody umbilical cord between choices and faults.

In a previous post of mine I’ve explored a little bit how Mary and Kelly represent a sort of “missed opportunity” for, respectively, Sam and Jack.

At the beginning of s13 Sam resents the fact that he hasn’t been proactive in seeking to create a relationship with his mother and now that she’s (presumably) gone he doesn’t want to deal with that reality. He had wasted his second chance. Jack, on the other hand, never even had a first opportunity to begin with but, unlike Sam, has experienced a sense of unity with his mother so extreme that one of the first things that he tells Sam is that he was his mother(!!!).

S13 reinforces the Mother-Son symbolism because, after Jack’s birth, a rift is opened in space (apparently not in time?): Kelly stays (dead, rip girl I love you) on one side of it while Mary crosses it and finds herself in Apocalypse World. To make things even more clear, this is no random parallel universe: this is the alternate reality where Mary didn’t deal with Azazel. So mothers and their choices/faults are a central theme in this season. Or, well, more or less.

To complete the mothers’ trimurti or, better, tridevi we’re missing the final mother, the destroyer who is, of course, Rowena. It’s therefore quite apt that Rowena reaches her highest potential this season and even confronts Death. What motivates her in an interesting blend of (missing)love and (lacking)power. Lucifer is as part of her story as Kelly’s and Mary’s. Unlike these two, though, she doesn’t have a son who resurrects her, nor a turned-benefactor cosmic being who offers her resurrection as a gift to her son. Rowena has to resurrect herself. Not once but twice. She is, perhaps, the loneliest character in the whole series.

This is actually quite ironic because, if we look back on previous seasons, her “choice” to kill Oskar, her putative son, was what triggered the whole chain of events (the freeing of Amara first and Lucifer second) that directly link Rowena with Mary and Kelly.

It’s only natural, then, that s13 Rowena keeps representing the reversal of the Mary and Sam/ Kelly and Jack relationships because there is no son who’s looking for her, rather she is the mother who’s looking for her (dead) child. Like Sam, she also needs someone who can access another dimension to bring Crowley back but, unlike him, she’s not successful. Now, ngl, this pisses me off to no end, like of course I can understand the real reasons why Crowley couldn’t be brought back, still I kinda hate how it was narratively framed.

When, in "Funeralia", Rowena says that life is unfair she is right but not in the general, pessimistic sense of the phrase: she's right because in-universe some deaths are more important than others and people get back on board depending on whether or not they're still a role to play for them. Rowena's faith in magic is actually justified because magic is the only thing that can help her. And the tragic thing is that it's also what damns her in the process because it's the only form of power she can have access to. There are no angels or cosmic entities looking out for her. She's just... alone.

So, perhaps, it's not that I necessarily hate how her failure to bring Crowley back is described, I just see it as further proof that Rowena is the best example to show how in Supernatural the game is rigged from the beginning and we didn’t even need an interfering and pervy God to realize it. That's all we've been seeing it since S1. All those infinite, booooring talks about being good/evil or doing good/bad actually mean nothing because, at the end of the day, in this show what really matters is how useful you can be, to whom and why (and this is way less booooring, you learn a lot of interesting things about these characters if you go down this road, it's grim but it's more rewarding).

S13 is also when the final connection between Rowena and the Winchesters, Sam to be more precise, is established which is indicative of the fact that she will inevitably die. Before S13 her story was her own, after “Funeralia” it cannot be extricated from Sam’s. To some degree, it’s quite similar to what happened with Crowley and Dean. What’s more, just like Crowley’s powers and shrewdness are what really carry the plot from s6 to s12, magic and spells (and therefore Rowena’s role in the story) will be the key for many plot points from s13 to s15. But there is a big difference.

Both Crowley and Rowena’s sacrifices are described as heroic but, let’s be honest, only Rowena’s was. Crowley’s demise was a clean-up after his own mess at best. It also proved to be unnecessary. Rowena and that awful MBOL’s egg thingy would have managed to confine Lucifer, like, they actually did it. It was Crowley who perverted the spell for reasons that I personally find OOC. I would’ve liked the Crowley vs Lucifer power struggle but not the way it was done in s12 because it felt very nonsensical to me. As in: I can see you need a reason to keep Lucifer around and this is what you’ve come up with but it’s still quite illogical.

At its hidden and secret core S13 is the season of the “let’s reframe the sons’ stories and blame it on the mothers”. Just like Kelly is blamed for Castiel’s ideal vision of Jack and Mary’s "choice" is established as the most important point in the whole show, Rowena-as-Mother must face the same fate: it was her fault if Crowley, Fergus!, ended the way he ended. It’s a naaaaaaaaaaaaaah for me.

