#cut the montage. cut the scene of them getting to michael.... make michael be already near the bunker or just come to them

[nysocboy]

Glamorous: Be as femme as you wanna be, especially when you are surrounded by mega-hunks

Glamorous, on Netflix: Make-up obsessed Marco gets a dream job at a glamour firm, starts a journey of self-discovery, and falls in love with a man. The episode descriptions use "he/him" pronouns, but Marco is played by  -- and based on the experiences of -- trans actress Miss Benny.  So maybe he'll be coming out as trans at some point.

Scene 1: Marco awakens.  He's a boy with a femme girl hairstyle and a room decorated with pictures of high-heel shoes.  Asking himself if "the struggle to be a grown-up is realer than real," he puts on his frilly pink gown and heads for the makeup table -- well, more like a makeup warehouse, puts on his face, and starts talking to his internet followers: "I am a makeup artist and beauty industry professional who works with all the major brands, including Glamorous by Madolyn."  Looks like he's already pretty self-discovered.

But in real life, he has a part-time job behind the make-up counter at a department store, he has minimal followers, and his Mom, whom he claims "helps with my content," could not be less interested. But does that stop the dynamo make-up artist?  Nope. "We're going places!"

Scene 2: Mom has called in some favors and enrolled Marco in a paralegal training program.  Do you need to call in favors for that?  Can't anyone enroll? "But Mom, I already have a job!"  "It doesn't pay anything.  You're 22 years old: start taking your life seriously, and start paying me rent!"   Settle, dude.  You know how many famous make-up artists there are out there?  

Scene 3: At the mall, Marco sees his idol, Madolyn, looking at a display of her own products. She explains that she's doing important research in her customers' buying habits.  It's not just about the make-up, dude.  "I'm a customer!"  "Ok, let's see what you got.  Give me a makeover."  

Marco goes to work, while criticizing his idol's make-up! Smooth move, dude. It's not selling.  Customers consider it safe and banal.  They want fantasy.  "When I do my makeup in the morning, I want magic!  I want to feel like a star!"  

Madolyn is mesmerized.  No one has criticized her for 20 years. "You have some important things to say about makeup.  Want a job?" 

Scene 4:  Marco going to work in a glass-and-steel skyscraper.  At least he gets to wear his high heels and a totally femme hairstyle.  The first assistant, Venetia, introduces him to Madolyn's son Chad (Zayne Phillips, top photo), who is in a meeting while running on a treadmill....with his shirt off....um, his muscles gleaming....um...does he need a personal assistant?  

"Is this the superstar Mom hired from the mall?" Chad asks. Superstar?  I thought he was just opinionated.  Then he criticized Marco for wearing heels: "I'm gay, but I'm not...gay."  The word you're looking for is "femme," as in the Grindr ads: "No femmes, no fats."

Next on the tour: Product Design, and another gay guy, Ben (Michael Hsu Rosen, left), who trips all over his tongue while trying ineptly to flirt.  "He gets like this when he's excited," his coworker explains.  "I don't get like anything when I'm excited, which I'm not," he stammers.  "But I could be."  Dude, are you talking about your penis?

Next up: Social Media Influencer Alyssa, and her assistant Nowhere, a 1960s hippie.  "I'm an influencer, too!" Marco exclaims.  "Yes, but you just have 1,000 followers, and half of them are bots."

Finally Madolyn's office, with all of her awards, magazine covers, mirrors, and make-up.  I'm getting flashbacks to Wilhemina Slater on Ugly Betty. except Madolyn seems much nicer.  Marco the Dope criticizes her again: "You seem very...comfortable!"  "I beg your pardon?  I take chances!  I'm cutting-edge!"

Scene 5: Marco telling his followers about his first week, sugar-coating the slapstick mishaps that we see in a montage.  The First Assistant Venetia discusses with her friend: "He's flopping like a Katy Perry single."  "Good -- then our jobs are secure. If he were doing a good job, we'd have to sabotage him."

Left: Michael Rosen's rear

Scene 6:Madolyn criticizing Super Hunk Chad's ideas for the new line.  "This is exactly what we send to Sephora every year.  We need to be bold -- take chances." 

Chad: "Or we could just sell the company to World-Famous Make-Up Company and be rich(er).  You could even stay on as Creative Director, and I could do something besides sell...ugh...makeup."  Chad's going to be the Big Bad.

More mega-hunks after the break

Scene 7: Marco has the job of picking up the super-important product prototypes and bringing them to the office for the Big Presentation.  He gets into the wrong Uber, and complains to the real passenger, a very muscular Straight Guy (Graham Parkhurst), who takes an Uber to the gym every day, about his various job mishaps.  Straight Guy consoles him.  

Whoops, he left the very important prototypes in the Uber.  There's no way to track them down, since he got in the wrong Uber. Wait -- wouldn't the Uber driver have turned them in at the company office?   Madolyn wants to forgive him, but Super-muscular Chad insists on firing him. 

Scene 8:  Ben, the coworker with the huge crush on Marco, talks to his friend: "Now that he's fired, I could ask him out, but I won't because it would be weird and creepy.  But just in case, do you have his number?"  This is definitely like Ugly Betty, where every straight guy working in an office full of supermodels fell instantly in love with the "ugly" girl.  Well, not Daniel, but they had a "will they or won't they" thing going on for several years.

Meanwhile, Mom tells Marco to fight to get his job back.  The Straight Guy probably picked up the prototypes.  You know what gym he goes to, and the time of day: go find him!  

Left: Straight Guy butt

Scene 9:  Pretending to be a rich white guy, Marco buys a gym membership, with the proviso that he can back out if he's dissatisfied.   Girl, high heels to the gym?  He pretends to work out forever, but Straight Guy never shows up, so he hits the locker room (actually, a lot of semi-private dressing rooms).  And there he is, dawdling at the mirror, wearing only a towel! 

Straight Guy gazes at Marco like he's a pork chop.  "I...um...left something in the Uber yesterday." "I've got something for you right here."  He fumbles with his towel.  Psych!  He's actually heading to his locker to retrieve the prototypes.

"And, by the way, I'm not straight. And here's my number. Bye."  He takes off his towel, flashes his butt, and heads for the showers. 

Scene 9:  Everyone stares as super-fired Marco marches through the office and into Madolyn's meeting to present the prototypes.  Chad scoffs, but Madolyn wants to hear his speech: "I'm not perfect.  I'm bad at math, the oldest movie I've seen is Titanic, and I don't know who Cher is.  But I can learn.  I can grow.  The question is, can you?"  He then criticizes the prototypes as garbage.  Madolyn is impressed; he's re-hired If you want him to advise you on make-up, hire him as a consultant, not a gopher. 

Chad scoffs.  "Curses! Foiled again!" 

Left: Nick Fink, who appears in the cast list but is not in this episodeScene 10:  His first job: fetching coffee and a Vogue for Madolyn and First Assistant Venetia.  Uh-oh, he's sharing an elevator with Ben, the guy with the major crush on him!  He fumbles and stutters until Marco takes pity and asks him out.  Ben melts in ecstasy, then catches himself: "Um..yeah, I guess that'd be cool.  Hit me up." 

Cut to First Assistant Venetia running into Chad in the bathroom.  Venetia is worried that he'll take her job, and Chad, that he'll tank the company with his newfangled ideas. They come up with a plan to "ruin that twink." The end.

Beefcake:  Chad and Parker (Straight Guy), plus a few gym hunks.

LGBTQ Characters: Marco, Chad, Parker, Ben, and -- well, just about everyone.

Femme: No one is bothered in the least by Marco's femme gender presentation.  In fact, it appears to be something of a turn-on to the more masculine-presenting guys. 

Make-Up:  There are a lot of "make-up is the most important thing in the world" manifestos, but we don't actually learn much about make-up.  Why is Madolyn's brand outdated?  What the heck is a gondola?  At least in Ugly Betty, we were told the difference between bad and good fashion.

My Grade: It's rather fun watching a boy be as femme as he wants to be with no kickback, and the hunks competing for his attention are stunning.  I'm just worried that the office-politics plotlines will be a bit old-fashioned.  A-

#Glamorous #Miss Benny #Zayne Phillips

[nikadd]

why montage in 15x19 but no the road so far in 15x20. and i don’t mean on a meta, “they defeated chuck so everything is different now” level. i mean just literally from the format of the series standpoint. why do this.

#it's valeriia talking #some things are smart masquerading as stupid but this was just stupid #literally no one asked for that weird montage in 15x19 #the entire episode could have slowed down just a little bit #start with a nice 5 minute sequence of dean grieving for cas #walking around the bunker #going to cas's room. saying something maybe. #finding the mixtape and taking it with him to the car #calling sam back and finding out abt the thanos snap #getting into the car and playing the mixtape #and the eerily fitting song playing #him driving for a bit and then stopping in the middle of the road somewhere to just. get out of the car and scream or cry or both #and only then later reuniting with sam and jack #cut the montage. cut the scene of them getting to michael.... make michael be already near the bunker or just come to them #cut the lucifer parts #im just. im just upset #spn #spn s15 #spn 15x19

[aoitrinity]

Why Do I Have to Feel Like a Fucking Conspiracy Theorist -- OR -- How I Find a Semblance of Peace on Sunday Night

I’m also going to start this out with a GIANT DISCLAIMER.

I am about to theorize about what may have happened to the SPN finale. I have absolutely no insider knowledge. I am merely speculating here based on the panels and a bunch of Twitter and Tumblr posts that I have been reading over the last few days. If you are not in a good place to read such things, TURN BACK PLEASE. Go take care of yourself and your mental health. You and your feelings are valid and deserve to be handled gently right now.

Additionally, if you are here to give me shit for being unhappy with the ending, please walk away as well. I am here to reach out and share my feelings with people who might be struggling to make sense of something that upset some of us in very deep-seated ways. I am not here to bother you or critique you or tell you that you’re lesser because you liked the ending. If you felt it was good, then go enjoy it.

Long-ass post beneath the cut, everyone.

Alrighty folks...I debated whether or not to do this because I have been spiraling down the hell that is the SPN finale since Thursday. The travesty of what happened to our show--to this beloved show that seemed to have been so perfectly and precisely written for at least four years that it had basically already paved its own tarmac on which to land its plane and we all thought we knew exactly what we were going to get. And then we didn’t. We had a nigh Cas-less and entirely Eileen-less ending. We had no goodbye between Cas and Jack. We had Dean dying young after finally finding his freedom, only to ascend to heaven with no one but Bobby. We had the weird, weird, weird incest-y death scene. We had the bridge crane shot thing because...sure. You do you, Robert Singer.

It was so terrible, so truly awful, and I couldn’t seem to square any of it with anything we had known going in. I tossed and turned and cried and didn’t eat or sleep all weekend. I spent hours just reloading tumblr and twitter, going to the Misha panel, reading and reading and listening and trying to figure out what the fucking hell is going on because I needed to know exactly where to direct my anger. And after a fuckton of talking with @winchester-reload, I think we have at least a very plausible theory about what happened here--I’m laying it out below as much for my own peace of mind as anything else, because otherwise all of these thoughts are going to continue to spin around in my head for weeks and I won’t be able to do jack shit.

Now to start off, unfortunately I do think Dean was slated to die from the beginning of this season. I don’t know WHY they thought that was the best way to go, and I wish they had listened to Jensen on this one. Part of me wonders if it was an order from on high based on the discussion between Becky and Chuck earlier this season--the writers knew it wasn’t a great choice, but they were trying to signal to us that we should feel free to write our own endings to the story because they’d be better (I can wax poetic on the signs of why many of the writers probably wanted Dean to live, but that’s another post). I’m not defending that choice by any means, just laying it out there that I think they didn’t necessarily all want to kill Dean like they did.

However, what I THINK I can explain now is what happened with Misha and why we got so jerked around with Cas’s story. Consider what we know (I can’t immediately source all of it, but I did my best):

At the end of episode 15x19, Lucifer has been returned to the Empty after being killed AGAIN. He talks with Cas. Maybe harasses him a bit about Dean, idk. But then...Jack shows up. New God Jack. And he picks up Cas and pulls him out of the Empty, leaving Lucifer behind, because seriously. Fuck that guy (also leaving behind his abusive father is character growth for Jack, so yay for that).

-Misha was contracted to film 15 episodes this season. He was only in 14.

-Misha told Michael Sheen he had to go back to film 1.5 episodes after the shutdown in March. (Starts at 6:13)

-Misha was in Vancouver during filming of the finale.

-Mark P said at Darklight Con that the last scene he filmed was with Alex and Misha (and Mark P was only in episode 19).

-Misha implied that he was present for various filming moments, including Dean’s death (start at 35:15), and said that it felt like a “mini-reunion.”

-Various sources have mentioned that Jimmy Novak was supposed to be in the finale.

-After episode 18, Stands tweeted a fan who was angered and hurt by Cas's death that they could talk about the “bury the gays” issue after the finale aired.

-In episode 19 we know there were takes of the parking lot scene where the only thing fans observing could hear was Dean yelling “CAS” at Chuck (fuck I can’t find this one right now, but it’s definitely out there)

-Also in episode 19, we had a very strange, awkward montage at the end of the episode.

-In episode 20, we know there were a FUCKTON of missing scenes

-We also had no opening montage, but three other separate montages.

-Carry on My Wayward Son was played TWICE, back-to-back at the end of the episode.

-Episode 20 was shorter than normal and had surprisingly little dialogue. The pacing was VERY strange.

-The cast and crew has been almost completely silent about the finale since it came out. When they have spoken, it has been with an awkward excuse of “Uh...COVID?”

-Samantha Ferris has specifically noted that, despite the Harvelle’s being back in play and a big heaven reunion having been planned pre-COVID, neither she nor Chad Lindberg received any such invitation to return.

-Cas and Dean POP Funko figures were pictured together in a replica of Harvelle’s in 15x04.

NOW with all of this in mind (and I’m probably missing some stuff too because there is so much--feel free to add on to that list), please bear with me because here is what I think we were SUPPOSED to get POST-COVID (after it was determined that the reunion couldn’t happen because of the virus):

In episode 20, we start with our NORMAL OPENING MONTAGE, like always. It traces everything that happened during the season. We are reminded of Cas. The confession. Rowena. Eileen. Jack. Billie, God, the Empty, all of it. 

Things then follow along in the episode where they did up until Dean dies and wakes up in heaven. After his conversation with Bobby, he drives off to find Cas (who, in the script, was listed as “Jimmy Novak” in order to protect against script leaks--who wouldn’t want to do their best to avoid spoilers about the finale with the wrapping of a fifteen-year show?). He does indeed find Cas. We get Dean’s end of the confession. Hell, maybe we even get a kiss. And then Dean sets up his new heaven home in the recreated Harvelle’s. Maybe Cas even fucking moves in. 

Years pass. We get Sam having his life on Earth (still can’t explain why they cut Eileen and couldn’t even have Sam signing vaguely to the blurry brunette in the background; if anyone wants to take that on, go for it). Eventually, Cas tells Dean that it’s almost Sam’s time. Dean takes Baby and goes to meet Sam at the bridge. The cover of Carry on My Wayward Son plays during this much shorter sequence. End of episode.

But that’s not what we got. Instead, much of what I just wrote about was excised from the episode. The remnants were stitched together after shooting had been wrapped. Filler was added in the form of montages and long, unnecessary extra shots to get the episode to something approaching a reasonable length. 

But why? Why would they spend all that time and money and quarantining on Misha, only to almost completely cut him out of the finale? I struggled with why the fuck the CW would want this mammoth show to go down as the greatest queerbait in TV history when they had the chance to do something truly beautiful and monumental with it? It couldn’t just be sheer homophobia, right? Well, I think that factored into it, my friends, but here is where my head is at right now.

It was about cold, hard cash.

Now I could be wrong, but this is what I’m thinking at the moment: Supernatural is going off of the air. Supernatural, the CW’s cash cow for fifteen years. Sure there is still money to be made on blu-rays and merchandise and cons...but they need people watching their shows. They need that sweet advertising revenue. And you know what show they have about to premiere? A show that could, potentially, bring with it a chunk of that SPN revenue?

Walker.

And if any of you know anything about the original Walker Texas Ranger, you know that the show was predominantly a show about a very heterosexual white man being very excessively heterosexual. And for SOME REASON over the years, many of the execs at the CW still seem to think that this show, Supernatural, is really attractive to a lot of middle-American white men...whom they desperately want to watch this new show with this guy from Supernatural that they already know.

Now here’s where COVID fucked us. I think Destiel was greenlit by TPTB, at least in SOME form, before COVID. But then the pandemic happened, and they panicked. They got the cut of the last two episodes and watched them in their original, probably queer form. And then, the execs at CW looked at the economy. They looked at their cash cow, about to make its journey to the great beyond. And they looked at this new little calf Walker that they were so desperately worried about. And they made a choice.

They decided that it would be too risky to take the step with Destiel. They were worried about frightening off their ever-so-valuable hetero male demographic with the possibility that a traditionally masculine man in his 40s could be in love with another man in an overt way. It was homophobia mixed with greed, spun up by fear for their revenues because of COVID.

So they called in Singer, possibly Dabb, although I wouldn’t be surprised if they went straight to Singer. They told them that Destiel had to go: executive orders. And the only way to make it go in a way that removed any trace of what had been there was to rewrite what happened to Cas and cut him out from the last two episodes entirely. It was too late to reshoot anything. They had to just cut and stitch and fill with bullshit montages. 

They removed the scene at the end of 19, probably because Cas and Lucifer discussed Dean. All that was left of Misha there was his voice on that fake phone call. They may have cut other things too, but I would bet my life that they cut a scene from the end of the episode and replaced it with that very strange montage. Then they moved onto 20. They cut out every scene with Cas. And left in only two platonic mentions of him, neither made by Dean. They tried to imply that Cas might show up in Dean’s heaven at some point, but that was as far as the editors could go in the time they had. They filled in with montages, awkwardly long shots, anything they could do to fill all of those missing scenes.

And they even had to take the opening montage, because literally everything in it pointed to Cas being there at the end of it all. They wouldn’t be able to leave out his scenes, they were too critical to the season. They couldn’t cut his confession without raising eyebrows. So they cut the whole thing and moved “Carry On My Wayward Son” to one of the newly-added driving montages at the end. Which is why we awkwardly had both songs play back-to-back--again, such a strange choice unless they were out of options and couldn’t exactly buy rights to a new track or compose anything else.

