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airenyah · 3 years

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what are the gayest destiel episodes you can think of?

ohhhhh i gotchu hold on (this is basically gonna end up being a list of my fave destiel episodes lmaooo)

ok so just a heads-up, i don’t really remember much from s10 onwards (a lot of those episodes i haven’t actually watched since they aired whoops) and i’m currently stuck at the beginning of s9 on my complete rewatch soooo this list focuses only on the first half of the show. i might do an update if i ever manage to finish my rewatch (and remember to post an update at all when the time comes)

ok here we go:

4x16 - On the Head of a Pin

dean calls cas “cas” to his face for the very first time

dean is all “you can't ask me to do this, cas. not this.” (about torturing alastair) and uriel is all “who said anything about asking”, but cas is all: “this is too much to ask, i know. but we have to ask it” and that is the moment that dean realizes that cas cares about him and his feelings/well-being and that’s when he demands to speak to cas alone

and it’s only after cas tells dean he really doesn’t want dean being forced to do the torturing that Dean gives in (”i would give anything not to have you do this”)

like, it’s so obvious already how much cas cares about dean already and we’re only in s4

cas is even starting to go down the path of disobedience (with a little help from anna admittedly, but still. he’s starting to consider it)

they’re so?? comfortable?? with each other. when cas visits dean at the hospital in the end

4x22 - Lucifer Rising

dean literally makes an angel fall in this ep, i mean come on... (the way cas shows up behind him all “you asked to see me” after dean smashes the angel statue cracks me up every single time gsdlka)

dean desperately trying to get cas to help him (bc he knows that IF there’s an angel that would help him it’s cas)

cas is too afraid though and dean gets pissed and literally breaks up with him (D: "you spineless, soulless son of a bitch. what do you care about dying? you're already dead. we're done." C: "dean-" D: "we're done!")

this is the episode in which cas makes his decision and chooses dean over heaven

5x03 - Free to Be You and Me

in the previous episode sam and dean had a fight and split up. this episode starts out with dean being pissed and annoyed and just in a bad mood in general

when cas shows up and asks for help dean is very grumpy and doesn’t want to help at first but then reluctantly agrees

throughout the episode, the more time dean spends with cas the better his mood gets (honestly this point is worthy of its own separate post, i have enough screenshots lmao)

like he’s even smiling at the end of the ep when he’s talking to cas in the car!! (except then he looks over and realizes cas has left mid-conversation again and that smile is wiped right off his face and i’m sad :( )

when they’re in that brothel dean mostly has eyes for cas, even when chastity the hooker is standing right next to him

after the brothel incident when dean is cracking up and goes “it's been a long time since I've laughed that hard. it's been more than a long time. years.” like... buddy. your crush is showing.

and the way cas smiles lovingly at dean laughing next to him

dean be like: “personal space” also dean: *reaches into cas’s coat without hesitation* *fixes cas’s shirt and tie without hesitation*

also the funniest thing about the whole “personal space” moment in the motel is that there was more than enough space for dean to step aside and increase the distance between him and cas if he had really been all that uncomfortable but he just. doesn’t. no he just stays right where he is

when raphael is trapped in the holy oil and threatens cas all “castiel, I'm warning you. do not leave me here. i will find you.” and cas goes “maybe one day. but today, you're my little bitch.” and walks away and dean tells raphael “what he said” like the impressed and proud boyfriend that he is

inside jokes (see here)

some more iconic quotes/moments from this episode:

“cas, we’ve talked about this. personal space”

“so, what, i'm thelma and you're louise and we're just going to hold hands and sail off this cliff together?”

“well. last night on earth. what are your plans?” “i just thought i'd sit here quietly.”

“let me tell you something. there are two things i know for certain. one, bert and ernie are gay. two, you are not gonna die a virgin. not on my watch.”

5x14 - My Bloody Valentine

hunter husbands!!

the way that dean is not in the mood for hook-ups on valentine’s day and then goes to stare at cas like That

that iconic phone call at the hospital where cas just appears in front of dean who nearly runs into him

cas be looking at sam while listing all the things people can be starving for, and then looks at dean before saying “love”

ok i know this doesn’t have that many points but really this entire ep is great, i very much enjoy all the interactions between cas and dean in this ep

like when dean is not hungry and cas is all “you're not gonna finish that?” and grabs the plate without waiting for an answer bc they’re this married in s5 already

6x20 - The Man Who Would Be King

i mean... this one is obvious isn’t it

this ep is literally all about how cas is doing everything for the winchesters aka dean

the way sam and bobby cautiously voice their suspicions of cas to dean has the same energy as carefully breaking it to a family member that you think their partner is cheating on them

and when they trap cas in the holy oil and confront him dean also acts like a betrayed wife(gn)

which is such a stark contrast to how sam and bobby react to the betrayal (they’re mostly just like “eh this sucks” while dean is emotionally affected)

and even in the following episodes dean is way more affected by cas’s betrayal than sam and bobby are and dean is the one who argues the most with cas (honestly, this entire arc is literally that post that’s all “how do i know dean is in love with cas? bc sam isn’t”)

ok but the holy oil scene is truly like a soap opera (i mean... “where were you when i needed to hear it?” “i was there. where were you?” and dean looking back at cas one last time before running away)

this is their first big break-up and it takes them until the s7 finale to make up

special shoutout to cas watching dean rake leaves

this ep is a LOT

7x17 - The Born-Again Identity

dean’s FACE when he sEES CAS. and then DEAN’S FACE AGAIN when “emmanuel” is all “what’s your issue?”

dean’s face all throughout that first scene with “emmanuel” and daphne, I’M

“you know, I used to be able to just shake this stuff off. you know, whatever it was. It might take me some time, but... i always could. what cas did... i just can't – i don't know why” BECAUSE YOU’RE IN LOVE WITH HIM, IDIOT

the way dean interrupts all irritated when meg goes “i think we're gonna be good friends too” at “emmanuel” (jealous bf much gsdlksafd)

the way dean kept the trenchcoat just in case so he can give it back to cas should he return (which ofc he did)!!!!

7x21 - Reading is Fundamental

yet another one of those “how do I know dean is in love with cas? bc sam isn’t”

at the beginning of the ep at some point sam’s phone rings and when he says that meg (who is watching over cas at the mental hospital) is calling, dean is quick to stand up and even tho meg called sam, dean is the one who ends up having the phone call with her lmao

also dean has no chill during that phone call lmao (he’s irritated when he finds out meg didn’t call them right then and there as soon as cas woke up and he’s immediately concerned when meg says cas is different, while sam’s just standing there holding his phone out to dean, being all ¯\_(ツ)_/¯ lmao)

dean: *pissed af at cas* also dean: *almost breaks his own neck at the speed with which he whips his head around at the mention of cas’s name and is desperate to know his location when cas calls meg after dean blasted him away with some other angels at the hospital*

ok no but then meg tells cas their location and cas zaps into the car and it’s hilarious how quick dean is to interrupt whenever cas turns his attention to meg in that scene

8x07 - A Little Slice of Kevin

dean seeing cas everywhere

when you see your best dudebro outside the window in the middle of a storm but when you get up he’s gone and you feel like crap because you could’ve made it out of the war zone together and you just cannot fathom why he didn’t try harder and you just don’t understand why you’re feeling what you’re feeling (and judging by dean’s reaction to sam’s suggestion, clearly it’s not survivor’s guilt)

dean’s FACE when cas suddenly appears behind him in the bathroom

jacting joices: the infamous boner scene (yet another example of “how do I know dean is in love with cas? bc sam isn’t”)

jacting joices pt 2: sam and dean are talking case and then cas walks over to join the conversation and there is literally no reason for dean to check cas out (see here)

during the rescue mission when cas zaps into the room and has a stand-off with crowley and then when dean finally manages to break into the room, can i just say... the way dean immediately rushes to cas (who’s ended up on the floor) and grabs him by the shoulder before he bothers to look around the room

D: “that was a bonehead move back there. you could have gotten yourself killed. why didn't you wait for me?” C: “well, i didn't get killed. and it worked” D: “and if it didn't?” C: “it would have been my problem.” D: “well, that's not the way i see it.”

the purgatory flashbacks when dean keeps insisting that cas is coming along with them back to earth and won’t hear otherwise

“i did everything I could to get you out – everything! i did not leave you.” “so you think this was your fault?”

“look, I don't need to feel like hell for failing you, okay? for failing you like i've failed every other godforsaken thing that i care about! i don't need it!”

i know we hate buckleming but this episode, man. this episode

8x08 - Hunteri Heroici

i was gonna put this as a special shoutout but then it turned out that i had more to say about this ep than i initially thought

it’s the way dean and cas keep gravitating towards each other in the first half of the episode. no seriously, they somehow keep ending up beside each other and you start wondering “what’s personal space” (friendly reminder that this is the ep right after they’re finally back together again after purgatory)

the married energy and the bickering

the “talk to me” scene where cas finally opens up to dean (but then interrupting moose strikes)

at the retirement home dean to sam and cas: “no flirting you two” then CUT to: dean and cas sitting at a table with an elderly lady who is staring at cas with heart eyes and... lady: “you are so pretty, charles” dean: *must look at young nurse’s butt immediately to distract myself from gay thoughts*

i’m sorry but the way he smiles so widely at cas at one point when they’re talking to that lady, like, she’s just called cas a bounder and dean’s amused about that but his amusement is not in any way malicious and his face is just so full of love when he looks at Cas, it’s embarrassing really (see here)

9x06 - Heaven Can't Wait

ok so i haven’t watched this ep in like 5 years so my memories on this aren’t as fresh as with the previous eps but! it’s the way that cas and dean act exactly like exes (who are still in love with each other) in this ep

dean’s face as he’s staring at cas through the shop window

dean’s smile when he shows up inside the shop

the entire “i can’t let you do this cas” scene in the car

the infamous fanfiction gap

special shout out to:

5x18 - Point of No Return for all the bickering (“you know what? blow me, cas”) and especially “well, cas, not for nothing, but the last person who looked at me like that… i got laid.”

6x10 - Caged Heat for the pizza man and dean’s reaction to all the megstiel (like jealous bf much?)

6x19 - Mommy Dearest for the strong married energy dean and cas give off in this ep (honestly, all their bickering, it’s glorious) (friendly reminder that this is right before tmwwbk)

7x23 - Survival of the Fittest for the “i’d rather have you cursed or not” scene

8x02 - What's Up, Tiger Mommy? for the purgatory flashbaks with that one monster calling cas dean’s angel and the reunion scene by the river with highlights such as “nice peach fuzz” and “i prayed to you cas, every night” and “i have a price on my head, and i've been trying to stay one step ahead of them, to – to keep them away from you” and “cas, we're getting out of here. we're going home” and “cas, buddy, i need you” and “let me bottom-line it for you. i'm not leaving here without you. understand?”

8x17 - Goodybe Stranger for “i don't know, dean. if he's so sketchy, then why were you praying to him?” and the entire crypt scene (yes this is a big one and yes i’m still only putting it as a special shoutout and yes it’s bc of the megstiel content this ep ok bye <3)

#there is also the late s9 ep where cas chooses dean over an angel army #then i vaguely remember 11x03 being a good destiel ep #and the s12 ep with the ''i love you. i love all of you''??#i know people are still going crazy over the mix tape but i don't remember if the ep itself was very gay #oh and 13x06 - tombstone gets talked about a lot as well #when cas comes back to life at the end of the widower arc and dean goes from extremely depressed to happy af #15x09 was a pretty good one as well i think #and ofc 15x18 with the big ''i love you''#anyway this was fun #i should really continue with my spn rewatch #but the thing is that i'm actually journaling and making notes #and that requires brain #and i currently just don't have the energy to make all this effort just for a tv show #who knows if i'm ever gonna finish this project #oh well #asks #anon #destiel #spn #lmk if i've missed anything (from s4-s8 that is)

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somestansomewhere · 4 years

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Frank’s Dementia in 11a

Points to discuss:

Moments where Frank forgot.

Things he might be able to remember.

Other characters finding out.

Aftermath...

So to start of, I made a list of every instance in SEASON ELEVEN A, where Frank’s memory seemed a bit off, I’m not gonna analyze the whole series for this but I’m sure there’s more there. Now:

Moments Where Frank Forgot

11x01

1. Frank’s History of Chicago

While this does appear to imply just the opening monologue, there are actually several moments throughout the episode where Frank is talking about the Gallagher’s running Chicago to Alan. And while this seems like typical “Frank being drunk nonsense”, plus a spectacular opening to the season... I now see it in a different light especially after:

2. Frank’s Memory Elixir

Frank LITERALLY has a line asking for “memory elixir”, meaning booze, which Alan hands him. Ironic since he has ALCOHOLIC DEMENTIA. You can’t tell me that wasn’t intentional!

3. He Forgot Bars Were Closed

Now, I may be reaching here... BUT when Frank enters The Alibi for the first time this season (what a grand enterence btw) he says “I heard somewhere all bars were open again”. V responds by saying something along the lines of “three weeks ago maybe” and that the mayor shut them down again. Frank says “Well who the hell can keep track”. And okay, yeah maybe Frank genuinely didn’t know... but this is the bar he goes to EVERYDAY. Not to mention if they shut down less than THREE WEEKS AGO, Frank should know... idk this one might not count but I added it anyway. Kermit is unaware of bars being open/shut down in 11x03 so moving on:

11x02

4. The Alibi’s Secret Enterence

Okay, again REACHING! However, when Frank entered The Alibi through the Keg Zone door he forgot to use the “secret knock” and Kev had to remind him about it. Now in 11x01 he used the front door (and I’m not sure he knew to use the other door in that ep) but still at least he remembered to use the correct door in 11x02.

11x03

This is where it got noticeable.. strap in, here we go:

5. Taking Franny to School

He took her to the wrong school. This is the same person that knows the Southside perhaps better than his kids (lol), like the back of his hand! He not only took her to the wrong school but a middle/grade school. Franny is in elementary/preschool school. You can see in WHM’s face here that Frank was confused...

6. Uncle V and Aunt Kev

Maybe just a comedic slip up, but Frank calls Kev and V “Uncle V and Aunt Kev” as opposed to what they really are. Maybe he forgot? I’m reaching LOL.

7. Debbie Is Not Fiona

Frank talks about one of his favorite MEMORIES with Franny’s mom: Debbie, but “oh no, maybe that was Fiona”. Small moment, typical Frank but... nonetheless, poor memory. The writers are smart by mentioning Fiona in this scene... it’s “a Fiona mention”, we’re going to remember this, and that’s probably why they did it.

8. The Paper Store

Yeah, this was the first red flag for me and if I can recall, the moment EVERYONE knew something seemed off. Frank, walks out of the paper store with Franny and cannot remember where he is, or where they are headed. Once he is reminded of their “goals” for the day (by Franny, a five year old) he proceeds to head to the paper store... Franny once again let’s him know that they already went there and Frank notices the paper already in his (Franny’s) backpack. Ouch.

11x04

9. The Nation of Islam

Ooo this one hurt! After Frank suggests to visit The Nation of Islam in an attempt to get their help to get rid of the Milkoviches, him, Kev, and Liam do. We SEE them go there. It’s a whole scene, so later in the episode when Frank suggests to go ask them for help AGAIN as if it were a completely new idea, we as an audience know they already did that. As Kevin says they “JUST did that”. Frank forgot. Shit.

11x05

10. Mrs.McCurdy

Frank discusses with Kev about murdering Mrs.McCurdy, later he tries to murder her. We see it, we remember it becaue she grabbed Frank’s dick. It was funny, the scene evoked laughter, it forces the audience to remember it. Frank mindlessly walks into The Alibi and Kev asks Frank if he “did the thing”. Now at first Frank is confused. They were using “quotation talk” earlier so yeah I get it, but then when Kevin is more direct with Frank, Frank thinks Kev is implying that he had sex with Mrs.McCurdy... Frank is clearly confused. Only then does Kev point out that he meant MURDER. Frank takes a second, again if you watch he does not know what Kev is talking about, but then it hits him, and he remembers. Thus continuing the convo like nothing.

11x06

11. Monica

Now this one REALLY hurt. Frank’s first scene of the episode is a sex scene between him and Letty. She’s blonde, and Frank calls her Monica. He truly believes he is sleeping with Monica, only Monica is dead, she been since season seven. When Letty mentions that she isn’t Monica (thinking Frank calling her that was only a sex thing), we see WHM’s brilliant preformence once again. Frank doesn’t know what Letty means, he thinks she’s Monica. Then when he realizes she isn’t, he gets this lost dejected look on his face. He’s confused and knows that he keeps getting confused.

Frank says “I gotta get to work”. Letty asks him where he works and Frank is left bewildered.

12. Seven

Okay so remember Frank and Franny’s adventure in 11x03? Frank visits a dry cleaners to get some weed. They make a point of Franny saying that Frank will pay SEVEN for the weed. No offer is made and Frank must get it somewhere else. Throughout the episode Frank refterences SEVEN to Kev & V as the asking price to sell. We as an audience are forced to remember SEVEN. Also in 11x03, as Debbie frantically looks for Frank/Franny, she visits the dry cleaners where they were (retracing their steps). We as an audience have been there twice.

Now, in 11x06 Frank goes to pick up an order but like, we already saw him go there episodes ago. When the woman behind the counter literally tells him she has nothing for him and he argues with her, WE KNOW she is right. Once again, Frank forgot. I’m so sad. Not only that but Kev and V don’t have Frank going on runs anymore. Ian & Mickey are doing it... Frank is legit lost and forgot that he’s not doing that anymore, Kev tells him he’s not in 11x04.

Ms.G even says to Frank that she doesn’t need to write anything down to remember it because the “Mind’s a steel trap”. She doesn’t owe him... she can use her mind to remember where Frank cannot. The irony.

13. Pedestrian, Blue, Handlebar (abc)

a) Frank getting hit in the head results in him having a visit to the hospital where a nurse discovers that Frank has no clue how he got there and more specifically, how he got hit in the first place.

b) The saddest part, when asked his name he remembers FRANK. But has to look down at her sheet to know his last name is GALLAGHER. This is the man who walks around saying “It’s up to Frank Gallagher to save the neighborhood”. He forgot his last name.

c) The scene goes on, the nurse asks him to remember three words: pedestrian, blue, and handlebar. They discuss other things, then she asks him to tell her those words. It’s so abundantly clear that Frank just cannot. He doesn’t remember. He was told like 30sec ago and gets, for the first time ASHAMED. He’s the most shameless person ever (hence the title of the show) but now the tides have turned. He “doesn’t wanna play this game anymore”. Frank can recognize AGAIN that he is confused, only now he is forced to face it. The nurse noticed, she runs some tests and Frank learns that he has early stages of alcoholic dementia. This isn’t his liver, he can’t get a new one, this is his brain.

14. + 15. Letty & Terry

Just two bonuses, Frank wanders aimlessly into the Alibi again (like in 11x05) because it’s routine for him. Letty calls him over. Frank forgot they were supposed to meet there. :(

Frank and Terry on the porch: Maybe it’s just bad writing or they were trying to make a point but like a “Gallagher-Milkovich War” never happened??? We watched the show for 11 seasons... Also are the Milkoviches actually from Poland Frank? I’ll excuse that one cuz Ian mentioned it too, but I thought they wer Ukrainian. These seem like writing mistakes tho so oops.

Things He Might Be Able To Remember

Frank has his and Franny’s name tattooed on his body... he literally forgot his last name at the hospital. And if he forgets a bunch in 11b then that’ll be the payoff for the tattoo... he might not know why the tattoo is there or who the people are listed on his arm, or even what it means exactly, but he will know that Frank loves Franny.

Where he lives. Frank never threw out the paper with his diagnosis. He might remember his home, however the conflict comes in the fact that the Gallaghers might be selling it. He needs to be around people/places that are familiar to him. This could jeopardize his memory.

The Alibi is where Frank seems to just walk to or go to whenever he has no clue where he is or going but it’s subtle. I could see him getting lost and no one knowing where he is and Frank just being at the Alibi beacuse idk muscle memory? He’s on autopilot.