This is what we’re told in “Funeralia”:

Rowena: Oh, but it is. Death has something I want. Sam: What’s that? Rowena: My son. After you told me he was gone, how he died, I had an unexpected reaction. We had our differences, but it’s my fault he went down the path he did. I left him. Dean: We’re talking about Crowley-- demon, King of Hell? Rowena: We’re talking about Fergus-- a man abandoned and loveless, tricked by a demon, died in a gutter. He deserved better from the world. From me.

Now, just to be clear: yes, Rowena had the responsibility to do better; yes, she was the absolute worst; yes, she played no small role in her son’s story. However, I personally don’t like all these negative associations between “worlds” and “mothers” as if every fucking thing in the universe is dependent solely on them. How did we end up here? It’s almost as if absent fathers are, like, not THAT bad after all (and the show, as far as I'm concerned, ultimately approves of and absolves absent fathers). So I’m very suspicious of the way motherhood is portrayed specifically in s13 and Rowena’s attempt at redemption well demonstrates that there is reason to be so.

This dialogue in “Funeralia” confirms my gut feeling:

Sam: You know, what happened with Crowley? That wasn’t your fault. Rowena: He never had a chance. Dean: He made his choices, just like we all do. Look, every one of us has done something that we have to live with, that were trying to make up for. Every one of us. Sam: Even without all that extra juice, you’re still the deadliest witch around [Sam's flattering Rowena. He's gonna ask for her help in 3,2,1...]. Rowena: Flatterer. Sam: Yeah, well, we, um... we may need your help [Here we go!]. To save our family. To… hell, to save the world. Dean: You wanna be redeemed? This would be a pretty big step. Rowena: And do you think I still can be? Dean: Yeah, I do.

I mean, not to be rude, but who the fuck cares if Dean Winchester thinks that Rowena can be redeemed? Like, how is Rowena’s redemption (which is strictly connected to her being a bad mother and not, among other things, a zero-regret murderer, which she also happens to be, for instance) connected to saving the Winchester’s family? Don’t get me wrong, I understand that this is SPN and that Sam and Dean’s problems are Apocalypse-level problems (lol, they really did that, when I say that their story is like a cosmogony maybe I’m not that wrong) but, as I’ve said, I cannot help but notice the similarities between Rowena’s arc this season with Mary’s and Jack’s, i.e. you can be redeemed if you either do something useful for the Winchesters or... realize that it's not your "fault" that your sons suffered terribily because "choosing" to deal with Azazel was actually the right choice... for the world. How come fathers saving the world are framed as heroic while mothers actively creating worlds by making hard choices that benefit the greater good need redemption?

So to sum up: while fathers invade S13’s main storyline as solvers, restorers and fixers, mothers are the bones of the story, they carry its weight and its sins but get little if nothing in return: Kelly stays dead, Mary ends up helping out a world that absolves her of her Original Sin but that’s nevertheless a mess (you can never win lol) and Rowena can’t get her son back (but she can save Sam and Dean's family the world!). Looks good, right? Hurray mommy!

[gracelyns]

not toni bevell comparing ruby to sam with benny to dean😭

[pvri-more]

Degrassi Parallel: Fiona Coyne

Updated version of my "Fiona thinking she deserves the bad things that happen to her :(" parallel post because I forgot to put one.

[oveliagirlhaditright]

Parallels: The fact that in their series, Buffy, Angel, and Faith are always having barbecues with their teams (usually at the end of the seasons).

And then in Buffy season 12, where Buffy, Angel, and Faith are all working together again and are all living together in the same city once more by the end of it, they all have a barbecue together:

[fandom-hoarder]

Every time I start to think the domestication level of s11 in my head is simply my fandom brainrot, I rewatch it and I'm like, "Omg, I've actually downplayed it."

[rearranging-deck-chairs]

what do you think yaz stopped herself from saying in revolution when she goes "i never stopped to think-"?

bc i think yaz always knew that time with the doctor was like, finite. i think she went into it knowing. she goes into it with "i want more", she knows it will end, she just wants a little bit longer. same in revolution "im not ready to let you go yet". she knows she will have to one day, just not yet, not just yet. i think she felt the clock from the start as much as the doctor always must feel the clock with companions. you meet them and time starts ticking until you lose them. it's a doctor thing to feel, so i think yaz felt it too.

and she knew travelling was dangerous, and she knew people died, but i think maybe she hadnt anticipated that it might be the doctor that would be the one to die? theres something indestructible about them. i mean theyre bouncy. 13 throws herself between the fam and danger from the very first night as if she cant be injured. even when she sort of visibly is.