And so we were left with the shadow of the finale that we deserved, that Cas and Dean deserved. We were left without resolution or happiness or words. Bobo told us the most important thing about happiness is just “saying it” and our characters were silenced without anyone ever knowing the truth.

I think the writers might have known and been given the new party line that “Misha never filmed, he couldn’t, sorry, it was COVID, no one’s fault!” But I don’t think most of the cast even knew it had happened until they watched the finale on Thursday with us (though they might have been confused why the bit from 15x19 was sliced, they could reasonably have assumed it was a time thing and also BL episodes don’t make sense anyway). Why do I say that?

Well, first of all, Misha started sending out a bunch of excited texts to fans with some old BTS pictures about an hour before the show started airing on EST. He also wanted his children to see the episode, his YOUNG children. Why would he show them such a traumatic episode if their Dad wasn’t in it? What if it was because he wanted them to witness what was going to be a monumental moment in queer television history that their DAD got to be a part of? And then that was all dashed.

Which is why I think the cast and crew went almost completely radio silent the next day. I don’t think they knew. And based on how they have been acting on social media since then, I think many of them are absolutely furious, but they have been silenced because of NDAs, because they want to find work again in a cutthroat industry, because they don’t want to bring down the hellfire of Warner Brothers Entertainment upon themselves. So the most we have gotten is a little acknowledgement from the MERCHANDISING COMPANY trying to validate our pain (god bless Shirts, she is a LIFESAVER) and a response to my salty tweet about keeping good stuff in the closet from Adam Williams (the VFX coordinator) that seemed to acknowledge the validity of my complaint.

Then there was a scramble behind the scenes, I would bet my life. Talking points were fed to the boys who had panels today, to CE, to all the cast and crew:

Toe the party line. Misha never filmed. This was always about COVID. Do not mention Destiel. Do not mention Dean’s feelings for Cas. Do not promote the Castiel Project or anything that validates the idea that this was anything less than a superb ending.

And that is why we have heard so little from the cast on this front, and what we have heard has been muddled and contradictory. That is why the writers are saying nothing. That is why we have been left adrift.

Now before I close this out, I do want to say that I really, genuinely do not think this was on the writers at all. I feel like they tried to give us the best ending that they could, in a writers room that we know is notorious for splitting along party lines about the overall story (BL and Singer, who have always been about the brothers and their man-pain vs. Dabb and the rest who always seemed to want more for them and for Cas). I think they did everything in their power to at least end with Dean and Cas happy together. If they could give us nothing else, they wanted to give us that. And then the network took it from them. From us. From everyone.

For the sake of fucking money. 

And the WORST PART OF IT ALL, for me, is that in the wake of this disaster, the fans have been left to try and figure out what happened. We have had to wade through a mire of conflicting information in the midst of all of our collective anger and grief over this garbage ending of a show many of us have loved and even relied on for YEARS, all the while wondering if we’re just fucking crazy, if we have all fallen collectively into the hole of conspiracy theories. That hurts ESPECIALLY badly because we have taken so many hits over the years from other groups on social media saying we were crazy for seeing things that weren’t there (especially Destiel), for writing meta and analyzing tropes and believing the evidence of our eyes and ears. The network has made us relive that entire nightmare WHILE processing our grief for a show we wanted so badly to celebrate and which instead we now have to mourn.

So again guys, I cannot prove that this is exactly what happened at all; this is simply my idea of what may have happened. But right now, it’s the most sense I can make from this mess, and to be honest, the act of typing it out has helped me enormously in my processing of it all. I feel like I can see more clearly, like I know where to target my outrage and where to direct empathy. I feel like just fucking maybe, I might be able to do my job tomorrow without bursting into tears at random moments. 

I really hope that this post has helped some of you to, in some small way, process this too. We get through this the way that Misha told us at his panel this morning, the way the writers have told us to do all season long...we throw out the story God gave us and we make it better. We write our characters the happy endings they deserve. 

We save them.

One last thing--if you have not already, please consider channeling your rage into a donation to one of the five causes our fandom has put together to pay tribute to our beloved show and to mourn the ending it should have had:

-The Castiel Project

-Dean Winchester is Love

-Sam Winchester Project

-The National Association of the Deaf

-The Jack Kline Project

#supernatural season 15 #spn finale #speculation #destiel #destielgate #the ending was not the ending #fuck the cw #trust the story #we were robbed

[dotthings]

So here’s my thoughts on an alternate ending plan for S15. While the remade heaven was something that fit, very little else did, and if they were aiming for self-actualizations being fulfilled the ending didn’t convey that. It feels incomplete to me (I have posted enough analyzing why and that’s all I’ll say here). This is a more earth-bound take. An ending where all of TFW 2.0 defeat Chuck and are together and figuring out life free of Chuck’s maze. This also incorporates some of my previous meta spec that didn’t get addressed at all in the finale but things are left so ambiguous, I have no reason to think my spec can’t be canon now. Also I think if canon can screw things up this royally, then I’m allowed to state that my version is not only kinder, but makes more sense. I’m sure there is some loose end I’ve missed, and I’d want to have all the Wayward Sisters appear too. Gosh, endings are hard!

Envisioning this as one extra long episode. To be extra subversive I’m still using the start of ep 19, but mostly this diverges after the end of ep 18.

-the phone call from Cas in ep 19 isn’t a troll from Lucifer (Lucifer can stay trapped in The Empty for all eternity). It’s actually Cas.

Here’s what happened: The Empty took him, fulfilling Cas Jungian arc about confronting his shadow and instead of fighting it, accepting it as part of himself. Inside Cas, a soul has been growing for many seasons now. Spontaneous soul combustion. It started small and kept growing. The act of confessing his love to Dean was the final spark to complete the growth. As The Empty drags Cas away, Cas’s grace merges with his soul and the grace is the power jolt it needs to make his soul blaze to full life. His grace is effectively gone, burned out in the act of bring his soul into being. The Empty cannot hold him, his soul is pure, and he’s not filled with self-loathing. The Empty spits Cas out in Lawrence, KS because that’s where Cas’s soul home beaconed to. Effectively human, this process was fairly traumatizing to his body, so he’s weakened. He staggers across town to outside the bunker, calls Dean, and collapses. Dean (as we saw in ep 19) races up the stairs and reaches Cas first, but Sam isn’t far behind, and both boys help Cas down into the bunker. Dean, being Dean, can’t stop touching Cas. There’s some awkwardness after Cas’s confession but they aren’t going to talk about it yet. Dean’s just relieved to have Cas back

-Jack’s also overjoyed Cas is back. Cas explains to the fam what happened and that he has a soul now. This will change the dynamics of TFW interact, changes Cas’s demeanor slightly, and how Dean and Cas interact, but Cas’s personality is basically the same

-Michael sides with TFW. His decision to stand up to his father is sincere. There are Cas and Michael scenes where they start reaching some kind of understanding of each other’s pov

-There is a further scene showing Sam mourning the snapped Eileen, as he finds something that belongs to her in his room

-They hatch a plan to confront Chuck. Cas assumes he’ll be joining them but Dean balks because Cas is freshly human and not battle-ready. “You and Sam are human, and you’re going into battle” Cas argues. Dean’s not really being logical about this, so Dean and Cas bicker while Sam, Jack and Michael have to go guys? Guys? Evil god to stop? World to save? “Get a room,” Sam snaps.

-Dean wins the argument, mostly because Cas has to give in just so they don’t stay derailed. They proceed with Cas holding down the fort at the bunker in case they need a further spell or information from the MoL archives

-They confront Chuck at the beach. Following some parts of ep 19, Chuck starts pettily beating up Sam and Dean, who refuse to give up. Sam and Dean shoulder to shoulder, laughing at their enemy through their bloodied faces. (That was a good moment, I’ll keep that) Michael intervenes, Chuck tries to destroy him but Jack steps in. Chuck is fending both of them off for the moment. Kind of looks like Chuck might overpower all of them. He raises his fingers to snap them all away

and a familiar voice yells HEY ASSBUT. Cas hurls a magical molotov cocktail at Chuck. Because Cas he found a spell, and while the thing certainly won’t kill God, it certainly makes for a great distraction. Chuck’s body burns for a moment, and then the flames go out with Chuck unharmed. The distraction allows Michael to get the upper hand enough for Jack to grab Chuck and absorb his powers and render Chuck powerless. They all leave Chuck on the beach.

-Michael looks deeply amused by the cocktail. “At least you didn’t hurl it at me this time”

-unsnapped Adam switches in.

-Sam and Dean look beat to hell. Cas says something sad about how at one point he could have healed them with a touch but he can’t now and Sam and Dean reassure him it’s fine. Cas asks Jack to heal them and Jack says he’s going non-intervention God and yeets. Sam, Dean, and Cas seem taken aback by this move and their son vanishing into thin air

-Michael switches back in and offers to heal them but Sam and Dean refuse again. Cas rolls his eyes. Typical Winchesters.

-Sam calls Eileen. “Eileen, are you okay?” All is well. Dean checks on Jody and the girls. They’re fine. Everyone unsnapped.

-Adam switches in again to say goodbye but maybe see you soon, shakes hands with Sam and Dean. A promise of maybe someday they could figure out how to be family. “Where you headed to now?” Dean asks. “Around, I guess,” says Adam, and then Michael switches back in and says “the french fries on earth are worth hanging around for a bit” and Michael yeets out.

-They won. They’re free. Chuck’s defeated, Jack is going to be a new, uncorrupted God. But wait, there’s still half an hour left, what’s left to resolve? What else could there be?

-We get a montage. Sam and Dean continue to hunt, the bruises and cuts on their faces from the battle with Chuck fading. A scene of Dean giving Cas shooting pointers and Cas is a pretty decent shot but maybe he should hold the shotgun a bit higher. Dean sure does keep touching Cas a lot when it’s not necessary. They still haven’t talked. Sam doing laundry. Dean studying a job application at the desk in his room. The bruises and cuts from their fight with Chuck are almost gone. Eileen hanging out in the bunker, she and Sam doing research at the library table, laughing as Sam makes a joke.

-Sam, Dean, and Cas get wind of ghoul activity and set out on a hunt together. Dean and Cas are waiting together, leaning against the Impala, while Sam is inside a gas station getting them all snacks.

Dean: Are you okay with this? Human...forever?

Cas: I’m adjusting. Rather enjoy being able to taste the pb&j again.

*Awkward silence*

Dean: Cas—what you said—I—

Cas: It’s all right Dean. You don’t have to say anything. I told you, it’s not about the having, it’s—

Cas doesn’t get to finish the sentence because suddenly Dean’s holding his face in his hands and then leans in and kisses him.

Dean pulls back, staring right at Cas’s stunned pikachu face.

Dean: What makes you think you didn’t already have me?

They hold each other. Sometimes it’s not in the saying it’s in the actions.

Sam, who just emerged from the gas’n sip station, stands there holding packets of junk food and yells “FINALLY!” and Dean and Cas jump apart. Dean is beet-red but both Dean and Cas look happier, more peaceful than we’ve seen them look in a very long while.

-Standard hunt. They kill some ghouls, badass Team Free Will action scene. Cas gets taken off guard, but Sam has his back.

-Back at the bunker. Sam answers a text from Eileen—they’re meeting up next week.

-Sam, Dean, Cas are in the bunker having dinner when Jack randomly appears. Raises his hand. “Hello!” They’re all startled, but tell Jack they miss him. “You don’t write, you don’t call,” Dean complains. “Well,” Jack says. “I figured just because I’m non-interventionist doesn’t mean I can’t stop by for dinner once in a while.” “Darn right,” says Dean.

-TFW 2.0 have dinner together. Jack mentions he remade heaven, no more barriers. Released trapped souls like Kevin’s to heaven. New set of rules. Mentions he met with Rowena. They’re working out a better system. Reform.

“I would have gotten rid of the monsters,” Jack explains, “but can’t do it without upsetting the natural order of things—what’s done is done. The alternative is to reset everything. I won’t do that. Too much would be undone, too much good lost.” The implication is also: while he won’t intervene and be the God perching on Team Free Will’s shoulder, he also can’t bring himself to do anything that will undo them. “Sometimes it’s all worth putting up with a few monsters,” Sam says.

Jack vanishes again. “Guess we’ll get used to that eventually” says Dean.

-very last shot. It’s dusk, outside the bunker. Sam and Dean leaning on the Impala, watching fireflies, drinking beers. Not talking, just being.

Dean: We did it.

Sam: We did it.

Dean: Well, here’s to freedom.

They toast their beer bottles. Both look more peaceful than we have seem them look in a very long time.

Overhead shot of Sam and Dean, the Impala, the bunker.

*Kansas version of Carry On, Wayward Son plays*

#The15YearShow #Team Free Will #Sam and Dean: a work in progress #Destiel #Saileen #Sam Winchester #Dean Winchester #Castiel #Jack Kline #Chuck #Michael #Adam Milligan #Midam #altendingverse

[mishastoesies]

3, 20, 27 for the ask thingy :)

(questions from this list, feel free to send me some!)

3. What’s a scene that you think is underrated?

the scene in 5x14 My Bloody Valentine when they’re in the car and cas is eating all of those burgers and dean gives him that Look and whistles... yeah i bet he’s thinking about how much cas likes meat. 

20.  Favourite villain?

ROWENA MY FRIEND ROWENA!!! she’s an evil hag and i LOVE her!! powerful witch, hundreds of years old, milf queen of hell, icon status!!!

27.  Make up an episode of spn and give specifics

okay so we’re gonna take a dip into Jessica’s Mental Cas-Centric Spinoff of SPN That Spans Everything From Pre-Canon to Post-Canon 

post-canon, very “the man who would be king”-style episode (but like, happy) where cas recounts his experiences with The Michael Sword pre-this episode. 

starts with shots of heaven’s numerous corridors. we hear whispers of the Michael Sword from multiple angels, all bustling about; the date appears on screen: January 24th, 1979. the Michael Sword has been born

camera tracks one particular angel, whispers get louder. tense music. comes to a head when the angel who we’ve been tracking flings open a door, and asks: castiel, did you hear about the Michael Sword?

“yes, you’re only the thousandth angel to inform me of his existence” says a young, sexy cas. its important that he’s sexy. they are in heaven’s breakroom and castiel is going over some papers. 

“aren’t you EXCITED?? this is everything! we’re finally gonna beat lucifer! it’s gonna be so much fun!” says balthazar. he’s confused as to why cas isn’t excited

“not everything is about the michael sword, some things are about rivers. or mountains.” cas says, and he heads back to his office. we see cas walk outside and head to a room labelled Corporeal Architecture. this is his day job. (architect cas headcanons here)

balthazar follows him. “well yknow even if you aren’t excited you should STILL show up to the Human Arrangement Department’s afterparty, this vessel was a big project for them. and also since you’re head of your department, it’s on you to give him a blessing. we’re collecting them from everyone tonight”

cas rolls his eyes. “i know, i know, i’ll be there. and here i already have his blessing, courtesy of myself, raziel, adelphi, and the rest.” he hands balthazar a piece of paper and balthazar reads it. “ethereal beauty? really, castiel? you couldn’t give him something useful?”

“i’m an architect, we like beautiful things. now go away, i’m busy” balthazar goes away. this is the first time castiel hears about the Michael Sword

the second time is when we see castiel sparring with an unnamed training partner. zachariah calls castiel, balthazar, uriel, and hester to his office. “we have a rescue mission for you” and outlines the plan to save dean from hell. they accept because they have to, and they go down to hell. 

massive fight scene of them killing demons, like, so many demons. cas sees dean, who is like, covered in blood and half feral and holding a knife, does his little “Hello, Dean” and grabs his shoulder. dean fights back, but cas is stronger than him. he calls for zachariah, who angel-teleports them all up out of hell. 

they’re in the Beautiful Room; cas deposits dean’s unconscious body onto a couch, and turns to see his garrison.

everyone is covered in scrapes, starting-to-form bruises, and cuts. cas looks worse for wear, but he starts to laugh. and so does everyone else. cas heads to a door, yells “DEAN WINCHESTER IS SAVED” and laughs his head off. dean does not wake up. 

cut to cas shouting at zachariah in zachariah’s office. “i did what you asked! i saved him!” and zachariah going “yes, now restore him.” “or what? i have work to do!” “or do you need another trip to Internal Conflict Resolution with naomi?” and cas shudders a little bit. “no, sir. i’ll restore him” 

six-day montage of cas slowly rebuilding dean’s unconscious body. one day, he does dean’s organs, the next day, his shredded-up torso, the next, the puncture wounds in his shoulders. day six, we see balthazar come in and ask castiel if he’s going to go down to earth to perform some minor miracles, and cas says “can’t, i have work” and balthazar is like “ugh you ALWAYS have work” and leaves cas alone with dean

day six is the day that cas restores dean’s soul. again, this is part of my larger architect cas headcanon system, i can’t get into it here

day seven cas is finally done (haha get it on the seventh day god rested haha [gunshot]) and he sends dean back down to earth to claw his way out of his grave; this is immediately pre-Lazarus Rising. 

cas looks down from heaven and smiles all smitten at his creation. oh fuck he’s in love

next scene: cas’ bender pre-5x17; cas fights off a kill squad of angels that were sent after him, and they throw like, every homophobic microaggression they can at him. cas drags himself to a liquor store and drinks it; we hear sam praying to him, and him mocking sam. this turns into him mocking zachariah. “raise the michael sword, castiel; restore the michael sword, castiel” cas says in a high-pitched voice as he chugs his fifth bottle of everclear. then he hears what sam is actually saying and is like “oh fuck i gotta go, dean’s in trouble”

ten year timeskip to 15x18; all told through cas’ eyes. it’s literally just his POV for the episode, except it’s retconned to include an “i love you too, cas” before the “goodbye, dean”

cut to 3 hours before present day; we see cas standing in front of a mirror, wearing a suit we’ve never seen him in before. we cut to dean, also wearing a suit; noticeably nicer than what we’ve seen him in before. dean slips on one last item - a small, glowing white vial attached to a cord. oh fuck it’s their fucking WEDDING. 

cut to present day, in the middle of a park. turns out, cas has been saying his damn VOWS this whole time. we can assume it was all very “the first time i met you, i didn’t know what to think of you, then i touched your soul, and i knew... i would do anything for you. lie, rebel, sacrifice, anything. you’re the one work i ever took pride in creating. i love you, dean” levels of sappy

dean has a Single Man Tear sliding down his cheek. he moves in for a kiss, but cas moves back; the crowd laughs because they’re not supposed to kiss yet, and dean and cas laugh too. dean reads his vows, but we don’t hear them; they’re for cas’ ears only. music swells, and the episode ends with them finally getting their kiss. 

end credits, directed by Jensen Ackles

#asks #Anonymous #that 'episode' i wrote was SO LONG and for WHAT #i'm so sorry anon. my rambling got out of hand #cas spinoff

[cornflowershade]

Ok so here’s an extra reason why I think Cas was originally set to be seen returning at the end of 15x19. (Yeah I know we have a bunch of evidence already, but this is a bit more focused on storytelling. Illustrating the high plausibility, based purely on the episode’s writing.)

