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#10.22
spacedean · 3 months
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DEAN WINCHESTER in one random episode per day ‣ 317/327 10.22 THE PRISONER
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deancasforcutie · 7 months
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you're my angel, come and save me tonight
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touchstiel · 10 months
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EVERY TOUCH EVER ☞ 91/?
10.22 The Prisoner
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lower-the-volume · 8 months
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10.22 The Prisoner
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ardentpoop · 2 months
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another instance of me fondly remembering the thermonuclear rage this induced in me when i originally watched it <3
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takenquicklys · 1 year
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“do you miss yuki?”
“oh well i’ve seen him a lot so it doesn’t really feel like we broke up :) he came to dubai and we went on some dates :) when we played footie i went easy on him :)”
??????
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rheefamilysource · 6 months
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MAGGIE AND HERSHEL RHEE IN THE WALKING DEAD | 10.22 “Here's Negan”
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scoobydoodean · 4 months
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my spiciest take about the prisoner fight scene that would get me in trouble with the casgirls is that I think a big part of that fight is dean not allowing cas to walk all over his boundaries ¯⁠\⁠_⁠(⁠ツ⁠)⁠_⁠/⁠¯
like cas flat out says he's going to stop him, that he 'doesn't want to hurt him' with the implication being that he CAN and WILL hurt dean. in what world does the mark giving dean the ability to fight back against being forcibly manhandled by an angel read as DV. these people are NOT serious and I genuinely think they hate dean and don't even derive joy from shipping him with cas as a character, he's just a tool to whump their fave. u don't have to publish this if it's too mean I just get so bitter
No you’re right and you should say it.
The section in that fight where Cas grabs Dean from behind to try and restrain him and Dean breaks his grip is a direct callback to 10.03 when Cas arrived to restrain Demon Dean. Of course Cas’s motives in both scenes are well meaning. He’s doing what he should be doing in those individual scenes—trying to reach through to the real Dean and applying a restrained level of force (very different from his anger simply run amok in 5.18). But it’s also utterly undeniable to me that the whole Mark of Cain arc is about Dean trying to break free from the chains of his family—just in a manner that slowly becomes more and more divorced from the full reality of who he is (someone who Loves). The MoC arc IS about Dean’s autonomy actually, and the arrogance and hypocrisy he perceives in Sam (but also Cas too perhaps). And it isn’t lost on me that we can also parallel Dean’s essential despair in The Prisoner (and how he’ll shortly call Death to dispose of him) with 5.18 and the beating Cas delivers when Dean has despaired and given up in an effort to curb the earth’s destruction and called for Michael. I also think about “Goodbye Stranger” when Cas beat Dean over and over and over while Dean begged him to stop only to fly off and ghost Dean afterward because he decided Dean couldn’t be trusted. Cas has doled out brutal beatings toward Dean in the series up to this point, and in The Prisoner, Dean actually has the power to retaliate. He is possessed by the rage of a primordial being who was restrained and locked away by her brother, and she channels her power straight to Dean’s purpose when Cas tries to restrain him.
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alyblacklist · 10 months
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Behind the scenes pics of the filming of the Blacklist finale in Spain shared by the wonderful Blacklist crew over the past couple of days on Instagram (Part 1).
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severidekidd · 2 years
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KELLY SEVERIDE, STELLA KIDD 10.22 — The Magnificent City of Chicago CHICAGO FIRE (2012—)
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deancasforcutie · 11 months
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Supernatural’s deep-cut references to other queer media and icons continued (multimedia mlm meta madness edition)
(see captions for context)
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touchstiel · 10 months
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EVERY TOUCH EVER ☞ 87?
10.22 The Prisoner
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lower-the-volume · 8 months
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10.22 The Prisoner
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ardentpoop · 2 months
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diva
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This post contains all the spoilers about 10.21 and 10.22. Ye be warned.
Another Warning; I'm about to bitch.   I started writing this about 45 minutes after the final episode ended. I was going to write it in a few days, but I really need to vent if I'm going to get any sleep tonight.
It should be said that while I still love the show and the characters, and the final episodes were not objectively terrible, I had a list of things that I wanted and I got none of them. So I'm going to sound off on that.
It doesn't change how I feel about the show overall, and I'll go back to saying positive things about the show afterwards, but at the moment that I'm writing this I'm pissed, and I'm going to express it.