Early stages of ALCOHOLIC Dementia can improve. Like if maybe Frank were to tell someone and if he wasn’t removed from the Gallagher house, and oh I don’t know if Frank STOPPED DRINKING, he could remember. But I don’t think we’re heading in that direction, especially if the house is sold, and let’s face it... it looks that way.

Fiona? Will he forget her... this all feels reminiscent of 4x11.

Other Characters Finding Out

Franny, Kevin, and Liam, are the only people who have REALLY been subject to the possibility of noticing... but think about it. Franny is too young to notice anything, Kevin is not the brightest bulb, he doesn’t seem to realize it either, and Liam was exposed to it once, but at that time he was so scared about the Milkoviches that he didn’t notice it. Maybe if he saw it again, he would. Liam is smart enough.

I wonder if the Gallaghers will just find out the hard way (,like those stills from 11x08 are making me think,) or if anyone will begin to seriously pick up on it. I intially thought they would show Frank forgetting in front of each character until someone was able to notice but scratch that. They seem to be setting Lip up on the “alcoholic path” this season, (and I may go more into depth about that one another time, it’s another big post if I do get into it). But what will the Gallagher’s reactions/feelings be towards Frank’s diagnosis? Mickey and Ian had many Terry/Frank discussions in 11x06 literally setting up for it. It hurt when they all kept dismissing Frank because yup, they don’t know yet. They would have to help him in order to keep his memory maintained, but that’s the thing... Frank’s pride. He might deny their help even if they actually were to give it to him... Either way, I’m “looking forward” to see how this all unravels and how everyone finds out and what their reactions will be, which brings me to my final topic:

Aftermath...

So what happens? Will they sell the house, potentially causing Frank to forget? Will he not know his kids, his history? Will he die? Will Frank finally stop drinking... yeah I doubt that... So what WILL happen? Will the Gallaghers be left to take care of Frank? Will they even do that? Will he remember them?

What if in 1x01 Frank’s narration IS his memory? We see him talking about his kids to someone? It circles back? I don’t know, but either way I expect this whole thing to pull on our heartstrings. When the rest of the regulars find out... it’s gonna get real, and rough.

Interesting stuff coming up in 11b I’m sure. Let’s see how this plays out for our Protagonist and Patriarch: Frank Gallagher.

Omg, if you read through this, you are so cool and I really really appreciate you! Please send me an ask or write a note, I would love to get your take on the matter. 💙

Hope you enjoyed this analysis and I hope it didn’t go on too long.

#frank gallagher #season 11 #shameless season 11 #shameless #gallavich #dementia #my lists

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holyhellpod · 3 years

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Holy Hell: 3. Metanarrativity: Who’s the Deleuze and who’s the Guattari in your relationship? aka the analysis no one asked for.

In this ep, we delve into authorship, narrative, fandom and narrative meaning. And somehow, as always, bring it back to Cas and Misha Collins.

(Note: the reason I didn’t talk about Billie’s authorship and library is because I completely forgot it existed until I watched season 13 “Advanced Thanatology” again, while waiting for this episode to upload. I’ll find a way to work her into later episodes tho!)

I had to upload it as a new podcast to Spotify so if you could just re-subscribe that would be great! Or listen to it at these other links.

Please listen to the bit at the beginning about monetisation and if you have any questions don’t hesitate to message me here.

Apple | Spotify | Google

Transcript under the cut!

Warnings: discussions of incest, date rape, rpf, war, 9/11, the bush administration, abuse, mental health, addiction, homelessness. Most of these are just one off comments, they’re not full discussions.

Meta-Textuality: Who’s the Deleuze and who’s the Guattari in your relationship?

In the third episode of Season 6, “The Third Man,” Balthazar says to Cas, “you tore up the whole script and burned the pages.” That is the fundamental idea the writers of the first five seasons were trying to sell us: whatever grand plan the biblical God had cooking up is worth nothing in face of the love these men have—for each other and the world. Sam, Bobby, Cas and Dean will go to any lengths to protect one another and keep people safe. What’s real? What’s worth saving? People are real. Families are worth saving.

This show plugs free will as the most important thing a person, angel, demon or otherwise can have. The fact of the matter is that Dean was always going to fight against the status quo, Sam was always going to go his own way, and Bobby was always going to do his best for his boys. The only uncertainty in the entire narrative is Cas. He was never meant to rebel. He was never meant to fall from Heaven. He was supposed to fall in line, be a good soldier, and help bring on the apocalypse, but Cas was the first agent of free will in the show’s timeline. Sam followed Lucifer, Dean followed Michael, and John gave himself up for the sins of his children, at once both a God and Jesus figure. But Cas wasn’t modelled off anyone else. He is original. There are definitely some parallels to Ruby, but I would argue those are largely unintentional. Cas broke the mold.

That’s to say nothing of the impact he’s had on the fanbase, and the show itself, which would not have reached 15 seasons and be able to end the way they wanted it to without Cas and Misha Collins. His back must be breaking from carrying the entire show.

But what the holy hell are we doing here today? Not just talking about Cas. We’re talking about metanarrativity: as I define it, and for purposes of this episode, the story within a story, and the act of storytelling. We’re going to go through a select few episodes which I think exemplify the best of what this show has to offer in terms of framing the narrative. We’ll talk about characters like Chuck and Becky and the baby dykes in season 10. And most importantly we’ll talk about the audience’s role, our role, in the reciprocal relationship of storytelling. After all, a tv show is nothing without the viewer.

I was in fact introduced to the concept of metanarrativity by Supernatural, so the fact that I’m revisiting it six years after I finished my degree to talk about the show is one of life’s little jokes.

I’m brushing off my degree and bringing out the big guns (aka literary theorists) to examine this concept. This will be yet another piece of analysis that would’ve gone well in my English Lit degree, but I’ll try not to make it dry as dog shit.

First off, I’m going to argue that the relationship between the creators of Supernatural and the fans has always been a dialogue, albeit with a power imbalance. Throughout the series, even before explicitly metanarrative episodes like season 10 “Fan Fiction” and season 4 “the monster at the end of this book,” the creators have always engaged in conversations with the fans through the show. This includes but is not limited to fan conventions, where the creators have actual, live conversations with the fans. Misha Collins admitted at a con that he’d read fanfiction of Cas while he was filming season 4, but it’s pretty clear even from the first season that the creators, at the very least Eric Kripke, were engaging with fans. The show aired around the same time as Twitter and Tumblr were created, both of which opened up new passageways for fans to interact with each other, and for Twitter and Facebook especially, new passageways for fans to interact with creators and celebrities.

But being the creators, they have ultimate control over what is written, filmed and aired, while we can only speculate and make our own transformative interpretations. But at least since s4, they have engaged in meta narrative construction that at once speaks to fans as well as expands the universe in fun and creative ways. My favourite episodes are the ones where we see the Winchesters through the lens of other characters, such as the season 3 episode “Jus In Bello,” in which Sam and Dean are arrested by Victor Henriksen, and the season 7 episode “Slash Fiction” in which Dean and Sam’s dopplegangers rob banks and kill a bunch of people, loathe as I am to admit that season 7 had an effect on any part of me except my upchuck reflex. My second favourite episodes are the meta episodes, and for this episode of Holy Hell, we’ll be discussing a few: The French Mistake, he Monster at the end of this book, the real ghostbusters, Fan Fiction, Metafiction, and Don’t Call Me Shurley. I’ll also discuss Becky more broadly, because, like, of course I’ll be discussing Becky, she died for our sins.

Let’s take it back. The Monster At The End Of This Book — written by Julie Siege and Nancy Weiner and directed by Mike Rohl. Inarguably one of the better episodes in the first five seasons. Not only is Cas in it, looking so beautiful, but Sam gets something to do, thank god, and it introduces the character of Chuck, who becomes a source of comic relief over the next two seasons. The episode starts with Chuck Shurley, pen named Carver Edlund after my besties, having a vision while passed out drunk. He dreams of Sam and Dean larping as Feds and finding a series of books based on their lives that Chuck has written. They eventually track Chuck down, interrogate him, and realise that he’s a prophet of the lord, tasked with writing the Winchester Gospels. The B plot is Sam plotting to kill Lilith while Dean fails to get them out of the town to escape her. The C plot is Dean and Cas having a moment that strengthens their friendship and leads further into Cas’s eventual disobedience for Dean. Like the movie Disobedience. Exactly like the movie Disobedience. Cas definitely spits in Dean’s mouth, it’s kinda gross to be honest. Maybe I’m just not allo enough to appreciate art.

When Eric Kripke was showrunner of the first five seasons of Supernatural, he conceptualised the character of Chuck. Kripke as the author-god introduced the character of the author-prophet who would later become in Jeremy Carver’s showrun seasons the biblical God. Judith May Fathallah writes in “I’m A God: The Author and the Writing Fan in Supernatural” that Kripke writes himself both into and out of the text, ending his era with Chuck winking at the camera, saying, “nothing really ends,” and disappearing. Kripke stayed on as producer, continuing to write episodes through Sera Gamble’s era, and was even inserted in text in the season 6 episode “The French Mistake”. So nothing really does end, not Kripke’s grip on the show he created, not even the show itself, which fans have jokingly referred to as continuing into its 16th season. Except we’re not joking. It will die when all of us are dead, when there is no one left to remember it. According to W R Fisher, humans are homo narrans, natural storytellers. The Supernatural fandom is telling a fidelitous narrative, one which matches our own beliefs, values and experiences instead of that of canon. Instead of, at Fathallah says, “the Greek tradition, that we should struggle to do the right thing simply because it is right, though we will suffer and be punished anyway,” the fans have created an ending for the characters that satisfies each and every one of our desires, because we each create our own endings. It’s better because we get to share them with each other, in the tradition of campfire stories, each telling our own version and building upon the others. If that’s not the epitome of mythmaking then I don’t know. It’s just great. Dean and Cas are married, Eileen and Sam are married, Jack is sometimes a baby who Claire and Kaia are forced to babysit, Jody and Donna are gonna get hitched soon. It’s season 17, time for many weddings, and Kevin Tran is alive. Kripke, you have no control over this anymore, you crusty hag.

Chuck is introduced as someone with power, but not influence over the story, only how the story is told through the medium of the novels. It’s basically a very badly written, non authorised biography, and Charlie reading literally every book and referencing things she should have no knowledge of is so damn creepy and funny. At first Chuck is surprised by his characters coming to life, despite having written it already, and when shown the intimidating array of weapons in Baby’s trunk he gets real scared. Which is the appropriate response for a skinny 5-foot-8 white guy in a bathrobe who writes terrible fantasy novels for a living.

As far as I can remember, this is the first explicitly metanarrative episode in the series, or at least the first one with in world consequences. It builds upon the lore of Christianity, angels, and God, while teasing what’s to come. Chuck and Sam have a conversation about how the rest of the season is going to play out, and Sam comes away with the impression that he’ll go down with the ship. They touch on Sam’s addiction to demon blood, which Chuck admits he didn’t write into the books, because in the world of supernatural, addiction should be demonised ha ha at every opportunity, except for Dean’s alcoholism which is cool and manly and should never be analysed as an unhealthy trauma coping mechanism.

Chuck is mostly impotent in the story of Sam and Dean, but his very presence presents an element of good luck that turns quickly into a force of antagonism in the series four finale, “Lucifer Rising”, when the archangel Raphael who defeats Lilith in this episode also kills Cas in the finale. It’s Cas’s quick thinking and Dean’s quick doing that resolve the episode and save them from Lilith, once again proving that free will is the greatest force in the universe. Cas is already tearing up pages and burning scripts. The fandom does the same, acting as gods of their own making in taking canon and transforming it into fan art. The fans aren’t impotent like Chuck, but neither do we have sway over the story in the way that Cas and Dean do. Sam isn’t interested in changing the story in the same way—he wants to kill Lilith and save the world, but in doing so continues the story in the way it was always supposed to go, the way the angels and the demons and even God wanted him to.

Neither of them are author-gods in the way that God is. We find out later that Chuck is in fact the real biblical god, and he engineers everything. The one thing he doesn’t engineer, however, is Castiel, and I’ll get to that in a minute.

The Real Ghostbusters

Season 5’s “The real ghostbusters,” written by Nancy Weiner and Erik Kripke, and directed by James L Conway, situates the Winchesters at a fan convention for the Supernatural books. While there, they are confronted by a slew of fans cosplaying as Sam, Dean, Bobby, the scarecrow, Azazel, and more. They happen to stumble upon a case, in the midst of the game where the fans pretend to be on a case, and with the help of two fans cosplaying as Sam and Dean, they put to rest a group of homicidal ghost children and save the day. Chuck as the special guest of the con has a hero moment that spurs Becky on to return his affections. And at the end, we learn that the Colt, which they’ve been hunting down to kill the devil, was given to a demon named Crowley. It’s a fun episode, but ultimately skippable. This episode isn’t so much metanarrative as it is metatextual—metatextual meaning more than one layer of text but not necessarily about the storytelling in those texts—but let’s take a look at it anyway.

The metanarrative element of a show about a series of books about the brothers the show is based on is dope and expands upon what we saw in “the monster at the end of this book”. But the episode tells a tale about about the show itself, and the fandom that surrounds it.

Where “The Monster At The End Of This Book” and the season 5 premiere “Sympathy For The Devil” poked at the coiled snake of fans and the concept of fandom, “the real ghostbusters” drags them into the harsh light of an enclosure and antagonises them in front of an audience. The metanarrative element revolves around not only the books themselves, but the stories concocted within the episode: namely Barnes and Demian the cosplayers and the story of the ghosts. The Winchester brothers’s history that we’ve seen throughout the first five seasons of the show is bared in a tongue in cheek way: while we cried with them when Sam and Dean fought with John, now the story is thrown out in such a way as to mock both the story and the fans’ relationship to it. Let me tell you, there is a lot to be made fun of on this show, but the fans’ relationship to the story of Sam, Dean and everyone they encounter along the way isn’t part of it. I don’t mean to be like, wow you can’t make fun of us ever because we’re special little snowflakes and we take everything so seriously, because you are welcome to make fun of us, but when the creators do it, I can’t help but notice a hint of malice. And I think that’s understandable in a way. Like The relationship between creator and fan is both layered and symbiotic. While Kripke and co no doubt owe the show’s popularity to the fans, especially as the fandom has grown and evolved over time, we’re not exactly free of sin. And don’t get me wrong, no fandom is. But the bad apples always seem to outweigh the good ones, and bad experiences can stick with us long past their due.

However, portraying us as losers with no lives who get too obsessed with this show — well, you know, actually, maybe they’re right. I am a loser with no life and I am too obsessed with this show. So maybe they have a point. But they’re so harsh about it. From wincestie Becky who they paint as a desperate shrew to these cosplayers who threaten Dean’s very perception of himself, we’re not painted in a very good light.

Dean says to Demian and Barnes, “It must be nice to get out of your mom’s basement.” He’s judging them for deriving pleasure from dressing up and pretending to be someone else for a night. He doesn’t seem to get the irony that he does that for a living. As the seasons wore on, the creators made sure to include episodes where Dean’s inner geek could run rampant, often in the form of dressing up like a cowboy, such as season six “Frontierland” and season 13 “Tombstone”. I had to take a break from writing this to laugh for five minutes because Dean is so funny. He’s a car gay but he only likes one car. He doesn’t follow sports. His echolalia causes him to blurt out lines from his favourite movies. He’s a posse magnet. And he loves cosplay. But he will continually degrade and insult anyone who expresses interest in role play, fandom, or interests in general. Maybe that’s why Sam is such a boring person, because Dean as his mother didn’t allow him to have any interests outside of hunting. And when Sam does express interests, Dean insults him too. What a dick. He’s my soulmate, but I am not going to stop listening to hair metal for him. That’s where I draw the line.

Where “the monster at the end of this book” is concerned with narrative and authorship, “the real ghostbusters” is concerned with fandom and fan reactions to the show. It’s not really the best example to talk about in an episode about metanarrativity, but I wanted to include it anyway. It veers from talk of narrative by focusing on the people in the periphery of the narrative—the fans and the author. In season 9 “Metafiction,” Metatron asks the question, who gives the story meaning? The text would have you believe it’s the characters. The angels think it’s God. The fandom think it’s us. The creators think it’s them. Perhaps we will never come to a consensus or even a satisfactory answer to this question. Perhaps that’s the point.

The ultimate takeaway from this episode is that ordinary people, the people Sam and Dean save, the people they save the world for, the people they die for again and again, are what give their story meaning. Chuck defeats a ghost and saves the people in the conference room from being murdered. Demian and Barnes, don’t ask me which is which, burn the bodies of the ghost children and lay their spirits to rest. The text says that ordinary, every day people can rise to the challenge of becoming extraordinary. It’s not a bad note to end on, by any means. And then we find out that Demian and Barnes are a couple, which of course Dean is surprised at, because he lacks object permanence.

This is no doubt influenced by how a good portion of the transformative fandom are queer, and also a nod to the wincesties and RPF writers like Becky who continue to bottom feed off the wrong message of this show. But then, the creators encourage that sort of thing, so who are the real clowns here? Everyone. Everyone involved with this show in any way is a clown, except for the crew, who were able to feed their families for more than a decade.

Okay side note… over the past year or so I’ve been in process of realising that even in fandom queers are in the minority. I know the statistic is that 10% of the world population is queer, but that doesn’t seem right to me? Maybe because 4/5 closest friends are queer and I hang around queers online, but I also think I lack object permanence when it comes to straight people. Like I just do not interact with straight people on a regular basis outside of my best friend and parents and school. So when I hear that someone in fandom is straight I’m like, what the fuck… can you keep that to yourself please? Like if I saw Misha Collins coming out as straight I would be like, I didn’t ask and you didn’t have to tell. Okay I’m mostly joking, but I do forget straight people exist. Mostly I don’t think about whether people are gay or trans or cis or straight unless they’ve explicitly said it and then yes it does colour my perception of them, because of course it would. If they’re part of the queer community, they’re my people. And if they’re straight and cis, then they could very well pose a threat to me and my wellbeing. But I never ask people because it’s not my business to ask. If they feel comfortable enough to tell me, that’s awesome. I think Dean feels the same way. Towards the later seasons at least, he has a good reaction when it’s revealed that someone is queer, even if it is mostly played off as a joke. It’s just that he doesn’t have a frame of reference in his own life to having a gay relationship, either his or someone he’s close to. He says to Cesar and Jesse in season 11 “The Critters” that they fight like brothers, because that’s the only way he knows how to conceptualise it. He doesn’t have a way to categorise his and Cas’s relationship, which is in many ways, long before season 15 “Despair,” harking back even to the parallels between Ruby and Cas in season 3 and 4, a romantic one, aside from that Cas is like a brother to him. Because he’s never had anyone in his life care for him the way Cas does that wasn’t Sam and Bobby, and he doesn’t recognise the romantic element of their relationship until literally Cas says it to him in the third last episode, he just—doesn’t know what his and Cas’s relationship is. He just really doesn’t know. And he grew up with a father who despised him for taking the mom and wife role in their family, the role that John placed him in, for being subservient to John’s wishes where Sam was more rebellious, so of course he wouldn’t understand either his own desires or those of anyone around him who isn’t explicitly shoving their tits in his face. He moulded his entire personality around what he thought John wanted of him, and John says to him explicitly in season 14 “Lebanon”, “I thought you’d have a family,” meaning, like him, wife and two rugrats. And then, dear god, Dean says, thinking of Sam, Cas, Jack, Claire, and Mary, “I have a family.” God that hurts so much. But since for most of his life he hasn’t been himself, he’s been the man he thought his father wanted him to be, he’s never been able to examine his own desires, wants and goals. So even though he’s really good at reading people, he is not good at reading other people’s desires unless they have nefarious intentions. Because he doesn’t recognise what he feels is attraction to men, he doesn’t recognise that in anyone else.