SO to set this up, we know that Mark Pellegrino—who only appeared in episode 19 of the season—said his last day of filming was with Misha & Alex. If Cas died in 15.18 and was never seen again, this obviously makes no sense. We also know that there was a clip show montage at the end of 15.19, which could easily have been added in last-minute to replace another scene. Perhaps a scene which was a teaser of Cas returning, which wouldn’t make sense after they decided to cut him from the finale. (There’s other posts with reasons why Misha was likely on set for the finale but I won’t go into that here.) 

The teaser, based on Mark’s statement, probably would’ve taken place in the Empty. Lucifer had died again, so he was with Cas in the Empty, and that’s when Jack—who has just become God—appears to retrieve Cas. Bringing his chosen father back to life and leaving Lucifer behind to watch. (Ah, the poetry.)

Now, within the storytelling of 15.19, I think one compelling reason why this teaser was the original ending is based on the rule of three. In writing, the rule of three is basically that you’ll have something happen three times, because it has the most impact. It’s funnier, more dramatic, more emotional, has the right amount of setup... whatever the case may be. It can be done in larger ways like a joke being repeated, or in small ways like with tiny visual cues. (Basically, one instance doesn’t have the lead up, two is just a coincidence, three lands perfectly and by four it’s getting old.) You also have this on a MUCH larger scale in stories. I mean, think about an arc, right? Beginning, middle, end.

15.19 has an early scene where Dean gets what he thinks is a phone call from Cas, who says he’s hurt but alive. Dean runs off to let him into the bunker, only to see that it’s actually Lucifer. Dean is given false hope, but it’s shattered. This is our first instance. Also note that with the end teaser I suspect existed, this would also perfectly mirror it. It’s Lucifer alive instead of Cas, and later it will be Cas alive instead of Lucifer.

Our second instance is when Sam and Dean are trying to bargain with Chuck. Dean tells him that they’ll do whatever he wants as long as he sets things right, adding “Cas, you’re gonna bring him back.” Chuck refuses. For the second time, Dean is left hopeless. After all, at that point in time, there’s no other way to get Cas back.

After Jack becomes the new god, he does everything Dean had asked Chuck to do. He sets things right. He brings back “the people, the birds...” but notably, not Cas. Two out of three, but Dean’s last wish is never fulfilled in the episode. (This feels suspiciously like a loose thread.)

Now it’s true that Cas is mentioned one other time in the episode, at the very beginning when Dean tells Sam and Jack that he died, but that instance seems more like exposition than part of the arc I’m discussing. Because in my opinion, it was an arc. False hope, to lost hope, to... to what? 

If we decide they had no rule of three going on, and just look at it as a random progression in regards to Cas, the episode would look something like this:

- Dean tells Sam & Jack that Cas is gone [this could also be seen as a 1/3 for Jack on the topic of Castiel.]

- Jack mourns Cas outside, wishing he was there (hmmmm he mourns him at the beginning, wouldn’t it be so balanced if he brought him back at the end?) [Jack’s 2/3 except there is no 3/3]

- Dean thinks Cas is back but it’s actually Lucifer

- Dean begs Chuck to bring Cas back for real

- Castiel’s name is carved in the table. (Ok this is something I had admittedly forgotten about earlier so I’m gonna talk about it for a second.)

Cas’s name being written in the table sort of illustrates that Dean (also note that we only assume it’s Dean who carved that—I mean I’m convinced it was but still) has possibly started dealing with him being gone, or at the very least done the closest he can to honoring Cas, considering he can’t give him a proper funeral. It could make sense to have that be the end of the progression they were going for—adding in some kind of acceptance or finality—but I don’t think that makes total sense, purely because this episode had a focus on the idea of Dean’s hopelessness in regards to Cas returning (or not.) If we have a thread about the idea of Cas’s resurrection, then the middle point—Dean realizing that yes, Cas IS NOT coming back—shouldn’t agree with the end point: yes, you were right, Cas IS NOT coming back. So I guess the problem roots from the scene where Lucifer pretends to be Cas, because it’s a powerful scene that truly reads to me like the beginning of a “now we’re talking about the possibility of resurrection” thing, not to mention it also foreshadows... well, literally nothing if Cas doesn’t return, which is weird and random and depressing. In Lucifer returning, it also reestablishes the fact that yes, God (or anyone with his powers *cough cough*) CAN in fact resurrect people from the Empty. Why do that—why bring Lucifer back at all, if this does nothing? Yes he worked as a counterpoint to Michael, but that was ridiculously short-lived and his presence wasn’t actually that necessary to the plot. One of them could’ve easily almost killed themselves in order to summon a reaper (like they have done in the past) then killed the reaper on their own to create a new death. No need for outside help on that if they took a minute to use their heads.

Anyway. This is probably kinda messy because I was honestly thinking it out as I went lol, but these are some of the reasons why I think it’s very possible that Cas was slated to appear at the end of the episode and was cut. I hope my rambling was vaguely interesting to someone. :)

#spn #castiel #supernatual #dean winchester #meta #mine

[bibliophileiz]

A (not really) Ode to bucklemming

Last bucklemming episode, and you guys, it was just such a classic example of their stale mediocrity. And yet, at the end of this post, I found myself bizarrely happy with how the episode turned out.

This is the second time I’ve watched it, and while I was planning to just liveblog my thoughts, I realized quickly that would not work, because most of the episode is boring and miserable, (especially the first third or so) and that makes for boring and miserable note-taking. I think I said in a tag of a different post that Dabb assigning this one to bucklemming is just further proof that he hasn’t cared about plot at all this season, and honestly, I don’t know there’s much they COULD have done to make this plot entertaining. Chuck even says at one point that it ... isn’t entertaining.*

The first third or so is basically Sam, Dean, and Jack being miserable with nothing around them break that misery up (except, briefly, a dog). And that makes for a miserable viewing experience. Here are a handful of notes I took that give you the gist:

- Chuck standing there talking about how loneliness and no-people is “deep” and a “page-turner” is such a gratifying little critique of shitty writers who like their gritty stories about permanently miserable protagonists. Like dude, you know there’s a reason nobody rereads “The Road,” right? - Dean slurring his words because he’s hungover is the first time anything interesting has happened with the dialogue in this whole episode. - Rob Benedict is the only one who gets to inflect his dialogue this episode. I do think his acting in that last scene is great, where he’s screaming, “Guys, wait!” as they drive off. It’s not a terrible ending scene.

So there’s that. Now here are my notes not-related to how stale and boring everything is:

Beginning: -The shots of Kyoto and New York City remind me of all the shots in NYT and other major newspapers after COVID shut everything down last spring (except in this case all the traffic would still be in New York, just no people). - “I couldn’t save anybody.” Poor Sam. (must push down feelings about Sam’s leadership arc and how it always seems to end with people dying, ugh, repress, repress!) - Also, I wanted to see a shot of a sink running and one of them turning it off. Just a random thing.

Archangel stuff: - I guess it makes sense to lose Adam if you’re going to kill Michael at the end, but goddamn if Michael isn’t a way more boring character without him. - Ah, Lucifer, a.k.a bucklemming’s attempt at comic relief. I’m starting to miss the boring dialogue. - Ooh, awesome, the only female character in the episode shows up bound and gagged and immediately murdered so she can be used and then murdered again. (Also, the first time I watched this scene, I was sure she wouldn’t wake up and was gearing up to laugh at Lucifer for sucking.) - Jensen stays as far away from her as he can when he unties her, I’m sure that actress appreciates him trying not to give her COVID. Course then she immediately ruins it by head-butting him, which is NOT practicing social distancing. - Many have commented on whether Lucifer can actually kill Death by snapping his fingers. We don’t know, but the Scythe WAS right there, and if Dean can kill Death with it (twice), I’m sure Lucifer can. - On the other hand, it IS established lore that God doesn’t have power in the Empty. Presumably he could negotiate with it like Death, and possibly he just took advantage of the loud chaos of Jack exploding, Death dying, the Empty apparently being super pissed, etc. to sneak in and make off with Lucifer. - Also WHY DO ALL THE ARCHANGEL FIGHTS IN THIS SHOW SUCK ASS???? - “I haven’t been in a battle like that in several centuries,” Michael says, as if he just fought the Battle of the Blackwater in Game of Thrones, and not what appeared to be the archangel equivalent of Mario Kart.

And climax/last scene: - But the best moment of the episode is when they GET BACK UP BLOODY AND HOLDING ONTO EACH OTHER AND ABSOLUTELY BEAMING BECAUSE THEIR LITTLE BOY IS ABOUT TO BECOME GOD. - Also, I like the music in this scene. And it seems like it’s the same place they used to film the end of Season 12/beginning of Season 13, which was probably peak Dabb era, ngl. (Jensen as Michael was also great.) - I also like that Jack and Chuck are both wearing light jackets, but Jack’s is a leeeeeetle whiter. - Chuck looking at the blank book is that moment in every writer’s life, when they’re like, “NOOOOOO, the computer DELETED EVERYTHING I WROTE.” - “Dean Winchester, the ultimate killer” You guys, 10 is Chuck’s favorite season. - Of course it is sweet that Cas’s last words seem to have had an effect on Dean, how he goes from “That’s (killing) all I know how to do” to “That’s not who I am.” I’m far from the first person to point that out though. - What happened to Amara is THE WORST. - Also, I am annoyed that Jack isn’t going home with them, because I really wanted him to be God, and a hands-off one, but I also wanted him to drive the Impala and solve crimes, ya know?  - Jared at least seems to understand that this ending is upsetting, because Sam has tears in his eyes, whereas Dean is just kind of like, “ah, he’s leaving.” Which is fine because DEAN AND JACK ARE NOT AS CLOSE AS SAM AND JACK, fight me. - Him disappearing into light is stupid, though. - At least Dean and Sam get to sit close to each other at the end. I wonder if that was the first scene shot after they got out of quarantine. - WHERE ARE THEY DRIVING? - Maybe to go see Jody. - WE GOT BELA AND CROWLEY AND ANNA IN THE MONTAGE HELLZ YEAH, ALSO ABBADON AND ELLEN AND RUFUS, but we also got fucking Asmodeus and Ketch and no Benny, what the fuck, Showalter?

So I have questions.

Some of them are unimportant, like how did people in restaurants at the end react when they found themselves looking at food that seems to have undergone days’ worth of rot in the blink of an eye? Also, you got a shot of a full airport at the end, but that begs the question: were there airplanes in the sky at the time Chuck snapped everyone away, and did they crash, and did the people on them get snapped back into crashed airplanes and was that not super confusing for them and did the airlines lose billions of dollars because all their planes crashed right before COVID shut them down anyway and if all that’s the case is it really any wonder they needed a bailout from the federal government?

But some of them are plot-relevant and could have helped an episode in desperate need of it.

For example, I want to know what’s going on with the Empty, and if Mark Pellegrino had talked about it for more than two seconds, I might not have hated every second he was on screen. Also, there are other things happening this episode. Like Jack walking around sucking life and “power” out of plants catches Dean and Sam’s attention immediately. We know that, because we see them noticing it and exchanging confused glances in the flashback at the end of the episode.

Here’s the thing though: Why not have that in the beginning? It’s not a Huge Reveal, and it would have given Jensen and Jared something to do in that stale boring beginning other than Make Sad Face. As pretty as Jensen and Jared are, and as good as they are at making sad faces, you cannot build an entire episode around that. 

Related, there isn’t actually much of a beat in the plot where it makes sense for them to figure out Michael will betray them for God. It seems like it will happen in that conversation between Dean and Michael when Michael expresses his hurt that Chuck let Lucifer out of the Empty before even asking for help. But at that point, it seems Sam and Dean have already come up with their plan. The flashback makes it seem as if they began to suspect Michael would betray them when Lucifer called him a cuck, something I think they made a plot point purely to have the word “cuck” in the episode for the third time.**

There are a few hopeful beats that show that bucklemming understand on some level that there needed to be some flow to this episode, such as the dog and Dean thinking he may have gotten Cas back. But I don’t think those are substitutes for showing Sam and Dean come up with their plan to defeat God. Even if you don’t want to reveal that they know Michael will betray them, you can still get one scene in there of them saying something like, “You think this’ll work?” if you just cut two minutes of Michael’s boring monologue in the church and/or Lucifer’s bullshit.

It follows this weird pattern of bucklemming once again seeming to not find Sam and Dean particularly interesting, so they don’t spend any time writing them DOING anything, or at least succeeding at anything, because they’d rather write Lucifer killing women and generally being an asshole.

So ... who cares, right? It’s bucklemming, they were bound to be mediocre-to-bad anyway, it kind of makes sense for Dabb to give them this episode because nepotism definitely makes it a best case scenario. And while I take issue with Dabb as a showrunner, I do think he’s great at standalone episodes and character stuff, so I’m not too terribly worried about next episode. I just think there were things about this episode that could have sucked less.

There ARE things about it that were fine, dare I say even good. It was in my notes, but I just want to emphasize that I LOVED the shot of Sam and Dean getting up bloody and broken, holding onto each other and grinning their asses off knowing that Chuck’s about to lose to Jack, and they get to see it! They may very well have gone into that fight expecting to die -- Chuck nearly just zapped them from existence, which would have still unleashed God-power for Jack to soak up.

The ending scene is pretty good, with Sam and Dean seeming like they’re still pretty beaten down, but trying to get it together. That’s more Jensen and Jared’s acting than anything bucklemming wrote, but it’s still good. The montage is good (although I will say for like the third time, where. the fuck. was Benny?) 

Jensen’s acting over the dog was SO SOFT (doesn’t he have a dog?). I half-expected the dog to run to him at the end, which would have been cute.

There are also things that were ... potentially good, if they’d been brought up correctly? I actually really like that Jack is going to be “hands-off” (although I like less that he and Sam will never see each other again, but Dabb did say it was going to be a bittersweet ending, so ....). 

I also -- and God, I’m going to get hate mail for saying this -- don’t mind that he didn’t bring Cas back. That highlights the difference between him and Chuck. Chuck brings back Sam and Dean (and, in Season 5 at least, Cas) over and over again, not out of love, but just to throw them back into their exhausting existence. In contrast, Jack NOT bringing anyone back (except the people who’d been snapped out of existence, which I would argue is more about putting the world on its proper course again, as opposed to “violating the natural order,” as Billie would put it). He knows he has to let people go. You could argue that’s always been his arc -- he and Cas even talk about how hard it will be for them to one day lose Sam and Dean back in Season 14 when they think Dean is dying.

But I wish there had been dialogue exploring THAT instead of the weird vague stuff about how he would always be a part of them. It doesn’t have to be anything super analytical like what I just wrote, it just has to be him saying, “I understand that in order to be a just god, I have to let things go and be at peace.” 

(However, if the reason they DIDN’T go that direction is they didn’t want Dean to be like, “You know, he’s right,” next episode and not rescue Cas from the Empty, then I’m fine with them leaving that out. Screw the natural order, Dean -- go rescue Cas from the Empty!)

I also really really really want to get some sense that Sam’s faith has been rewarded. We got a tiny glimmer of that this episode in the hushed, awed way Jared delivers the line, “Are you really ... him?” Sam has always been the one with faith in a just and loving God, and one of the things that aggravated me about the end of Season 14 was his faith being so blatantly not rewarded, in favor of promoting Dean’s more cynical take on God.

The show has always, since the very first season, raised questions about where God is, whether his will is just, and how we know we’re following it, and the main characters all have different answers to that -- Sam’s being the more faithful, optimistic view of “God is good”, Dean’s being the more critical “If God is good then why do bad things happen?”, and, most interestingly, Cas’ viewpoint largely fluctuating with his own sense of identity and self-worth. The point is, we had all three of these opinions on God, without the show ever explicitly saying which one was right.

Until very recently, I thought it should have stayed that way. But now I love the idea that Sam’s faith in God was rewarded not by Chuck, but by Jack -- the very boy he took under his wing and raised as his own son, the boy who understands that he is good and that people are good largely because SAM TAUGHT HIM THEY CAN BE. It’s just so beautiful, and I’m getting more and more happy about this ending as I write about it, actually, so maybe I don’t entirely hate Jack’s ending after all.

That was a happier note than I planned on ending this on. I guess that is how you stop worrying and tolerate bucklemming. 

Goodbye, bucklemming. I hated many of your episodes, but I will miss you and your weird, inconsistent writing that was so entertaining to pick apart and analyze and make fun of. I hope you find some cop shows where you can churn out more mediocrity and make some money. And in the meantime, stop killing off women.

*Yet another example from this season of the writers intentionally writing a bad episode to highlight the fact that Chuck is a bad writer. NEWSFLASH DABB: Bad writing is still bad writing, I don’t care if the villain of the story is the writer, I still don’t want to watch it if it’s bad.

**Which is such a bizarre insult to use. Isn’t it slang for a guy who’s wife cheats on him? I swear I’m not innocent or sheltered, I have just literally never heard anyone use that insult in a real context in my entire life. 

#how i learned to stop worrying and tolerate bucklemming #this is the last time i get to review one of their episodes i'm getting a little choked up #not really #supernatural spoilers #supernatural #supernatural home stretch #this episode was boring and miserable but the end was decent

[brideylee]

Chateau Quarantine

                 Sophia Coppola smokes a cigarette while she waits for an omelette she has no intention of eating.  It’s a gloomy marine layered morning, you can barely see across Sunset. She’s been in lock down for three weeks and while she normally loves the moody, brooding decadence of the Chateau Marmont, its elite solitude is giving her a bit too much time to reflect. She thinks about the concept of crying as she watches a long torso-ed model skinny dip in the pool from the penthouse. There are no rules anymore, not that there were many in the first place. The hotel was shuttered to the public as of three weeks ago, and those who were already there could stay indefinitely. Sophia lives alone in the tower suite with the three bedrooms and the wrap around porch, known by some as “the Deniro”, but Robert himself couldn’t tell you why. Any legends or gossip about the Chateau were just bread crumbs to keep the public hungry and mystified. The real Chateau for the privileged few who used it, was an unceremonious respite for excessive loneliness, addiction, and often not great sex. The Chateau had a reputation: look but don’t fuck. Everyone’s genitals were rendered useless from anti-depressants.

