THESIS: AU Bobby is more like John than OG Bobby. He's a soldier. That's why it makes sense to me that OG Mary wound up gravitating to him.
He's the John-version of Bobby Singer! (I don't actually think she'd gravitate to OG Bobby Singer.) After Mary dies, he essentially becomes John-coded with regards to Jack:
Bobby: About that. I liked the kid. We fought together. But there's only one way this ends.
...
Bobby: If his human side is gone, you know what's left -- Lucifer. Now, if you boys want to sit around and talk, fine. But me? I'm gonna get on the horn to some of my people and go find that boy.
...
Bobby: An unstoppable monster who don't know right from wrong gets put down -- or the closest we can get to it. And anybody who don't know that needs to go back to school.
14x19
Mary gravitates towards soldiers who make her feel safe. She and Dean both chafe when faced with authoritarian-King-type characters:
DEAN: And that's what you offered them, a chance to stroke your ego? And you wonder why they said no. Well, we've got something better – a plan. Now, you can sit on the sidelines and watch the world die, or you can fight.
(CROWLEY considers.)
DEAN: You know, to be king again, maybe you need to remember how to be a soldier.
11x22
Tragically, because they were raised with an ingrained value of heroism, they're often more comfortable with being in the fight, especially one with clear rules.
MARY: I’m not going back.
DEAN: I’m sorry. What?
MARY: I fought beside these people. I respect them. I respect their cause. You can’t expect me to just abandon them.
SAM: No, Mom, that’s not -- You heard what Lucifer said. We have 31 hours --
MARY: I -- Sam...Dean...I know what you went through to come find me.
[Dean scoffs at that. He is obviously upset.]
MARY: But these people are being slaughtered. They need me here.
13x22
As for the fight itself, finding the right cause or being in a purgatory where the enemies are clearly delineated is a very tempting allure for all of them (indeed, all of us). We all want to back the winner, whether that's the strongest or the rightest.
SAM: Getting these groups to enlist and then work together, it's not gonna be easy.
DEAN: Couldn't you just compel them?
CHUCK: I invented free will for a reason.
DEAN: So we're tying our hands on principle?
CHUCK: No, you can't make an effective soldier by force. They have to choose this fight.
DEAN: But they're gonna want to know they're backing a winner.
LUCIFER (indicates CHUCK): So…
11x22
Anyway, both Dean and Mary gravitate towards soldiers, but they specifically fall in love with soldiers who, despite fighting a war (in Castiel's case, a war that waged on for billions of years), still retain their sense of hope and kindness.
MARY: Even after the war, after everything, he still believes in happily ever after, you know? He's everything a hunter isn't. (beat) No offense.
Hunters believe that it's going to end one way. But the Henry-and-John-and-Cas coded idealism combats that, somewhat. They believe in the future. If they believe in the future, then Mary and Dean can believe in that future, too. (CAS: "You have to believe you can do better, be better. You can start being good anytime. DEAN echoes this with Jack: "Every day, we have to believe we can get better.")
Anyway, these dutiful, rock-solid idealists soothe some of that inner nihilism that both Mary and Dean struggle with.
///
But!
After Mary, John was destroyed. He didn't believe in anything anymore. (He was supposed to be invincible, incorruptible, at least in Mary's eyes.) John without Mary rampaged the world in the name of a corrupt cause, neglecting his children but "doing what he had to do" to keep them safe.
On the flipside, when she returned, we got to see a Mary without John. She was so horrified by the smoldering remains of the John she knew, of the death of the idealized future for her children, that she went looking for a new cause too. That's what the British MoL was all about. It was Mary's answer to nihilism. She also neglected her family by "doing what she had to do" to keep them safe.
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supernatural s11e22 we happy few (w. robert berens)
why does lucifer keep dressing like cas now that the jig is up (i'm just really asking for the trench coat to leave the building) also grumbling when i see there's a pre-episode recap thing in the transcript because netflix just doesn't show them anymore, since s10
CHUCK
I’ve missed a few… million… birthdays—
LUCIFER
Yeah, and the second your apes send a distress flare, boom. Daddy’s home.
CHUCK
That’s not what happened.
DEAN
Hey, these apes saved your ass.
(LUCIFER scowls and snaps his fingers. SAM and DEAN look sick but quickly realize nothing happened.)
millions of birthdays, it's nice getting even a ballpark on the timeline the show is working with
LUCIFER
Screw you. Screw all of you.
(LUCIFER storms out between SAM and DEAN. When he’s left the room, CHUCK huffs and begins to leave as well.)
CHUCK
Kids, huh?
maybe he should call up jody, get some tips. dealing with grumpy angsty teens
god in the kitchen, making pancakes. okay. flashing that world's greatest dad mug again
i like her already
definitely most qualified people to be running a therapy session, they're such great communicators!!
LUCIFER
No, you betrayed me. You gave me the Mark to lock her away, and when it changed me – when it did what the Mark inevitably does – you threw me away.
