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elizabethrobertajones · 6 years

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Hello! Sorry for this stupid question, but here it is... how do you notice subtext?? Like, is it something that is obvious to you or do you know what/where to look for?? Am I dumb for not seeing it by myself, or is it actually okay and you need a skill for it, that's what I would like to know... *sigh*.. but also it's not like I'll accept any explanation that someone gives, I'll take it only if I find it reasonable, but lmao do I even have a right when I can't come up with anything by myself??

Oh gosh, that’s not an easy answer… Good thing I just had a coffee and my brain is nearly back online!

Essentially, it’s just about awareness and willingness to engage with the text on the level of being aware that it’s a text, rather than losing yourself to it. In a very good movie you forget where you are and you’re 100% in there and your thoughts are just absorbing what is in front of you. In a bad movie you’re gossiping and joking about the characters, even in your mind if you are polite in the cinema, and identifying shit like “oh wow what a surprise his sketchy brother is betraying him” or whatever. Aka you are viewing it as a bad movie rather than disappearing into the good one.

And at that point you are an objective level removed, and your awareness of tropes and storytelling and general themes of the genre means you’re now engaging with the story and its subtext on a higher level than pure indulgent viewership. (Which is a blessed state and extremely important for creators to cause that to happen in us, but if we want to be critical of a text we then need to lovingly make this step back to critique and explore and analyse and understand WHY we liked the thing we liked. Or, of course, hated the thing we hated.)

This is the answer the internet gives on What Are Subtext?

The important thing is that the subtext is an actual, solid, understandable part of the story, but it’s not one that the text will actually announce with words… Unless it’s being extremely post-modern.

(You should watch Jane the Virgin, it’s amazing)

In that example, it’s extremely obvious in context that the situation sucks, and our narrator is telling us, as a voice outside the scene, how it feels for the characters even though it’s blatant on screen, it’s humorous for us to be told this as part of the overall conceit of the show, which is extremely postmodern and constantly types out the details of the story and how the characters feel, things they don’t know, etc, on screen for us to make sure we’re all on board and understand what’s going on. Using the narration like this is making what is subtext in the acted scenes, for example jealous eyebrows and the sort of other micro-expressions we over-analyse, into stated fact about the feelings. The serious nuance comes in other, much more intelligent ways in the story.

Another direct and frequent way we interact with subtext aside from it being just literally anything happening on screen that is not directly commented on but may be evident from the work of acting, camera, and setting-related design and other choices, is dramatic irony, which is a very good use of subtext which draws us in and makes us extremely aware of what we know that the other characters don’t, and plays on that for our attention and investment in the story, but of course MUST go unstated at least to some characters, meaning that any engagement we have with the conceit around said character(s) means we’re seeing the subtext they miss. Growing up reading Lemony Snicket was a masterclass in storytelling and general life so I’ll let him explain:

“Simply put, dramatic irony is when a person makes a harmless remark, and someone else who hears it knows something that makes the remark have a different, and usually unpleasant, meaning. For instance, if you were in a restaurant and said out loud, “I can’t wait to eat the veal marsala I ordered,” and there were people around who knew that the veal marsala was poisoned and that you would die as soon as you took a bite, your situation would be one of dramatic irony.”

When we’re reading a text to identify subtext, we need to have awareness of some pretty basic foundations, such as the major story tropes and styles, and character and setting and a lot of other things… Fortunately as long as you read books, watch films and TV series and otherwise consume tons of media, you will have at least unconsciously absorbed a LOT of the toolbox needed for this. You just need to know enough to know how to expect what happens next, OR to know when a story has done something radical which is NOT what you would have expected, and breaks a mould you thought it was set in.

For example, the cold open of 2x03 features a vampire, a panicked, conventionally attractive woman in a white top running through woods, being hunted by Gordon, with the vampire as the typical tropey victim, and Gordon facelessly featured as a seeming hook-handed killer. It LOOKS like it’s going to play into an extremely typical slasher story, but once Sam and Dean realise the victim was a vampire, it turns the entire set up on its head and is immensely unsettling to the foundation of the show (which is how Dean handles the episode). I use that example a lot but it’s one of the most blatantly tropey cold opens on the show which gives away nothing to suggest it will be subverted, because it’s so early in the show their mould is extremely simple, and you could almost not trust that they wouldn’t do another extremely on the nose urban legend, before they have really established themselves beyond the season 1 style.