               She thought she would be filming by now. Her cast is stranded too, with little guidance other than “we’ll wait it out.” The film she wanted to make stars Hugh Grant and Ewan McGregor as two estranged brothers coming together for their father’s funeral. Iman was set to the play the mysterious woman who shows up at the funeral who they then realize was their father’s mistress. It was going to be a slow movie about the brothers coming to terms with their father’s death and equally so falling in love with the woman he hid from them. All this would be suggested through intimate long takes, and funny, stylish, improvised montages. Always subtle and romantic without the sap, this was the tight rope Sophia liked to balance on.  At the end of the movie, both brothers are mildly changed, but not entirely. She has a sweet spot for the immovability of people’s psyches, particularly men. 

Sophia watches impartially, as the naked model floats on her back in the calm pool. It is so cold and early to swim, is she on drugs or is everyone at this place even more numb than they think? She wondered if her film was too male, too disembodied from her personally to mean anything.  Tapping into the male gaze, was an ability she was born with. Her father’s point of view was all she interacted with as a kid, and the underside of his specialties became her focus: the lost parts of men when they are too weak to hold up the heavy crown of their egos, who they were when they could let themselves feel outside of their work. But given the state of the world, and the molasses nature of time during lock down, Sophia started to question if what she always found to be her strength was just simply trauma. Was her whole profession a way to resolve some genetic creative stifling that took place in the shadow of her dad? Surely her body of work contains more than that. It’s not all a selfish attempt at repair. Is any art not selfish? "Maybe I should make a different movie, something that everyones gonna like for once.” She thinks to herself.  Thank God, her goat cheese omelette has arrived.

             Later on, the gothic lobby is empty besides the cast of her film and the elegant model behind the reception desk standing like a hollow sculpture, frightened by the chaos that lurks outside. Ewan McGregor, drunk off of five Marmont Mules, is showing Hugh Grant an app that maps the stars and constellations. Ewan has gone on and on about a camping trip he took around Scotland and how amazing the stars were, but when pressed for details about where exactly he was or what he saw or what year he did this, he can’t seem to remember anything at all.But that doesn’t dampen his excitement about the app. “See, that, there is Orion’s belt!” Ewan enthusiastically points out, his cute smirk displaying his bottom row of sweet corn kernel teeth. Ewan just recently learned about the stars. Until the age of 47, Ewan had been referring to them as “night freckles.” Many think this is why he didn’t have a fun time acting in  Star Wars, space simply befuddled him. Hugh and Ewan are dressed exactly the same: navy blue beanie, black jeans, a tight blue thermal, and desert boots- the actor man uniform they give you after you play opposite Nicole Kidman or Renee Zellweger.

“That’s brilliant,” says Hugh Grant completely perplexed by the app and confused at Ewan’s rambling. Hugh sticks a handkerchief up his nostril with his pointer finger and wiggles it around somewhat violently. Iman clocks this with a blink of disgust, her silk, gold blouse  glistens with god-like royalty in the amber glow.  “Can you turn your face away? That’s how the virus is spreading.” Her voice is deep and she rarely uses it because it changes the direction of the wind and messes with the tides.  “Aw, fuck me. That’s right, isn’t it?” Hugh Grant turns away and starting blowing his nose and coughing obnoxiously. Hugh is acting like a resentful brat because he knows he wont be able to have Iman. He decides he’s gonna pick a fight with Sandra Bullock via face time later to blow off steam. Iman is thinking she was right all along, she should never have agreed to this. She was already sick of the “beanie twins”. 

Hugh had been rattling on about how the movie needed a sex scene or at least a sexy scene and went on to say that Sophia had some sort of block. Iman felt that both Ewan and Hugh, however innocently, were exploiting their acting roles to gain real life experience, and there was no way in hell, she was going to kiss either of them.  Her kiss would make them immortal and Iman knew their souls needed more lifetimes to grow. Plus, she liked the script the way it was- underwritten and open for interpretation. Her character is symbolic of the side of their dad they didn’t get to meet-  spiritual, graceful, embodied. It was a soulful choice not to show any nudity or sex, one that could lead Americans to try to use whats left of their iPhone stolen imaginations.

                Meanwhile Michael Cain, who was supposed to play the dead father, is staring at the beautiful Victorian tapestry hanging behind her. “It’s like it’s right out of the Cloister’s.” Michael says under his breath. Michael is sweet, Iman thinks as she watches him stare at the tapestry with wonder, his mouth agape, and a lil warm milk spilling out of his left eye. Iman and him have known each other for years and he always reminded her of her husband: his fierce devotion to his craft, his rigorous intellectuality that does a bad job hiding an animalistic sexuality. Both men contained so much and no one can handle a man like that besides a mystical siren like Iman. 

Hugh and Ewan’s chatter dies as their drinks empty. “If I were to be honest with myself…” Hugh begins. “Better later than never…” Michael Cain interrupts without cracking a smile,  a dryness a la Maggie Smith. In fact, fuck, this was Maggie Smith. No one had realized. Hugh winks at Michael/ Maggie and continues. “ I don’t think were going to be filming any time soon, folks. I think we are being held hostage a bit by Miss Coppola.” Ewan stares off with a thinking face like no one has  ever had a deeper thought before. “That is interesting to think about. There is some kind of bratty assumption that all this will fade away soon enough. And we’ll be back on set. But what if it’s not for another year or so?”  Ewan is really getting worked up “What if we live here for the rest of our lives!!” His eyes are big and dazzling, it’s like he’s thinking of the most ideal outcome for the rest of his life.

               Suddenly, Sophia joins them at the table. “There they are, my little hunchbacks!” This is what Sophia affectionately calls her actors, the origin is unknown. Sophia has a strange new confidence around her. Usually, when she walked into places, she would feel like a Nat Sherman cigarette, like only some select tall New Yorkers in the back would still appreciate her. “Hello, love! Someone slept well.” Maggie Smith as Michael Caine chirped. Even when Maggie-Michael said something sweet, it still felt like someone was aggressively tickling your ribcage. 

          “I have news.” Sophia sits down, and smiled large and toothy, a stark contrast to her usual chic, despondent stare,  a look only afforded  to artists born with trust funds. “We’re not making the movie.” Hugh taps the table. “Well, I believe I won that bet.” Ewan’s jaw drops, destroyed. “You mean we cant live here together forever?” He runs his hands through his hair, petrified. Iman is quiet, which can mean many different things and all things at once, she is eternally the glory of God, a forgotten pyramid at the bottom of the ocean that if unearthed would explode us into 5D ascension. 

 “We are making a better movie! A super hero movie!!” Sophia exclaims. Sophia gets up close in the faces of her cast, pitching them on her new idea. “It’ll be a real heroes journey- good guys versus evil! Fun CGI! Sexy starlets and fun on trend jokes!” She turns to Michael Maggie, her mouth inches away from their milky eye, and says- “And much much more!” Sophia climbs up on the table now. “The adults will love it, as well as the little ones!” She does an Irish jig and starts spinning around and then poses with her arms up as though at the end of a musical.  It was not fun to watch.  Iman cuts her off-“I don’t trust what is happening.This is not reality. This is delusion. A karmic spell.” The power of Iman’s words blows the power out of the Chateau, pipes burst, the fire alarm goes off, and Joel Madden of Good Charlotte in room 304 stops jerking off for a second. Sophia is still catching her breath from her presentation, her sweating, arms stretched to the ceiling. She gulps as her eyes meet Iman’s. “Why don’t you just write from my character’s point of view?” Iman says as softly as she can without causing chaos.   Sophia freezes. Her whole body calcifies and turns to ice, then crumbles onto the table. Ewan and Hugh watch in absolute horror as Iman drops some of the ice into her water. She knows she shouldn’t have said yes to this project and looks on lovingly at Michael/ Maggie who has dozed off. 

[alastairsqueen]

The Kissing Booth 2 Thoughts

It goes without saying there will be spoilers in this post.

Although the first movie certainly was cheesy, it still had its charms about it. The second one is all over the place and quite frankly a huge mess. 

I hate to say it but you can honestly tell Jacob Elordi and Joey King broke up because their chemistry in this movie is really off. The little montage when she visited in Boston was cute, but when they had more personal scenes together, I felt like they really had to force themselves to seem couple-y. Their chemistry fell flat in this one, which is such a shame because it was so good in the first movie, and I know I’ve seen plenty of shows/movies where couples who dated in real life broke up and it never translated to the screen. 

In fact, Noah was kind of pointless in this film period. Aside from their few moments together, he was just sort of there, so it made it difficult for us to really give two craps about Elle and him in the first place. Sure, you want to root for them because they’re the original couple from the first film, but it falls flat, especially when you take Marco into account. Marco and Elle had a lot of chemistry, and I almost think it’s a shame she chose Noah. I think the movie had a really big missed opportunity here, especially tying it into the whole college thing and her not being sure who she wants to be some day. If she chose Marco instead of Noah, it would have been a fairly grown up decision to realize Noah and her had grown apart, that sometimes life is filled with uncertainty and you need to take risks and go after what you want. 

Yes, Elle and Marco had chemistry, but by the end of the film, with the way it ended, Elle basically used Marco to win the dance competition. I don’t understand by the end of the film how Marco can still think she’s worth it when she’s standing there with the other guy and basically cut him off entirely after Noah saw them kissing. I get it, he has feelings for her, but clearly it’s one-sided. It reminds me of My Best Friend’s Wedding when she’s chasing after Michael, and George asks her, who’s chasing after you? The answer is no one. No one was chasing after Marco. 

I did actually kind of enjoy Lee a lot more in this film compared to the first one, even though he clearly still has his faults. He needs to communicate better with people - they all do, quite frankly - but he should be able to spend time with his girlfriend and his best friend separately and it not be an issue. At least this time around he forgave Elle quickly over the whole college thing, which I think shows his growth a bit. Of course, he also lied too, so that plays into it too, but not nearly as much. Like Elle said, now he knows how she felt the year before, and I think that’s where a lot of the change came in. 

As for Rachel, I do feel bad for her. Lee and Elle have a bond she will never understand because they have been best friends since birth. They share memories and good times, things she never will get to be a part of. They have all these inside jokes and rules, and you instantly see how she feels like a third wheel in her own relationship with Lee. However, I do think she could be a little more understanding too. I don’t get why she was so nasty to Elle after she blew up on her. I get that she thought Lee talked to her, but at that point, it was like she was okay with Lee ignoring his best friend because he was spending time with her. There needs to be a balance, something neither Lee nor Rachel clearly understands yet. And I genuinely started to feel bad because it was like Elle was being pushed more towards Marco. I also hated how they threw in that thing where Rachel supposedly overheard what Lee said to Elle at their birthday party. Yes, that was shit, but it only added drama that wasn’t necessary when their relationship was already rocky. They were a hot mess, and honestly, I’m not sure how they ended up back together at the end. But you can genuinely see how Lee grew to love and care for Rachel, clearly not feeling the way he did at the party. Every time Rachel was mad in this movie though, it seemed like she directed it more at Elle than Lee, which I find kind of ironic since she overheard those two at their party. Elle even said he shouldn’t have to choose, and Rachel hearing that should have taken it to heart.

Chloe........what the hell? The whole thing with Chloe was a hot mess. I don’t understand the point of it at all. Noah says he felt lonely and was struggling in Boston so she really helped him, and then Chloe claims she came with him to Thanksgiving because he wanted her to get to know him. He claims that he always thought what Elle had with Lee was weird until he met Chloe. I’m sorry, but having a best friend since childbirth and practically being twins is different than going away to college and becoming friends with some woman while you have a girlfriend back home. I don’t believe for a second Chloe just considers him a friend, because the way she greeted him at the restaurant in front of Elle was kind of inappropriate. That or it was intentional so we as the audience would think something was going on there, and either way, still inappropriate. The whole earring thing was dumb too, claiming she crashed at his place while he was away. To be honest, I thought for a brief moment they were going to imply Chloe was gay, especially after Elle noticed how her one classmate was attracted to the other guy. Like it was foreshadowing. I would have hated it because it would have been the most cliche thing on the planet, but also could have prevented things from escalating to the point they did and it being a huge misunderstanding. A huge misunderstanding that would have at least made more sense, imo?

The kissing booth in this movie was beyond pointless. Other than Lee and Rachel getting back together, it didn’t make much sense. I figured if Noah and Elle had their moment there, then sure, but it failed miserably. The gay couple was cute, especially at the kissing booth, but that whole thing felt like filler, or the movie’s attempt to meet some kind of quota. I’m all for representation, but so tired of movies/tv shows doing the bare minimum and thinking it makes them woke somehow. That’s honestly one of the reasons I thought Elle talking to the gay guy was going to be foreshadowing for Chloe and Noah’s friendship, that she was also gay. But instead, they were just sort of there.

To be honest, I actually thought Elle’s struggles were a lot more realistic in this movie. I kind of felt bad for her. The fact she’s constantly having to choose between her best friend and her boyfriend is ridiculous. Then there is the whole struggle with her relationship with Noah, figuring out which college to go to (which is where she kind of has to choose between Noah or her best friend) and then money for college and her connection to Marco. That’s why I feel like this movie was such a wasted opportunity. The problem is, aside from Noah, Elle really didn’t make any decisions in this film as they left it open-ended. I’m sure that will add more drama if they do a third film, and Marco will pop up again too. Either way, I’m tired of her having to pick between Lee and Noah. How about she does what she wants to do? 

Either way, I wasn’t really fond of this movie. To me, it wasn’t even cute like the first one. It was kind of sad and depressing a lot of times, and really all over the place. It felt like, at times, the actors didn’t want to be there either, especially Jacob Elordi.

#the kissing both #the kissing booth 2 #spoilers #thoughts

[diminuel]

15x09 rewatch with an unedited list of reactions & thoughts!

It’s very long so it’s under the cut!

In the road so far montage Sam said that what he shot Chuck with wasn’t a bullet, but it was a piece of him, so I suppose that feeds into a potential explanation for later on.

Chuck controlled Eileen so that he could see what Sam was doing. I’m slightly unsure what the limitations of Chuck’s powers are. What stops him from just sitting invisible in the bunker and watching? Is he also unable to see Dean? Surely he couldn’t see what Sam and Dean were doing through Cas’ eyes (interesting that Chuck - seemingly - didn’t think about using Cas as his eyes and ears). Since we had the scene with Donatello I was under the impression that Chuck doens’t see what either Dean and Sam were doing, but he could hear through Donatello. It’s a bit vague and I’m not sure if it will come up again later.

If Sam and Dean are Chuck’s favourite show why exactly does he want to leave the world? Or is it simply that he doesn’t enjoy being “stuck”?

It is funny that Dean tries to talk to Eileen on the phone. I assume there might be speech to text applications? I don’t know but it’s kinda... weird that Dean’s not going “! Eileen is doing a regular call, this is supsicious!”

“Dean, will you stop being so stupid!” ♥

I suppose we’re not meant to think about this, but I find it interesting that there’s a spell with regular ingredients that will lock Chuck away. I assume Chuck created the cage and the spell out of his own power, so Michael’s spell is probably simply an equivalent to it, working with ingredients that Dean and Cas have access to. Or am I supposed to imagine Chuck and Lucifer casually doing a spell? And how can it be that this never came up as an option to lock Amara in again? Surely Chuck must have known of this spell. Though then again that was probably not the story he wanted to tell. (Or he really doesn’t know about how to use “real” spell work, because he just creates out of nothing. I don’t know and it’s probably not relevant)

Why do Sam and Eileen have to antagonize Chuck...? I know it’s their brave defiance but I find it kinda odd anyway...

Dean and Cas going to Purgatory with a flashlight. I mean it’s clever but it’s also kinda funny. (Though why would Cas need a flashlight? Doesn’t he see in the dark?)

I love when Cas talks back at Dean. Obviously splitting up in Purgatory is a bad idea and Cas is right to critize that plan.

“No, Dean. My sense of direction is excellent.” ♥ (This is mildly at odds with Cas saying that splitting up increases the odds of getting lost. Maybe he means the odds of Dean getting lost.)

Leviathan used to be intimidating but Dean and Cas don’t care much *lol* (Though of course, this Leviathan wanted them to find him and wanted to lead them into the trap)

Well, I’m not sure why Dean’s surprised about Benny (whether the Leviathan told the truth or not) because when Benny helped Sam out of Purgatory he looked like was overwhelmed so I just assumed that was Benny’s end...

17 April 2020, Jody calls Sam (why Sam?) that Claire is dead. I think, judging from how the episode went with Eileen leaving, would she even be there? Would there be a happy double date movie night? I don’t know exactly when this episode is set, so maybe enough time has passed for Eileen to feel like she’s no longer controlled...

I love how soft Cas still is, he always comes to Dean to express his condolences. With Rowena (and that blew up in his face because Dean blamed him) and now with Benny.

Cas saying that Purgatory is a place that will bring guilt out. ;w;

What does Dean say? “I know you’re sorry about Bel...?” About Bel??? Why would he be sorry or have to be sorry about Belphegor? So I assume I just misheard.

I can’t quite follow the conversation. Cas said he was talking about Jack. What does he mean? That he feels guilty about Jack?

The way Dean pauses when Cas says that he was talking about Jack makes me wonder if Dean doesn’t feel guilt about Jack?

And now Dean changes the conversation? What has “maybe if you didn’t up and leave us?” have to do with it? Does he mean that if Cas didn’t leave he would have stopped refusing to listen to Cas’ apology?

“You didn’t give me a choice. You couldn’t forgive me and you couldn’t move on. You were too angry. I left but you didn’t stop me.” That has got to be one of my absolute favourite scenes ever. I wished for so long for Cas to say that but didn’t think it would ever happen. But it did and I’m so in love! ♥♥♥♥

06 January 2021, quite a bit time skip to the last scene Sam saw. It’s interesting that Sam brings up Cas. Though he’s already no longer with them! ;w;

Why does the Leviathan call Eve mother? Eve didn’t create them, God did! How is Eve even still around?? Did she go back to Purgatory when she died? If yes, why didn’t she come for Cas back when he was trapped in Purgatory for over a year? :////

03 November 2021. Oh man. I love and hate what we learn about Cas’ fate. I love it because this scene reveals how much it hurt Dean, how that loss was what made Dean “give up” (and not for the first time). I also hate it because poor Dean, poor Cas! :CC 

I don’t think the mark making Cas go crazy worked the same as it worked for Dean and the Mark of Cain. The Mark of Cain’s corruption had a difference source. This Mark was the lock on Chuck’s door after all. I bet it must have gone differently.