Okay that’s completely off topic, wow. Getting back to metanarrativity in “The Real Ghostbusters,” I’ll just cap it off by saying that the books in this episode are more a frame for the events than the events themselves. However, there are some good outtakes where Chuck answers some questions, and I’m not sure how much of that is scripted and how much is Rob Benedict just going for it, but it lends another element to the idea of Kripke as author-god. The idea of a fan convention is really cool, because at this point Supernatural conventions had been running for about 4 years, since 2006. It’s definitely a tribute to the fans, but also to their own self importance. So it’s a mixed bag, considering there were plenty of elements in there that show the good side of fandom and fans, but ultimately the Winchesters want nothing to do with it, consider it weird, and threaten Chuck when he says he’ll start releasing books again, which as far as they know is his only source of income. But it’s a fun episode and Dean is a grouchy bitch, so who the holy hell cares?

Season 10 episode “fanfiction” written by my close personal friend Robbie Thompson and directed by Phil Sgriccia is one of the funniest episodes this show has ever done. Not only is it full of metatextual and metanarrative jokes, the entire premise revolves around fanservice, but in like a fun and interesting way, not fanservice like killing the band Kansas so that Dean can listen to “Carry On My Wayward Son” in heaven twice. Twice. One version after another. Like I would watch this musical seven times in theatre, I would buy the soundtrack, I would listen to it on repeat and make all my friends listen to it when they attend my online Jitsi birthday party. This musical is my Hamilton. Top ten episodes of this show for sure. The only way it could be better is if Cas was there. And he deserved to be there. He deserved to watch little dyke Castiel make out with her girlfriend with her cute little wings, after which he and Dean share uncomfortable eye contact. Dean himself is forever coming to terms with the fact that gay people exist, but Cas should get every opportunity he can to hear that it’s super cool and great and awesome to be queer. But really he should be in every episode, all of them, all 300 plus episodes including the ones before angels were introduced. I’m going to commission the guy who edits Paddington into every movie to superimpose Cas standing on the highway into every episode at least once.

“Fan Fiction” starts with a tv script and the words “Supernatural pilot created by Eric Kripke”. This Immediately sets up the idea that it’s toying with narrative. Blah blah blah, some people go missing, they stumble into a scene from their worst nightmares: the school is putting on a musical production of a show inspired by the Supernatural books. It’s a comedy of errors. When people continue to go missing, Sam and Dean have to convince the girls that something supernatural is happening, while retaining their dignity and respect. They reveal that they are the real Sam and Dean, and Dean gives the director Marie a summary of their lives over the last five seasons, but they aren’t taken seriously. Because, like, of course they aren’t. Even when the girls realise that something supernatural is happening, they don’t actually believe that the musical they’ve made and the series of books they’re basing it on are real. Despite how Sam and Dean Winchester were literal fugitives for many years at many different times, and this was on the news, and they were wanted by the FBI, despite how they pretend to be FBI, and no one mentions it??? Did any of the staffwriters do the required reading or just do what I used to do for my 40 plus page readings of Baudrillard and just skim the first sentence of every paragraph? Neat hack for you: paragraphs are set up in a logical order of Topic, Example, Elaboration, Linking sentence. Do you have to read 60 pages of some crusty French dude waxing poetic about how his best friend Pierre wants to shag his wife and making that your problem? Read the first and last sentence of every paragraph. Boom, done. Just cut your work in half.

The musical highlights a lot of the important moments of the show so far. The brothers have, as Charlie Bradbury says, their “broment,” and as Marie says, their “boy melodrama scene,” while she insinuates that there is a sexual element to their relationship. This show never passed up an opportunity to mention incest. It’s like: mentioning incest 5000 km, not being disgusting 1 km, what a hard decision. Actually, they do have to walk on their knees for 100 miles through the desert repenting. But there are other moments—such as Mary burning on the ceiling, a classic, Castiel waiting for Dean at the side of the highway, and Azazel poisoning Sam. With the help of the high schoolers, Sam and Dean overcome Calliope, the muse and bad guy of the episode, and save the day. What began as their lives reinterpreted and told back to them turns into a story they have some agency over.

In this episode, as opposed to “The Monster At The End Of This Book,” The storytelling has transferred from an alcoholic in a bathrobe into the hands of an overbearing and overachieving teenage girl, and honestly why not. Transformative fiction is by and large run by women, and queer women, so Marie and her stage manager slash Jody Mills’s understudy Maeve are just following in the footsteps of legends. This kind of really succinctly summarises the difference between curative fandom and transformative fandom, the former of which is populated mostly by men, and the latter mostly by women. As defined by LordByronic in 2015, Curative fandom is more like enjoying the text, collecting the merchandise, organising the knowledge — basically Reddit in terms of fandom curation. Transformative fandom is transforming the source text in some way — making fanart, fanfic, mvs, or a musical — basically Tumblr in general, and Archive of our own specifically. Like what do non fandom people even do on Tumblr? It is a complete mystery to me. Whereas Chuck literally writes himself into the narrative he receives through visions, Marie and co have agency and control over the narrative by writing it themselves.

Chuck does appear in the episode towards the end, his first appearance after five seasons. The theory that he killed those lesbian theatre girls makes me wanna curl up and die, so I don’t subscribe to it. Chuck watched the musical and he liked it and he gave unwarranted notes and then he left, the end.

The Supernatural creative team is explicitly acknowledging the fandom’s efforts by making this episode. They’re writing us in again, with more obsessive fans, but with lethbians this time, which makes it infinitely better. And instead of showing us as potential date rapists, we’re just cool chicks who like to make art. And that’s fucken awesome.

I just have to note that the characters literally say the word Destiel after Dean sees the actors playing Dean and Cas making out. He storms off and tells Sam to shut the fuck up when Sam makes fun of him, because Dean’s sexuality is NOT threatened he just needs to assert his dominance as a straight hetero man who has NEVER looked at another man’s lips and licked his own. He just… forgets that gay people exist until someone reminds him. BUT THEN, after a rousing speech that is stolen from Rent or Wicked or something, he echoes Marie’s words back, saying “put as much sub into that text as you possibly can.” What does Dean know about subbing, I wonder. Okay I’m suddenly reminded that he did literally go to a kink bar and get hit on by a leather daddy. Oh Dean, the experiences you have as a broad-shouldered, pixie-faced man with cowboy legs. You were born for this role.

Metatron is my favourite villain. As one tumblr user pointed out, he is an evil English literature major, which is just a normal English literature major. The season nine episode “Meta Fiction” written by my main man robbie thompson and directed by thomas j wright, happens within a curious season. Castiel, once again, becomes the leader of a portion of the heavenly host to take down Metatron, and Dean is affected by the Mark Of Cain. Sam was recently possessed by Gadreel, who killed Kevin in Sam’s body and then decided to run off with Metatron. Metatron himself is recruiting angels to join him, in the hopes that he can become the new God. It’s the first introduction of Hannah, who encourages Cas to recruit angels himself to take on Metatron. Also, we get to see Gabriel again, who is always a delight.

This episode is a lot of fun. Metatron poses questions like, who tells a story and who is the most important person in the telling? Is it the writer? The audience? He starts off staring over his typewriter to address the camera, like a pompous dickhead. No longer content with consuming stories, he’s started to write his own. And they are hubristic ones about becoming God, a better god than Chuck ever was, but to do it he needs to kill a bunch of people and blame it on Cas. So really, he’s actually exactly like Chuck who blamed everything on Lucifer.

But I think the most apt analogy we can use for this in terms of who is the creator is to think of Metatron as a fanfiction writer. He consumes the media—the Winchester Gospels—and starts to write his own version of events—leading an army to become God and kill Cas. Nevermind that no one has been able to kill Cas in a way that matters or a way that sticks. Which is canon, and what Metatron is trying to do is—well not fanon because it actually does impact the Winchesters’ storyline. It would be like if one of the writers of Supernatural began writing Supernatural fanfiction before they got a job on the show. Which as my generation and the generations coming after me get more comfortable with fanfiction and fandom, is going to be the case for a lot of shows. I think it’s already the case for Riverdale. Correct me if I’m wrong, but didn’t the woman who wrote the bi Dean essay go to work on Riverdale? Or something? I dunno, I have the post saved in my tumblr likes but that is quagmire of epic proportions that I will easily get lost in if I try to find it.

Okay let me flex my literary degree. As Englund and Leach say in “Ethnography and the metanarratives of modernity,” “The influential “literary turn,” in which the problems of ethnography were seen as largely textual and their solutions as lying in experimental writing seems to have lost its impetus.” This can be taken to mean, in the context of Supernatural, that while Metatron’s writings seek to forge a new path in history, forgoing fate for a new kind of divine intervention, the problem with Metatron is that he’s too caught up in the textual, too caught up in the writing, to be effectual. And this as we see throughout seasons 9, 10 and 11, has no lasting effect. Cas gets his grace back, Dean survives, and Metatron becomes a powerless human. In this case, the impetus is his grace, which he loses when Cas cuts it out of him, a mirror to Metatron cutting out Cas’s grace.

However, I realise that the concept of ethnography in Supernatural is a flawed one, ethnography being the observation of another culture: a lot of the angels observe humanity and seem to fit in. However, Cas has to slowly acclimatise to the Winchesters as they tame him, but he never quite fit in—missing cues, not understanding jokes or Dean’s personal space, the scene where he says, “We have a guinea pig? Where?” Show him the guinea pig Sam!!! He wants to see it!!! At most he passes as a human with autism. Cas doesn’t really observe humanity—he observes nature, as seen in season 7 “reading is fundamental” and “survival of the fittest”. Even the human acts he talks about in season 6 “the man who would be king” are from hundreds or thousands of years ago. He certainly doesn’t observe popular culture, which puts him at odds with Dean, who is made up of 90 per cent pop culture references and 10 per cent flannel. Metatron doesn’t seek to blend in with humanity so much as control it, which actually is the most apt example of ethnography for white people in the last—you know, forever. But of course the writers didn’t seek to make this analogy. It is purely by chance, and maybe I’m the only person insane enough to realise it. But probably not. There are a lot of cookies much smarter than me in the Supernatural fandom and they’ve like me have grown up and gone to university and gotten real jobs in the real world and real haircuts. I’m probably the only person to apply Englund and Leach to it though.

And yes, as I read this paper I did need to have one tab open on Google, with the word “define” in the search bar.

Metatron has a few lines in this that I really like. He says:

“The universe is made up of stories, not atoms.”

“You’re going to have to follow my script.”

“I’m an entity of my word.”

It’s really obvious, but they’re pushing the idea that Metatron has become an agent of authorship instead of just a consumer of media. He even throws a Supernatural book into his fire — a symbolic act of burning the script and flipping the writer off, much like Cas did to God and the angels in season 5. He’s not a Kripke figure so much as maybe a Gamble, Carver or Dabb figure, in that he usurps Chuck and becomes the author-god. This would be extremely postmodern of him if he didn’t just do exactly what Chuck was doing, except worse somehow. In fact, it’s postmodern of Cas to reject heaven’s narrative and fall for Dean. As one tumblr user points out, Cas really said “What’s fate compared to Dean Winchester?”

Okay this transcript is almost 8000 words already, and I still have two more episodes to review, and more things to say, so I’ll leave you with this. Metatron says to Cas, “Out of all of God’s wind up toys, you’re the only one with any spunk.” Why Cas has captured his attention comes down more than anything to a process of elimination. Most angels fucking suck. They follow the rules of whoever puts themselves in charge, and they either love Cas or hate him, or just plainly wanna fuck him, and there have been few angels who stood out. Balthazar was awesome, even though I hated him the first time I watched season 6. He UNSUNK the Titanic. Legend status. And Gabriel was of course the OG who loves to fuck shit up. But they’re gone at this stage in the narrative, and Cas survives. Cas always survives. He does have spunk. And everyone wants to fuck him.

Season 11 episode 20 “Don’t Call Me Shurley,” the last episode written by the Christ like figure of Robbie Thompson — are we sensing a theme here? — and directed by my divine enemy Robert Singer, starts with Metatron dumpster diving for food. I’m not even going to bother commenting on this because like… it’s supernatural and it treats complex issues like homelessness and poverty with zero nuance. Like the Winchesters live in poverty but it’s fun and cool because they always scrape by but Metatron lives in poverty and it’s funny. Cas was homeless and it was hard but he needed to do it to atone for his sins, and Metatron is homeless and it’s funny because he brought it on himself by being a murderous dick. Fucking hell. Robbie, come on. The plot focuses on God, also known as Chuck Shurley, making himself known to Metatron and asking for Metatron’s opinion on his memoir. Meanwhile, the Winchesters battle another bout of infectious serial killer fog sent by Amara. At the end of the episode, Chuck heals everyone affected by the fog and reveals himself to Sam and Dean.

Chuck says that he didn’t foresee Metatron trying to become god, but the idea of Season 15 is that Chuck has been writing the Winchesters’ story all their lives. When Metatron tries, he fails miserably, is locked up in prison, tortured by Dean, then rendered useless as a human and thrown into the world without a safety net. His authorship is reduced to nothing, and he is reduced to dumpster diving for food. He does actually attempt to live his life as someone who records tragedies as they happen and sells the footage to news stations, which is honestly hilarious and amazing and completely unsurprising because Metatron is, at the heart of it, an English Literature major. In true bastard style, he insults Chuck’s work and complains about the bar, but slips into his old role of editor when Chuck asks him to.

The theory I’m consulting for this uses the term metanarrative in a different way than I am. They consider it an overarching narrative, a grand narrative like religion. Chuck’s biography is in a sense most loyal to Middleton and Walsh’s view of metanarrative: “the universal story of the world from arche to telos, a grand narrative encompassing world history from beginning to end.” Except instead of world history, it’s God’s history, and since God is construed in Supernatural as just some guy with some powers who is as fallible as the next some guy with some powers, his story has biases and agendas. Okay so in the analysis I’m getting Middleton and Walsh’s quotes from, James K A Smith’s “A little story about metanarratives,” Smith dunks on them pretty bad, but for Supernatural purposes their words ring true. Think of them as the BuckLeming of Lyotard’s postmodern metanarrative analysis: a stopped clock right twice a day. Is anyone except me understanding the sequence of words I’m saying right now. Do I just have the most specific case of brain worms ever found in human history. I’m currently wearing my oversized Keith Haring shirt and dipping pretzels into peanut butter because it’s 3.18 in the morning and the homosexuals got to me. The total claims a comprehensive metanarrative of world history make do indeed, as Middleton and Walsh claim, lead to violence, stay with me here, because Chuck’s legacy is violence, and so is Metatron’s, and in trying to reject the metanarrative, Sam and Dean enact violence. Mostly Dean, because in season 15 he sacrifices his own son twice to defeat Chuck. But that means literally fighting violence with violence. Violence is, after all, all they know. Violence is the lens through which they interact with the world. If the writers wanted to do literally anything else, they could have continued Dean’s natural character progression into someone who eschews the violence that stems from intergeneration trauma — yes I will continue to use the phrase intergenerational trauma whenever I refer to Dean — and becomes a loving father and husband. Sam could eschew violence and start a monster rehabilitation centre with Eileen.

This episode of Holy Hell is me frantically grabbing at straws to make sense of a narrative that actively hates me and wants to kick me to death. But the violence Sam and Dean enact is not at a metanarrative level, because they are not author-gods of their own narrative. In season 15 “Atomic Monsters,” Becky points out that the ending of the Supernatural book series is bad because the brothers die, and then, in a shocking twist of fate, Dean does die, and the narrative is bad. The writers set themselves a goal post to kick through and instead just slammed their heat into the bars. They set up the dartboard and were like, let’s aim the darts at ourselves. Wouldn’t that be fun. Season 15’s writing is so grossly incompetent that I believe every single conspiracy theory that’s come out of the finale since November, because it’s so much more compelling than whatever the fuck happened on the road so far. Carry on? Why yes, I think I will carry on, carry on like a pork chop, screaming at the bars of my enclosure until I crack my voice open like an egg and spill out all my rage and frustration. The world will never know peace again. It’s now 3.29 and I’ve written over 9000 words of this transcript. And I’m not done.

Middleton and Walsh claim that metanarratives are merely social constructions masquerading as universal truths. Which is, exactly, Supernatural. The creators have constructed this elaborate web of narrative that they want to sell us as the be all and end all. They won’t let the actors discuss how they really feel about the finale. They won’t let Misha Collins talk about Destiel. They want us to believe it was good, actually, that Dean, a recovering alcoholic with a 30 year old infant son and a husband who loves him, deserved to die by getting NAILED, while Sam, who spent the last four seasons, the entirety of Andrew Dabb’s run as showrunner, excelling at creating a hunter network and romancing both the queen of hell and his deaf hunter girlfriend, should have lived a normie life with a normie faceless wife. Am I done? Not even close. I started this episode and I’m going to finish it.

When we find out that Chuck is God in the episode of season 11, it turns everything we knew about Chuck on its head. We find out in Season 15 that Chuck has been writing the Winchesters’ story all along, that everything that happened to them is his doing. The one thing he couldn’t control was Cas’s choice to rebel. If we take him at his word, Cas is the only true force of free will in the entire universe, and more specifically, the love that Cas had for Dean which caused him to rebel and fall from heaven. — This theory has holes of course. Why would Lucifer torture Lilith into becoming the first demon if he didn’t have free will? Did Chuck make him do that? And why? So that Chuck could be the hero and Lucifer the bad guy, like Lucifer claimed all along? That’s to say nothing of Adam and Eve, both characters the show introduced in different ways, one as an antagonist and the other as the narrative foil to Dean and Cas’s romance. Thinking about it makes my head hurt, so I’m just not gunna.

So Chuck was doing the writing all along. And as Becky claims in “Atomic Monsters,” it’s bad writing. The writers explicitly said, the ending Chuck wrote is bad because there’s no Cas and everyone dies, and then they wrote an ending where there is no Cas and everyone dies. So talk about self-fulfilling prophecies. Talk about giant craters in the earth you could see from 800 kilometres away but you still fell into. Meanwhile fan writers have the opportunity to write a million different endings, all of which satisfy at least one person. The fandom is a hydra, prolific and unstoppable, and we’ll keep rewriting the ending a million more times.

And all this is not even talking about the fact that Chuck is a man, Metatron is a man, Sam and Dean and Cas are men, and the writers and directors of the show are, by an overwhelming majority, men. Most of them are white, straight, cis men. Feminist scholarship has done a lot to unpack the damage done by paternalistic approaches to theory, sociology, ethnography, all the -ys, but I propose we go a step further with these men. Kill them. Metanarratively, of course. Amara, the Darkness, God’s sister, had a chance to write her own story without Chuck, after killing everything in the universe, and I think she had the right idea. Knock it all down to build it from the ground up. Billie also had the opportunity to write a narrative, but her folly was, of course, putting any kind of faith in the Winchesters who are also grossly incompetent and often fail up. She is, as all author-gods on this show are, undone by Castiel. The only one with any spunk, the only one who exists outside of his own narrative confines, the only one the author-gods don’t have any control over. The one who died for love, and in dying, gave life.

The French Mistake

Let’s change the channel. Let’s calm ourselves and cleanse our libras. Let’s commune with nature and chug some sage bongs.

“The French Mistake” is a song from the Mel Brooks film Blazing Saddles. In the iconic second last scene of the film, as the cowboys fight amongst themselves, the camera pans back to reveal a studio lot and a door through which a chorus of gay dancersingers perform “the French Mistake”. The lyrics go, “Throw out your hands, stick out your tush, hands on your hips, give ‘em a push. You’ll be surprised you’re doing the French Mistake.”

I’m not sure what went through the heads of the Supernatural creators when they came up with the season 6 episode, “The French Mistake,” written by the love of my life Ben Edlund and directed by some guy Charles Beeson. Just reading the Wikipedia summary is so batshit incomprehensible. In short: Balthazar sends Sam and Dean to an alternate universe where they are the actors Jared Padalecki and Jensen Ackles, who play Sam and Dean on the tv show Supernatural. I don’t think this had ever been done in television history before. The first seven seasons of this show are certifiable. Like this was ten years ago. Think about the things that have happened in the last 10 slutty, slutty years. We have lived through atrocities and upheaval and the entire world stopping to mourn, but also we had twitter throughout that entire time, which makes it infinitely worse.