like theres a lot of things yaz might have been thinking and i dont know if this is the option that makes the most sense, like she might have thought they'd get to say goodbye at least, or she'd get the choice at least, a last trip, anything, that it wouldnt be so abrupt. but i feel like with how power of the doctor ended, with like 13 sort of having to submit to her mortality, and yaz first saving her from it and then having to watch as her body like shows the actual physical signs of what amounts to death in both of their eyes, AND maybe also the fact that 13 doesnt deny it most of all. like theres no pretending it's just you know what this means we both know what this means we stop pretending now, like. All Of That being how it ends. i feel like maybe yaz in revolution/timeless children just wasnt expecting it to be the doctor to die

[thedoctorloveshis1hercompanions]

Doctor Who Parallel

[angel-fruitcake]

How is it canon when it’s unrequited u make no sense whatsoever is it delusion or memes

first of all- 'unrequited' means distinctly not returned. Dean's stunned lack of response in the moment was not a rejection of Cas' feelings, and should not be considered as such. therefore, Destiel cannot be considered unrequited.

second of all- Cas' love for Dean has been confirmed many times on multiple different occasions, by both Misha and Jensen themselves, as well as Robert Berens, to be romantic love. that is not up for interpretation. based on that fact alone, it is canon. whether or not Dean's feelings are ever explicitly and/or verbally expressed does not change the fact that Castiel is canonically in love with Dean Winchester. that makes it c a n o n.

third of all- the fact that Dean's feelings have not yet been verbally confirmed is of very little consequence when compared to the monumental amount of very compelling evidence suggesting that he does, in fact, return Cas' feelings, even if Dean himself hadn't yet realized it at the time of the confession.

if you have watched this show and actually picked up on the frankly staggering amount of very clear context clues, it is quite obvious that, aside from his brother, Castiel is the most important person in Dean's life, full stop.

i don't have the patience right now to list every single instance that suggests Dean's feelings for Cas are mutual; there are far too many. but i will remind you of the most significant ones:

when Cas died in the s12 finale, Dean mourned that loss unlike he had done with any other character death up to that point in the series, and the way in which Dean grieved Cas was very purposefully portrayed in such an undeniably different way than how Sam grieved Cas. even the loss of his mother seemed to almost pale in comparison to the immense weight of Cas' sudden absence in Dean's life. Dean mourned Cas like a spouse rather than like a brother or family member; it is known as the 'widower arc' for a reason.

Dean was nearly suicidal up until the very moment he learned that Cas had come back. when Cas inevitably returned, the sudden change in Dean's demeanor was so immediately apparent and extreme, it gave Sam whiplash.

in the final seasons, Dean no longer showed much if any interest in having any romantic or sexual partners, a stark contrast to earlier seasons. the last committed relationship he had was with Lisa, which was quite a few years prior. this is in direct contrast to Sam, who had several romantic love interests over the course of the show (Jess, Madison, Ruby, Amelia, Eileen). the role of closest person to Dean other than Sam was always filled by Cas, the only difference being the lack of romantic label.

Dean and Cas' relationship has been directly paralleled in multiple different instances with canonically romantic couples, the most significant ones being: Sam and Jess, Cain and his wife Collette, John and Mary (during the widower arc), and Sam and Eileen in the final season.

additionally, directly following Cas being taken by the empty, Sam's attempts to call Dean were completely ignored, despite Dean knowing that his brother needed confirmation that he was alive. the sole thing occupying Dean's mind at that moment was Castiel; nothing else in the world mattered.

do you get it?

[fuckyeahgoodomens]

[destielfandomlore]

NAVIGATION

s4, s5, s6, s7, s8, s9, s10, s11, s12, s13, s14, s15

pre finale, post finale

‘08, ‘09, ‘10, ‘11, ‘12, ‘13, ‘14, ‘15, ‘16, ‘17, ‘18, ‘19, ‘20, ‘21, ‘22, ‘23, ‘24

cast

jensen ackles, misha collins

writers

kripke, berens, dabb, carver, thompson, yockey, fitzmartin, perez, charmelo & snyder, edlund, glass, buckner & leming, glynn, lofin, humphris, adams

directors

singer, sgriccia, manners, boyum, speight jr, lopez-corrado, ackles, wanek, wright, bedham, beeson, bee, kaderali, edwards, tobin, carner, ellis, nutter, showalter

narrative

narrative parallels, narrative symbolism, other media parallels, queer media parallels, romantic tropes, queercoding, queerbaiting, queercoding vs queerbaiting, TPTB, spn scripts, cut/changed/silenced/censored

fandom side

spn con, effect on fandom, effect on other media, social context, nov 5th

crew

(adding names of writers & directors as they become relevant, if anyone important appears to be missing shoot an ask!)