Why does Sam think that Dean (love the “the Dean who raised me” comment!) would never give up? Dean gave up before. Sam witnessed Dean give up as recently as S13 after he had lost his mom and Cas. He gave up and it was only Cas’ return that could set him back on track. Usually when Dean gives up, he either goes on for Sam’s sake even if it ends up destroying him (which we’ll see here) or he gains new hope because someone he lost returns. But Cas, in this instance, can’t return...

Prayer scene, prayer scene, prayer scene!!! ♥♥♥

I love the moment of fear, quickly followed by Dean’s realization that he can pray to Cas.

The prayer was wonderful. I just love everything about it. Dean took Rowena’s warning that they must fix it before it’s too late and he opened up and I think that was beautiful. I think it was best for Dean that it happened in a prayer, where he could reveal himself better than if he would have been face to face with Cas. ;w;

03 November 2021, this picks up after the last future scene, where we learnt that Dean buried Cas in the box, and it also follows right after the prayer, with Dean making an expression and closing his eyes in a way that could imply that he’s praying too? Praying to Cas in the box? Hoping to reach him, to help him? Saying good-bye because he knows if he goes on a hunt with Sam, he might not come back? (And if Chuck’s right then Dean had a gut feeling that this wasn’t going to end well. I assume this is where they were turned...?).

Can I also say that I find it a bit odd of Sam to focus on how Dean has given up hope and no longer wants to hunt, but he doesn’t focus on his own future actions? That he more or less forces Dean on a hunt just because he is in a “fight until the end” mind set? Dean clearly isn’t. Dean doesn’t want to fight, he doesn’t want to fight until he’s killed. :/

And a reunion back at the portal! I love that Cas is just sitting there and how heavy he’s breathing once he gets up. Poor thing!

Cas says “you don’t have to say it” so softly. I do kinda wish Cas would have said something to Dean to reaffirm that things were alright. Just some sort of verbal acknowledgement. 

9 December 2022. Ugh, ridiculous. I can’t make sense of a version of our Sam and Dean who would just give in to being monsters that ended up a) calling their friends bastards and b) have no qualms about killing them. We’ve seen Dean as a vampire before. What about the cure? What about Dean rather dying than hurting people? I don’t get it. :/

I might want to punch Chuck in the face but I still like how manipulative and scheming he was here. Very good~

I’m thinking about what Chuck said at the end of S11 and what he says now. Before he said that the world would be fine, as long as it had Sam and Dean. But now he says that if he disappears then the law of nature rules and Dean and Sam will no longer be enough. It does make us question just how much Chuck has interfered. Just how much him being invested in them swayed things in his favour.

Does this leave Sam and Dean back without Chuck’s interference? So they have to battle divine providence?

Sam and Eileen’s kiss feels like a promise of Sam that if Eileen has had time to think about what was real and if she wants to come back, that he will be there.

I’m still miffed that Sam and Eileen got to share a kiss and Dean and Cas haven’t yet.

What are Dean and Cas doing, just chilling in the kitchen? I wish I had heard their conversation.

Sam’s so surprised that Dean just accepts Sam’s decision not to trap God. Though Cas is pretty quiet, I wonder what he’s thinking.

What was Jack doing in the Empty? Playing hide and seek with it? *lol*

Long rambling comments, great episode! I can’t wait to see what will happen next~

#Supernatural #spoilers #15x09 spoilers

[mittensmorgul]

15.01 Back And To The Future rewatch notes

Note to anyone reading: I’ve already written a mishmosh of other posts addressing stuff in this episode, so this post is not a comprehensive list of every important or interesting thing in 15.01. This post is “things I haven’t otherwise talked about elsewhere yet” or “things I’ve been meaning to talk about in more detail but haven’t yet,” or “things I’d otherwise be compelled to write into the transcript doc in the other tab and really really shouldn’t.” Because that’s actually the purpose of this particular rewatch-- writing up the transcript. Which is happening in the other tab. :P

(i’m gonna go post the transcript now, so it should be up as soon as I get all the html un-screw-ified... >.>)

That said, let’s gooooo!

well, under a cut because long-ish >.>

I already talked about the song choice, and the fact it was the opening montage music in 9.10 (rip Lamp-- yes, this song has forever been the imaginary background music to Lamp/Other Lamp, sorry, the brain wants what the brain wants). It also reminded me of 11.04, the Night Moves scene, combined with Dean’s joke about how Piper brushed Sam off without giving him her number, and Dean replied “We got tonight, who needs tomorrow,”  where Sam asks Dean if everything is a Bob Seger song to him. Because, heh, here have another Bob Seger song summing up the end of the road here.

But I love how the lyrics MATCH UP with the action in this opening scene.

♪It's been a long time since you smiled♪ [zombies circle around TFW cutting off their chance of escape] Chuck: Story's over. Welcome to the End. [Cas kneels over Jack's body] ♪Seems like oh, so long ago♪ --NOW-- [in the graveyard, the scene picks up where 14.20 left off, and the music continues uninterrupted from the Road So Far montage. TFW battle a zombie horde, as we zoom out from Jack's burned out eyes and the fighting rages on] ♪And now the stage has all been set♪ ♪And the nights are growing cold♪ ♪Soon the winter will be here♪ ♪And there's no one warm to hold♪ ♪Now the lines have all been read♪ Cas: Sam! Dean! ♪And you knew them all by heart♪ ♪Now you move toward the door♪ [Cas picks up Jack's body and runs, leading the way out of the zombie fight. Sam and Dean follow, dodging monsters and graves] ♪Here it comes the hardest part♪ ♪Try the handle of the road♪ Sam [spotting potential refuge]: Dean, this way! ♪Feeling different, feeling strange♪ ♪This can never be arranged♪ ♪From the famous final scene♪

Then there’s the DRAMATIC ZOOM in on Dean that literally cuts Cas out of the shot as Dean reacts to his line that “Well, I wouldn’t starve.” Like that was the moment Dean began to literally shut Cas out, because he feels that line was Cas shutting HIM out. So instead of trying to deal with any of that because ZOMBIES TRYING TO BREAK DOWN THE DOOR is a more immediate concern, he turns his back and goes on his little tirade about Chuck. Like he was reliving that moment he got to smash Chuck’s guitar and wishes he could do it again.

And then we meet Belphegor, who already has a rather hopping tag on my blog, so I’m gonna… just move on a bit from here…

I am in pain over this callback to Bloody Mary, with the teenage girls who seem far younger than the girls from the original. These girls are far more innocent. They didn’t call up bloody Mary, they have no guilt of having killed anyone on their souls. Bloody Mary just… showed up. And tortured and killed them.

But this parallel was twisted. In the original, the girls’ father apparently gave their mother an overdose of sleeping pills that led to her death. in the new version, one of the girls’ parents just got divorced and was compensating by going on a shopping spree and buying everything her daughter wanted. These girls were laughing, loving what that divorce brought them.

It’s sort of a more cheerful parallel to Dean and Cas’s fracturing relationship over their dead son’s body…Well, more cheerful until Bloody Mary kills them, anyway.

Sam learns there’s no sudden worldwide zombie outbreak, so the incident seems localized to that one graveyard.

And at this point I started a THIRD thing I’m working on at the same time, because two was apparently not enough. I think I’m gonna copy/paste that stuff here, instead. It’s about the Three Ghosts of this episode-- each parallelled directly to one of TFW. Bloody Mary was one, and in this episode she was Cas’s parallel. It’s her victims Cas will find-- two little girls who never deserved the fate Bloody Mary dished out to them. But Mary Worthington had been murdered herself, and her killer never caught. So she originally killed people who kept secrets about others’ deaths as a form of revenge against her own killer. In trying to protect others, she became a killer herself. And heck if that’s not painfully Cas… or something he feels he’s painfully failed to do, to protect the Winchesters from having to do horrific things. And he DID sell his own potential future happiness in exchange for Jack’s life, only to have just watched Jack die horrifically. His sacrifice, again, has amounted to nothing.

In this episode, she follows Cas from the house, through mirrors, and reappears in a dark pond to grab at the mother and child Sam had already saved from John Wayne Gacy (yeah, I’ll type that one up next, but let’s finish this first...). So there’s a being now watching Cas from the depths of a dark pool, waiting to reach up and grab him when he finally feels safe. Sounds like… the Shadow.

So on to Sam vs Clowns. Sam’s direct parallel is the ghost of John Wayne Gacy, in clown costume, that he formerly burned in 14.13. In an episode where he was about to come face to face with his own past in the form of John Winchester suddenly appearing in the bunker, torn from the past. It’s an episode where Sam and Dean find peace with who they’ve become, and lay a ghost of their past to rest.

With the Equalizer wound humming along, affecting Sam in mysterious ways we’ve only begun to glimpse, and Sam’s brief flash of himself with black eyes apparently hurting Dean, it’s hard NOT to think of the parallel that Clowns have always held for Sam-- Lucifer. Heck I’ve written about that recently, or at least it feels like I have… but at the end of this episode, Sam stops and looks Gacy in the face and tells him to shut up. Which is something Sam has ALSO said to Lucifer (or at least a hallucination of Lucifer). The infamous “HE SAID SHUT UP TO ME!” of Hallucifer in 7.15, which ended Sam’s ability to shut out the hallucination by squeezing the cut on his hand.

Now on to Dean’s parallel ghost: Constance Welch, aka the Woman in White from 1.01. A woman who was the first ghost of the entire series, who Sam literally drove into her house to “take her home,” where she had to face what she’d done to her own children. She’d killed her own children in a moment of grief after her husband cheated on her, and then killed herself.

Dean had been moments from killing Jack in 14.20, in a moment of grief, but didn’t. Yet he’s now having some serious issues with Cas throughout this episode and by the end, they’re “frosty.”

Belphegor, with Dean, looks for a human heart to use in their spell, and stumble across one of Constance’s victims. Belphegor rips out his heart and holds it up to Dean, when Constance appears. She recognizes Dean from 1.01, who made her go home, and attacks him. Then tries to attack Belphegor, and actually injures his hand.

But this is the ghost Dean is paired with. He drives her off, and Belphegor does the spell to contain the ghosts by putting the heart in a pile of salt.

Okay, now where was I in these notes… right… Town, where Sam and Dean play FBI, trying to stop a benzene pipeline leak. And wow, what a weird story, right? Sheriff was confused, but helped evacuate the townspeople to safety.

I think it’s interesting that this was intended to be another stopgap measure, like putting Jack in the box in 14.19, because they know this spell won’t hold forever, and they know they have no other reasonable way to fix the problem. But they can try to buy some time, and hope they’ll come up with a better solution before things go sideways.

Dean asks Cas to help Belphegor do the spell thing, but Cas refuses, and goes to work with Sam instead, leaving Dean to deal with the demon possessing Jack. Which leads to all sorts of interesting conversations between them… I think I’ve written and/or reblogged enough posts on the queer subtext… er… text even… of these scenes to just point out here that it exists, and is heavy.

Meanwhile Cas and Sam go house to house looking for people they need to evacuate, and encounter the above ^^ ghosts.

So Dean’s stuck with the demon fanboy who admires what Dean did in Hell, and Dean seems pretty uncomfortable about this, but it’s not like he has a choice, you know? Who else is gonna do this? Cas couldn’t, Sam’s already on the other gig, and that leaves Dean. So… instead of denying what he’d done, he brushed it off as “a long time ago.” And then actually asked what the situation in Hell was like. The answer Belphegor gave is… interesting.

Belphegor: You ever seen an ant hill when it's, like, set on fire? [lol no, according to Dean’s wtf face] Okay, well, there we were, minding our own business, you know, flaying people for eternity, like you do, right? And then every door in Hell just sprang open all at once. You know? Souls got out. Sky cracked. And, uh, boom, ta-da, you know?

So all the gates are open, including the Cage, but Michael’s apparently still just sitting there. Which is worrisome. But my question is, if all the gates are open, yet the entire planet isn’t flooding with demons and souls, ONLY through the direct portal into that graveyard, how can what Belphegor said be true? At least, theoretically… But that’s a question for another day, when we have more canon to understand.

So… Dean has to face Constance, who flings him into a dumpster. Which makes me lol think about 1.01 and Dean flinging himself off a bridge to get away from her, and ended up covered in mud.

Cas’s “It’s one ghost,” *two more ghosts appear* “It’s three.” reminded me of “I got this,” “I don’t got this.”

Sam accidentally shooting Cas because the ghost got between the two of them horrifyingly reminds me of 12.17 and Eileen accidentally shooting Mr. Top of his Class at Kendricks when Dagon deliberately came between the two of them. At least Cas is salt-proof, you know?

Belphegor calling out Bad Ghost! kinda reminds me of Dean’s “Here ghostie ghostie ghostie” from 4.13. But REALLY. A demon, who tortures souls for fun and profit, yet can’t do anything more than weakly scold a ghost like a misbehaving puppy? INTERESTING. Because it’s Dean that has to whack her with a metal rod, while Belphegor ends up with deep gouges in his hand that are clearly causing him pain.

Dean hurls the name Casper at Constance before he whacks her, which is also a callback to 1.01. It was Sam who called him out for shooting at her with regular bullets: “What were you thinking shooting Casper in the face, you freak?” Lol that he remembered that.

Sam pulled a “I’ll hold them off, I’ll hold them all off” hopeless move when he sent Cas away, like Cas once did in 4.22 when he sent Dean away to stop Sam… but Sam actually got out in one piece, even though his gun was empty.

Sam picks up the little girl and runs as fast as he can and only looks back once he’s outside and safe. Like “take your brother outside as fast as you can and don’t look back”

I already wrote about the callback of Dean distracting Sam from tending to his wound with the cut-off joke, reminding me of the scene in 4.09 of Sam doing something similar while fixing Dean’s dislocated shoulder.

And then we have the realization that they’ve never really had free will, just limited choices because of the circumstances Chuck put them in. Sam is unrealistically optimistic that it means that Chuck’s actually gone, now. But that’s the hope he’s holding on to in order to get through this horror.

So this… is what they’re setting up as the guidemap to the series finale. Specifically, Sam and Dean must finally earn their way free. The ghostpocalypse is just step one, and not the true end. There’s still Heaven and Hell to deal with (though Heaven is mostly empty of angels and Hell seems to be actively crumbling now). And Michael, whenever he gets around to walking out of the cage. I’m sure that will go great! Unhinged archangel on the loose! But those are all minor distractions compared with Chuck, because he hasn’t really gone anywhere.

And we still don’t know what Actual Jack, Billie, and the Shadow are up to in the Empty, in their secret meeting in a realm that Chuck has no power. And what about Amara? How does she feel about this now that she’s grown fond of creation? I think there’s a much bigger game afoot than just a ghostpocalypse.

Meanwhile, Sam’s quote here is still setting up the final scene of the series: When we win this, God's gone. Hm. There's no one to screw with us. There's no more maze. It's just us. And we're free.

That’s the goal.

#spn s15 spoilers #spn 15.01

[nandalorian]

So. I wasn’t going to post about Roswell, but now I am, so buckle up because this is going to be a long one.

A lot of people on Tumblr, Twitter, and the wider internet have, over the last few days, very intelligently posed criticisms of Roswell’s representation of POCs and queer characters in the context of Malex. While I have to be upfront about the fact that the problematic writing has made me apprehensive of seeing the show through to its next season, I’ve been pretty quiet on that front as I gather my thoughts and figure out what I need to say. As a white woman, I am upset and dismayed by the token and tone-deaf representation, but I feel like that’s not mine to speak to when there are a lot of people of colour in this fandom who can and should take this opportunity to explain, criticize, and educate the rest of us on how the show has failed and how it must do better. In that regard the most worthwhile contribution I can make is to listen and amplify those voices and their thoughts, feelings, experiences, and insights about the negative and at best lazy representation of people of colour on the show.

But as a bisexual woman and a professional writer and editor, I am in a position to criticize the queer representation from a political and social standpoint, but also a creative one. I am going to break this post up into two parts because there’s a lot I want to address about two separate issues, and I think the waters will get muddied if I try to combine it into one post. So let’s talk about Malex first, which is the subject about which, oddly enough, I feel the most calm. Depressed af, but mostly calm.

More under the cut.

A lot of people have already written about Malex or Tweeted Carina and the production team far more eloquently than I can manage, but the thing is, while I do have issues I’ll get into in a sec, I... actually think they have done a good job of writing Michael as a bisexual man and Alex as a gay one. That isn’t a popular opinion at the moment, but hear me out, because I have a lot more to say on the subject of bisexuality that doesn’t concern Michael Guerin. The show’s struggle isn’t entirely that their politics are bad. I do think the intentions are mostly good--mostly--but what I want to speak to is the breakdown between intentions and how those intentions translate to the screen through the medium of writing, direction, and the actors’ performances.

I don’t want to dismiss or disregard anyone who feels differently since that view is also totally valid and a lot of people have raised very fine points to that end. This is just my interpretation, so take it with a grain of salt and feel free to disregard or not. But my take is we can’t boil down the show’s issues to saying oh it’s biphobic or homophobic where Michael and Alex are concerned. I don’t think it is, not inherently.

The show’s struggle is that the writing is often so sloppy, rushed, and disjointed that it’s impossible to tell whether they don’t fully understand what positive queer representation is and what it isn’t, or if they just don’t know how to do it justice on TV. Perhaps it’s a combination of both, and right now I’m not writing off either possibility.

But I’m inclined to think it’s the latter. To be clear: the Malex/Maria triangle is shitty writing because love triangles frequently are, and they’re really, really difficult, if not impossible, to get right. The reason I think so many of us are up in arms about it is because the show rushed and stumbled its way through a 30-second supercut of Alex and Michael’s relationship from the word go, just enough to get us hooked before abandoning it for something else.

We’re pissed because it’s like they got us addicted to black tar heroin and then took away our fix just as the night sweats and shaky hands started to kick in, and at this point my life since episode 1x11 has been like a bad Trainspotting withdrawal montage. I don’t think they have intentionally baited us, although that is what it feels like. It’s taken a lot of angst and going back and forth on my part to arrive at this conclusion, and I will say I still waffle about it some days. But bad writing is bad because it pulls unintentionally negative reactions from people due to being misunderstood, or from creating all these wild implications the writers didn’t necessarily intend or realize were present in the final product.