In this universe, Sam and Dean wear makeup, Cas is played by attractive crying man Misha Collins, and Genevieve Padalecki nee Cortese makes an appearance. Magic doesn’t exist, Serge has good ideas, and the two leads have to act in order to get through the day. Sorry man I do not know how to pronounce your name.

Sidenote: I don’t know if me being attracted aesthetically to Misha Collins is because he’s attractive, because this show has gaslighted me into thinking he’s attractive, or because Castiel’s iconic entrance in 2008 hit my developing mind like a torpedo full of spaghetti and blew my fucking brains all over the place. It’s one of life’s little mysteries and God’s little gifts.

Let’s talk about therapy. More specifically, “Agency and purpose in narrative therapy: questioning the postmodern rejection of metanarrative” by Cameron Lee. In this paper, Lee outlines four key ideas as proposed by Freedman and Combs:

Realities are socially constructed

Realities are constituted through language

Realities are organised and maintained through narrative

And there are no essential truths.

Let’s break this down in the case of this episode. Realities are socially constructed: the reality of Sam and Dean arose from the Bush era. Do I even need to elaborate? From what I understand with my limited Australian perception, and being a child at the time, 9/11 really was a prominent shifting point in the last twenty years. As Americans describe it, sometimes jokingly, it was the last time they were really truly innocent. That means to me that until they saw the repercussions of their government’s actions in funding turf wars throughout the middle east for a good chunk of the 20th Century, they allowed themselves to be hindered by their own ignorance. The threat of terrorism ran rampant throughout the States, spurred on by right wing nationalists and gun-toting NRA supporters, so it’s really no surprise that the show Supernatural started with the premise of killing everything in sight and driving around with only your closest kin and a trunk full of guns. Kripke constructed that reality from the social-political climate of the time, and it has wrought untold horrors on the minds of lesbians who lived through the noughties, in that we are now attracted to Misha Collins.

Number two: Realities are constituted through language. Before a show can become a show, it needs to be a script. It’s written down, typed up, and given to actors who say the lines out loud. In this respect, they are using the language of speech and words to convey meaning. But tv shows are not all about words, and they’re barely about scripts. From what I understand of being raised by television, they are about action, visuals, imagery, and behaviours. All of the work that goes into them—the scripts, the lighting, the audio, the sound mixing, the cameras, the extras, the ADs, the gaffing, the props, the stunts, everything—is about conveying a story through the medium of images. In that way, images are the language. The reality of the show Supernatural, inside the show Supernatural, is constituted through words: the script, the journalists talking to Sam, the makeup artist taking off Dean’s makeup, the conversations between the creators, the tweets Misha sends. But also through imagery: the fish tank in Jensen’s trailer, the model poses on the front cover of the magazine, the opulence of Jared’s house, Misha’s iconic sweater. Words and images are the language that constitutes both of these realities. Okay for real, I feel like I’ve only seen this episode max three times, including when I watched it for research for this episode, but I remember so much about it.

Number three: realities are organised and maintained through narrative. In this universe of the French Mistake, their lives are structured around two narratives: the internal narrative of the show within the show, in which they are two actors on a tv set; and the episode narrative in which they need to keep the key safe and return to their own universe. This is made difficult by the revelation that magic doesn’t work in this universe, however, they find a way. Before they can get back, though, an avenging angel by the name of Virgil guns down author-god Eric Kripke and tries to kill the Winchesters. However, they are saved by Balthazar and the freeze frame and brought back into their own world, the world of Supernatural the show, not Supernatural the show within the show within the nesting doll. And then that reality is done with, never to be revisited or even mentioned, but with an impact that has lasted longer than the second Bush administration.

And number four: there are no essential truths. This one is a bit tricky because I can’t find what Lee means by essential truths, so I’m just going to interpret that. To me, essential truths means what lies beneath the narratives we tell ourselves. Supernatural was a show that ran for 15 years. Supernatural had actors. Supernatural was showrun by four different writers. In the show within a show, there is nothing, because that ceases to exist for longer than the forty two minute episode “The French Mistake”. And since Supernatural no longer exists except in our computers, it is nothing too. It is only the narratives we tell ourselves to sleep better at night, to wake up in the morning with a smile, to get through the day, to connect with other people, to understand ourselves better. It’s not even the narrative that the showrunners told, because they have no agency over it as soon as it shows up on our screens. The essential truth of the show is lost in the translation from creating to consuming. Who gives the story meaning? The people watching it and the people creating it. We all do.

Lee says that humans are predisposed to construct narratives in order to make sense of the world. We see this in cultures from all over the world: from cave paintings to vases, from The Dreaming to Beowulf, humans have always constructed stories. The way you think about yourself is a story that you’ve constructed. The way you interact with your loved ones and the furries you rightfully cyberbully on Twitter is influenced by the narratives you tell yourself about them. And these narratives are intricate, expansive, personalised, and can colour our perceptions completely, so that we turn into a different person when we interact with one person as opposed to another.

Whatever happened in season 6, most of which I want to forget, doesn’t interest me in the way I’m telling myself the writers intended. For me, the entirety of season 6 was based around the premise of Cas being in love with Dean, and the complete impotence of this love. He turns up when Dean calls, he agonises as he watches Dean rake leaves and live his apple pie life with Lisa, and Dean is the person he feels most horribly about betraying. He says, verbatim, to Sam, “Dean and I do share a more profound bond.” And Balthazar says, “You’re confusing me with the other angel, the one in the dirty trenchcoat who’s in love with you.” He says this in season 6, and we couldn’t do a fucken thing about it.

The song “The French Mistake” shines a light on the hidden scene of gay men performing a gay narrative, in the midst of a scene about the manliest profession you can have: professional horse wrangler, poncho wearer, and rodeo meister, the cowboy. If this isn’t a perfect encapsulation of the lovestory between Dean and Cas, which Ben Edlund has been championing from day fucking one of Misha Collins walking onto that set with his sex hair and chapped lips, then I don’t know what the fuck we’re even doing here. What in the hell else could it possibly mean. The layers to this. The intricacy. The agendas. The subtextual AND blatant queerness. The micro aggressions Crowley aimed at Car in “The Man Who Would Be King,” another Bedlund special. Bed Edlund is a fucking genius. Bed Edlund is cool girl. Ben Edlund is the missing link. Bed Edlund IS wikileaks. Ben Edlund is a cool breeze on a humid summer day. Ben Edlund is the stop loading button on a browser tab. Ben Edlund is the perfect cross between Spotify and Apple Music, in which you can search for good playlists, but without having to be on Spotify. He can take my keys and fuck my wife. You best believe I’m doing an entire episode of Holy Hell on Bedlund’s top five. He is the reason I want to get into staffwriting on a tv show. I saw season 4 episode “On the head of a pin” when my brain was still torpedoed spaghetti mush from the premiere, and it nestled its way deep into my exposed bones, so that when I finally recovered from that, I was a changed person. My god, this transcript is 11,000 words, and I haven’t even finished the Becky section. Which is a good transition.

Oh, Becky. She is an incarnation of how the writers, or at least Kripke, view the fans. Watching season 5 “Sympathy for the Devil” live in 2009 was a whole fucking trip that I as a baby gay was not prepared for. Figuring out my sexuality was a journey that started with the Supernatural fandom and is in some aspects still raging against the dying of the light today. Add to that, this conception of the audience was this, like, personification of the librarian cellist from Juno, but also completely without boundaries, common sense, or shame. It made me wonder about my position in the narrative as a consumer consuming. Is that how Kripke saw me, specifically? Was I like Becky? Did my forays into DeanCasNatural on El Jay dot com make me a fucking loser whose only claim to fame is writing some nasty fanfiction that I’ve since deleted all traces of? Don’t get me wrong, me and my unhinged Casgirl friends loved Becky. I can’t remember if I ever wrote any fanfiction with her in it because I was mostly writing smut, which is extremely Becky coded of me, but I read some and my friends and I would always chat about her when she came up. She was great entertainment value before season 7. But in the eyes of the powers that be, Becky, like the fans themselves, are expendable. First they turned her into a desperate bride wannabe who drugs Sam so that he’ll be with her, then Chuck waves his hand and she disappears. We’re seeing now with regards to Destiel, Cas, and Misha Collins this erasure of them from the narrative. Becky says in season 15 “Atomic Monsters” that the ending Chuck writes is bad because, for one, there’s no Cas, and that’s exactly what’s happening to the text post-finale. It literally makes me insane akin to the throes of mania to think about the layers of this. They literally said, “No Cas = bad” and now Misha isn’t even allowed to talk in his Cassona voice—at least at the time I wrote that—to the detriment of the fans who care about him. It’s the same shit over and over. They introduce something we like, they realise they have no control over how much we like it, and then they pretend they never introduced it in the first place. Season 7, my god. The only reason Gamble brought back Cas was because the ratings were tanking the show. I didn’t even bother watching most of it live, and would just hear from my friends whether Cas was in the episodes or not. And then Sera, dear Sera, had the gall to say it was a Homer’s Odyssey narrative. I’m rusty on Homer aka I’ve never read it but apparently Odysseus goes away, ends up with a wife on an island somewhere, and then comes back to Terabithia like it never happened. How convenient. But since Sera Gamble loves to bury her gays, we can all guess why Cas was written out of the show: Cas being gay is a threat to the toxic heteronormativity spouted by both the show and the characters themselves. In season 15, after Becky gets her life together, has kids, gets married, and starts a business, she is outgrowing the narrative and Chuck kills her. The fans got Destiel Wedding trending on Twitter, and now the creators are acting like he doesn’t exist. New liver, same eagles.

I have to add an adendum: as of this morning, Sunday 11th, don’t ask me what time that is in Americaland, Misha Collins did an online con/Q&A thing and answered a bunch of questions about Cas and Dean, which goes to show that he cannot be silenced. So the narrative wants to be told. It’s continuing well into it’s 16th or 17th season. It’s going to keep happening and they have no recourse to stop it. So fuck you, Supernatural.

I did write the start of a speech about representation but, who the holy hell cares. I also read some disappointing Masters theses that I hope didn’t take them longer to research and write than this episode of a podcast I’m making for funsies took me, considering it’s the same number of pages. Then again I have the last four months and another 8 years of fandom fuelling my obsession, and when I don’t sleep I write, hence the 4,000 words I knocked out in the last 12 hours.

Some final words. Lyotard defines postmodernism, the age we live in, as an incredulity towards metanarratives. Modernism was obsessed with order and meaning, but postmodernism seeks to disrupt that. Modernists lived within the frame of the narrative of their society, but postmodernists seek to destroy the frame and live within our own self-written contexts. Okay I love postmodernist theory so this has been a real treat for me. Yoghurt, Sam? Postmodernist theory? Could I BE more gay?

Middleton and Walsh in their analysis of postmodernism claim that biblical faith is grounded in metanarrative, and explore how this intersects with an era that rejects metanarrative. This is one of the fundamental ideas Supernatural is getting at throughout definitely the last season, but other seasons as well. The narratives of Good vs Evil, Michael vs Lucifer, Dean vs Sam, were encoded into the overarching story of the show from season 1, and since then Sam and Dean have sought to break free of them. Sam broke free of John’s narrative, which was the hunting life, and revenge, and this moralistic machismo that they wrapped themselves up in. If they’re killing the evil, then they’re not the evil. That’s the story they told, and the impetus of the show that Sam was sucked back into. But this thread unravelled in later seasons when Dean became friends with Benny and the idea that all supernatural creatures are inherently evil unravelled as well. While they never completely broke free of John’s hold over them, welcoming Jack into their lives meant confronting a bias that had been ingrained in them since Dean was 4 years old and Sam 6 months. In the face of the question, “are all monsters monstrous?” the narrative loosens its control. Even by questioning it, it throws into doubt the overarching narrative of John’s plan, which is usurped at the end of season 2 when they kill Azazel by Dean’s demon deal and a new narrative unfolds. John as author-god is usurped by the actual God in season 4, who has his own narrative that controls the lives of Sam, Dean and Cas.

Okay like for real, I do actually think the metanarrativity in Supernatural is something that should be studied by someone other than me, unless you wanna pay me for it and then shit yeah. It is extremely cool to introduce a biographical narrative about the fictional narrative it’s in. It’s cool that the characters are constantly calling this narrative into focus by fighting against it, struggling to break free from their textual confines to live a life outside of the external forces that control them. And the thing is? The really real, honest thing? They have. Sam, Dean and Cas have broken free of the narrative that Kripke, Carver, Gamble and Dabb wrote for them. The very fact that the textual confession of love that Cas has for Dean ushered in a resurgence of fans, fandom and activity that has kept the show trending for five months after it ended, is just phenomenal. People have pointed out that fans stopped caring about Game of Thrones as soon as it ended. Despite the hold they had over tv watchers everywhere, their cultural currency has been spent. The opposite is true for Supernatural. Despite how the finale of the show angered and confused people, it gains more momentum every day. More fanworks, more videos, more fics, more art, more ire, more merch is being generated by the fans still. The Supernatural subreddit, which was averaging a few posts a week by season 15, has been incensed by the finale. And yours truly happily traipsed back into the fandom snake pit after 8 years with a smile on my face and a skip in my step ready to pump that dopamine straight into my veins babeeeeeeyyyyy. It’s been WILD. I recently reconnected with one of my mutuals from 2010 and it’s like nothing’s changed. We’re both still unhinged and we both still simp for Supernatural. Even before season 15, I was obsessed with the podcast Ride Or Die, which I started listening to in late 2019, and Supernatural was always in the back of my mind. You just don’t get over your first fandom. Actually, Danny Phantom was my first fandom, and I remember being 12 talking on Danny Phantom forums to people much too old to be the target audience of the show. So I guess that hasn’t left me either. And the fondest memories I have of Supernatural is how the characters have usurped their creators to become mythic, long past the point they were supposed to die a quiet death. The myth weaving that the Supernatural fandom is doing right now is the legacy that will endure.

References

I got all of these for free from Google Scholar!

Judith May Fathallah, “I’m A God: The Author and the Writing Fan in Supernatural.”

James K A Smith, “A Little Story About Metanarratives: Lyotard, Religion and Postmodernism Revisited.” 2001.

Cameron Lee, “Agency and Purpose in Narrative Therapy: Questioning the Postmodern Rejection of Metanarrative.” 2004.

Harri Englund and James Leach, “Ethnography and the Meta Narratives of Modernity.” 2000.

https://uproxx.com/filmdrunk/mel-brooks-explains-french-mistake-blazing-saddles-blu-ray/

#transcripts #supernatural #supernatural podcast #<60mins #this is first and foremost a podcast about cas and misha collins

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angelmichelangelo · 4 years

Text

i’m about five years too late and nobody asked for this except me and i need to just get this out of my brain because it’s 2am so here’s a list of things i wish happened on glee that didn’t HERE WE GO:

- new directions being actual teenagers. just them hanging out. going to group sleepovers. giant study sessions (because school exists in this universe?) like remember in tpp when they were eating lunch together ? that’s what i wanted MORE of. just them being actual friends. a sleepover episode is all i wanted imagine all the abba songs we could have gained from that episode

- a halloween themed episode. the closest to this that we got was the ‘thriller/heads will roll’ mashup which YES was iconic but im greedy and it’s not enough. my idea for a halloween episode is that the gang gets trapped inside the school after staying behind to idk rehearse? or something? and then things get progressively worse as they start to go a little mad, thinking the school is haunted and they split up into pairs trying to find an escape and they think they’re seeing ghosts/someone lurking around the school and they’re getting real spooked but it turns out it’s just sue fucking with them lmao

- kurt and finn being brothers. THE POTENTIAL WAS THERE and sadly after furt we are left with crumbs. why ?? WHY?? little moments like finn saying that he’s driving back home with kurt or them saying they can’t do something because they have a family thing would have been good enough. more scenes of them hanging out in their home with their parents would have been *chefs kiss* but alas. it never happened because glee writers are bastards

- based off my last point: sam actually living at the hudson-hummel house because he actually did live there? but nothing is ever said like what’s the dynamic there why weren’t kurt and sam and finn close if they all lived together for what? like a year? was sam living in the mf shed? did he ever get close to carole and burt?? where tf did he live when everyone went off to college did he just stay in their house lol who knows not me LMAO

- blaine dealing with his trauma ? mental health was never dealt with very well on this show. emma’s ocd was just ignored after she got married or whatever and blaine mentioned his trauma once and then it was ignored until it was mentioned in passing a few seasons later and even he just brushed it off and it was never brought up again like wtf. i have no idea how they wrote a whole episode about hate crime in bash and they never once thought to have blaine and kurt have a single conversation together, let alone a conversation about how they’d both been victims of a hate crime. AND THE ONLY TIME BLAINE DOES MENTION IT IS IN TESTED WHERE ITS JUST USED AS A REASON FOR THEM TO FIGHT AAAAAAAA no wait im calm it’s okay. i just would have liked to have seen kurt and blaine have an emotional moment together in that episode that didn’t include blaine singing and kurt being knocked tf out. just sayin.

- kurt dealing with HIS trauma !! again, glee gets bad points for talking about mental health and it just is crazy that they had so much potential with kurt, ie: depression, anxiety, ocd (kinda?) his bullying, being literally assaulted (i see u ryan murphy taking that whole plot line so loosely mmhm) and then shoehorning in the fact that he was suicidal AT THE SECOND TO LAST EPISODE when they had a whole episode about suicide and they could have mentioned it at any time but ofc they didn’t because the writers just wanted to shove in as much as they could in the flashback episode AYE AYE AYE the potential!!!! oof.

- literally just more tina. jenna ushkowitz is a fantastic actor/singer/preformer and she was criminally underused. i like the episode props because of two reasons: one. everyone switching characters was amazing. and two. some actual tina scenes. even if she.. technically was rachel but also herself or something? either way. i digress

- this is just in general but MORE ABBA AND ALSO THE CARPENTERS and also some sound of music songs would have worked GREAT but they already had like a million songs and as the show progressed they veered away from old songs and more towards popular songs at the time to help chart numbers blah blah blah whatever it’s cool. but also how did they only do a few abba songs that is criminal

- a more fleshed out ending that wasn’t so rushed. like rachel won a tony and everyone else is just? there? why is sam at mr shue’s house ??? how did artie get up the stairs? did quinn graduate from yale? and where tf was kurt and blaine’s child during ‘i lived’ because burt and carole are vibing in the audience and rachel isn’t pregnant so like? is the baby just?? alone somewhere in the wings?! lmao where are u bby girl!! but once again i know they didn’t have the time to do it so idk it’s fine what they did it just sucks we didn’t get more! but again. fanfic exists so yah im all good

- more of blaine’s mum. or mom, in this case i guess. why cast gina gershon and then give her ONE line like ? ik there was a whole deleted script that explained why she was there but i love that up until that point blaine seemed like he genuinely murdered his parents, lived in their big house all alone and when people got suspicious he just told them that they were “out of town” :) either way pam is great i love her and i wish she had more to do in the one episode she was ever in. not even a moment with blaine?? wasted.