[thedoctor-his1hercompanions]

Doctor Who Parallel

[shallowrambles]

I love the view that Dean figured out his deeper feelings for Cas in 6 & 7, and the majority of 8 was Dean arcing out of his hero-worship and people-should-never-let-me-down neuroses.

And then.

Post-perceived rejection… (Remember: Cas threw OFF Dean’s hand in Purgatory, and cut OFF cupid’s hand when it was aimed at him.)

So. Late Seasons 8 to mid-12 are Dean actively trying to get over Cas. In s9, he’s off-key paralleled with Josie Sands and Abaddon. (When it’s actually Hannah who’s “the Josie.”) Then he transitions into a reversal-power arc, towards being force-fit into the cartoonish, dare I say ham-fisted Cain role and its parallels. (They spell out the parallel in a distinctly odd way, esp for SPN. Too on the nose. Prescriptive. That’s because it’s actually mirroring Dean’s power fantasy according to Dean’s deepest, least charitable, nihilistic wishes.)

In s10, Dean still appears hung up on Cas, trusting him with the blade and begging him to help kill him if he becomes disinhibited/loses his free will again. Also, “I’m glad you’re here, man,” and Cas’s awkward reply, “Another time. There’s a female waiting in the car.” In a way, Dean’s feelings and fantasies serve to taunt him. The Cain parallel itself feels like a taunt.

Dean may realize Cas “admires” him but it’s definitely not the way Dean wants, that is: not like a secret admirer. Dean is mad for the unbalanced power dynamics re:Cas in the past. Now in Dean’s power reversal: Cas gets the wife treatment and Dean gets paralleled with the powerful Cain figure. He gets to beat Cas just as Cas beat him.

And it’s no accident the Dean’s power reversal arc culminates in a reverse-crypt. Because that’s what Dean’s bitter about. (“That’s not gonna be a problem = You can’t hurt me anymore, not like you did.”) It’s rooted in the bitterness of perceived rejection. That’s why Cas bears the brunt of Dean’s anger here.

Afterwards, Dean feels soooo guilty for being angry.

Later…

At various points, he tries to reassure Cas he’s okay with and appreciates how things are: a best friend, a comrade, a brother. Acceptance!

Dean spent season 10 dealing with his baggage and hoping hopelessly, then in season 11, I think he resolved to accept things. He may have toed the water with sexual tension and short shorts at times, but overall he was trying to live with Cas and let Cas off the hook.

He also encouraged Amara to deal with her own baggage the way he’d worked through his. Season 10 was his reversal arc: him in power for once, with Cas getting the wife treatment and Sam’s corruption being highlighted for once. And in season 11 he was spirited away, dealing with being powerless once more.

After that was done, he tried to swallow his feelings and let go of Cas, the way he encouraged Amara to let go of him.

He may perceive season 11 as his letting go of irrationally wanting Cas. The car scene may represent him giving Cas an out. Even releasing him from any perceived obligations.

So when Cas shows interest in season 12, I do think that threw him! Made him so nervous that he started hoping again, getting all tentative with his little mixtape.

Then Cas returns the damn mixtape. (Burned again!) But instead of getting bitter, Dean says to keep it, it’s a gift. Then he mumbles another “we’re all stronger together,” lil spill to cover his embarrassment.

Because now, he’s fully accepted that he loves Cas. Dean’s feelings haven’t faded so he has resolved to live with them as they are. No matter how many times he gets his hopes up and disappointed.

But now, Dean’s more scared. In season 8 he was ready to tell Cas “I love you.” He spent four years trying to navigate those unrequited feelings and convert them into familial camaraderie.

It’s much scarier in s12 with cosmic consequences on their heads, and Dean with everything he’s ever wanted just at his fingertips.

My fave thing about it all is that Dean and Cas are ready for each other at wildly different points and hardly ever sync up in between all the disasters.

[destinysbounty]

So here's my conflict. On the one hand, I agree that s12 wouldve been much more interesting if theyd gone with the original idea of having Libber act as a living battery for the game. It would have facilitated more emotional motivation for Jay, as well as a greater sense of thematic cohesion and parallel between him and Unagami. Plus, it would be cool to finally see what happened to Libber.