That whole set up relies on giving us invisible cues we read which are the subtext of the scene, and then using the fact that this set up plays us really hard to believe one thing and the other, in order to make it so complex and confusing and uncertain even for us, as we relied on the cold open to tell us what was what and who was good and who was bad, which if we followed one emotional POV of the episode, could last as long as Dean’s uncertainty that the vampires weren’t bad.

Storytelling is built enormously on this foundation of subtext and stuff, and one of the things that you can tell is bad about Buckleming episodes is that they really don’t put in much subtext: things are fairly straightforward, subterfuge is broadcast, and there’s rarely deeper meanings or connections between events in their stories. It comes across shallow and weird, especially with side characters with bizarre and unexplored motivations, or surface level motivations which are not explored and we can only take it on face value what they actually care about. One of the most hilarious Buckleming scenes to me is the one where Crowley “forces” Lucifer to tell the court of demons that Crowley is the best and he is in charge, while with his back turned to Crowley, Lucifer winks and implies with his tone of voice that he is/will be in charge and is the real king they should be bowing to. This is their idea of dramatic irony, subtlety and subtext in character interactions and it is utterly, truly dreadful to behold, in the sort of way I want to put it in a museum as an example to future children to learn what not to do. You can press a button and Lucifer’s eyes light up in the exhibit!

In any case you’re probably really mostly asking about Destiel and bi Dean subtext etc, because this is what majorly concerns the meta-interested peeps. But to me it is really really essential to know and care about the entire house of cards. Billie’s words about the structure and function and behaviour of the universe in 13x05 are a wonderful description of how writing works, and as a bonus she doesn’t say “this is a writing metaphor” and wink directly into the camera, as Buckleming would have written it, but Yockey leaves this idea in the writing itself for us to interpret and understand. There’s a LOT of commentary in this show about writing but this one in particular really resonates with me when it comes to talking about interpretation, because we really have to understand and handle the entire story in order to really line up any of the pieces in a way that makes sense.

Right now I have that lil lesson in visual subtext floating around, about Ketch and Dean in 13x18 and Dean n Cas in 13x19. I think it’s a great example because Ketch and Dean have a real history, and that’s super important to remember when on the surface it looks like just a joke. The history goes back as far as 2x03, when I’ve written before about seduction and the trap Dean falls into with men filling a space in his life. The tl;dr of this linked meta is that Gordon, the Siren and then Crowley as a main arc over season 9-10 seduced Dean in a very similar pattern. 9x11 is the best example of a Dean seduction episode, but through season 10, Crowley is so successful that he has the dubious honour of having actually managed to bed Dean in the process, while the others failed, though the Siren at least got a proxy-kiss.

Ketch comes on to Dean in 12x14 and there was even a shot or promo image (I can’t remember which this is now) where they had this bottle in the middle of the table between them.

Bottles are suggestive imagery in any case, and we have Cas flirting outrageously (for Cas) with Dean in 9x09 including this action of stroking his bottle in front of Dean:

Ketch’s approach with Dean was a lot like Crowley’s, emphasising their similiarity and trying to get his little adventure with Dean to tap into all the dark parts Dean denies. In the end Ketch went overboard beating up the vampire girl, Dean went into protective mode, and didn’t unleash an inner killer, like Gordon and Crowley in particular had wanted him to, and so this Manly Bonding Over Violence failed to occur, they went their separate ways, and Ketch shacked up with Mary instead because this is a fucked up story :D

Once this incestuous connection to Ketch occurred, he for once is off-limits to Dean now, so he’s having this oddly romantic bonding episode with Dean in a sense - the kind that without this context would be huge alarm bells because it combines the ridiculous homoeroticism of Dean x Cole (thank the fucking lord that stopped short) and the plausible good chemistry of Dean x Crowley in the sense of Jensen and DHJ being a fucking delight when they’re together. This would be EXTREEEEEEEEMELY shippable in other circumstances, but instead Dean knows Ketch slept with Mary, they mother and son killed him and destroyed that gross connection, and then he floated back up like a turd, and so they mostly just talk about when and how they get to kill him again, and not in the “this is a blatant flirtation” way Crowley pointed out it was basically a come on from Dean to threaten to kill him in the closing lines of 9x10 and the opening lines of 9x11 featured Dean threatening to kill Crowley.

