#just because we can SEE that john has some weird relation with both demons and god. dont fucking know why!!!!!

[thebleedingeffect]

I keep thinking about whatever in the hell Gary and John have going on, like it's in no way normal to me whatsoever, they have something going on and it makes me SICK!!! The thing is that I don't think Gary could ever be "fixed" and he doesn't want to, the man feels absolutely no remorse for his actions and does all that shit with a smile on his face. John on the other hand feels a painful amount of guilt for things that are wildly out of his control and continuously blames himself for despite actively trying his best. John and Gary are opposites in so many ways, but at the same time, it's acknowledged that Gary is extremely good with his words and knows how people work! And John does have a thread of darkness within him, he just continuously picks the self-sacrifical option and throws himself on front of others at every damn opportunity. I just think that Gary could make John SO MUCH worse but I also think... John could make Gary worse... much to think about

[still-a-morosexual-help]

OBEY ME! LESSON 60 DETAILED SUMMARY + DISCUSSION/THEORIES

*I wrote this days after the lesson was first posted and never bothered to go back and edit it so meaning there will be me theorizing about the next lesson as well

*I write a small para for each chapter and I write it immediately after finishing that chapter so there’ll be theorizing about the next chapter too

*I swear more than usual here

*Some of the dialogue is heavily plagiarized and a few is lifted directly from the story, the game is to figure which is which.

*Summaries and Discussions/theories for all the other lessons can be found on this blog under #obey me spoilers or #my theories or #my headcanons

Welp this is it… DAMNNNNNN the last two seasons each had a lesson near the beginning of the season dedicated just to a date with Mammon and I’m praying S4 has one as well and though it sucks Mammon & MC’s hellos and goodbyes are always really sweet and ahhh how am I already missing them. I’m desperate for S4 and I haven’t even finished S3 yet… fuck okay. 

Post Lesson 60 edit: The last chapter goodbyes are gonna be direct quotes cause I’m an emotional mess. 

As MC is about to head outside Mammon calls out to them and tells them to bring him a cake on the way home, they ask him why he’s been so cold and distant with them lately and he frowns at them and says he doesn’t know what they’re talking about and tells them not to forget the cake and then he leaves. Asmo who had being eavesdropping laughs and says that even for Mammon that was oddly bossy and arrogant. He then asks if he can tag along with them partway cause he’s heading to the spa. As they walk past the lake Asmo tells MC not to hold Mammon’s recent attitude against him and that he’s so upset about having to leave MC again that he doesn’t know what to do with himself and since rn all he can think about is MC he’s not sure how to act around them. Asmo says Mammon’s spending too much time dwelling on this. He looks disappointed and shakes his head when he asks himself what he’s gonna do about Mammon and that he’s being a child. (IS2G Asmo is the number #1 Mammon x MC shipper???????? Relatable) MC asks him if he hasn’t been dwelling on leaving. He asks if they wish he was and says they’re always on his mind and that’s why he doesn’t seem any different now. He says the actual reason he’s still so himself and not outwardly upset is cause he has faith (HA!) that they’ll end back together again like all the previous times they had to separate. He says he’s still sad about having to say goodbye but all that makes him want to do is treasure the moments they have rn. They can hold his hand, kiss him or say that’s a really Asmo thing if him to say. He smiles and says positivity is one of his charms (Asmo ily but weren’t you the one who got drunk and cried and needed to have Satan carry you back home the first time MC left…) They eventually part ways. I’m guessing the order of the rest of the ‘goodbyes’ is gonna be Satan, Mammon and then Lucifer cause those two always end up last in that order…