- more of cooper anderson, matt boomer is so fucking funny everytime i think of the emotion tornado i bust a lung laughing like it’s so fucking stupid but oh my good i love it. (and if you haven’t watched the special feature of cooper’s transformers audition tape please please watch it because it’s just so funny.) ik he was just a special guest but i wish they got him back for at least the wedding ep but guess my mans was just busy. boo ;(

- going back a couple of points, i wish they’d done a whole episode like props. every actor here just shines when they’re impersonating each other. finn and puck as kurt and blaine is beautiful and quinn and sugar is incredible. also idk why they refused kevin the right to wear the cheerios skirt; they could have put a little more effort into some characters but that’s glee for ya lmao but yeah. a whole episode like that would have been so much fun

- they should have let chris colfer write more episodes. purely for the fact that he wrote with his own bare hands the whole scene where lea michelle’s character gets dragged down a road by dogs. this guy. it’s a shame he only got to write one since he actually did a really good job! i would have loved to have seen what other episode ideas he had :)

- glee in the summer! obviously it only was centred around the school year but after season 3 who honestly gave a shit about the glee club and mckinley lmao i wanna see them in SHORT SHORTS and POOL PARTIES but nope we just got september - june so like rip all my hopes and dreams

- WHAT HAPPENED TO DALTON? bitch just burst into flames ?? and for WHAT?? oh yeah plot convenience smh this is so sad i wish they’d either written something better than “we need the warblers to team up with new directions so uhhh the school burnt down” like. it’s a private school. if the school is gone and they’re just staying at mckinley what are the parents paying for? they’re just cool with sending their kids off to public school now? every adult in this universe has been murdered by these kids, haven’t they? they’re just doing whatever they want jfc

- a wedding was a good episode. ish. and yknow, huge kudos to them because gay marriage wasn’t legal in the us at the time so im less harsh on the fact that they definitely threw up the rainbow flags and made it less about the characters getting married and more so “we have gay characters and look they’re getting married what a concept” but i do wish we could have gotten some more married!klaine since they don’t really have much to do after this understandably but a little moment alone together after the wedding would have been nice :) IT WOULD HAVE BEEN NICE IM TELLING YOU

- get rid of the hummelberry friendship and send mercedes to new york instead. i have nothing else to add to this other than the fact that i mourn the fact that kurt and mercedes went from bffs to just. school mates. this is tragic this is traaaaagic !! and all for more of the rachel berry show smh

- every day i wonder what was going through carmen tibideaux mind when she watched the kurt hummel preform not the boy next door and was like :) and then watched rachel berry have a breakdown on stage and then proceeded to give rachel the spot at nyada and kurt gets payed literal dust. and THEN she had the nerve to tell him it was because his performance had no heart. AND HOW DID ADAM GET IN THIS BABY GOT BACK MOTHERFUCKER?! nyada is a circus school oh my god !!!!! kurt deserved better im telling yall he deserved so much better

there’s so much more i could rant about but im going insane im so tired and i need psychological help after watching glee so im gonna leave it here and say peace out homies it’s been fun but i need to sleep so bad

#this is insanity #how did this happen #glee #tw hate crime mention #tw suicide mention #tw mental health mention #this was from my drafts lmao

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hufflepuffdean · 4 years

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alright so like. I just rewrote 15.20 in my head following most of the episode parameters and it’s amazing how much better it makes me feel? I do have an idea for a fully canon-compliant fic and I do feel a bit better about the finale than I think most do, but I wanted to barf this out lol. it’s not COVID-compliant, but again, it does fit what the ep was trying to do I think. I’m trying not to be like a Polyanna asshole or whatever because I’m seeing people be condescending as fuck but writing this out works for me so I hope this works for someone else?

the ep can still open with the montage and definitely still include Miracle. but make it clear way more time is passing. like, a matter of years. at least five. we can see Sam and Dean on various hunts but also them doing some normie things. Sam in a Zoom class (no, COVID doesn’t exist here, he just is busy lol) and Dean working at a bar. it’s clear they’re happy. and again, it’s clear it’s been several years.

I’m ngl I’m not super married (no pun intended) to Sam/Eileen like a lot of D/C fandom but it’s been established and it does work easily within the show without having to be like Awkward New Romance. so she’s there too sometimes.

there’s definitely a part where both Sam and Dean are looking through pictures of those they’ve lost. Dean can like look at a picture of Cas and say... thank you, I won’t waste it, looking at the picture. I feel like people would be pissed he’s not looking for Cas but again, I’m not totally changing the structure here to make the episode #actually a Cas rescue, and it would be hopefully clear why he’s not looking, that he missed him but thought it was what Cas would have wanted in his sacrifice. plus there’s a payoff at the end here.

eventually someone shows up with the uh, vampire juggalo case where they haven’t been able to save all the kids. I do not want them to be clowns and it is my version so they are not. anyway Sam and Dean go off on that hunt.

the barn scene... okay well first there’s no Jenny because dude I am obsessed with this show and have watched S1 at least four times and I love every minor character and I had no idea who she was until the flashbacks and also she didn’t even do anything wtf was that.

mostly I fucking hate that Dean has to die at all! but again, we’re sticking to the episode’s basic structure, just kinda cleaning shit up. sooo I guess the thing here is - Dean’s death needs more agency. maybe Sam and the kids are directly being threatened somehow and he makes the choice to jump in and save them even if it costs his life. this is the one specific bit I can’t really nail down (HA) so if you have any ideas feel free to send ‘em along. I feel better about it if Dean at least got some significant time to himself to live.

the goodbye can stay. it was well done, and I think both Jensen and Jared did a great job. I think things like “Sam should have tried to call 911, while in the middle of Bumfucknowhere Ohio″ or “Sam should have tried to pray to Jack, who already said he’s staying out of things” take away from the power of the scene.

you can have the montage of Sam mourning. it’s a while before he calls Eileen or anyone else, since he’s so devastated. when he does have Dean’s funeral, like, everyone who’s still alive is there. Eileen, the Wayward girls, Garth, anyone I’m forgetting. fuck it, Alice! the Lebanon kids! even random strangers, to show what Dean meant! at some point Sam should give the bunker keys to Claire too.

at the end Rowena shows up. Sam is devastated to see her, saying he can’t do a deal. Rowena just says she was there to pay respects... and tells him that Dean is not one of hers. Sam just kinda lights up.

now you can do the thing where it jump-cuts to Heaven. the scene with Bobby is good. I may write a post later about how Jack and Cas redoing Heaven is like the thing that makes the finale alright to me, but definitely keep that. the change here is that Dean does go into the Roadhouse, and it’s full of like every goddamn dead character we love tbh. Charlie, Mary, Rufus, Jo, Ellen, Ash, Victor, Kevin, Pamela, etc. Those are just characters I thought of off the top of my head lol. No John Winchesters Allowed but everyone else. also no Cas yet but don’t worry he’ll be there in a bit.

you can start the Carry On montage here but dear god don’t play that cover version.

on Earth, we see Sam and Eileen living. they have a daughter, thanks, though her name is still Dean. (I’ve realized I hate the “naming a child after a beloved dead relative” trope, but we’re clearly doing that so it’s okay.) maybe even make it so that they adopt one of the kids they saved in the barn. Eileen has like actual lines, whether she’s talking to Sam about how much he misses Dean and how it’s hard without him but he’s going to live for him, or whether she’s talking with Sam to Dean about how there are monsters and bad things in the night and sometimes mom and dad used to deal with them, but not any more. but they’ll still be careful. (the anti-possession tattoo can stay and salted windows and all that.)

Dean gets in the Impala in Heaven and you just hear “hello Dean” on the radio. it’s Cas, obviously. Dean does one of those killer smiles. they have a convo about the rebuilding of Heaven, and how everyone here, it’s Dean (and Sam) who brought them this kind of happiness. Dean’s like, Cas it was you too, of course it was you Cas. that can be it, orrrrr if the network would allow you to go farther, Dean can say, like. ugh I can’t put it into words right now but something that makes it clear he reciprocates. fuck it, have an “I love you too,” I’M mentally writing this lmao

the rest of the montage can proceed like normal-ish I think? I actually did really like it when Sam was “driving” the Impala at the same time Dean was driving it in Heaven. just please god get a better wig. also I do not think Sam’s only pictures on the mantle should be of like, Dean and John lol.

Dean’s tending bar in Heaven with the whole group there when he suddenly is like... oh... I think I have to take care of something. everyone knows and is thrilled for him. Cas comes along. (honestly this one’s optional in my mind, I think that scene at the end was really good as is, but I want a TFW reunion, sue me.)

bridge scene plays out, only Cas is there too and there’s a lot of hugging all around. fuck it put Miracle on the bridge too he’s an icon.

theeeee end. oh and no two seconds later cut to the actors out of character but still in costumes and the crew not in masks during a respiratory pandemic, please, it was very thoughtful for the fans and the crew deserves love I get it but also but really weird lol

#.#..#...#....#.....#15.20 spoilers #*

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forestwater87 · 4 years

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Every episode of Camp Camp ranked: A very (non)objective list

It's well past the time of year when Season 5 of Camp Camp would've dropped. I fully understand and support it not coming out; the crew's health and safety are much more important than a comfort show.

However . . . man, would it be nice to have some comfort right now.

So I'm reliving the entire series! I've been known to share with the world a whole bunch of Spicy Hot Takes, but I've never really sat down and talked about my feelings about the show as a whole.

And what's the best way to do that? Well, just ask Jenny Nicholson: a numbered list! That is, here's the series ranked from worst episode to best, because I want to get the negativity out of the way early and focus on everything I love (and because people enjoy complaining, so let’s frontload all that).

The takes will be hot. The feelings will be intense. The post, I'm assuming, will be largely unread.

Let's do it!

Oh and duh, there are spoilers. I tried to keep it pretty chill, but you’ll want to have watched the whole show or just not care about spoilers before going forward.

Also slashes in the middle of “naughty words” are meant to prevent this from being kept out of the main tags. Who knows if it’ll work? I don’t.

60. Who Peed the Lake? (Season 4, epis/sode 3)

Ah, good ol' Pi/ss Lake (or as @hopefullypessimistic84 calls it because she's funnier than any of us will ever be, “Pis/s Fe/tish Dot Com”). Terrible, one of the few I’d consider nigh unwatchable. I actually kind of love this episode for being such great shorthand for "the absolute worst one."

Who signed off on an entire episode centered around Sherlock Holmes meets a bad om/o joke? Give me names and addresses: I just want to talk.

59. Reigny Day (Season 1, episode 6)

And nobody was surprised.

I'll admit I'm more willing to defend this episode than many people, but it's not . . . like, good. It seemed okay when there were only 11 other episodes to compare it to, but now that there have been so many bangers, this comes across as extremely weak.

And let’s just say the Na/zi jokes hit a lot differently in 2020 than they did in the summer of 2016.

I’m overall happy with the direction the showrunners have moved Dolph’s character in, and I can’t totally blame them for using a kind of humor that was fairly common in the pre-Trump era, but yikes, this has aged like milk. And it wasn’t even very funny at the time, so it aged like milk that was already pretty bad to begin with.

58. Squirrel Camp (Season 4, episode 10)

This is a dumb one.

Not much else to say; it’s just kinda stupid and lame.

57. Fashion Victims (Season 4, episode 13)

I love Sasha, but this is filler. Which isn’t in itself a bad thing -- I have a couple episodes near the top that could reasonably be called filler, and a valid argument could easily be made that “filler episodes” don’t actually exist in a show with no plot -- but as much as I adore the Flower Scouts and enjoy the handful of good moments we get in this episode . . . who cares? Does anyone really give a sh/it about anything that happens here? Does anyone get their life from this one?

I didn’t think so.

56. Foreign Exchange Campers (Season 3, episode 3)

I know, I know, your Russian waifu came from this episode. Why do you think it’s so low on this list?

Okay, for real: this is . . . fine. It’s fine. It’s fine? I’m not mad at it, it just feels tonally incongruous and not very memorable beyond the fact that the fandom got really weird and kinda gross about Vera. But the episode itself? There’s some cute stuff with Neil and Nikki being jealous, but for the most part it’s a big hunk of white bread with some super mild white cheese that’s kinda soggy from sitting in a bag for too long and getting all condensation-y.

That is to say: it’s fine.

ETA: Space Kid does say “fu/ck.” I can’t decide if that’s a point in the episode’s favor or against it.

This is the last of what I’d call the “bad” episodes. Everything after this ranges from mediocre to mind-blowingly amazing. But whatever our failing tier of Camp Camp episodes is, it stops right about here.

Onto the good stuff!

55. Night of the Living Ill (Season 2 Halloween episode)

I keep switching this with “Eggs Benefits,” which probably means they should be tied. But whatever, this is my list and I am in charge and I’ve finally decided, after like 5 changes, that I like this one a little bit less.

It’s a fun Romero parody with nothing I’d call bad. Really this one’s only so low on the list because I think it’s kinda icky, and looking at those green snotty faces makes me queasy. If you think this is a bad reason to put it near the bottom of the list, then make your own post.

54. Cameron Campbell Can't Handle the Truth Serum (Season 4, episode 11)

I . . . don’t remember this at all. I initially had it a bit higher because I tend to love things with Campbell in them, but then I realized that nothing about this episode stuck in my brain even a little bit.

Oh, this is the “Dolph has autism” episode that made everyone either extremely happy or really mad? Okay. I guess that’s the most remarkable thing about it. Neato.

Cam, I love you, but this was just not the best use of your sleazy charm.

53. Eggs Benefits (Season 2, episode 9)

This is one of those episodes with enough cute moments and good ideas to save it from being totally unmemorable, and I mostly enjoy rewatching. Platypus being a mom is a fabulous idea, and pairing the campers the way they did was mostly really interesting and fun.

The Preston-Nurf stuff takes it down several pretty significant notches, though. It’s what the kids would call problematic, and while I normally enjoy how the show doesn’t skew away from darker themes and jokes, it didn’t really fit either of their characters and just . . . isn’t fun to watch. It’s not especially funny, it’s not especially tragic, it’s just uncomfortable.

52. Camp Campbell Wants YOU! (Season 1, episode 0)

Honestly, this would be a lot higher if it was a full-length episode. It’s funny.

The next 5 or so episodes fall under the “cute but not very memorable” umbrella:

51. Nikki's Last Day on Earth (Season 3, episode 4)

I love the ensemble episodes, so this was always going to score higher than any of the single-character “meh” eps. I didn’t see the twist coming, though I know a lot of other fans did. Textbook example of “cute but not very memorable” -- the Platonic ideal of that concept.

50. The Candy Kingpin (Season 3, episode 9)

A clever idea that plays on Max’s worst characteristics and then calls him out for them, while also giving Dolph some much-needed character development. Unfortunately, I don’t feel like it really picks up until the last third of the episode, leaving the rest just kind of sitting there.

49. Campfire Tales (Season 4, episode 13)

Who doesn’t love campfire stories?

That’s all I got. They’re campfire stories.

ETA: OH SH/IT THIS ONE HAS THAT REALLY SCARY STORY! Where David’s all like . . . Slenderman’d. Fu/ck, I didn’t remember that until I was writing out my thoughts for #35 or so. That definitely elevates it, but I’m too tired to try and re-decide where this should go, so just tie it with “New Adventure!”

48. New Adventure! (Season 4, episode 4)

New trio! Focusing on these 3 was a definite risk, and I think it really paid off. While the “plot” itself isn’t anything special, there are a handful of really great side gags (hi, Dirty Kevin!!!!) and it’s fun to see these three interact. They all get some nice character beats. It’s a good time.

47. Something Fishy (Season 3, episode 8)

This might’ve hit me harder if I’d actually seen The Shape of Water, but the send-up works fine without having more than the seen-the-trailer level of understanding. Gwen dresses pretty, which I love; Max sucks, which I also love. What drags this one down is mostly feeling like the surreal aspects of the comedy go a bit too far into the “what the fu/ck am I looking at?” territory without really . . . making an actual joke beyond “look! Wacky!"

Why is David at the opera with a bird? Why??

46. City Survival (Season 3, episode 11)

Literally do not remember a single thing about this episode except David getting mugged and being called a “homeless twi/nk.” That should probably rank it lower on the list, but David being a fluttery mother hen saves it for me -- as does the fact that it leads directly into one of my favorite episodes, and the single best story arc of the series.

Next set of episodes is what I’m going to arbitrarily call “okay! but like the good kind of okay, not the bad kind.”

45. Bonjour Bonquisha (Season 2, episode 7)

Max and Sasha masterminding a scheme is really fun; their dynamic is great (though it won’t be fully realized until Season 4), and heartbroken David is so tragically cute it actually makes my heart explode out of my chest.

Also I can’t resist a good “3 kids in a trench coat” gag.

44. Anti-Social Network (Season 2, episode 2)

Neil is very relatable and I don’t have much else to say about this one. It’s fun to see an episode that more heavily focuses on our nerdy science boy, and Max and Neil teaming up to save Nikki was really charming and sweet and set my Makkiel ship out to sea.

43. A Camp Camp Christmas, or Whatever (Season 2 holiday episode)

Why does this episode have a musical number? It’s not good.

Okay, that was mean. This is fun and cute and Gwen wears a pretty purple sweatshirt and Space Kid gives her a present and it’s really sweet. But that musical number is an instant fast-forward for me, sorry.

42. Preston Goodplay's Good Play (Season 4, episode 7)

We get some Preston character development! Awesome!

It’s done in a really trippy and surreal way that totally fits his character and heightens the drama of the episode! Awesome!

David has an apparently-tragic history of being a French mime! Not a good call!

Next tier: Some good sh/it! (Tbh, these could all be put in just about any order; they might as well be one massive tie.)

41. Cookin' Cookies (Season 2, episode 11)

I love the Flower Scouts. I love Dirty Kevin. I love the idea of accidentally starting a dru/g empire. Another weird, borderline experimental one focusing on side characters, and I think it works better than “New Adventure!” because the scale of the melodrama is just so over-the-top.

The fact that this is in the bottom 20 but I have nothing but good things to say about it illustrates how dang good this show is. It’s only getting better from here, folks!

40. Romeo & Juliet II: Love Resurrected (Season 1, episode 7)

Preston is a terrible playwright. This makes sense, because he’s like 11, but he’s the kind of hilariously bad I wish I’d been as a preteen, because his play is absolutely bonkers. Max fucking with David is great, Tabii vs. Bonquisha is great, Bonquisha in general is a giant amazonian goddess and I want to be swept up into her giant arms. Neil is . . . a robot, for some reason?

So much fun!

39. Camp Cool Kidz (Season 1, episode 4)

I don’t love Ered’s characterization in this one, but there are a lot of wacky hijinks in this episode that I think make it really enjoyable. Max’s wide-eyed revolutionary naïveté is a fun change from his usual dour pessimism, and Nikki’s loyalty to Ered is both very gay and very charming. Plus we get to learn a bit more about how the camp operates (and fails to operate), and it’s a nice way to better establish the campsite as its own setting.

(Definitely think “Cool” should’ve been spelled with a K though. But whatever, I don’t write for the show.)

38. Scout's Dishonor (Season 1, episode 3)

The birth of Neeancy! The introduction of the Flower and Wood Scouts! Neil saying “cu/nt” -- one of the first and only truly shocking uses of profanity in the entire show! ZUKO!

I don’t know if my fondness for this one is rooted mostly in nostalgia or if it was actually really fun, but I enjoyed the he/ll out of it. Not as highly-rated as some other episodes mostly because it doesn’t really do anything, character or story-wise, but not every episode needs to be a massive game-changer that drowns us in feels. Sometimes it’s enough to have a fun romp, and this is very that.

37. Ered Gets Her Cool Back (Season 3, episode 2)

Awww, Ered. I have a soft spot for her, because I love the archetype of a spoiled bit/ch clearly still figuring out how to be a person and have friends. You really get the sense of her as a teenager trying to sort her shi/t out in this episode, which I would love to see more of. Her interactions with Nerris are top-tier, and I like that it’s a continuation of how her character’s been softening since Season 1 into this kind of big-sister figure.

Also, all the female campers in this show are lesbians. I do not make the rules.

36. Attack of the Nurfs (Season 4, episode 2)

I feel like this is a pretty underrated episode. But then again, I feel like Nurf is a pretty underrated character, so maybe that’s just my own personal bias.

I really enjoyed all the different iterations of Nurf, and I think Blaine did a killer job giving each one its own personality and life. It’s a fun episode that plays hard with cartoon physics (a 3D printer printing people! I love it!) and has a surprisingly moving ending.

At least, that’s what I think. Most other people seem to find this one pretty forgettable. Again: make your own da/mn list. I liked it.

35. Mascot (Season 1, episode 2)

This entire episode is memorable for so many things, but a few of my favorites:

David is established as kind of a di/ck.

Platypus arrives and kicks all the as/s.

Quartermaster is the best.

Nerris, Harrison, and Space Kid all get little moments to show off how cute they are.