The fact that Carina has to take to Twitter to explain each episode to viewers shows the quality of the writing or lack thereof. If it were stronger, she wouldn’t have to do that, but the show suffers from chronic exposition, incredibly bad pacing, and an overreliance on plot devices to advance the story rather than gradual and necessary character development. Sorry if that’s harsh, but the editor part of my brain sometimes wants to weep during episodes of Roswell. Oftentimes a bunch of shit will happen in an episode that doesn’t even progress the story, leaving us or the characters at exactly the same place they started off.

In short, everything happens too much. The characters feel like they have no agency because they are always reacting to one thing after another every episode, not even a second for them to breathe and be and let us see who they really are when the world isn’t on fire. And that’s all the characters, not just Alex and Michael, although arguably we have a bit more insight into the primary characters like the Pod Squad and Liz. But really, everything suffers as a result. The characters seem thin or underdeveloped and the sense of urgency, tension, and risk disappears even from theoretically high-stakes scenes like a live shooter at a hospital because we don’t get to see who the characters are in their normal lives. We don’t fully know what’s important to them before the next explosion happens.  

Adversity is a helpful writing tool because it can show us who characters are under a certain set of high-pressure circumstances, but boredom and normalcy is just as important for character development. You can’t tear down what we don’t know exists. Star Wars: A New Hope wouldn’t have been half as effective if we hadn’t seen Luke Skywalker in his day-to-day life before that simple life was upended and he got the call to adventure. The first stage of the hero’s journey is necessarily the boring part because we can’t cross from the known to the unknown world without seeing what the known world is.

We never really… get that with Roswell. Not even for a second. So of course we feel cheated of bisexual or gay representation in the show because we never actually get to see Michael and Alex in any kind of sustained relationship, healthy or not. It’s just conflict conflict conflict with a bit of sex and longing gazes thrown in, followed by more conflict and then the relationship ending in favour for a new one. All hat, no cattle. (Literally.)

With Michael we get to see some of his routine and him being himself with his family, etc., and a lot of that has to do with the incredible performances Michael Vlamis delivers week after week, although even then, that suffers. Rather than start us off slow and building relationships from the ground up, the season begins in conflict, so that it has the effect of it seeming like the town of Roswell has been vacant for 10 years and everyone moved back in the same day and started catching up on each other’s lives after a decade apart. You don’t get the sense that anyone really talks to each other, even though most of them have been living in the same place their whole lives. Every single relationship, from Isobel and Michael, Max and Michael, Max and Isobel, even Maria and Michael, could have been strengthened if they’d taken more time to lay that groundwork ahead of the conflict. Especially Maria and Michael! Imagine how much better this season would have worked if they’d had an existing relationship, friendship, or flirtation before Alex got back. By this point we’d be nodding and probably going, “Okay, I get it. I might not like it, but I get it.”

Alex by comparison is a total cypher where his background and his day-to-day life is concerned. We know almost nothing about him outside of his history of abuse, his tragic backstory with Michael, and his role in helping to uncover the mystery about the fourth alien. Yes, we’ve gotten to see that he is blunt and fiercely loyal to his friends, and he has serious issues with needing to be in control, which are all valid from a character development standpoint. I have come to desperately crave any and all scenes with him and Kyle because that seems to be when we get the most significant moments of character insight like that wonderful “I’m talking about a conversation, not a war” moment. But how much else do we know or understand about him that is canon, not fans’ headcanon?

Furthermore, the lack of context and representation around Alex’s disability as a veteran, amputee, and potentially as a PTSD-sufferer is really dangerous and feels like tokenism. The way they’ve written the existence of his injury feels inconsistent, and while showing his residual limb during a love scene was significant, they ruined any goodwill we might have developed toward them for that by simply never engaging with his disability again. Same with the fact that he is of Indigenous heritage, which we know FROM A TWEET but which the show has never actually engaged with explicitly, in a move taken straight from the J.K. Rowling Book of Bogus Representation. We don’t quite have enough information to know yet whether this is tokenism or bad writing, in Alex’s case, although I sincerely hope it isn’t the former. Based on everything I’ve seen so far, though, my hopes aren’t high, because it kind of feels like the writers want credit for representation when they haven’t actually done the legwork (yet?).

Maria suffers a similar lack of character development, and what started off promising when we got great scenes with her, Liz, and Alex and then met Mimi has quickly deteriorated to her being nothing more than Michael’s new love interest. As a woman of colour, that is lazy and shitty on multiple levels, and I just about hit the ceiling in 1x11 when they not only showed a black woman being drugged and her body used against her will--could you be more tone-deaf to those implications?!--but had two white women (Jenna and Isobel) accusing Maria of being a murderer to another WOC (Liz). Maria’s very thin character development in the latter half of the season has had the dual effect of making us feel like we’ve been cheated out of a relationship we have gotten attached to but haven’t been given time to fully appreciate or understand (Malex) and thrust into a new one that feels weak, arbitrary, and rote by comparison.

I actually don’t object to the idea of Michael and Maria as a couple. They have great chemistry. But I do object to the lack of development they’ve given us on either front, either Michael/Maria or doing serious justice to Malex as a ship. To think all of that could’ve been solved if the writers had slowed down the show’s pacing and actually given themselves and the characters time to breathe and get to know each other, and us them.

What I feel a lot of straight/white/cis/able-bodied writers don’t seem to understand is that representation takes care. It’s great to say you’re going to write a diverse show and have lots of representation, but it’s for naught if you don’t also understand that you can’t write diversity in the same way you’d write a character coming from a place of privilege, be it racial, socioeconomic, gender, sexuality, ability, etc. Part of that privilege is having a lot of generally positive understanding and assumptions about those characters already built in, especially from your viewers who share that privilege. Writing diversity takes WORK, a lot of attention to detail, sensitivity, and most of all the ability to listen. It takes a lot of consultation with people who have those experiences and know what they’re talking about, because the experiences, assumptions, and biases of nondiverse writers just can’t fully capture what minorities know and live every day of their lives. To do otherwise is how we arrive at whitesplaining, mansplaining, straightsplaining, etc. If you’re a white/straight/cis/able-bodied person and think you’ve done enough to positively represent your diverse characters, that probably means you need to do more. It’s not for you to judge how much is “enough.” That’s for your consultants and, most importantly, your viewers. And if those people are telling you you’ve missed the mark, the next best thing you can do is stfu and listen to them and try to learn how to do better, not get defensive or start patting yourself on the back for everything else you’ve done.

I think those principles can be applied to all the representation on the show, including that of POCs, the differently abled, and the queer characters. I think the writers have done enough with Michael and Alex as queer characters on their own, but they’ve missed the mark on doing enough with them together. Because--and I know this will come as a shock--part of writing queer characters is also giving us well fleshed-out queer relationships. They started off down that road, but at some point the road abruptly ended and left us as viewers feeling stranded in the middle of a desert. That’s uneven writing that results in a feeling of uneven representation, and as far as viewers are concerned, it amounts to the same thing.

Carina’s attempts to explain why they’ve done nothing wrong to viewers via Twitter and social media is sheer intentional fallacy. And while we’re at it, I’ve spent a lot of this season wanting to take Twitter away from her and throw a copy of “The Death of the Author” at her head instead. It’s not enough, Carina. What you intended isn’t enough if it’s not there on the page or visible to us on the show. As a writer she should understand that, but instead she is getting defensive of her abilities as a screenwriter and showrunner when fans pipe up to say whatever she intended isn’t translating properly. We aren’t seeing that representation, which means the writers need to do more than what they think is “enough.”

Add into that a rushed, arbitrary love triangle with an underdeveloped black female character and an underdeveloped gay POC with a disability, especially when those two characters are also best friends whose relationship is severely threatened as a result, and there’s no wonder why viewers are up in arms about this. I don’t think the love triangle makes Michael seem like an indecisive or promiscuous bisexual--and anyway, since when is being promiscuous a bad thing. It just makes him and Maria seem careless of Alex’s feelings and like Alex is the victim, which they could have avoided by taking their time with the characters/relationships, especially the vulnerable ones, or by avoiding such a lazy and unnecessarily dramatic trope in the first place, or at the very least establishing the characters and their relationships enough that our current situation felt more organic.

So really this kind of leaves us at an impasse, I think, as fans. I think people ought to keep speaking up to Carina if they think that will help, but I think it’s also important for us to be able to separate bad politics from bad writing, or at least be able to engage with them as separate things that occasionally (or frequently) overlap with disastrous consequences. I’m sure there are a lot of people who will disagree with this utterly, and that’s fine. Could be I’m totally wrong, and I am aware that I’m probably giving the writers too much credit about what they may or may not have intended.

But with regards to Alex and Michael, maybe it will help to understand what’s happening from this standpoint and tailor our approach accordingly. We really can’t take it upon ourselves to make demands upon the show in terms of what story they want to tell, but we can certainly complain when they aren’t telling that story effectively or when it alienates viewers, especially on points of diversity and representation.

But I don’t know. It could be the only way to make ourselves heard, to tell the writers when they are and aren’t doing “enough,” is to vote with our time, attention, and viewership, whether that means continuing to watch the show or stopping altogether. And that’s kind of a bummer, because there was a lot of potential. But if the quality of the storytelling is unable to make heard the voices and experiences it ought to, especially with such a receptive, enthusiastic audience, then maybe it’s time we start looking for other shows that do a better job, or better yet, continue to keep telling and creating our own.

Those are just my thoughts. Please feel free to discuss with me in the comments or via DM, because I’m still talking through this stuff and welcome the conversation and any alternate or opposing viewpoints.

I’ll be back in a bit to share a second post with my far less forgiving thoughts about Roswell’s representation of queer female sexuality, because that one’s a doozy and the gloves come off. Sorry not sorry in advance.

#roswell new mexico #malex #alex manes #michael guerin #meta #biphobia #representation

[shirtlesssammy]

5x22: Swan Song

In light of recent news, we thought we’d finally tackle what might have been the end (until someone went and made a demon deal, giving us 10 more years of our beloved show!) It’s weird watching this and seeing what a bummer this all would have been if it had ended like this. Sure, it was epic, but I guess I’m a sucker for a happy ending when it’s about characters I’ve come to love more than my own family. I’m also going to point to this Twitter thread about good and bad show endings. Swan Song wouldn’t have been bad had we only had TFW for five years, but we’ve watched them grow over 15 years now, and I want to see them get some peace. (Thanks to all the meta writers for throwing out the much needed hope!)

The Road So Far:

Carry on my wayward son...

Now:

We open with Chuck Shurley narrating the origin story of the most important object in pretty much the entire universe. And I’m literally two minutes into rewatching this episode and already crying. He’s tells us about it’s original owner, Sal Moriarty. (Oh, Eric Kripke, of course it was.)

And how, after he died, it ended up in the hands of John Winchester, after some persuasion by his time traveling son.

Fade to Sam and Dean in Bobby’s salvage yard, drinking beer from the little green cooler. Dean tells Sam that he’s “in” on having Sam say yes to the devil.

Dean acknowledges that Sam can make his own choices. “Watching out for you? That’s kinda been my job, you know? More than that, it’s kinda who I am.” Seeing this image Dean has of himself shift to NOT be this is really great. Dean asks if this is really what Sam wants. Sam is more resigned than enthusiastic to the plan, obv.

Cut to Team Free Will collecting demon blood like they’re stocking up for the apocalypse (err..). Dean confers with Bobby about Lucifer’s location and they determine it is Detroit.

Once on the road, Dean can’t help but notice what a cute, slumbering angel he has in the backseat. Sam logically points out that angels don’t sleep. They talk about their plan, the odds of it working, and the reality that Sam won’t be coming back from the cage. Sam makes Dean promise that he won’t try and get him back. Dean balks at the idea. Sam makes him promise that he’ll find Lisa and live “some normal, apple pie life.”

Once in Detroit, the group finds many demons out and about. Sam and Bobby have a moment. Then Sam asks Cas to “take care of these guys” for him. Cas tells Sam that it isn’t possible. Sam asks him to humor him. Cas catches on just a little too late that he’s supposed to lie. Oh Cas, you beautiful, literal goob.

Sam then gets to the business of downing four gallons of demon blood. With that done, Sam and Dean turn themselves in to the demons, who bring them to Lucifer.

Chuck continues his monologue on the Impala. He mentions the unimportant features, and then mentions the important features: Sam’s green army man, Dean’s legos, Sam and Dean’s initials. The devil doesn’t know or care about their car.

The devil wants to know what Sam and Dean are up to.

Sam says he’s ready to say “yes.” The devil reveals that he knows they have the rings that will reopen the Cage. Fuuuuuck. Sam tries bluffing, but the jig is up. Dean’s look of anguish is devastating. Lucifer likes his odds on the battle that will happen in Sam’s head. He agrees. Before Dean can do anything more than say “No”, Sam says “Yes.”

A bright light flashes and Dean finds Sam knocked out on the floor. He throws the rings on the wall and gets to opening the door to Hell. Sammy awakens and Dean helps him towards the portal. Only, PSYCH! It’s actually Lucifer. Sam didn’t stand a chance against him. He closes the portal and takes the rings.  

Once away from Dean, Lucifer has a moment with Sam, where Sam makes it very clear that he’s not done fighting.

Lucifer appeals to Sam’s worst feelings about himself, but says he wants Sam to be happy. Sam doesn’t want anything from Lucifer. Lucifer then points out the group of demons behind him. They’re all people Sam knew in his life --they were all watching Sam for Azazel.

Dean, Bobby, and Cas are watching the fallout to Sam saying yes.

Shallow Sidenote:

(Those curls!)

Cas suggests they “imbibe copious quantities of alcohol and just wait for the inevitable blast wave.” GRIM, DUDE --but he ain’t wrong. Cas doesn’t think there’s any way they can stop Lucifer and Michael meeting. Dean is not giving up (and he’s desperate guys -his insult at Cas was way harsh). Bobby’s even resigned to the reality of the situation.

We cut back to the room full of demons, but they’re all dead this time. Lucifer smugly looks at Sam in the mirror. “We having fun yet?” Ugh, Lucifer, you’re the worst.

Chuck’s narration cuts in like a road narrative, all misty colored and gentle. “They could go anywhere and do anything. They drove one thousand miles for an Ozzy show, two days for a Jayhawks game. And when it was clear, they'd park her in the middle of nowhere, sit on the hood, and watch the stars for hours without saying a word.” This beautiful interlude dissipates with a phone call and Chuck picks up, expecting Mistress Magda. (Eyebrow waggle.) LOL, nope! It’s Dean.

“You got a real virgin / hooker thing going on, don’t you?” Dean observes. Excuse me while I laugh forever over this line, with the confirmed Chuck-is-God context. Dean wants to know where the fight will happen. It’ll be at Stull Cemetery at high noon, just outside of Lawrence. Chuck doesn’t have any more useful information than that…but it’s a place to start.

Bobby and Cas try to prevent Dean from heading to Lawrence to intervene in the upcoming archangel showdown but their arguments are weak sauce compared to Dean’s need to save Sam. He heads off alone to Stull.

The cemetery is wispy with mist and bedraggled with age. Michael (wearing Adam) flaps in to greet Lucifer. (Side note: Saying that Michael is “wearing Adam” sounds like Adam is a fashion designer. In this epic showdown, Michael has been dressed by the FABULOUS Adam!) 

Both brothers seem regretful, but ultimately resolved. Lucifer questions why they’re fighting if neither of them wants to do it. Michael trots out the old “duty” argument. Lucifer offers an alternative: “We’re going to kill each other. And for what? One of Dad's tests. And we don't even know the answer. We're brothers. Let's just walk off the chessboard.” Hey, guys. It’s a really good point. It’s also an intentional mirror of Dean, Sam, and John that I refuse to stop getting emotional about.

Michael’s tempted for a moment. Damn serpent!! “I’m a good son,” Michael decides. “You haven't changed a bit, little brother. Always blaming everybody but yourself.” This is also an excellent fucking point, man. The rumble’s still on.

Speaking of rumbling, Dean approaches in Baby with Def Leppard cranked up loud. FUCK YEAH. “Sorry, am I interrupting something?” To quote Tess McGreer’s Twitter feed: MY SON!

Michael’s not into the whole threesome battle, and heads threateningly towards Dean when the camera cuts suddenly to Castiel and Bobby who have just flapped in. “Hey, assbutt!” Castiel shouts before lobbing a holy oil molotov cocktail at Michael. Bless.

Michael poofs away. “You got your five minutes,” Cas says to Dean just before Lucifer explodes him. NOOOOOOO

Lucifer’s pretty crabby by this point, so when Dean tries to verbally reach Sam again, he hurls Dean into Baby. Bobby shoots futilely at Lucifer before Lucifer snaps his neck. NOOOOOOO

“Sammy, are you in there?” Dean asks desperately. PROTECT.

“He’s gonna feel the snap of your bones,” Lucifer promises Dean. He’s gonna kill Dean slow. I’d chortle over the classic villain “kill you slow” trope except that Lucifer is beating Dean bloody and it’s really, really not funny.

“It’s okay. I’m here,” a very battered Dean tells Sam, leaving me to stare into space thinking about how he must have said this on quiet nights, comforting young Sam over nightmares or monster-under-the-bed scares.

Lucifer draws his fist back to deliver a killing blow as Dean slumps in his hold. His eye catches on a little army man stuck in the ashtray and we get a montage of Dean and Sam moments set to the soundtrack of howling wind. Sam’s fist uncurls.

And that’s it. Sam takes control. “I’ve got him,” Sam tells Dean. He hauls the rings out of his pocket and tosses them to the ground, chanting the incantation to open the cage. Dean sprawls on the ground, leaning against the car, bloodied and broken. Sam panics at the threshold to the cage when Michael!Adam appears. 

Sam takes one more look at Dean before he opens his arms wide, ready to plunge into the cage. As Michael tries to haul him back, Sam pulls him in as well.

With a blast, the cage closes and Dean is left alone in the quiet, wind-swept cemetery.

He looks up a while later to find Castiel standing behind him, whole and unblemished. “You’re alive?” Dean asks.

“I’m better than that,” Cas says and…okay. He heals Dean with a touch, then brings Bobby back to life. Good job, Cas bby!

“Endings are hard,” Chuck says, and the scene switches to his office once again. “Endings are impossible. You try to tie up every loose end, but you never can. The fans are always gonna bitch. There's always gonna be holes. And since it's the ending, it's all supposed to add up to something. I'm telling you, they're a raging pain in the ass.”