EYYYYY! They run into satan and ask where he’s off to. He says he’s off to the bookstore to stock on some human books before they head home and asks MC if they want to tag along. He hands them a list and tells them to start looking from the top and that he’ll start from the bottom. He says thwy can use magic as long as no human sees them (ME: thinking back to that one human MC, Belphie and Diavolo scared the shit out of…Hmmmm). They agree and he says that knowing they studied under Solomon makes him feel safe to trust that they know what they’re doing. He says he always knows he can count on them when he needs them and that being in the Devildom without them will be troublesome (I said in the fairy dust/angel lesson that Satan & MC are incredibly similar and that their friendship is highly underrated and I still stand by that.) MC uses magic to lift a book from a high shelf and Satan warns them that someone’s coming making them loose their concentration and the book to come falling down, Satan shields them though and gets hit with it instead. They each ask if the other is alright and he says they need to be more careful that no one sees them (ME: INTENSELY THINKING BACK TO THAT TIME WITH DIAVOLO AND BELPHIE WHEN MC WAS WILLING TO BARBEQUE A MAN FOR FIRING A GUN AT BELPHIE) He blushes and tells them he’ll show what he means and he takes them behind a bookshelf where no one can see and wraps his arms around them and pulls them close (Satan what kinda romance novel pickup line was that??? Also all I can imagine is that SNL bookstore skit with John Cena & Aidy Bryant). MC can kiss him, wrap their arms around him or just thank him for shielding them earlier. He says there’s no need to thank him and that he’s just happy they’re not hurt, He then laughs softly and asks if they’ll be okay once he’s gone. They ask him in turn if he’ll be okay. He blushes and says he won’t and that just thinking about life without them was enough to drive him mad.

At dinner levi asks if everyone is there and Beel looks sad and says Mammon isn’t, Belphie sighs and says he always has to make things difficult. Levi says it’s okay and he gets it and that Mammon obviously thinks dinner’s gonna suck since Levi made it and holy shit can we pls take Levi to a therapist pls? Belphie says Levi’s beating himself up for no reason and Levi goes on a rant about how he’s an ultra-negative, depressing otaku and how no one likes being around him ajndsvddjsnk LEVI pls!!? (unrelated but Levi’s actually my third favourite) Belphie asks MC to go get Mammon and Beel tells them to hurry. They knock and enter his room. They ask him what he’s doing and he says he was just watching a shark movie Satan gave him. He asks if they’re here to tell him about dinner and that they should head back and eat and not to worry about him. He looks upset and says he’s not in the mood to eat. They say they’re really gonna miss him and he’s eyes widen for a sec before he looks away and asks if they’re some sorta kid. He then laughs though and says they’re not the only one who feels that way. He blushes and says of course he’s gonna miss them too and that they already knew that. He asks if there isn’t some other way for them to stay together forever. He says that being a sorcerer they have to make something happen. They can say a.) that despite being a sorcerer they’re still pretty green and he laughs and says the one time he needs them they’re no use at all. He blushes and tells them to hurry up and ‘ripen’ and that a green sorcerer won’t cut it. B.) being a demon he should make something happen. He says if there was something he could do he woulda done it a long time ago. Looking aside again he says hanging out with them and talking about dumb stuff is something he takes for granted and he just realized he won’t be able to do it again anytime soon, he says that once he’s back in the devildom life would be dull and that once he used to be happy as long as he had money but after they met that was ruined. And now during his free time he thinks about them and feels all worried and unsettled. He blushes and asks them to stay with him and keep him company since all this is their fault. Belphie texts them asking where the fuck they are they say they’ll have dinner with Mammon later, he then wishes them luck with Mammon.

In the music room Levi’s bemoaning how he understands that any coffee he makes won’t be good enough while a wide eyed Asmo asks him what he’s talking about cause as you can see Asmo is drinking his coffee, Levi says he never admitted it was good though. Asmo smiles and reassures him that it’s actually good and asks Belphie to back him up. Belphie says he wants no part of any of this which immediately crumbles all of Asmo’s hard work and makes Levi depressed. Lucifer pops his head in and once he spots MC asks them to come to his room. They ask what he wants to talk about, he says he’ll tell them when he gets there. To the room as a whole he says that Diavolo wants them all at the hotel the next day. This surprises both Mammon & Beel, and Satan asks if there’s another problem at the hotel, making everyone turn and eye Levi who turns red and protests. In his room Lucifer asks if MC knows why he called them and they say nope. He asks if they really don’t know or if they’re just playing dumb. When they don’t answer he says it’s about why Diavolo called them to the hotel. He says Diavolo hasn’t told him the reason behind it and asks if MC knows, saying that for Diavolo not to tell him it has to be either something that’ll supremely piss off Lucifer or something that Diavolo finds fun and exciting that Lucifer won’t like but will have to endure. They say they don’t know anything about it. He says, “what do you think you can lie to me? Have you forgotten who the fuck I am exactly!?” When they still remain silent he drops the blank faced glare and laughs saying he can take a guess at what’s going on considering they’re not willing to share. He says considering this is them they’re probably gonna do something nice for them and he tells them they’re really sweet, they tell him not to stop and to keep stroking their ego (or they can ask for a reward). He says he may considering how things go tomorrow. He then pauses and says he’s actually in the mood to indulge them today so he’ll sing their praises just for today. (They can ask if he’s sad about saying goodbye, he says yes and then blushes and says obviously that means they’re spending the night in his room – I noped out at this point. Is it weird that Lucifer’s the only brother I can’t see MC platonically sharing a bed with?) They then tease him saying this is very unlike him. He blushes and agrees, saying that when he’s with them he doesn’t have to be the avatar of pride but that’s okay because they love all the different sides of him (I thought this was really sweet, Lucifer needs to know that there’s someone who loves him as a whole even the parts of him that are massive jerks and I love that this interaction can be read as either romantic or platonic. He smiles and says he’s looking forward for tomorrow.  