Neil and Nikki bonding.

This:

34. Quest to Sleepy Peak Peak (Season 2, episode 3)

I love watching Nerris and Harrison bicker, and Neil and Nikki fit really well into their group. It reminds me of being a kid, and of playing Dungeons & Dragons (as an adult, because I’m so cool), and of summer . . . which is a really good thing for this show. There are a lot of funny one-liners, and it’s just a good dang time.

33. Quartermaster Appreciation Day (Season 2, episode 6)

I don’t think this one is all that well-loved, but I thought it was funny. There are literally zero important plot or character moments, but it made me laugh a lot, and that’s all I need a Camp Camp episode to do.

I love QM, and the more we learn about him, the more confused and disturbed we end up being. What a fu/cking champion.

32. Arrival of the Torso Takers (Season 3 Halloween episode)

I lowkey hated this one when it came out, because I knew the Daniel stans were going to be exhausting. And they kind of were? But looking back, it’s a great way to reintroduce this motherfu/cker. He’s a lot scarier than he was the last time around -- but also less competent, which is a great way to kick him in the proverbial ba/lls -- and while I wish it had a lot more Gwen in it, it’s a clever and creative Halloween episode.

31. Operation: Charlie Tango Foxtrot (Season 3, episode 10)

Charlie . . . Tango . . . Foxtrot . . . CTF . . . OH! Capture the Flag! I never got that before. Oh, that’s neat. I love this show.

Listen, every time the writers decide to take a risk and do something bizarre and creative, I’m going to be here for it at least a little bit. An entire episode told from the POV of the Woodscouts, explaining how hard they failed in all directions? A great gag where everyone in Petrol’s story talks in grunts? The return of Jermy Fartz?! Fantastic.

30. Panicked Room (Season 4, episode 16)

Listen. I’m a sucker for my trash grandpa; anything Campbell-centric is probably going to be pretty good (except #54), because he’s just one of the most consistently funny and engaging characters. Good times are had whenever this terrible man is on the screen, and giving him a romantic backstory? A tragic romantic backstory full of mistakes and emotional damage?? One where he waited 17 YEARS for the love of his life???

We have no choice but to stan.

29. Party Pooper (Season 4, episode 15)

I’m so predictable. If you put Gwen in something, I will be happy. If you make an entire episode about how Gwen is under-appreciated and overworked and just trying to do her best despite the circumstances, I will dedicate my firstborn child to you.

Anyway, this episode is really sweet, and I liked the unexpected direction the writers took her relationship with her dad. He seems like a nice guy, they seem like they have a nice relationship, and . . . well, an episode about how hard it is to be an adult millennial hit pretty hard. Plus this was just a really pretty episode -- and not just because Gwen was in so much of it! Seriously, that night sky was a thing of beauty.

Also if you say a fuc/king word about Max and that godda/mn dog I will choke you out with your own intestines. Few things are more hilariously, annoyingly ironic than the fact that the entire fandom ignored and failed to appreciate Gwen . . . in the episode all about how everyone ignores and fails to appreciate Gwen.

28. Culture Day (Season 3 holiday episode)

Now, would it be arrogant to point out that I had the idea for a Culture/Heritage Day back in September 2018? Yes, especially since I don’t think the writers ever read fanfiction and it has literally nothing to do with this episode. Will that stop me? He/ll no it will not! I am a creature of ego! Read my stuff!

Anyway, this is a really fun look at Neil’s background, personality, and relationships. Max looking out for him is just . . . oh my god, I cannot, I’ve written like 30 of these and my brain is starting to melt, but these two are so cute. I love arrogant Neil, and I love protective Max, and I love QM and Gwen fuc/king over the Flower Scouts to save the day. Everything about this episode is lovely.

27. Cameron Campbell the Camp Campbell Camper (Season 3, episode 7)

This should not be ranked so high (even if these are all essentially tied). This is a dumb episode based on a really, really dumb premise.

But . . . I don’t know what to tell you. “Samboy Kidwell,” Max realizing he and Campbell are disturbingly similar and not liking what his future could look like, David’s “I’m not mad, I’m disappointed” face . . . this episode happens to hit all of my favorite things. It had a really good balance of heavy-handed moralizing and goofs, it was part of the most graceful lead-up into a finale the show has ever had, and I’m just all about it.

Excellent job, Samboy. Count Olaf would be proud of your disguise.

There ends the “some good sh/it” tier. We’re starting to get into the really excellent stuff now!

26. Parents' Day (Season 2, episode 12)

I know. You want this to be higher. I hear you.

Honestly I’m kind of shocked it’s this high; it’s my least favorite of the season finales so far, and I had to push past a lot of prejudice to actually rank this where I think it deserves to be, as opposed to somewhere in the like mid-40s. Mostly because it gave fuel to the raging inferno of “Max has terrible parents and David should adopt him” headcanons, which I’ve detailed my problems with extensively in the past (in a post that, statistically speaking, none of you have read).

But, trying to be objective: is this episode actually any good?

Well . . . yeah, it really is.

So much work was put into giving each of the campers families that make sense with their characters and bounce absurdly well off of them, ranging from wholesome and adorable (Nerris’s family) to quietly tragic (Harrison’s parents), and they’re all designed so well; they’re fun to look at and fun to watch interact with the kids and each other. (The only exception is Dolph’s dad, who is both kinda lame and misattributes the cause of the weird Na/zi thing because it did not come from Germany, I assure you. But things with Dolph are always a little off, and I don’t really know how you would give him a backstory that actually works with the character, so they were caught between a rock and a hard place there.)

The drama of David having to choose between the man he considers his father and the camp he considers his home is really touching, and him and Gwen choosing to take a sad camper out to get pizza instead of covering for their boss’s a/ss is such a beautiful moment for both of them that I can’t really blame the fandom for losing their mind over it. Campbell’s arrest leading into the arcs of the next two seasons was great as well, and the finale left us all with this weird sense of foreboding because we didn’t know what was going to happen next; it was the only finale that actually ended on something close to a cliffhanger, while still being satisfying enough to keep us all from melting down.

Plus, it’s funny. Carl and Candy are really funny and the idea of Neil and Nikki’s parents boning is funny in a horrible way. The joke about Quartersister is funny. It’s a good episode.

Should this be higher? Maybe, but I can’t bring myself to put it above the rest of these episodes. Again: make your own list.

25. Mind Freakers (Season 1, episode 10)

The episode that launched a thousand ships. Assuming those ships are all Harrison/Neil, anyway.

It’s hard to talk about these Season 1 episodes because they feel so classic. Like, what is there to say? You’ve all seen it a couple dozen times; I’ve seen it a couple dozen times. Harrison is a di/ck, Neil is possibly an even bigger di/ck, and magic may or may not be real. (Though spoilers for literally every season: yes, magic is definitely real.) It’s so much fun watching these two smug as/sholes snipe at each other in an almost literal playground hair-pulling way that could very easily be read as flirtation.

And the fandom did most certainly read it that way, at least for a little while.

24. Gwen Gets a Job (Season 2, episode 8)

It’s Gwen. What, was I supposed to not put it this high?

This was the first Gwen-centric episode, and it absolutely slaps. She’s pushed to the breaking point and responds by being a cold-hearted BAMF, and it got her some pretty significant hate from fans but I don’t give a fu/ck, I loved it. We got to see her all dolled up, and then we got to see her all disheveled, and both of those looks were gorgeous. David gives her a tiny fragment of the love and validation she deserves (I don’t know if this is when gwenvid started taking off -- I think it wasn’t really until “Parents’ Day,” or even Season 3 -- but I ate that s/hit up).

Also, again: job hunting post-2008. It’s a bad time, y’all. Camp Camp gets it.

23. Follow the Leader (Season 4, episode 6)

Yeah, I was kind of surprised at how high this landed, too. I guess I’m just a sucker for unlikely companionships, and these three have a great chemistry. The combination of competitiveness, sass, and reluctant admiration make their interactions a lot of fun. Their motivation of doing petty errands for Campbell for the sake of getting at the Box of Illegal Contraband is a great framework too, with high enough stakes to justify all sorts of wacky shenanigans without causing actual anxiety.

I want to see these characters forced to spend more time together. Please, RT, make that happen.

22. Escape from Camp Campbell (Season 1, episode 1)

In terms of numbers, this feels so low, but considering everything from about #45 on is ranked as at least decent, this is actually a pretty high rating. There are 21 episodes I’d call better than this, but these decisions were all pretty painful.

This introduces us to everyone! The main trio, the counselors, Mr. Campbell; we get a snapshot of the major personalities running around the camp, the major points of conflict (Max vs. David, primarily), the major building blocks of future episodes, setting, and relationships . . .

Again, I don’t know how much of my love for this episode is nostalgia -- there’s a lot of squeeing at familiar faces and gags; this is the first time David gets hit by a bus!!! -- but it was a fun and funny introduction to a series that’s ended up being so important to me, and I’m so grateful this wonderful, quirky little show with its wonderful and quirky little premiere.

Of all the episodes, I really can’t look at this one objectively. It’s too important.

21. The Fun-Raiser (Season 3, episode 1)

David and Gwen scheming is my ki/nk. They very rarely scheme together, but every single time their teamwork makes the dream work (or, more frequently, makes the dream fail horribly and have disastrous consequences) my soul flies out of my body and takes to the stars, where I write another 500 first chapters to gwenvid fanfics I’ll probably never finish.

This is a great follow-up to “Parents’ Day,” where we immediately see the consequences of the previous season finale and what happens when the one adult in the camp disappears. Mr. Campbell was a terrible adult, true, but at least he was smart enough not to steal QM’s hook. Like . . . whose plan was this? It was so bad. These two are hilariously incompetent sometimes -- often when their bad ideas are feeding off of each other, actually, a la this and “Space Camp Was a Hoax” -- and watching them frantically try and keep all their balls in the air is so great.

The ending is satisfying, too; a bit graphic, in keeping with a show that tends to keep the violence limited to periodic spurts of bloodshed 1-2 times a season and mostly pretty mild the rest of the time, but between Max stepping up and fixing everything while still being his shi/tty self to our dear dumba/ss counselors getting their dumb as/ses handed to them (deservedly so, if we’re being honest) . . . it’s such a great note to begin a new season on.

20. Journey to Spooky Island (Season 1, episode 5)

A classic.

We get to meet our spooky boy Jasper, we get to watch the comedy trio play off each other and continue to sketch out the general contours of their friendship, and we get to see the Quartermaster with a big purple dil/do for a hand. What’s not to love?

19. The Butterfinger Effect (Season 4, episode 17)

CONTROVERSIAL HOT TAKES! GET YOUR CONTROVERSIAL HOT TAKES HERE!

I’ve already gone into some pretty intense detail about why I think this one is actually really good and carries the theme of embracing change that everything about Season 4 was centered around, but none of y’all read that so here it is in short: this episode is super funny, almost all of the campers’ transformations work really well as extensions of their characters while still being strange and surprising, and the fact that Nurf creates all of these problems by trying to solve them is deliciously fun to watch in a karmic sort of way.

Or maybe it’s just because any Nurf-centric episode is going to rank pretty highly for me. That is also possible.

18. Space Camp Was a Hoax (Season 2, episode 10)

Our camp counselors being bad people: it’s my drug of choice.

We get Space Kid tripping balls in what might be one of the funniest sequences in the show, the entire camp coming together to try and pull off the stupidest, most impossible task (and kinda maybe almost nailing it???), and once again the fun of watching Gwen and David scramble to keep from getting caught in their boss’s shit/ty lies is so great. And Lindsay’s voice acting is absolutely killer, even more so than usual.

17. Jermy Fartz (Season 2, episode 4)

I get the sense this might be a somewhat controversial one.

I’ve written before about why I think this episode is a lot of fun, but it mostly boils down to two things: watching the campers try (and fail) to be nice to the most bully-able person on the entire planet, and the essential likeableness of Jermy.

No, really.

I think a lot of people were put off by Jermy’s general grossness, because . . . my god is he disgusting, but he’s also polite and good-natured, and seems totally self aware of how difficult he is to be around, without letting it make him depressed. He’s cheerful in a weirdly downbeat way that’s impossible to understand until you see him in action. He’s so matter-of-fact about his own awfulness in a way that I found entirely endearing. I don’t think I’d want him at my camp, either, but get that kid to a good dermatologist and gastroenterologist, teach him some basic hygiene and social skills, and you’ll have quite a little gentleman there.

I do however find it hilarious that apparently David got the type of tree wrong when making fun of Jermy. Not only is that a great moment for reveling in David being an as/shole, but he didn’t even have the right wood. F/ucking idiot. I love him so much.

These last ones are my favorites! (Well, duh, that’s how this whole ranking thing works.) Maybe not perfect, but just really good and with limitless rewatch value.

16. St. Campbell's Day (Season 4 holiday episode)

They Grinch’d Camp Camp. Those brilliant bast/ards, they really pulled it off.

Ignoring the fact that David is truly frightening-looking for most of the episode, this is a great bookend to Season 4, following up on the theme established in the first episode about how David is a flawed and selfish human being despite trying his best not to be.

This is another one I was surprised to find so high on the list, but the more I thought about it the more I realizes how good it is. David being a jerk is always one of my favorite storylines, and the fact that the trouble comes from him trusting Mr. Campbell too little instead of too much is a nice twist on the usual formula. Gwen coming to help him out despite a blistering hangover gave me aggressive shipping feels, yes, obviously.

Between a lot of really funny little gags like QM’s failed satanic ritual and the genuinely touching moral about the importance of spending time with the people you love, it’s just a really lovely episode that gets just the right amount of maudlin for the holiday season.

15. Jasper Dies at the End (Season 2, episode 5)

I kept switching this and “Dial M for Jasper”; it was a really difficult decision to make, figuring out where these two belonged. I think in the end, while the John Dies at the End reference was very, very good, this one loses me a little bit by being told from David’s perspective. Now, normally the more David is in an episode the more I’ll be likely to love it (see my #1 for proof of that), but his blinders when it comes to the camp and Mr. Campbell result in a really funny story, but one without the same emotional heft as hearing about what happened from Jasper’s point of view.

That doesn’t mean it’s not perfect for what it needs to be: each Jasper episode builds on the previous ones, and having the same intensity of “Dial M for Jasper,” where we learn how he died and how his relationship with David fell apart, would be weird and heavy at this point. In Season 1 we just found out he’s a ghost (and eagle-eyed viewers realized he’d been a camper with David); in Season 2 we find out how David views their friendship and time at camp; and in Season 3 we get Jasper’s perspective. It’s an absolutely wonderful raising of the stakes (for lack of a better term), but the one that packs more of an emotional punch is going to rank a bit higher than the one that’s mostly just for laughs.

That being said: there are plenty of laughs in this one. Everyone -- Griffin, Miles, Travis, the animators -- nailed this one, and it gets funnier every time I watch it.

14. Camporee (Season 1, episode 11)

AKA the episode where Forest realized she was in love with Gwen.

What a great idea for an episode, seriously. Every coming-of-age story has a talent show or a competition or a big game -- something where the kiddos can show off their improved skills and teamwork to beat their bullies or whatever. And this show has both kinds of bullies: the popular girly girls and the violent muscleheads. What a great moment to pull everyone together and show how friendship can help us accomplish anything!

Except . . . of course that’s not what happens. Of course they’re absolute garbage, and of course teamwork isn’t the answer. Gwen is the perfect foil for David here, being the anti-teamwork, anti-Camp-Campbell adult who can perfectly and effortlessly undermine David’s relentless optimism. David wants so badly for his campers to live in the same coming-of-age summer movie he did as a child, and their staunch refusal to do that leads to a really heartbreaking closer to the episode, as well as lead into the next one. Everything about this, from the challenges to the setup to Gwen shouting “we are winning this FUC/KING trophy!” is just gold.

13. David Gets Hard (Season 1, episode 9)

We have David. We have Nurf. We have Gwen. We have Max trying to be helpful in the shi/ttiest way possible.

We have all the makings of a da/mn good episode. And they deliver. Not a very emotionally intense or moving one, but so, so funny.

12. Dial M for Jasper (Season 3, episode 5)

This isn’t the fate any of us expected for Jasper, and it’s not the fate of a lot of people wanted. But godda/mn it, it worked. The constant bait-and-switch the episode keeps playing with, where you keep waiting for something really dramatic and tragic to happen . . . and then the reality is that Jasper died because Mr. Campbell was stupid and careless, and it was all just a horribly sad accident.

It’s anticlimactic, but in a way that suits the series, both as a comedic counterpoint to all the hype throughout the episode and as a way to establish that Cameron Campbell is a bad man first and foremost through selfishness and laziness, not Daniel-esque sinister evil. Jasper’s death was totally avoidable and totally Campbell’s fault, and while that’s sad, it also adds a weird sort of lightness to the episode. David didn’t do something terrible to kill his best friend, Jasper didn’t kill himself, and without having actively chosen to murder a child (well, not this time), the door remains open for fans accepting Campbell’s later pseudo-redemption. It was just an accident, and Jasper was “haunting” David to tell him that he was sorry for how their friendship ended. That’s really sweet, actually.

I think it’s the best way this reveal could’ve gone, and I’m so impressed with how they pulled it all off.

11. Into Town (Season 1, episode 8)

This might actually be the only flawless episode in the entire show. I mean, I call a lot of them flawless, and I mean that on an emotional level -- “I love this so much I cannot see anything wrong with it” -- but this one is a masterpiece of storytelling. All the technical jumbo I’m bad at, like planting and payoff and tension and all of that, is just perfect.

I feel like this is the kind of claim that needs to be backed up with a long-as/s essay full of citations and video clips and references to, like, Joseph Campbell or something, but this is my 49th entry in the list so I am not going to be doing that. Besides, I don’t think my English degree qualifies me to critique film/animation; I don’t even entirely know half the terms I’ve used to compliment this episode. Someone else please explain why this is such a good one.

10. The Quarter-Moon Convergence (Season 4, episode 5)

I’ve mentioned in other entries that the weird, surreal humor sometimes doesn’t work; it feels too much like being odd for its own sake, and sometimes gets so distracted in being surreal that it forgets to include anything funny or meaningful.

This . . . is not one of those.

Putting Harrison and QM together is a stroke of genius; the two of them are literally the most magical beings in the entire show, and using them as the conveyance for this great Lovecraftian horror-comedy was such a good idea. I don’t know if we’ll ever see these two interact in another episode -- honestly, this felt a bit like lightning in a bottle, and I have a hard time imagining what could possibly bring them together again -- but if this is the only episode we get, it is such a fantastic one.

Harrison makes a really good everyman, despite his powers; he’s just the right amount of confident and insecure to pull off that wide-eyed apprentice to QM’s grizzled wise mentor. (The fact that QM is objectively a terrible mentor is beside the point.) I still don’t entirely know what the two of them accomplished, but it feels baffling and momentous, with the perfect amount of gravity to make things extremely tense all the way through to the end.

Also, I guess God is an octopus? That’s kinda cool. I like octopuses.

9. Camp Corp. (Season 3, episode 12)

Another unpopular opinion? Oh ho ho, I am so contrary! I am Not Like Other Fans! I am the Ebony Dark'ness Dementia Raven Way, refusing to have the same opinions of all you prepz.

I know this wasn’t the most well-loved episode, but I think it did a really great job tying together story threads woven throughout Season 3: Max’s selfishness leading to him hurting other people, his growing realization that he cares about his friends and the camp itself, the parallels between him and Mr. Campbell (and the fact that they both get this redemption moment in the finale).

This is the most Max-centric season, focusing on his flaws and character growth, and they pulled it off in a really organic way that felt faithful to his character, touching without being too maudlin. The fact that his feelings about the camp are echoed in Gwen, Neil and Nikki, the other campers, and even Mr. Campbell drives home how important the camp -- and David -- are to this strange little family.

Each season, Max reluctantly becomes a better person, without changing the fundamental core of who he is. That’s a really hard putt for the writers and Michael, and I’m blown away every finale by how they so consistently nail it.

8. Time Crapsules (Season 4, episode 18)

Gwen-centric? Check.