On the other hand, I feel like Jay never finding out why he was abandoned and learning to heal and move past it anyway has some understated potential to create a really interesting narrative. Like, Jay's whole thing is that he's insecure and worried that people will leave him. So I feel like sure, yeah, itd be cathartic for him to find closure knowing his parents had a good reason for abandoning him. BUT, I think it would be more compelling if Jay's arc featured him accepting that yes, sometimes people just leave you. You might never know why, and you might never get the chance to find out. Sometimes things happen and you never get proper closure. But it's still possible for you to move forward and find happiness in spite of that. Jay finding his mom and learning that she didnt abandon him intentionally is a satisfying story, but an easy one. Whereas Jay learning to accept that his mom is gone and he'll never know why is a much more nuanced one, in my opinion. (I just wish s12 had actually given it the proper development it needed)

Idk. I agree that the Libber plotline couldve added a lot more depth to Prime Empire overall, but I also feel like they could have very easily given that season depth even without her being there.

[hexedwinchester]

Early seasons of SPN are superior

so I'm re-watching Supernatural (I'm always re-watching SPN, don't mind me) and I realised why the early seasons are so freakin good whereas the laters ones are a complete mess...

Horror was the core theme of Supernatural (yes, I'm not discarding the brothers' drama, I'll get to it in a minute). These beautiful scare tactics that they employed were amazing: the crib mobile toy rotating, shadows moving out of the corner of the eyes, toys going off, subtle bloody Mary reflections in the mirror, creepy skulls dug from the ground, the ghosts flickering. Hell yea they nailed 'Scary just got sexy' with these.

Don't get me started on the background music. Whimsical music crescendo, building up the anticipation. The rock music blaring through the Impala. What happened to the cool ass music in the later seasons? They just played this weird, sad tune like someone's blowing raspberries to show grief and that's it!

Monster of the week theme and the lores/legends in early seasons were much, much better than S12's Foundry or the later season episode with bizarre tentacle porn thingy (you know which one I'm talking about). It just didn't feel the same. The stories were poorly written and even more poorly executed.

Early seasons used to be purely about Sam and Dean (as it should have been throughout) Them against the world, heaven and hell. No dumbass angel lurking in the background like a pathetic third wheel. No king of hell bitching about his sad childhood for two whole seasons. No Soccer mom half assing their way into hunting.

Foreshadowing was done so beautifully! Everytime I re-watch the early seasons I find a few bits that connects to something that happened initially in say S1-2. The parallels are done beautifully and writing is good, and I mean 'I wanna use this quote as a wallpaper' good.

The struggle for the boys was real. They had to do their own research, save their own asses, stitch their wounds, pop their dislocated shoulders back in the place. Later seasons? Bunker has answer to everything, angel healing wounds with a flash of light, Lucifer bringing Sam back from the dead without asking for anything (and no, taking him to Jack is not a good enough bargain), Jack healing wounds or whatever. Where is the damn struggle?! Where is the hero's journey?!

I miss the beautiful, colourful motel rooms that had its own personality. I HATE the bunker (yes I know a lot of people love it because Dean has a good shower, they have a home etc, etc) but no! Bunker is lame and boring and monotonous. There isn't a single thing I like about it. Gimme back my motel rooms with the sunburst mirror!

Story arc or lack thereof from S12 onwards. The main plot just got duller and duller from S12 onward and it felt like the writers got lazy and stopped putting efforts. There was no build up and the plot felt forced. The main arcs didn't feel exciting enough. BMoL and Kelly's pregnancy: the who and why? Jack: predictable. Other Micheal and Micheal Dean: meh, next! God as the big bad: interesting but I don't think they have it in them to execute this correctly.

Irrelevant/Unnecessary characters and their mini plots. S1-5 focuses purely on the brothers and that's what I'm here. I don't care how and why an idiot angel opened purgatory. It sounded more like a dull spin off plot than main story arc. I don't care about prophets and their lives (yeah Kevin is in Advance Placement, what am I to do with that?). I don't care about the different angel garrisons at war (again a plot for a lame spin off). I don't care about Crowley, his son or his relationship with Rowena. Tell me how this affects the boys. If it doesn't, please let's move on. Whatever was going on with Cole Trenton was pointless. I don't care about Mary and her hunting escapades with BMoL. I don't care about Kelly's pregnancy. The multi-universe and all characters they vomited back in the show with this. Not needed! Let Charlie, Gabriel and Bobby's memory rest in peace. Nick's killer storyline and wayward sisters. Enough said. Empty and the deal with Cas and Meg 2.0? Boring! Billy playing the bad cop, the whole death's library? Poorly executed and it turned into a bowl of cold spaghetti. In the end, the focus moved from the boys to useless characters and mini plots. Fuck that! Supernatural is about Sam and Dean and that's about it.

The direction. Later seasons lack the beauty of scenic shots of the landscape, close on up the boys' faces, the lights hitting their faces to show their beauty. Camera angles and slow panning shots. I miss the beauty that were the early seasons.