So Dean chilling 5ft away from Ketch in a hot tub because he’s not gay in the woods, and telling him flat out he’s not his type, is legit and not connected to subtext telling us that Dean isn’t bi, it’s that Dean in a zillion years is not going to sleep with Ketch, that if he was younger and dumber he would have, but he knows what’s up and now Ketch slept with Mary, this is fucked up in a way that we’re now verging into bizarre John subtext instead. The phallic symbol of a gun - used a lot by Dean from between his legs in humourous or not so humorous scenes and teased as penis subtext a lot (especially in #THINMAN with the “say hello to my little pistola” moment where Dean directly compares dick and gun in coded talk while having it out with Harry) - is therefore presented as Dean with it loose and not pointed at Ketch. Surface level, he’s not gonna shoot Ketch right now. Subtext… He’s… not gonna… shoot……. ketch right now…

And then you go to the kitchen scene with Dean n Cas, the subtext of beer as dicks is also deeply established as well as alcohol as sexual bonding between men, right back to Gordon and the Siren and Crowley, in a bad way, but also positive; Dean bonds with people who share a drink with him and his primary way of picking up women is in bars. In the open of 1x19 he and Sam have full beers on their table, and Dean goes over and buys more beers to talk to the women he wants to pick up, then goes to Sam and puts those beers down - in the end Sam has 4 full, untouched beers on the table in front of him when Dean runs off to go seal the deal at the end of the scene. I find that so utterly hilarious.

But yeah. Between Dean n Cas it has a much deeper level of symbolism about their connection, and the major moments are pretty numerous, but I love in 10x18 at the Last Supper, the Kingdom Beer bottle superimposed over the whole of Cas for a moment in the fade between scenes, before Dean picks it up and drinks from it. There’s also moments like 6x03 when Dean is praying to Cas where he’s holding a bottle directly between his legs, as Cas arrives in the room. Details like this always make me laugh. You need a dirty mind for this sort of subtext :P The show itself has a dirty mind… Season 7 is full of Dick jokes, but they’re only the most overt that the show makes. 9x17 is RIDICULOUS because Misha has the foulest mind and spent roughly 50% of the time he was directing doing close ups of Dean’s face as he drinks seductively from a bottle, or with him standing with a pool cue between his legs, running his hand up and down it. I… Am not going to comment further. It was, however, the episode where Crowley thought he had sealed the deal with Dean.

In any case the subtext of the beer in 13x19 is more likely to link directly to 12x10 and “this will do nothing for me but I appreciate the gesture” and the more wholesome theme of Dean trying to be nurturing and inviting Cas into the home and family - 12x10 was basically addressing and fixing an enormous problem of miscommunication about this. In the end despite the gesture - of both not killing Cas just to spite Ishim, or giving Cas a beer when it won’t make him drunk, Cas ended up still leaving on the mission that ended up with him stealing the Colt and then going off with Jack and Kelly. And this season the theme remains of miscommuncation, this time with so much dramatic irony that WE know that the characters don’t that their cross purposes can be seen from space… Hopefully for the sake of addressing it.

But I have a dirty mind and this is an established part of Destiel subtext from other scenes where the beer was more directly in focus, such as 9x09, meaning no harm in highlighting the upwards pointing phallic symbols in the room and grabbing an awkward shot of Dean holding the beer pointed Caswards from his lower torso… :P

I think in the end spotting innuendo is important to know when it is and isn’t intended by signifiers in the story and characters that it is just random. There’s almost certainly accidental moments where characters with no chemistry or emotional subplot have done things which might look suggestive but it’s up to us to use logic and reason to guess they’re not really telling us they have a boner for each other. Since Dean n Cas have romantic subtext and a strong history of innuendo and sexual subtext as well, it’s fair game to at least laugh about unfortunate implications, wonder about the Big O Slush Machine that Cas spilled over the phone to Dean in 9x06, or look stonefaced into the camera and say “that’s a dick.”

#Asks #meta meta #dean is bi #destiel #my stuff #long post for ts

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