We switch back to Dean and Cas in the Impala. Cas is headed back to Heaven to try to bring order upstairs. He’s ready to continue his heavenly mission, but Dean’s pissed off. “Where’s my grand prize? All I got is my brother in a hole.”

“You got what you asked for, Dean. No paradise. No hell. Just more of the same. I mean it, Dean. What would you rather have? Peace or freedom?”

Cas flaps out. “You really suck at goodbyes, you know that?” Always, Dean. Always.

Dean says a temporary farewell to Bobby, then shows up at Lisa’s house, CLEARLY TRAUMATIZED. What a non-booty booty call. Lisa reads the room and pulls him in for a comforting hug. (Stay tuned for my 8,000 word essay on why Lisa is the best.) 

“Up against good, evil, angels, devils, destiny, and God himself, they made their own choice. They chose family. And, well... isn't that kinda the whole point? No doubt endings are hard. But then again nothing ever really ends, does it?” Chuck vanishes, which is apparently his equivalent of dropping the mic.

Then, the show proceeds to not end, in the best way. Dean is still lost at Lisa’s, putting on a “normal” front. And outside, Sam appears under a flickering street light. To be continued…for ten more seasons. <3

Quoting is Hard:

This 1967 Chevrolet Impala would turn out to be the most important car – no, the most important object – in pretty much the whole universe.

As far as foreboding goes, it's a little light in the loafers.

Ain’t he a little angel?

I told you. This would always happen in Detroit.

MFEO. Literally.

I suggest we imbibe copious quantities of alcohol and just wait for the inevitable blast wave.

Cas, are you God?

Every fiber he's got, wants to die, or find a way to bring Sam back. But he isn't gonna do either. Because he made a promise.

Want to read more? Check out our Recap Archive! 

#spn recap #spn 5x22 #swan song #spn rewatch #dean winchester #sam winchester #castiel #cas #bobby singer #lucifer #michael #chuck shurley

[tippitv]

Supernatural Recap: 14:01 “Stranger in a Strange Land”

The road so far... is thirteen years long. Thirteen years. If this show were a person, they would be dealing with acne and/or getting their period. We're on the fourth American presidential term since this show started. My dog Henry looked like this

And now he looks like this:

But back to the show's rock-n-roll montage to catch us up for this season. 

There was a nephilim boy named Jack, an alternate dimension accessible by an episiotomy in spacetime where bad angels ruled and dead characters were still alive, and a weird fight between Dean Winchester (with archangel Michael stuffed up in him like a heavenly turducken) and Lucifer that ended up looking like the video for Total Eclipse of the Heart.

At the end of it, Michael absconded with Dean's hot bod and made him wear a silly cap and break the fourth wall.

As the episode starts, Sam's full beard lets us know that some time has passed since the finale. He's driving through slick streets because it's always raining in the lush coastal rain forest of Kansas. .

But then we cut to some other bearded guy, asleep in a room somewhere that looks like a room they've used on this show a lot, but this time with a weirdly loud background soundtrack of ocean waves and seagulls. The guy gets up, puts his prayer mat down on the floor, and begins praying in what the CC tells me is Arabic.

He looks up to see Michael (in Dean) sitting there in his little cap. "Hello, Jamil," Michael says. Jamil looks surprised, as one should.

Michael quotes from what Google tells me is verse 2:98 of the Holy Quran in order to introduce himself: "Whoever is an enemy to Allah and His angels and His messengers Gabriel and Michael..." He still makes Jamil go through a guessing game. God? No. Gabriel? No. One of these guys in Newsies?

Also no. He says he's there to ask Jamil the same question he's spent weeks asking people all over the world. "Do you want your newspaper on your porch or in your mailbox?"

"What do you want exactly?" Michael asks him. Jamil says he wants peace and love. Michael says "you never would have ran" from Syria if that were true. Okay first of all, that's "would have run," Mister Archangel. Second of all... wait, where did the seagulls go? It's quiet now. As if they left to bother someone else.

Michael flings him around a bit with his angel powers. Like is that even fun? Super powerful beings always act like it is but it's just a normal part of his abilities like my being able to scratch my elbow or blow my nose is normal for me. Anyway, Michael says he wants a better world. Cut to the season's new title card!

Meanwhile, the bunker has been embraced by the resistance fighters from the alternate dimension. Is anybody feeling guilty about the fight they left behind? Are they assuming the fight over there is done because Michael is here now? Mary checks the aim of a new gun by pointing it at or very near these people's danged heads.

The girl already died once so maybe she's unflappable and the guy's too busy getting a monster tooth removed from a wound to notice. He says it happened in Phoenix... which Google tells me is at least a 16-hour drive away if you have a normal car.

Sam joins the bunker, letting us know that he's been in Atlanta checking up on a possible Michael-Dean sighting that turned out to be someone's drug-induced hallucination. It's the good thing the Impala travels a thousand mph or that would've been a lot of wasted time. He and Mary exposit about how it's been three weeks since the end of last season. That's only three weeks of beard growth? Does that seem like a lot just because I don't grow beards?

Sam has just enough time to yawn and be sad before some guy who looks like if maybe Jonathan Van Ness got halfway through getting ready to go chop fire wood tells him there are some "gypsy type" vampires heading east. Boo, Fake Jonathan. Even though he's exhausted, Sam starts delegating teams to go take care of the problem and sits down to hack into a traffic cam.

Then he remembers a cliffhanger from last season. "Hey how's Jack?"

Cut to Jack getting his ass handed to him by Bobby in a fight training session. Aw look at his cute lil sweats. Wait... what are those windows in the gym? They look look like they're streaked with rain. Isn't the whole bunker underground?

Also omg someone give that boy a face guard while he's sparring! He can't heal his cute little mug anymore!

Meanwhile in Detroit, Castiel is following up a lead at a BBQ joint called Motown Meats. And like I know "Motown" is also a nickname for the city and not just the name of a record label, but the country music playing in this joint is still annoying to me. Anyway some pink-cheeked fella who thinks burgundy brown shoes go with cornflower blue suits strides into the place all, "Castiel! Darling!" 

This fella, with his imperious little strut and vaguely Southern demeanor, simply demands I refer to him as Young Lindsey Graham. He orders sausage, brisket and "pork ribs, well done." What the fuck, Linds? All pork ribs are well done! If someone gives you underdone pork anything, you get right off your ass and call the health department!

"I didn't think you consorted with my kind," Linds says, revealing himself to be a demon and also someone who doesn't know his basic show history.

Castiel is loath to admit that he needs information. "Does any demon know where Dean Winchester is?" Young Lindsey is delighted and scandalized at the thought of Cas losing any Winchester, much less Dean. "I thought you two were joined at the... everything." He gets about as close to pointing/looking at Cas's dick as Mary got to pointing that gun at those people's heads.

Yes, I'm terrible at making gifs. Anyway, Linds goes, "What's in it for moi?" And Cas tells him, "Your life." So Linds is like, "Come again?" Honey, he ain't even come the first time yet, don't get ahead of yourself.

Castiel uses his graveliest voice on Young Lindsey, but to no avail. It turns out the whole place is full of demons. Wouldn't Cas have picked up on that? Is he that powerless? They all crowd around him and knock him to the floor.

A sign outside a church in Duluth welcomes "Sister Jo" and advertises its morning prayers at 8 in the morning. Does that seem ridiculously early to me just because I'm a heathen? Also it's clearly nighttime in this scene. Some parishioners thank Jo for saving their lives. It seems like she should be trying to fly under the radar, so to speak.

Oh now she's walking through a dark alley, counting her money. I'll give her a pass because she has angel powers, but people on this show are always being unwise in alleys. Michael approaches her. "You don't recognize me with this pretty face?" he asks. It's the hat! It! Is! The! Hat! He reveals his big seagull-lookin' wings.

Jo is naturally suspicious of Michael. "Why would Dean say yes to you when he turned you down like seven seasons ago?" she asks. "We needed a cliffhanger for the finale and he'd already been a demon," he says. I mean, that's not what they say but I'm sure they were thinking it.

He asks her what she wants, and she tries to be glib about it but he's not buying it. He says she wants love and a family and barfy stuff like that. He keeps asking people what they want and then just ends up telling them.

Back at the bunker, Sam has a chat with Jack.

"I know this must be so hard," Sam says, "without your grace, without your powers...It's a lot, I'm sure." I mean, Sam wasn't a nephilim but he used to be super juiced up on demon blood with telekinetic powers. If there were ever a time for Sam to bust out with "hey I went through a sort of similar thing," it'd be now. Mary interrupts this tender moment to say someone's awake. Way to talk-block, Mary.

Sam reluctantly leaves Jack to go see whoever this other person is. He opens the door as the soundtrack builds up tension. The camera finally swoops in and reveals...

NO.

NO! I REFUSE. I!!! REFUSE!!!! THERE IS NO WAY NICK'S CARCASS SHOULD STILL BE ALIVE. NONE. BEGONE YOU FOUL THING, BEGONE!!!

You know what this means, right? Either that whiny little baby Lucifer will come back somehow and need to possess him again, or when they inevitably get Dean back, Michael will use this empty toothpaste tube of a human as his vessel. OH FUCK HE'S TAKING HIS SHIRT OFF

Okay why does Sam need to be the one to clean his mostly healed wound? It's not like Nick's hands are broken. Nick has a big dramatic reaction. Calm the hell down, it's peroxide not alcohol. Then he just puts the same dirty old bandage back on. What. The. Fuck.

Sam is being very sympathetic, if rattled because this guy's got the same face as the fucker that tortured him for a hundred years. Nick doesn't remember much about what happened, but says Michael told Lucifer "he wanted to do things right this time." Sam goes outside to collect himself when his phone buzzes.

"Oh, hey, Cas," he answers. Young Lindsey Graham corrects him: "I'm the boy who's got your angel." Okay, when I said he was young, I meant compared to current day Lindsey Graham. He's clearly not a boy. He's also clearly not a very worthy foe.

The music goes "eeeeeEEEEEEEEEE!!!!!!!" to build up tension, but fourth-tier demons are like basically gnats compared to the other baddies the Bunker Bunch have fought. It's kinda silly that Cas even got captured by these twerps.

But everyone is taking it very seriously and packing up their weapons to head to Detroit. Maybe the Other Dimension people haven't fought demons before? I can't remember. Sam assigns teams. "Maggie, you're with Bobby. Mom, you're with me." 

Jack wants to come, too, but Bobby protests that he's not ready for a demon fight. And Maggie is? That poor child seems perpetually on the verge of jumping out of her own skin. But Sam's like, "He needs this, Bobby." 

Back in Detroit, a bloodied Cas sits magically cuffed to a chair. "You sure I can't get you anything hot... and black?" Young Lindsey asks him in a needlessly suggestive manner. I mean, he's talking about coffee, not Grindr. Wtf, my dude? Castiel's face right now is so relatable.

We launch into a good old-fashioned Sit-n-Chat! Linds blah blahs about coffee and using Cas as bait, then reveals, without naming names, that Michael recently approached him like he did the other guest characters in this episode. He was asked what he wanted. "I realized after 600 years as a demon walking the planet...I didn't know." But now he's realized he wants everything. Start with some shoes that look better with your suit.

Meanwhile, Sam and Mary are driving through the perpetual rain. Seriously, how do y'all in Kansacouver deal with this much rain?? I live in Houston and we get a lot of rain, but in like... big groupings and not just constantly. Anyway, seeing that Sam is fretting, Mary says, "It's gonna be fine." Sam isn't convinced. "You don't know that!"

Now, normally this 900-mile trip would take about an hour, but Sam and Bobby didn't carpool so the Impala had to slow way down. Lol when Sam walks through the door at the barbecue place it looks like he's wearing the doorbell as a tiny hat.

Sam gets frisked to make sure he's not packing heat, then Young Lindsey waxes impressed about his shoulders and hair. He makes a "mm MM!" sound like he's just been presented a bowl of delicious bread puddin' and hot caramel sauce.

Here we are nearly at the end of the episode and we finally find out Young Lindsey Graham's name is actually Kipling. "Kip, for short," he says, offering his hand for a shake. Sam leaves him hanging. Also: lol "Kip." Kip's goons drag Jack and Maggie inside. Sam's nostrils flare in consternation as one of the demons punches Jack.

God this guy talks a lot. To sum up: Kip wants to be king of Hell and he wants the Winchesters to treat him like they did Crowley. You know, keep him around past his expiry date and then still somehow manage to make his death too abrupt.

When Sam turns him down, Kip has a bit of a tantrum. "In life, I rode with Genghis Khan!" he rails, mispronouncing it. He pouts and stomps some more, but Sam stays chill because he knows Mary and Bobby are about to bust in with guns blazing.

Slo-mo fisticuffs ensue! Kip throws Sam across the room with his powers. He's a higher level demon who could kill every human with a swoosh of his hand, but then the show would be over. Also, didn't the Bunker Bunch all have devil's trap bullets and stuff? These demons are taking a long time to die.

Kip somehow gets hold of the demon knife during the melee and takes one second long to admire how cool it is. This gives Sam enough time to switch things around and stab him with it. Kip dies as he lived: admiring Sam's shoulders.

Sam calls an end to the fight. "There will be no new King of Hell!" All the remaining demons vacate their meat suits. Who's going to run the barbecue restaurant now? Also, Castiel has been sitting, still cuffed, to that chair this whole time.

Back at the bunker, everyone is beat to hell. Cas and Sam have a rueful talk about what they just went through. Cas is embarrassed he went to the demons, but Sam says he'd work with anyone if it meant finding Dean.

In the kitchen, Mary and Bobby do a little Chekhov's flirting.

Cas goes to find Jack and try to cheer him up. "You did well," he says. "All I did was get punched in the face," Jack says. Don't sell yourself short, kid. You also got punched in the stomach.

Jack feels frustrated and useless without his powers. Cas tells him they have each other and they're family. Aww. I feel like Cas could also say he relates here. "I used to burn the eyes out of demons and destroy buildings with my voice!"

Sam gets a call from Jo. "We have a problem," she says. Is she working for Michael? Maybe!

Cut to a grungy abandoned warehouse, where Michael is currently having a chat with a monster of some kind. Maybe it's one of the vampires mentioned earlier in the episode. "Your want is pure," Michael says. Monsters are soooo much easier to deal with than people or angels! "You just wanna eat," Michael says as the monster shows off some fangs.

Incidentally, "You just wanna eat" also describes me at a brunch buffet.

So that's the end of the season premier! The FOURTEENTH season premier. Holy hell right?

If you'd like me to recap the next episodes, let me know. Thanks for reading!

And now’s the self-promo time when I add my Ko-Fi link! (ko-fi.com/A4017DA)

These are some very desperate times for me, so if you have a few bucks to spare and you enjoyed this fic, I would very much appreciate any donation. I know it looks like I’ve received quite a few donations recently but those larger ones were me “donating” to myself with credit cards to pay bills that had to be paid from my bank.

I'm afraid of not making rent this month, thanks to several clients just refusing to pay me for my work.

Or my Paypal address is [email protected] and if you send it as a gift I think no fees are deducted from my end.

#supernatural #spn recaps #recap #spn crack #so many captions #terrible gifs

[saleintothe90s]

384. “Mad About You” series finale (5/24/1999)

(source)

So, I remember watching the series finale of Mad About You that night, but I haven’t watched it again since it originally aired. I do remember feeling let down at the end however. This is what I remember from 20 years ago, maybe I’ll remember some forgotten details once I re watch it...which I will after I make this list: 

- Janeane Garofolo was Paul & Jamie’s daughter Mabel all grown up and she had come out with a documentary about her life? Her dad’s life? The film was everything after 1999?

-Paul & Jamie bought the apartment across from them and merged it into theirs? Which didn’t make any sense. Everybody had to walk through P&J’s bedroom to get to the expansion?

-Paul & Jamie were pregnant again with twins but she lost the babies? I just remember the scene where Paul rushes into the apartment with a double stroller excited that he found one. He sees the message light on the answering machine and it’s Jamie. I was trying to figure out if this was early on when Mabel was still a one year old, and one seat in the stroller was for her, or Jamie was pregnant with twins. 

-Paul’s dad died real early on in the episode. 

-Paul and Jamie wonder who should give her the birds and the bees talk when Mabel is a teenager, but turns out they waited too long. When Paul sits down with her to discuss it, she interrupts him and says that she’s already had sex, or she was already on the pill. Paul decides to take Mabel out for bagels every Saturday morning so he can remain closer to her. I just remember them eating bagels and sitting on a stoop. 

- Paul and Jamie separate for realz this time. Remember when they temporarily separated but then got back together and Jamie got pregnant with Mabel?  

[That episode is titled “The Finale”, please don’t confuse it for this one like I almost did. In case you’re wondering about my bitmoji dressed like a snail, our power went on and off the entire time I was writing this. I went ahead and used that save video me website so I could watch the clips offline.] 

- Jamie had become really cold at that point in her life and Paul had it. 

-The last scene was everybody watching Mabel’s documentary in a movie theater and P&J were a little embarrassed. Paul (almost crying) asks Jamie if she would like to go out for pie.

-Clearly they hadn’t shot enough because the last five minutes were “home movies” of the two and Mabel in central park. The montage seemed to last for-ever. 

-Before I re-watch, I also wanted to mention that I hate the theme song! 

I found the episode on DailyMotion, and the username of the uploader is “Magic School Bus” ... ms. frizzle is that you?  It also appears that Ms. Frizzle recorded this episode from syndication, so there might be a tiny scene or two missing. 

(part 1, part 2)

(Apparently it’s on the internet archive too, but it took forever to get the vid to play on my iPad. It has commercials though!) https://archive.org/details/MelrosePlaceHomeImprovementFinales1999 

So, Mabel’s film was titled “The reason why I am this way”. Maybe a grad school project?. Janeane looks grad school age here. 

The film starts with Paul & Jamie’s anniversary when Mabel was 1 in 1999. I was right!

A bird pooped on Paul! Nah, it was just Lyle Lovett the construction worker spilling paint. He married Jamie n Paul 7 years ago, but turns out he’s NOT an ordained minster, so they’re not officially married.  This is so dumb. Such a trope, right? 

Jamie is freaking out that they’re not really husband and wife. Paul is the rational one here, he says just go to city hall next week! Jamie is all “no, we gotta do it today, its our anniversary!”  So they go, there’s a chapel at city hall, there’s a lady named Phyllis there as a witness and who throws rice (25¢ a throw!)  

Stupidly, however, Jamie runs away. I do remember this freeze frame from the episode.