Max learning how to be a better person while still being the bratty kid we know and love? Check.

Looks at one of the most under-appreciated character dynamics in the entire show (i.e., Max and Gwen)? Checkity check-check-check.

I don’t really have much to say about this one, which I should: it was considered a pretty serious letdown to a lot of fans, and I’m not sure how to explain why I loved it so much.

Comparing Max from “The Order of the Sparrow” to Max from this episode is wild. It’s not like 2 different characters: they’re still very obviously the same cynical, self-absorbed 10-year-old trying to survive summer camp. But he’s become a more considerate friend and decent version of that kid, and it’s great to watch. The moment where he and Gwen go too far and immediately regret snapping at each other is still painful (on my god, the VAs in this show, they’re so talented), Nikki and Neil both get nice subplots about how they’re also growing up, and the ending is fuc/king hilarious, perfectly breaking the tension from Campbell’s speech, which is both beautifully done and important to hear, especially if you’re in a period of uncomfortable transition (like, say, in your late 20s, or living through about 5 different national and global catastrophes).

And okay, I found that speech on the wiki for this episode and it made me deeply emotional, so here:

Here's the thing: you've got to take your failures and make something out of them. Take Camp Campbell for instance: a lot of poor decisions went into making this place what it is today. Sure, somewhere along the line it maybe strayed from its path, not living up to the camp it wanted to be. At some point, the camp realized that the camp would never reach the end of its path until it was ready or until it gave up. So, if the camp wanted to keep embezzling money and dealing with foreign powers, so be it! But, at some point, it didn't anymore. I never saw this coming, but I'm starting to think this camp is the best it's ever been.

If this is the last episode of Camp Camp we ever get -- and for at least a little while, it looks like it’s going to be -- I can’t think of a sweeter, funnier, and more lovely bittersweet note for this show to go out on.

7. The Lake Lilac Summer Social (Season 3, episode 6)

And again: No one was surprised.

This is the longest non-finale episode of the show, and it uses that time perfectly. Rather than having some big emotional moments and character arcs -- which are great, don’t get me wrong -- the writers use the extended time to build a series of shenanigans as complicated as Gwen’s matchmaking web, and watching her try to set up a series of dominos (with David, for once, being the responsible, level-headed one) is almost as satisfying as the catastrophic results.

Neil and Snake steal this episode, even from someone as in love with Gwen as I am, and for an episode that’s largely about making fun of shippers, there hasn’t been one that launched nearly as many ships as this. Neil/Snake? Tabii/Erin? Max/Nikki? GWENVID?! It’s all here, and I am here for it.

It was also fun to get a traditional episode setup in a very non-traditional show. I assume this means the beach and/or hot springs episode is forthcoming. (No, Pis/s Lake doesn’t count. Obviously it doesn’t count.)

6. Keep the Change (Season 4, episode 1)

Again, this is an episode I’ve said a lot about in the past -- and I was pretty uncharitable toward Season 3, which in retrospect was very unse/xy of me -- but I stand by a lot of my opinions then: this is a fu/cking great episode.

David is an as/shole, Max is an as/shole, Campbell is an as/shole. No one escapes the as/sholery. David schemes, Max catches him in the scheme, Campbell gets drunk and kind of gay . . . I’m 54 entries into this list and I don’t have much to say anymore: it’s just really good and fun and I love it.

5. Camp Loser Says What? (Season 4, episode 9)

This is another one I kind of hated when it came out, and again for fandom-related and personal-grudge reasons.

Fu/cking Daniel. That motherfu/cker. He shows up for 12 minutes and Tumblr bursts into flames. Every single time.

However, it’s really hard not to love this one. Daniel-as-Trump is a clever but subtle -- I mean, for this show’s definition of subtle -- allegory, and it’s amazing how much this slimy freak and the Woodscouts slot into it. David is a bise/xual disaster with the absolute worst taste in men, Dirty Kevin and Daniel are onscreen together for all of 2.5 seconds and the kevdan shippers lost their minds, and Xemug looks like Megamind for some weird reason.

My only minor complaint is that the ending is a bit anticlimactic, but it plays on Daniel’s stupidity and the value of teamwork, so it’s a very small nitpick in an episode that mostly works like gangbusters.

4. Cult Camp (Season 2, episode 1)

Duh. There’s a really good song and we’re introduced to a charismatic, sinister, and totally dumba/ss villain. What’s not to like?

I don’t think I even need to say anything about this episode. Season 2 started off the summer by throwing a lit firecracker directly at the viewer’s face, and ignoring the fact that we as a fandom proceeded to eat each other, it’s impossible not to get caught up in the episode’s wild energy.

And dude, that song. Fabulous. Fu/ck Daniel, but thank god he’s around to be such a prickly little pri/ck.

Now for the top 3: Literally perfect, wouldn’t change a single solitary thing.

3. After Hours (Season 4, episode 8)

I’m not sure anyone loved this episode as much as me. But this is my list, and I will put this up at the top if I want to and you cannot stop me.

It’s much easier in a lot of ways to talk about the episodes I hated than the ones I love this much. What do I say besides “literally everything about this fills me with joy and my life is better because it exists”? I don’t know. The counselors are my favorite characters, and between Gwen and QM having the weirdest bonding experience, Gwen getting to meet up with people who care about her silly fanfiction, Mr. Campbell being the trash grandpa of my dreams, David getting in way over his head . . . it’s the episode I always wanted, and they made it work so well.

Also, I just discovered that “Gwen Isn’t Your Mother So Stop Asking Her to Rinse Your Dishes” is an actual song and I am overwhelmed with delight. Here, I’m embedding it as well as linking because it’s so good:

youtube

God. This show. What the fu/ck even is up with this amazing, weird-as/s show.

2. The Order of the Sparrow (Season 1, episode 12)

Duh.

The entire first season is a great time (except “Reigny Day”), but it’s a pretty low-stakes kind of great time. There isn’t much in terms of emotional depth until the very end of “Camporee,” despite some hints at darker themes in one-off jokes and quick asides, so this episode comes a bit out of left field, tonally speaking.

But that’s not a bug, it’s a feature; if the show had been this overtly emotional from the outset, this finale wouldn’t hit as hard, and the rest of the season wouldn’t be as funny.

This manages to serve as a capstone to the conflict of the first season, building on episodes like “Into Town” and “Escape from Camp Campbell” in a way that feels totally natural for both David and Max’s characters while revealing new sides of them. It works because it’s so unexpected, but it doesn’t come across as incongruous with their personalities. It’s the first and only time David swears in all 4 seasons, and that line -- I don’t even need to say it, you know exactly what I’m talking about -- still gives me chills.

Also, Gwen sings the camp theme song. Impossible not to cherish.

1. The Forest (Season 4, episode 12)

I’m not sure if this one is a surprise or not. It might be the obvious first place, or it might be a bit of an oddball for some people.

I had a really hard time choosing between this and “The Order of the Sparrow”; I switched their places half a dozen times, and the difference in quality between the two is razor-thin. I think part of that is because it accomplishes a lot of what “Order of the Sparrow” does: puts David in a situation where he’s pushed to his absolute emotional and physical capacity, crushes every shred of hope he has left, and sees what he’s actually made of when you strip everything away. It’s much more dramatic this time around, but it’s the same basic concept.

And just like in the Season 1 finale, what we see is a man who’s determined to do good even when he isn’t rewarded for it, even when he’s actively punished for it. Who wants to love nature, and life, and make the world a better place -- despite his faults, his selfishness and thoughtlessness and anger, David proves that he is fundamentally kind. He’s not nearly as deludedly optimistic as he seems; he just refuses to stop trying.

Because somebody fuc/king has to.

I’ll admit, some of what puts this one in first place is that I’m a sucker for whump, and David really goes through the ringer. However, I also think it’s important to acknowledge the risk Joe Nicolosi took with writing this episode: it’s all centered around a single character, it’s darker and more viscerally bloody than any other episode in the show’s history, the art is focused on these grand sweeping backgrounds that must’ve taken forever to paint, and there’s very little talking in a show that runs 99% on clever dialogue. This could have so easily backfired -- and for some fans it did -- but it was brave and beautiful and breathtaking.

I’ve actually only watched this in full once. It’s really hard to get through; it’s just so intense and even disturbing. But if there’s one episode I'll remember for the rest of my life, even when I’m 80 years old and haven’t seen the show in years, it’ll be “The Forest.”

It’s funny how such a sharp departure from the format and style of the rest of the show somehow manages to perfectly capture the heart of it. Talk about a fuc/king achievement.

So what have we learned?

I don’t entirely know what the purpose of this whole exercise was. I think it was mostly to get myself a nice Camp Camp fix that came from something other than slogging through 20 different fanfic WIPs, and to remind myself of what a strange and fun ride the last 4 summers have been.

I also wanted to take a moment to acknowledge what Camp Camp means to me. This show has been hugely important to me on a personal level: I met two of my best friends through this fandom, and I’ve never been more connected to a community or readers than I have with CC. I know I bi/tch about this fandom a lot, but it’s a big extended internet family, and I’m so happy to be a part of it. Going through all these episodes, getting the chance to ramble about the things I liked and the things I didn’t, was a great way to reconnect with a series and community that I love.

So . . . what have we learned?

1. Season 4 was all over the place.

Some of this has to be due to the sheer volume of episodes, but when I sat down and organized everything into tiers:

There isn’t a single category Season 4 doesn’t have at least one episode in. I was surprised to see how high a lot of them ended up; it really was the best and worst of the show so far.

For the fun of it, I decided to give a number to each placement -- 60 points for the #1 episode, 59 for #2, etc. -- and see how each season broke down. Because that’s that kind of thing I think is worthwhile, apparently. And . . .

2. Seasons 1 and 4 are really good, actually.

Well, I don’t think anyone’s surprised to see how well Season 1 stacked up; it was amazing. But I was surprised to see how much I ended up enjoying Seasons 3 and 4, when if you’d asked me before this little project, I would’ve said they were the most underwhelming. Maybe I messed up the numbers a bit -- I’m no mathmagician -- but not only are they all really close, but Season 4 was one of my favorites.

3. This entire show is really good, actually.

One thing that really struck me when I put it all together visually is how most of the episodes sit in the “good,” “really good,” or “amazing” categories. The amount of episodes that are memorable, fun, and/or emotionally resonant is crazy. I don’t now how many other tiny cult-hit web series can say the same, honestly, and all of the writers, animators, directors/producers/other people whose jobs I don’t really understand, and voice actors should be commended for their outstanding talent and hard work.

4. Thank you, Camp Camp.

It was a real pleasure to relive all of these episodes again and think about what they meant to me. It won’t be the last time I sit down and watch this show -- and it certainly won’t be the end of my being a shrieking fangirl over it -- but with this break, where we have to get through a blazing, extremely difficult summer without a new season to fawn over, it’s nice to stop and appreciate what a precious gem of a show this is.

I hope everyone involved with Rooster Teeth is taking a much-deserved rest and prioritizing their health and well-being. Thank you for creating something truly special, and I can’t wait to see what happens next.

#campcamp #camp camp roosterteeth #thank you RT Animation for giving me my life these past 4 years #cc david #cc max #cc gwen #i'm not tagging all the characters #campcamp masterpost #i really hope this doesn't get hidden from the tags but #guys this was a super intense labor of love please check it out #but also reading it is also a super intense labor so i get it if you don't XD

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dreamerandcrazy · 4 years

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Ok, so I haven't been able to comment much on my Riverdale rewatch mostly bc i'm watching it with my boyfriend and we have an agreement of no cell phones when we're watching, otherwise we can't pay proper attention to it. But I wrote down some notes about the episodes I did watch (I watched up until ep 6, which is very ironic bc apparently today is its anniversary, so yay for my perfect timing). I actually remember most of the stuff that happened in s1, so here's mostly a few things I paid more attention to or noticed about the characters and the ships, or things i'm able to look at through a different view now that i've watched all the seasons. Strap in if you want to see my notes, if not just scroll please, no ship or character hate here please. Also, feel free to ignore, this is really just a personal look in some stuff I didn't notice in my first watch.

- Betty's character used to be much happier and lighter in season 1. I know we're introduced to "Dark Betty" right in episode 3, but still, I feel like the way Lili played Betty in season 1 did not hold the same "darkness" as it does in the following seasons. The scene where she is dancing happily in her bedroom because she's going to homecoming with the boy she likes? The scene where she introduces Jughead to the Blue & Gold and gets him to work with her? Her genuine innocent happiness at seeing her sister again after so much time? The way she interacted with Kevin and Veronica? Those were all chef's kiss because she actually feels like a teenager in them. In all her girly glory, she radiates youth energy and it's a thing that was sadly lacking after s1. Btw this is not a critique at Lili's acting at all, I blame it entirely on Ras and his obsession with dark Betty.

- There's actually so many indications of Cheryl being a lgbt character in the first episodes that I have no idea how I missed it the first time. But then again, there were many indications with Veronica as well, and sadly that's not the path Ras chose for her.

- Jughead in s1 is truly so superior in so many ways that it's not hard to see why he quickly became such a fan favorite. I think even if he wasn't played by Cole Sprouse, he still would have conquered many fans' hearts. Sadly, the things that made Jughead such a loving and interesting character for me also fizzled out in s2 when the writing team decided to make him a woke serpent leader instead of allowing him to sticking to his true personality as a passionate mystery lover, a dedicated friend and very nerdy, which was very cute. I feel that we got some of that back for him in s4, which was good, but sadly s1 is where my love for him really stayed to stay. But I still care for him, and s5 has a promising storyline for him which i'm excited about, so let's see if s5 Jughead can become better than s1 Jughead.

- Going back again to Cheryl for a sec, I just noticed that the red lipstick actually wasn't that common for her in s1? At least not in the first five. I wonder when did it start becoming her trademark? Anyways, it's actually a really good look her and allows you to appreciate Madelaine's natural beauty even more.

- Also, did anybody notice how Alice lowkey figured out who killed Jason in ep 2 lmao, like... in episode two she legit says she wouldn't be surprised if the Blossoms themselves had killed Jason, which... is what happened LMAO, considering we know it was his father. And even more hilarious and tragically ironic note, in ep 6 she's laughing at Betty suggesting that Hal killed Jason because "do you think your father has the stomach for it?!"... Ma'am... i'm-.... 😂😂😂😂.

- This rewatch has reminded me of how much I adored and how I much I miss Josie and the Pussycats. The girls were such a nice addition to the cast, and their songs were so beautiful. I truly wish we get to see them again someday, but at the same time I also think the actresses deserve to be at a work place where they're given the treatment they deserve and not completely ignored and treated like extras.

- Archie/Valerie was super cute and is very underrated in the fandom, but i'm glad Valerie stood up for herself and didn't take any of Archie's or Cheryl's sh*t. Still sucks because they were really good together, though.

- Why was Jason not allowed to talk, lmao? Like, i'm sure it's become a running joke in the show at this point, but back when season one was airing what was the excuse for it? He appeared in so many flashbacks and scenes and we still never heard a single word ☠️☠️☠️☠️. I just want to know what was the reason lol.

- I liked s1 Reggie, but I feel like Charles Melton's Reggie is better because he actually feels like a douche with good intentions lol, and he has more of a personality. Most of the time I even forgot about Reggie in s1, but after s2 he definitely made me more aware of him. So for that, I like Charles Melton's Reggie more. But the actor from s1 still did a good job with what he was given.

From now on I will be talking about the ships, so bear with me, and know that I am a multishipper. Yes, I have my preferences. No, my word is not law, it's just an opinion, so please respect it.

- Bughead is still super cute in s1. I feel like from s1 they will always be my otp, even if I no longer feel as strongly about them now and have a different insight as to where I would like their story to go, and now I definitely see the problem others had mentioned before of how they kind of took over the show, which is something I kind of closed my eyes to before... But I really loved them in s1. It felt like a very juvenile teenage relationship, they didn't give much thought on why and if they should be together, they just went for it like teenagers usually do, and they were very very cute together.

- I feel like if you don't count Beronica (because they really were the best no matter what you say or ship), if there's a ship that deserves "best chemistry" award for s1 is probably Varchie. I lost my interest in them years ago, but this rewatch reminded me of why I actually loved them once. They never really became an otp for me, but Kj and Camila's chemistry in s1 was VERY GOOD, and I really liked them. Their kiss in the pilot was electric and the s&xual tension was OOF, and that chemistry carries on through the season. You can easily tell something will happen between them eventually. It makes me sad bc I don't know what happened after s1, but their chemistry from s2 onwards was just... not there for me. Which is ironic bc it's the season they truly started dating and they got a lot of smexy scenes, but I just... didn't feel it. But I'll leave that comment to my s2 rewatch. For now just let me enjoy Varchie's chemistry in s1 while it lasts because it was really good.

- Now we get to Barchie, who I made clear was the reason for my rewatch, so let's get to it. I LOVED the way Barchie was written in s1. I remember when I first watched Riverdale, I was curious about their dynamic but didn't put much thought into it because I loved Bughead too much and wanted them to be together, and I thought Barchie would be the traditional "first og ship" thing and wouldn't have a big follow up, but boy was I WRONG and am I GLAD for it. I'll talk more about their development in the next seasons when I get there, so for now let's focus a bit on s1. Just in like the first two episodes, there is so much Barchie foreshadowing, like, it's legit insane how it was right there in my face and I missed it the first time! "I have never felt what i'm supposed to feel with betty", "it's not my fault he doesn't like you", "I can't give you the answer you want"... Omg, those are obvious eyebrow raising "this will come back to bite you in the a$$" moments and it's incredible how they actually DO! I would call it clever writing, but like... it's Riverdale lol. So I really am just glad that the ship was done this way, i'm glad Barchie has the back story that they do, they've really come a LONG way and i'm happy I get to experience their whole growing storyline. It's also especially good because s1 actually provides you with scenes that show you their friendship and how they're so close, you see them hanging out, talking, their pictures together, everything was just really done well with them. Still have a bit of critique with the way Archie contradicted himself sometimes regardinf his feelings for Betty, but let's be honest, we've watched enough Riverdale to know that's just a problem with the writing.

- Kevin/Joaquin is still my favorite Kevin ship, i'm sad it's completely impossible to go back to them someday so for now i'll just be really glad it existed and that I got to see them even if it was short-lived. They had great chemistry and their kiss scenes always outsold.

- Beronica... sigh. Beronica. The most wasted chemistry i've ever seen on CW and I've watched a LOT of CW shows. There was so much potential there, s1 was practically overflowing with them and it's one of the reasons it became some popular. I remember when the Beronica fandom was the biggest one, ah, good times. Veronica and Betty were easily the best part of season 1, their friendship, their lowkey romantic moments, they were just superior in every way. This ship deserved better, not even just as a ship, but as a friendship.

- Veronica's s1 hair >>> Veronica's hair in seasons 2-4. I loved the side part and I am glad it's back in season 5, it looks so much better like that.

- Cheryl, as always, deserves better. Can't wait for her to meet Toni so I can watch again Cheryl finally get to love someone and be loved back, which is exactly what she deserves.

For now, that is all! I will probably make another post soon when i'm done with season one and from season two on I will be live-blogging the episodes since I will be watching it alone. Once again, pls, no hate, my thoughts are my thoughts. Peace.

#bri rewatches riverdale #riverdale #barchie #choni

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prince-of-elsinore · 4 years

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1, 6, 7, 28

1. Fave Ghost ep

Already answered!

6. What do you like about your least favourite season?

Tbh I'm not sure what my absolute least favorites season is. I'm not a fan of Dabbernatural in general. That said, on rewatches it's always season 9 that I tend to stall out on. Even if it's not objectively the worst, I find it hardest to watch for a variety of reasons. So I'll go with season 9. I like Abaddon! She was a really cool antagonist!

7. What do you dislike about your favourite season?

My favorite is season 2, because it is uniformly excellent and also nostalgia :) It's actually really hard to think of something I don't like... Okay, Sam's thing with Madison the werewolf in Heart is just so awkward and forced and melodramatic, imo! When she folds her underwear in front of him? Who DOES that? 😂

Ok but slightly more serious answer--I guess they could have gotten more mileage out of the special children. Developed more of them as side characters, had a three-part finale instead of two-part :)

28. Cruelest things TFW has done to each other?

Oh man this one is so hard, and hard to talk about.