CHUCK
No, son. The Mark... you always cast a jaundiced glance at humans. The Mark didn’t change you. It just made you more of what you already were.
aha see i'd read that in fic, the thing about the mark making you more of what you already were re: dean and i wondered if that was fanon or canon. question answered!
LUCIFER
You have any idea what it’s like to argue with your father when your father is God? (to CHUCK) Everything is a tautology with you. Everything is, “Because I told you so.” Everything’s, “It had to be done.”
DEAN
Pretty sure that’s all fathers.
okay that made me laugh
the trope of getting all the people scattered about who hate each other to work against a common enemy is a fun one. perkier way of having to get all these subplots to merge into the main than they usually do, so i'll take it
DEAN
Right, but why keep her in play? So she can escape and we can go through this all over again?
SAM
Dean, what is this about?
DEAN
I – Nothing. Am I the only one thinking rational here?
LUCIFER
It's about her. Sam, it's about his girlfriend.
DEAN
Okay. Shut up.
LUCIFER
I mean, think about it. Dean Winchester meets the biggest evil in the universe, and he takes a pass? Come on. Now he wants Daddy to do what he couldn't.
SAM
Is he right?
DEAN
Oh, I'm not getting into it with him. Not gonna happen.
LUCIFER
Hey, Dean. Come on, what's good for the goose is good for the gander. We opened a vein for you two.
DEAN
I tried to kill her. (Flashback to DEAN stabbing AMARA only for the knife to shatter.) And it didn't work.
CHUCK
Maybe it didn't work because you didn't want it to work. Maybe you didn't want to kill her.
SAM
You want God to kill Amara because you don't want Amara to be killed?
DEAN
Yeah, maybe there's a part of me that just can't hurt her. But if she's already dead—
SAM
Then she's already dead. Right.
i don't understand. didn't sam already know this? if this not explicitly, sure seems like an obvious extension of this part of dean and him having a good quality, honest conversation about this in 11x13??
from s11e13
DEAN
Standing here right now, every bone in my body wants to run her through. Send her back to that hole she crawled out of. But when I’m near her, I don’t know. Something happens and I can’t explain it, but to call it desire or love…it’s not that. I’m screwed man. We wanna kill the Darkness. We need to kill the Darkness. And I don’t think I can. I’m sorry to do that to you, ya know, but when it comes right down to it…
SAM
I got it Dean.
--
CHUCK
Oh, yeah, I've been quietly rooting against you both for some time now. Although, I can't deny you're one of my guilty pleasures.
ROWENA (giggles)
Oh, God.
CROWLEY (scoffs)
Oh, God.
DEAN
All right, no flirting. And no fighting.
lol
SAM
God and I talked about this. Someone needs to bear the Mark.
DEAN
Well, that should be me. I-I've had it before. I'm damaged goods.
CHUCK
Exactly. You've already been tainted. I can't transfer it to you. Sam volunteered.
what the fuck, bro
DEAN
First Cas is making kamikaze side plans, and now you? You couldn't have talked to me?
SAM
We did talk.
DEAN
And what happens when the Mark turns you psycho, then what?
SAM
You lock me up where I can't hurt anyone and you throw away the key.
DEAN
Sam, no.
SAM
Dean, you told me you couldn't beat Amara, that it would have to be me. Well, this is it – me.
this seems so ridiculous. we have been down this path so many times. neither of them can tolerate the other one sacrificing their lives for the greater good. hello the trials, getting the mark off dean that caused all this mess. contrived messy conflict over the fucking mark again. trying to remember why he had the mark to begin with, to kill abaddon? they really need a better prison system
so everyone who's helping rowena got killed but rowena magically makes it out unscathed. boo. booo. i don't want rowena getting killed off or anything, but if you're gonna do all of them and not the recurring character... bleh.
kansas power corp with an atom logo would a nuclear power plant. mmmk
AMARA
It was ego! You wanted to be big!
okay dramatic speech but this just made me giggle. uppies! i am not following this confrontation very well. i just don't caaare. glory of creation, grace, she felt it in dean, sure. but basically wants to wipe everything clean except dean soo doesn't matter. fun heisty vibes were very shortlived
guessing that really bad cg was lucifer popping out of cas. like, excuse me what is that
guess the brief angst over the mark was for nothing, which being i've never heard of it in relation to sam before, i should have known
thank you for mussing up her eye makeup a little. after getting blasted across the asphalt and passing out for an unknown period of time.
the added element of suspense when i don't realize this is a 23 episode season, not 22 :p dunno what's going on outside, but i guess the end times have pretty lighting. very 2016-insta ready
wiki
When the camera speeds through into Donatello Redfield's home, it is very reminiscent of the "rammo-cam" shots that director Sam Raimi would frequently use in the Evil Dead series.
funny, i mentioned a shot that reminded me of the evil dead series too - in 10x11 (different director though, this was john badham and 10x11 was phil sgriccia)
shaky over the shoulder pov cam thing in the opening giving me evil dead/army of darkness vibes. campy
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