I remember one of the producers was quoted as saying that Ressler would be front and center when Reddington's fate was decided. What? There was no decision here. Who decided something?? Not Ressler.
And it did feel like that was coming. It looked like Ressler would be the one to catch up with him and decide whether to take him in or let him go. And I'm not just talking about the last 15 minutes, it felt like that all the way through. The other characters kind of had to declare where they stood, to some degree (dembe and Harold got off the hook) and Ressler didn't really do that. I feel cheated.
I feel cheated on many levels. From 8 years of mysteries laid out that were never answered, to dodging the central question of the show's premise, to ditching the Red/Dembe relationship which was simply the most beautiful male friendship and defined both characters, and finally, no mention of Elizabeth in the end.
What the hell is going on with Dembe? He was asked how he felt about what he was doing, and he couldn't answer. And he never did explain why. What exactly did he think would happen when Reddington was brought in? The man's already been sentenced to death.  Argh.  Makes no sense. In the end the core of Dembe's character makes no sense because they didn't explain it, or address his original stated purpose of wanting to save Reddington's soul.  The monologue covered the past, but not the present.  Bad job.
When that story of The Matador first came up, and the allusion was made that Reddington needs to risk his life to feel alive, I cried bullshit at the time. That's not the character that I've been watching. He is content with whatever life brings, he is fearless, but he does not need to seek risk to make life worthwhile. He is just as happy with peace and quiet, WHICH THEY SPENT A LOT OF TIME DEMONSTRATING IN THE LAST HALF HOUR.
So this ultimate ending with the bull just sucks balls. They're trying to imply that he chose the risk, and chose the manner of  his death, because risk is his thing, like the Matador.
Hell to the no.
And where does that leave Agnes?? God damn it, that's too much tragedy.  No, I cannot presume she's going to be okay with losing him.  I want to kick something. The show ended so very far away from what the first eight years were about; Red's relationship with Liz, and thereafter with Agnes.
I'm going to have to get my ass in gear and actually write some fanfiction. I've done only a handful of longer pieces over the last 20 years, and I recognize that I'm neither good nor proficient at it. But I don't think I can let this rest.
I'm still wound up in The Blacklist, and I don't see myself getting another fandom anytime soon. I get burnt out at the end. After many years they end in ways that aren't satisfying and I wonder why I should let myself get emotionally involved in another story.  There are some showrunners whose names I have learned because of this and will actively not watch a show they produce. I don't think that's the case here, but it might be quite some time, if ever, that I let myself fall in love with fiction like this again. Why do they need to b**** slap us, the audience who followed them for years, in the end??  Is there some kind of perception that a happy ending is somehow detrimental to their audience??
It affects the rewatchability of the show, you know? It's hard to get invested in something when you know the ending is disappointing.
Ok, ok.  It may not be the writer's fault. They always said they were going to concretely reveal Red's identity, and that didn't happen. I believe that is the network interfering with the writers. And I feel like that may have happened on more than just Red's identity. I mean... A bull.  As in, we can't write what we want to, so here's some b*******. If that was the deliberate choice, kudos to the writers. Well played. If it wasn't their intention to draw in that phrase...well. They walked right into that one.
I realize there probably isn't much of an audience for what I'll be writing, but I need to write it for myself.  It is sad to me that the fandom for The Blacklist seems to be so small. There was so much material here, and so many of the people I've known for my past fandoms could have loved it as passionately as I did, and written far more and far better than I ever could. I think if they had confirmed Redarina directly it actually would have accomplished that. The people I've been close to in past fandoms are wildly supportive of LGBTQ and would have been attracted to this character's story based on his being trans.  What are missed opportunity.
Can we get this to be a George RR Martin situation?  Where the original Creator puts out a book that contains his own ending and ignores this one?
I'm going to see about getting that first fiction written as quickly as I can. But until then, let this be said for the record;
Donald Ressler got Reddington to a hospital, and after a lengthy recovery, during which Weecha concluded that life with Reddington is not for her, Red walked free, called Agnes, and welcomed Dembe back to his side, as Red had retired from crime. They both went in search of, and found, Anne.
Addition; posting this the following morning. I did not get any sleep. I need to stop letting fiction do that to me.
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rheefamilysource · 5 months
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MAGGIE RHEE IN THE WALKING DEAD | 10.22 “Here’s Negan”
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