There’s lots of jumping around through time while all this is going on, I forgot about that, I just thought it was a straight up timeline.

We jump to 2005 where P&J are in therapy for the thousandth time, also when Paul goes in for a vasectomy. At first, I didn’t realize that Jamie was talking to her sister, Lisa in the waiting room since she had short hair. Jamie tries to explain to her that Mabel doesn’t need a sister, but Lisa guilt trips her. Jamie tells Paul that she thinks they made a mistake. They Michael Scott-eded it:

It’s 2011 and P&J are trying to give 11 year old Mabel the sex talk.

In 2004 Murray (remember, the dog? Yeah, the dog got forgotten somewhere in the series) got a girlfriend and they had puppies!  There is the best scene ever where Paul teaches Mabel how to shoot video and Nat the dog walker (played by Helen Hunt’s then husband, Hank Azaria) does a play talk show with the puppies. IT’S TOO CUTE, I put it on instagram. I forgot that Hank was on the show. I still remember how heartbroken I was though when Hank and Helen broke up, though.

There’s a real quick scene in the sports shop that Paul’s family owns (which I forgot about in the series). Jeff Garlin (who I like to call “Daddy Goldberg” since I love him on The Goldbergs) is teasing Paul for all his vasectomies. blah blah. You know what I noticed? That old Sketchers shoebox! Those ugly chunky metallic shoes they made in ’95 ’96 used to come in those boxes.  aw. ugliest shoes I ever had, they were most def. Airwalk Jim knockoffs. ANYWAY.

Mabel’s first film “Stabbing Bob” comes out in late 2021 when she’s 23. The whole family is there, including Cyndi Lauper who married Paul’s brother  cousin Ira. The whole family tries to get Paul and Jamie to sit together, so obviously something went DOWN between 2011 and 2021. This is when the syndicated version cuts off.

Part 2 begins again with Mabel’s documentary and her asking “Who do you think was responsible for my parents breakup? The one who ran away from the altar and changed her mind three times about whether or not her partner should have painful private surgery … or the other guy?” So when this film was made, Jamie and Paul were still broken up? Mabel is really tearing Jamie up a new one here. Jamie is the devil.

Back to 2005 and Jamie is pregnant, because Paul didn’t get that vasectomy. This is where everything is back on track with my memories of the episode. Except for those ugly ass pajamas. wow. Jamie is only supposed to be 42 here, the pajamas and glasses made her look 60.

2012, Mabel is 14 and she never did get that sex talk…perfect tribute to Whitney though, considering she had recently died.

Oh, no here comes the stroller scene in 2006. Paul is so happy, he says, “I found it! Last one in the city, and I found it! One big seat one little seat! 2 kids, one carriage! One big happy family. ” Uh, Mabel is 9.  The “one big seat, one little seat!”  makes me wonder if the writers forgot what year it was? Why would there be a big seat and a little seat?” Twins are the same size.  Those stroller seats look the same size. Paul finds a note left by Jamie, so it wasn’t an answering machine message.

In early 2021 we see Jamie’s bff Fran, FINALLY. I was wondering where Fran was! She was married to Richard Kind and he left her so he could ride motorcycles like “Easy Rider”, (remember when Fran kept calling the movie “The Easy Rider” and it drove Richard crazy, he was like, “the name of the movie is EASY RIDER, NOT ‘THE EASY RIDER!”). Riffs is somehow still open, martini glasses are taller, forks have clear spiral handles, and Fran be looking like something that walked off the Enterprise.  

Oh, and Paul left Jamie. Jamie now is wearing reading glasses around her neck. Oh, honey noo, you’re only 58.  Here is Helen Hunt in 2018:

Paul said that Jamie is unkind and that was why he was leaving.  

Aw, there’s my fozzie bear!

Costume and Makeup got Paul Reiser exactly right though!

After that, Paul & Jamie had to be straight with Mabel at all times. Ok, whatever:

 So I was also wrong about Paul’s died dying when Mabel was little.

On the way to the funeral, Paul’s mom encourages the two to pay a bribe so they can buy the apartment across the hall. She says, “Then Mabel can have a room.” …. Mabel didn’t have a room? She was 13 in the Murray’s not real scene. Where did she sleep?!  Now I remember thinking way back then that the episode left a lot of plot holes open, this being one!

I remember feeling kind of turned off by this elevator scene with the sad music after the funeral. I didn’t know the phrase back then, but now I know that it feels so forced. We get it. Paul’s mom is alone.

Casting didn’t do a good job with teenage Mabel, she’s supposed to be 18 in 2015 and it’s still the girl who played her when she was 12. w2g. I didn’t make a screen grab but I was right about Mabel having to cross her parents bedroom, and bathroom to get to her room. I was also right about the bagels! 

It’s back to the scene in late 2021 where everybody is watching the end of Mabel’s movie, “Stabbing Bob”.  I guess she was trying to be a lil Tarintino. Why did I think they were watching the documentary? Ha, at the end, Paul’s sister asks the family if they want to go out for pie. Yesss, the pie scene!

I did remember this from the pilot episode where Jamie kisses Paul on their first date when he turns to her. Jamie asks “buy me some pie?”, not Paul! I swore for 20 years I heard Paul Reiser tearfully saying, “I would like some pie” in my head!

Oh, one plot point that did get patched up was that Paul & Jamie asked the guy from city hall to come over and marry them in their apartment six seconds to midnight.

RIP, Murray the dog.

UGH, I was right about the long montage of the end that is just pretend home movies of the cast. It’s nearly four minutes long, and its set to country music. It’s hell.  I remember actually leaving the room during this part 20 years ago instead of just you know, muting the TV. It completely ruins the quietness of the episode. It’s total filler.

The ending credits are on Youtube, it’s adult Mabel giving a rundown of what happened to who.

Related:

More from the series finale series: https://saleintothe90s.tumblr.com/search/Series%20finale%20series

/edit/

I was curious and went hunting around in google groups (which houses newsgroup archives) to see what people said about it online right after it aired: 

Someone wondered too about where on earth Mabel slept until they expanded the apartment: 

>2)  Where did Mabel sleep before they got the second apartment and >turned it into a room? Shared with mommy and daddy?? Or maybe that little space before the bedroom.  Did they convert the appartments into one or move to the other side? I was a bit confused about that.

>>I wish I had watched Ally (but that's just my

>opinion).<<

Trust me, if you've watched the show at all this season, you've seen this episode.  Ally is depressed about no man, elaine whips out the video camera, the biscuit bobs his head to Barry White, does a gymnastic dismount from the toilet stall, stutters like Porky Pig, and all of the same fucking things he does every single fucking episode.  I really liked this show at first, but I'm about to give up on it because the same shit happens week after week after week.  If David Kelley cannot think of anything new to do with this show, he should hire a writing team, because it it going nowhere fast!

Brian

To know that Paul and Jamie's genes resulted in that shrewish frump Janeane Garofalo was one thing.  But to be "previewed" twenty years of their misery resulting in Mabel's therapy for bad parenting was pretty unbearable.

Crap.  Not quite as crap as the Rosanne finale, but more crap than the last

Seinfeld episode. I knew they were in trouble in the very first scene where

they set up the premise for the episode. Lyle Lovett tells them that he

wasn't really an ordained minister when he performed their wedding ceremony

and that he was drunk when he said he was. (now there's an original plot)

One problem: Lyle isn't the one who told them he was a minister and everyone

was sober at the time.

Then they have Jannene Garofolo as their grown up daughter, recounting everything thing that went wrong in their marriage, another lame plot device.

There're also a few little slips, like Paul buying a double baby carriage in 2005, when their daughter would be 8 or so.

But, to get to the root of why the episode (and the last two seasons for that matter) failed: The whole permise of the show was that these two likable, but occasionally goofy or even stupid, people were so much in love that they would always be together no matter what. Corny, naive, romantic, but also endearing. It made for a nice, comforting 4 seasons or so, but after a while the formula gets old. So they started making the characters a lot less likeable. Paul Reiser turned into Homer Simpson and Helen Hunt became a neurotic version of Lucy Ricardo, until I had no idea why these two people were staying together.

They got back to the original idea of the series in the last ten minutes, but it was too little, too late. In the previous 50 minutes, their whole marriage went to hell. Not only didn't those two people belong together, they didn't even seem to care about each other. They did something similar a few years back (marriage goes wrong, they still love each other and stay together) but it was convincing and they didn't do the gimmicky jumping back and forth over 25 years thing. That was the perfect moment to end the series.

I agree. I watched with the series finale of MAY with the morbid fascination that I would have while watching a car wreck.  I didn’t *want* to do it, but I was drawn to it.  And what a car wreck it was.

The plot of the finale should have insulted every thinking person.  Did anyone accept the premise that two sophisticated New Yorkers could believe they were legally married without having a marriage license and certificate?  For those of you who have never been married, you absolutely need such documentation for your bank accounts, health insurance, social security, credit cards, mortgages etc.   The retroactive vitiation of the Buchman’s marriage is akin to the Bobby’s dream sequence on Dallas a few years ago.

Jaime’s jilting of Paul at the “altar” was vapid.  Tim Conway’s gag in being both the marriage clerk and the justice of the peace was predictable, and as predictably stupid as Conway’s similar gags on the now ancient Carol Burnett show.  The pronunciation of “Buchman” to explain why Paul and Jaime had the same last name may have been amusing to a ten year old, but I doubt it was funny to anyone more mature.  A justice of the peace would not play the wedding march with a dime store cassette recorder while demanding that a prospective bride walk down the courtroom “aisle.”  Couldn’t they have done something interesting with the marriage witness instead of using a stock character such as the disinterested, magazine-reading rice-thrower?  From a legal standpoint, Paul and Jaime’s marriage at midnight was as ineffective as “first” marriage because there was no witness (contrary to the dialogue, a baby simply cannot be a legal witness to a marriage).  Why would a justice of the peace make a house call to perform a civil marriage?

The whole vasectomy gag was asinine.  Have either HH or PR been in a hosptial?  Did they do *any* research before they wrote this gag?  Its pretty safe to conclude that a surgical nurse would *not* lead a post- operative vasectomy patient through a waiting room while he was wearing nothing but a robe.  Moreover, given Paul’s obvious pain from the first vasectomy, don’t you think that Jaime would have known that Paul did not go through with the second one?  Wouldn’t Jaime have asked Paul if he went through with the vasectomy before she purchased and used a pregnancy test kit?  Jaime’s miscarriage was telegraphed from the beginning of the vasectomy gag.

The makeup aging of the characters was amateurish at best.  The sex talk difficulty with Mabel has been done by every sitcom since Leave It To Beaver, and most have done it better.  What was the point of the puppy urination scene?

The breakup and reconciliation was sentimental tripe.  In the real world, people that fight as much as Paul and Jaime do not get divorced and then, with one magic kiss, make everything OK.

Was it necessary to introduce a new character in the finale to narrate the Buchmans’ life story? (As an aside, I hated the casting of Janeane Garofolo (sp?).  She looked like complete crap.  Can’t that woman ever look presentable?  Someone should have given her a mirror and a comb before they began filming the episode.  She is a second rate Roseanne knock off, and, judging from last night’s appearance, she is now attempting to catch Roseanne in the weight department as well.)

The closing montage attempted to simulate a home movie circa 1960s such as that used in the Wonder Years.  But why would Paul and Jaime, a 1990s couple, have used such a medium for their home movies?  Also, even assuming the choice of medium was justified, why did they wave in quick, jerky movements at the movie camera?  Has anyone done that since the 1960s?

In the end analysis, the MAY finale was incredibly lame.  I got home in time to catch the end of the Melrose Place finale, and, IMO, even that show -- as bad as it is -- has more entertainment value than MAY.  At least they don’t take themselves seriously.  I am delighted that MAY is now over.  I hope that the poor ratings associated with the show will cause some retooling at NBC, especially in its high profile slots.

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#mad about you #1999 #series finale series #series finale #Helen hunt #Paul Reiser #nbc #janeane garofalo

[eisforeidolon]

Episode: Stranger in a Strange Land

The thing about having low expectations combined with these writers is sometimes they manage to limbo right under them.  Sometimes, though, it's not as bad as I expected, and this was one of those times.  Of course, I was expecting pretty much a rock bottom unwatchable mess, so that doesn't say a whole lot.

I liked the transition from the previously montage to Sam turning off the music in the Impala.  If watching the actual show was half as compelling as their recaps, well... I'd complain a lot less.  But that's neither here nor there. I did get the impression from Jared's scenes of Sam doing various tasks that he was tired and frustrated.  I can see why some people are interpreting it as him keeping himself busy to avoid focusing on the helplessness of being unable to locate Michael!Dean.

I did like Jensen's choices in portraying Michael.  The cold and disaffected demeanor, the different cadence in saying his lines, it was honestly kind of off-putting – but in a good way.  Likewise really appreciated Jensen's deciding that Michael wouldn't dirty his hands fighting some rando human that attacked him and would use his powers instead.

I actually did like the scenes of Jack training and bonding with fake!Bobby, despite myself.  Curse you, Jim Beaver!  Likewise, I thought the scene in the car where Sam and Mary have a genuine conversation about their respective reactions to the search for Dean was well done.  If I hadn't basically given up on Mary by this point, I would think it was even better.  

I did also like the scene with Sam giving Jack a pep talk.  Unfortunately, I didn't appreciate that it was cut short for the utter bullshit of Nick not being dead after being stabbed in the chest regardless of the whole magical blade part.  It's against all common sense and everything we've seen of angels before, like they'd make special blades to spare the mudmonkey vessels?  No, this is just stupidity pulled out of Eugine Ross-Leming's Pellegrino-thirsty ass and I absolutely fucking despise it.  Even before you get to the pathetically clumsy reveal:  Oh, hey, Sam he's awake … so I left him sitting in the dark for the dramaz!  I don't know how my secondhand embarrassment squick is going to cope with even more desperate efforts to make Nick/Lucifer/Pellegrino still remotely interesting or relevant to SPN as the season moves forward.    

Speaking of secondhand embarrassment, I'd toss Castiel not even being allowed to put up a half-ass fight against a bunch of nobody demons in there, too.  Remember when angels were impressive?  Remember when Castiel both had powers and was physically a good fighter?  Now we have this sad, pathetic creature that can't even get a few blows in.  I mean, that doesn't seem like more demons than Sam and Dean alone could take out at this late date?  Furthermore, I get why we have a scene between Michael and an angel to show why he dismisses them.  In theory, I have no problem with them using Anael/Jo for it.  In actuality there was just something about the way it was played that felt like cringey fanservice, to me.  Particularly but not just the way he reached for her face, like, “Wink wink these two are married IRL!”  I'm not interested in Danneel and Jensen interacting onscreen for the sake of attempted invoking of feels about their actual selves.  It wasn't unforgivably terrible or anything, but it struck me weird.  Again, not like there's a lot of other angels for that option and this one could reasonably have Sam's phone number, so I get it, but eh, whatever.

I probably was not supposed to be amused by the episode seemingly going out of it's way to show how useless Castiel is these days with his powers before trying to give Jack his own pep talk about how to not be useless without them.  It was … something.  Isn't that kind of what you're for, indeed.  Apparently the writers are as dead set on helpless woobie Castiel as some fanfic writers are.  

Coming back to Michael, in the end, “making a better world” is the kind of vague, desperate-to-be-ominous nonsense you give a villain you haven't really thought the motivations of through.  The whole sudden interest in what everyone wants was weird and maybe if AU!Michael had even once felt like a character rather than another generic villain who does bad things because...  I think the writers were trying for mysterious and scary and Jensen acted his little heart out - but it just felt pretty random.  Maybe I’ll be more impressed with it when it gets further elaborated on in subsequent episodes. 

Aside from them suddenly taking completely helpless Maggie along on a mission after demons who captured Castiel, I was not half so annoyed at the AU!hunters as I expected to be.  Though perhaps that's something that's worse in future episodes.  Like, if Maggie was actually good at something?  But the episode goes out of its way to show she isn't.  She can't hack traffic cameras and she needs to be asked if she knows how to use a blade - “stab with the pointy end” indeed.  I could buy taking Jack along as bait because the demons might know of him?  But Maggie is pure canon fodder and I don't know why they're trying so hard to sell that chick who got her head bashed in by Lucifer that one time so damn hard instead of someone else new that's *gasp* competent.  Especially when they automatically include her but then argue over taking Jack, who we've at least seen training and actually have investment in.  Between Castiel, Jack, and Maggie, they really just seem to have a mad on for exchanging characters with actual competence for ones that just have a fuckton of visible plot armor.

Which brings us to the whole big confrontation with the demon that kidnapped Castiel.  The good parts were that I actually appreciated using decoys to fool the demons into thinking that was all of Sam's backup.  Sam then saying basically exactly what I was thinking along the lines of, 'who even is this nobody with a handful of demons who hasn't even bothered to conquer hell first' to Mr. Scenery Chewer? Also a plus.  Then Sam getting almost beaten but getting the knife and ganking the demon in one smooth move?  Very nice.  Unfortunately, the writers could not manage to stop themselves there or even continue on in a similar vein.

I know some fans really liked the whole 'Sam tells the demons to run away and they just do' thing?  I can even kind of understand that, but I pretty much outright hated it.  It's exactly what I would expect in a bad fanfic from someone who can't write action and/or plot for shit. It removes any real challenge and thus the accomplishment of overcoming it is cheapened.  Consider if - instead of the demons buggering off in the middle of the fight they were 100% winning just because Sam said so?  Sam ganking the leader and getting free allowed him to help the others and turn the tide of the fight.  Together, they then could actually kill the other demons down to one.  Hey, if you don't think that's believable enough, kill cannonfodder!Maggie permanently to add to the feeling of peril.  Then Sam could tell that one remaining thoroughly beaten demon to go back to hell with the same speech about him not allowing there to be a new king of hell. I'm not saying that Sam isn't already a badass and that demons at this point shouldn't be intimidated by Winchesters.  But demons are stupid and I would a million times prefer to see Sam actively do kickass things over the writers taking the cheap, amateurish shortcut of telling me he's just so awesome his enemies run away at his words, even when they're winning, even though they initiated the confrontation with him.  Plenty of time to do it the right way if they take out the bullshit nonsense with Nick, but these writers are what they are.

Finally, I just have to boggle at all the bad slo-mo in that fight.  What even was that?  Just … no.

#spn 14x01 #spn season 14 #writer incompetence #negativity for ts #anti lucifer #anti bucklemming #long post