I guess I’ll start with Castiel. I think him taking down Sam’s wall was very shitty! That’s probably actually the cruelest things he’s done to /both/ of them, considering how much Dean cares about Sam, and that the aftermath had terrible repercussions for them both.

Cruelest thing Dean has done to Cass—I honestly don’t know, I don’t really keep track. But he’s pretty rude to him in general? Like when he kicks Cass out of the bunker in s9 because of Gadreel, he doesn’t even try to soften the blow. I know he’s not happy about it, but he could have tried to help him more, I guess.

Cruelest thing Sam has done to Cass—has Sam ever been mean to Cass? I can’t remember lol. So okay, sort of tongue-in-cheek answer: being Dean’s no.1 and relegating Cass to eternal third wheel status. 🙃

For Dean and Sam, I’m excluding Soulless and Demon states.

Cruelest thing Dean has ever done to Sam: I have two answers, can’t decide which is worse. Obviously, tricking Sam into accepting Gadreel is one. I have such complex feelings about that whole situation. While I’m not unsympathetic to Dean’s (admittedly impaired) reasoning in his moment of desperation, it’s probably the worst thing he’s done in terms of repercussions. Sam had to go through the terrifying experience of possession again, and being used to kill Kevin was especially traumatic. (I have so many more thoughts about this arc but this is not the place… basically I just wish the show let them have the big blow up confrontation they needed and then actually talk about it and have Dean apologize.)

The other is MOC Dean telling Sam he had to die and nearly killing him. I don’t hold MOC Dean’s actions against him because he was clearly under the corrupting influence of an external power—I read a good meta recently likening the MOC to brain damage that would impair a person’s capacity for empathy, and I think that’s accurate. In this case, there was hardly anything separating Dean from demon-hood, so maybe it’s not fair to count this. But I’m thinking of the cruelty of Sam having to go through that. Sam, who so badly needs his big brother’s approval, needs to hear that he thinks Sam is good. Dean, who has gone to such lengths to keep Sam alive this long, going back on this core tenet of their relationship and Sam’s very identity. After Sam got a second chance at life after the Cage, he has to hear his big brother tell him he needs to die again for the good of the universe, when all he’s been trying to do is save Dean. :C

Cruelest thing Sam has done to Dean: Two answers, again. The first relates to the post-Purgatory fallout. It’s /not/ ‘he didn’t look for Dean!’ because I get that he was lost and in mourning. But it’s Sam’s reaction to Dean’s hurt that I take issue with. Now, don’t get me wrong: mostly, I blame the writers. It’s just not a very well-handled arc which is why it seems OOC. But Sam doesn’t really acknowledge Dean’s feelings, which imo stem from a misunderstanding, a lack of communication on Sam’s end. In a way, Sam not standing up for himself is the most hurtful thing he could do to Dean here. He doesn’t seem to care to explain his mourning process or mental state—he just leaves it at “but we promised!” which honestly makes it sound like he didn’t miss Dean, didn’t want to bring him back, was perfectly happy with his woman and his dog. He lets Dean believe that he really doesn’t care as much about their bond. Which obviously isn’t the truth, but if I were Dean in this situation, I’d be shook up too.

The other one is actually sort of a similar issue, and it’s also related to Gadreel. It’s about Sam’s ‘I wouldn’t have done the same’ comment. Again, don’t get me wrong—I understand Sam perfectly here. I know why he wouldn’t do the same, and I’m not taking issue with his stance at all. I also get that he is extremely, validly pissed. But here, again, though I’m not blaming Sam, I’m thinking about how it affects Dean. It’s another part of the Gadreel fallout I really wish the writers had addressed. Because Dean needs to understand Sam’s anger, but with that comment, Sam isn’t really trying to make Dean understand anything. He’s not bothering to explain himself, and not caring that it hurts his brother (right now, can’t blame him given his anger. Down the line though, they should talk). All that Dean hears with that statement is “I wouldn’t save you”—a reiteration of the problem with communication in s8. So again, Dean is left believing that Sam really doesn’t love him as much, and it’s a terrible blow. His confidence in the one thing he cares most about is utterly shaken and it sets him on a dark path. Sam wasn’t wrong to say it, but I wish at some point he’d tried to clarify (which I think he was trying to do through his actions in s10, with his desperation to save Dean—but that still doesn’t clear up the misunderstanding! Grr writers)

Hm, interesting that Dean’s worsts are actions, and Sam’s worsts are words (or silences). Not sure what it means, take it as you will. And please don't hate me 🙃 I love both brothers so much!!

Thank you for the ask!!

Ask game

#spn critical #castiel critical #dean critical #sam critical #just to be safe lol. the point is kinda to be critical of everyone 😂#my meta #ask #spn

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mae-gi-writes · 4 years

Text

Deobi Playlist (EP 4)| The Boyz Imagine

Ep 4: In which Mae gets bad news and Kevin comes to the Rescue

The Boyz x Hospital Playlist inspired drabble series.

Main Characters: Hyunjae, Juyeon, Kevin and OC (Mae)

Sides: the rest of The Boyz.

Genre: fluff, slice of life, comedy, BROMANCE BRUH

EP 1 | EP 2 | EP 3 | EP 4 | EP 5 | EP 6 | EP 7 | EP 8 | EP 9 | EP 10 | EP 11

----------

“She what?”

Mae’s grip instinctively tightens onto her phone. Her heart starts hammering inside her chest without really meaning to, and suddenly the world’s noise falls away only for the words inside her phone to echo through her ear, right around her brain like a numb melody that takes her a bountiful of effort to break apart and comprehend.

“Okay,” Mae tries her hardest not to let her emotions take over her next order, forces herself to put some distance with the situation, “Okay. I’ll be there. Five minutes max. Yeah. Hm. Okay.”

She doesn’t remember her hand placing the phone back into her receiver, doesn’t remember what she had been supposed to be doing before all this. She sits there, a numb feeling growing inside her chest and instilling the air with a heavy emptiness.

It happens all the time, she tries to tell herself fiercely when the tears slowly creep up on her, it always happens. That’s what being a doctor is about.

But that doesn’t help. Not in the least. Soon enough, the girl finds herself curling up on her office chair, making herself as small as possible, clamping her lips shut so that no one can be subject to the sobs that are racking up her throat with an insistence that burns through her trachea.

Her patient had only been a little girl, only five years of age. She had been diagnosed with Stage Three Terminal Lung Cancer, and yet when the first operation had shown signs of hope, Mae had allowed herself to dwell on the fact that there might be a happy ending.

But there never is, not really. Not when people have Cancer.

Because even when it’s gone, it never really is. Most of the time, it comes back to haunt you, one way or another.

But right now is definitely not the time to dwell on her personal feelings. People are depending on her, her patient’s parents and her subordinates are all waiting for the next step. So she picks herself up, breathes in a shaky, rattled breath, before slipping out of her office door to make her way to the cancer department.

It’s always tough breaking the news to the ones who cared the most. Mae learnt that this was just something she’d have to live with, considering that it is her job. So she tries wrenching herself out of the situation, tries putting some distance like she’s just a spectator, a bystander of the whole thing. By the time she makes it back to her office though, she barely has any energy left to reel in her emotions.

“Mae!”

Not now, she thinks to herself. Barely turning over her shoulder, she catches a glimpse of Hyunjae running down the corridor, worry etched on his face.

“You okay?” he was breathing hard, had practically ran all the way from his ward upon hearing the news, “I heard from one of the interns--”

“I’m okay,” Mae produces a weak smile, which does nothing to help her situation because he can read right through her. Instantly, Hyunjae’s eyes fill with concern as he takes a step closer, “Listen Mae--”

That’s enough for the tears to burst out of her. Like a broken dam, the tears keep coming, wave after wave of emotion crashing through like a storm that causes her knees to give out beneath her and she’s glad when Hyunjae manages to catch her in mid fall, for she is pretty certain she wouldn’t have been able to catch herself.

He’s calling her name. She knows he is. But it takes her a few long seconds for the words to make some sense through the bubbles of guilt rolling through her chest.

“Do you want me to call Kevin?” Hyunjae’s voice breaks through her stream of thought and she barely starts nodding her head that the said man takes off down the hall like there is fire on his heels.

A few minutes later feel like eternity, until she dimly feels the warmth of a hand press onto her shoulder. She gets a whiff of vanilla and mint wafting through the air; Kevin.

“Hey,” his murmur comes a few seconds later, washing over her like medicine soothing over a wound, “Mae, it’s okay. Come on. Let’s get you to your office.”

She stumbles over her feet as he gently wraps an arm around her shoulder to pull her along, barely aware of Hyunjae’s worried figure trailing them with an uncertainty that can only be found whenever he’s placed in such situations.

“Here,” a tissue appears before her face and she grabs it gratefully, blowing her nose without restraint while Kevin squats before her, his hands on either side of her body cradling her with warmth. Hyunjae closes the door to the office and leans against it, arms crossed over his chest with barely concealed concern furrowing his eyebrows.

“I’m sorry,” Mae mumbles out through a series of choked sobs. She forces herself to stay steady, but it proves to be harder than she thinks. Kevin, probably noticing her struggle, quickly places his palm on her knee to keep her steady before his head tilts up to hers.

“It’s okay, breathe,” he inhales a breath so that she can follow, exhales it out through his mouth, “that’s right, that’s it. You’re doing great Mae.”

His other hand reaches out to rub comforting circles over her arm, his eyes never straying from hers as her heartbeat slows down, her tears drying up and her sobs diminishing into soft sniffles.

Mae has always been the one with the fragile heart, despite her berating statements that she was tough and just as resilient as all her friends. Behind closed doors, she would always be found crying for the little girl who hadn’t gotten to say goodbye to her mother, for the boy who had dreams so big they didn’t fit in his heart, for a family broken apart because of a mere disease that had taken one’s life away.

Life is unfair in that way, and while Mae tells herself over and over again that it’s not her fault, the guilt still sits in her stomach, a stubborn rock that has etched its way into her like a scar that re-opens every time she finds herself in a similar situation.

She’s lost count of how many times she breaks down behind closed doors, how many times Kevin has to bring her to her senses to stop her from quitting altogether. It’s a flaw, he had stated firmly, but definitely a flaw that shows the world how much she cares, a flaw that is a necessity in such a harsh world.

Closing her eyes with fatigue, she drops her head and Kevin squeezes her shoulder in comfort, “I’ll take you home, okay?”

Hyunjae steps forward to hug her goodbye while Kevin proceeds to zip up her bag, and Mae allows herself to get swallowed up by his tall frame, feeling the strength of his arms holding against him.

“Take a day off tomorrow,” says Hyunjae when he pulls back, eyes lingering over the blue aprons underneath her eyes, “you need it.”

Mae doesn’t agree, causing the said man to sigh, “you’re impossibly stubborn for someone so tiny,” and that’s when she cracks into a tiny smile despite the situation, before Kevin motions for her that they should go.

“Don’t you have a night shift today?” she can’t help but ask when they reach the parking lot. Kevin unlocks his battered Honda and she slides in, relishing in the warmth of the seat as her legs get some relief.

Kevin slides into the driver’s seat beside her before tossing their bags into the backseat, “I made Chanhee cover for me.”

“But isn’t he just--”

“He’s a resident and a pretty good one at that, and I told Hyunjae to keep an eye on him,” Kevin slowly slides his car out of the parking lot and slides out into the pouring rain coating the streets in a slippery glistening layer, and it’s not long before they are zooming down the highway back to their neighbourhood. It makes Mae feel a little bit better that the said man lives just across the street from her, so that it’s not much of a detour whenever he has to drop her home after tiringly long days like these.

She had asked to pay for her part of the gas once, but he’d flat out refused, quite offended that she’d think him so cheap he’d accept her proposal. Mae had only rolled her eyes, slightly touched at his chivalry.

He pulls over to her side of the street and Mae is about to unbuckle her seatbelt, when he sets the car into park and turns off the engine. She shoots him a quizzical look that prompts him to answer, “I’m not letting you go to bed like that. You need food.”

“I’m not a baby--”

“Can’t hear you,” he singsongs as he slides out of his car and walks up to her front door as the woman hurries to catch up with him. As usual, Kevin’s stubbornness outshines her concern for his sleeping schedule and she finally relents in allowing him to cook her some kimchi stew, partly because he’s so stubborn and partly due to the fact that he’s an amazing cook.

“You really didn’t have to do this,” Mae says when the table is set with a pot of steaming kimchi stew, two bowls of rice on either side. Kevin sits opposite her and doesn’t hesitate to plop a huge ladle of stew over her rice bowl.

“Stop complaining and eat,” he answers with a stern look, to which she obliges without much protest, sparing him a few glances once in a while. It is in such moments that she can’t help but find her friend attractive, no matter how much time she’s spent with him growing up. Kevin, she realized, is now a man just like any other, and it sometimes hits her that he can get whisked away at any moment in time, just like Juyeon has been. Not that she minds, but a pang of realization dawns through her then, prompting her to question how long she has before her friends all veer off to get girlfriends, wives, and families of their own. Just the thought causes her stomach to churn uneasily.

“Why aren’t you eating?”

Her attention snaps back to reality the moment Kevin’s words pierce through her brain. Her eyes find his and she quickly blunders for an answer, “oh I was just thinking, you know…”

“About?” asks Kevin while spooning some soup into his mouth.

“Juyeon has a girlfriend now, so that means he’s going to be ditching us more often,” Mae can’t help but blurt out even though she winces at how harsh she sounds, “and soon you and Hyunjae will be dating, getting married, have kids of your own.”

“Trust me, I don’t think Hyunjae is ready to have kids so soon,” Kevin says, “he can’t even take care of himself.”

“You know, girls can change that.”

“That doesn’t mean it’s going to happen.”

“okay fine, not Hyunjae then,” Mae laughs, “but you like kids, and you know how to take care of yourself. Why haven’t you gotten a girlfriend yet?”

Kevin falls silent at her question, a silence that seems to linger on for a little too long while an undecipherable expression seems to flicker across his face.

Mae raises a brow in question, “what? Why are you looking at me like that?”

“Nothing, I just--” Kevin shrugs although she knows it is so much more than that, “there is someone.”

“What?” her eyes bulge out of their sockets, “and you didn’t tell me?!”

“Nothing happened yet,” he says hastily, raising his hands as if in surrender, “she doesn’t know anything.”

“Why not? Are you scared she’s going to reject you?” Mae throws him an astounded stare, “have a little faith in yourself, Kev.”

The said man makes a noncommittal noise. Mae continues, “for what it’s worth, all the girls in my ward know who Doctor Moon is and trust me, they are interested.”

“What about you?” Kevin’s tone turns serious then, his voice ringing a little deeper, gaze zeroing on hers, “What do you think of me?”

“What?” She blinks at him, partly guessing that his words are a mere joke. But when Kevin’s expression stays unflinching on hers, confusion stirs through her mind and she can’t help but let out a little snort to lighten the atmosphere, despite the sudden constriction inside her chest, “why does it matter what I think of you?”

Kevin stares at her for a moment longer, gaze probing hers in a manner that seems like there’s something else, more things he wishes to say. She opens her mouth to ask, only to clamp it back shut the moment his eyes slip away and focus on the food before him instead.

“Nevermind,” he mumbles out, before stuffing his face with rice and kimchi, “it doesn’t matter.”

Mae is certain that whatever it is definitely matters to Kevin. There’s a sneaking suspicion that he’s hiding something important, something that she knows, yet doesn’t wish to say it out loud for fear that it might just make it all the more real. Her heart flutters suddenly inside her chest and she shuts it back down the moment it breathes to life, not wanting to bring about any unwanted suspicions for fear that hoping will only make it worse.

So she lets the matter drop and moves on towards lighter gossip involving the staff. Kevin’s mood brightens at her change in subject, and the awkwardness that had been lingering in the air dissolves as the two continue talking like there’s nothing in-between the lines.

At least that’s what she likes to think.

--------

“Hey Juyeon, can I ask you a question?”

The said doctor looks up from his pile of paperwork, his glasses slipping down his nose as he does so. Mae stands in the doorway, glancing throughout the room and scrunching up her face in mild disgust. She motions towards their almost invisible table, “you guys should really try organizing your stuff better. I can barely breathe in here.”

“This is all Hyunjae’s, you know that,” Juyeon scowls and leans back against his office chair. Then, realizing what she’s gone through yesterday, quickly frowns at her in concern, “more importantly, how are you feeling?”

She brushes him off with a wave of her hand, “oh I’m fine. Don’t worry about me.”

“Okay,” he tries gauging her expression for any signs that she’s lying. When he doesn’t find any, he gestures for her to continue.

“Do you know who Kevin’s into these days?”

Juyeon chokes on his own spit, “Wh--What?”

“Do you know,” Mae repeats slowly, “who Kevin likes?”

“Why--How--Why would you--” Juyeon fumbles with the question like it’s a ball of fire dancing between his hands, “--Who told you that?”

“He told me.” “WHAT?”

“Uh yeah,” Mae frowns, “Why?”

“Uh--Well…”

“Well?” She crosses her arms before her chest, cockng her head at him as she waits.

Juyeon would later thank the heavens when another figure suddenly bursts through the door, “Juyeon!”

The latter is quick to scramble to his feet, “Dr. Sangyeon!”

“You’re shadowing me, now,” the said doctor’s coat is ruffled, clothes rumpled and hair sticking up in all kinds of places, “the stupid intern in question called in sick this morning. Honestly, young people these days--”

Mae doesn’t hesitate to move out of Sangyeon’s way when he blunders past, still muttering to himself about the issues of modern society. Being the oldest of the staff group makes Sangyeon the most fearful one out of all doctors, with his stocky build and his stern face that seems like he’s never even cracked a smile before, it is no wonder that most interns fear for their lives whenever their shifts coincide with his.

That includes Juyeon, who wastes no time in scrabbling for his coat and quickly blundering past Mae with a quick apology and a promise that they’ll meet later for dinner.

So Mae tries to corner Hyunjae in-between appointments instead, in hopes that he will give her the answers she seeks.

That, however, proves to be futile.

“Huh?” Hyunjae gawks at her like she has grown an additional pair of eyes on her face, and Mae frowns at him in annoyance before waving her arms in barely restrained frustration, “what? Didn’t you know?”

“Erm...I--Uh--” He suddenly makes a dramatic point to check his watch, “Oh my! Look at the time!”

“What? Hey, wait--” but Hyunjae is practically flying out of the door too quick for her to catch up with him. He jogs away, turning over his shoulder to give her a salute, “I’ll see you later, Mae!”

Mae lets out a frustrated sigh, almost stomping her feet in the process. Why is it so hard to get people to talk to her these days? She thinks to herself, huffing and tucking her hair behind her ears in a frustrated manner. She has no other choice but to go about her usual activities, checking on patients and making sure that all of them are getting the right treatments. She walks in and out of departments for the right paperwork, help out some other staff members in need of additional advice and occasionally drop hints about Kevin’s newfound crush, to no avail. It either seems like no one has noticed, or they just avoid the subject altogether, brushing her words over their shoulder like they mean absolutely nothing.

She’s almost about to give up when surprisingly, her answer comes dropping out of one of the residents in the Neurosurgery department.

“Wait? You don’t know?” Jacob Bae’s eyes widen with surprise, taken aback by her question and making her eyebrow quirk up questioningly, “Oh my god. You don’t know. You’re so dense. Everyone knows!”

“Really? Because I’ve been asking literally everyone and none of them have given me any answers,” she shoots back. Jacob shakes his head, a grin forming on his face. Taking a quick glance around to ensure that there weren’t any ears in the vicinity, the caramel doe-eyed doctor ushers her closer and cups his hands over his mouth:

“Kevin Moon is crushing on you.”

-------

OH HO HO HO THINGS ARE GETTING SERIOUS.

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