The brothers are all surprised when from the hotel they are taken to the currently most popular club in the human world that has been reserved all for them, with Simeon making all the food and Luke making cakes. Luke tries his best to protect the food from Beel while Satan and Mammon say how surprise they were by Barbatos’s magic making them walk out into the club after walking into the hotel. MC asks if they like it and Lucifer says of course they do and thanks them for doing this. Solomon says he has a present for all of them too, Levi worries that he cooked for them (though he asks it with the sweetest smile cause all these demons are still hanging on to not letting Solomon know his food is toxic waste in case it hurts his feelings) and Lucifer whispers to MC that if so they might all die here. Solomon says he had offered to help cook but Simeon had insisted he had it all handled (he looks awfully disappointed when saying this). Mammon cheers on Simeon and Belphie says “…yeah I never thought I’d owe my life to Simeon but here we are” Their real present is Solomon lighting up the room with what, according to Belphie, looks like a fallen star. Asmo gushes about how beautiful it is.  Beel asks if he can eat it. Levi laughs and tells him he better not. Diavolo says they should officially start the party and everyone cheers. In a side lounge area Simeon says seeing the brothers enjoying the party so much makes all the effort feel worth it, Barbatos says he’s just happy seeing Diavolo having so much fun and he thanks MC. They say they could never have done it without their help in the first place. Simeon says it was MC to got them all working together to make this happen in the first place. Levi then arrives to come drag MC towards the karaoke (which Diavolo insisted they have – poor man’s still trying to sing a duet with Lucifer I see)

Satan and Asmo complain about Levi hogging the mic and singing anime songs, he yells at them for not understanding the raw passion and energy of anime songs (which isn’t that true? Anime songs have a unique kinda passion that makes you hyped that I’ve never being able to find in other songs..). Levi tells MC to forget about them and MC asks to sing a duet. Levi says he’ll queue up a bunch of duets and Mammon yells at Levi for hogging the mic and using this as an opportunity to hit on MC. Levi laughs and says that he’s not swooping in and doing anything the way Mammon said and that MC wants to sing with him. Mammon then blushes and demands to sing the next duet with them from MC. Asmo then calls the one after that and Mammon asks Beel & Belphie what they’re doing. They’re mixing drinks. MC says there new drink (demonous with scorpion powder and something else) sounds really good (cause they’re a freak like that) Belphie says the flavours do seem to go surprisingly well together and he asks Mammon to try some. He protests saying they just want to use him as a guinea pig. Lucifer’s drawn to the commotion and says they all seem to be fun, Levi asks if he wants to sing next and he says later, he then thanks MC for planning a fun surprise for them and that they were able to create some nice final memories in the human world before heading home. MC says they’ll share more great times together and Lucifer laughs and agrees saying this won’t be the last time they’re all together and this is just one of many happy memories they’ll share in the future. When they go back to the lounge area Solomon says they could hear them all talking, singing and laughing all the way from over here despite the music, emphasizing that they could hear Levi the most. Diavolo asks them to come sit and pours them another drink and says they were all talking about them and how they helped them enjoy their time in the human realm. He thanks them from the bottom of his heart. Solomon says last time they were all together in the Devildom and this time it was in the human realm and asks where they should be together next. Luke is surprised he’s already thinking about the next time. He laughs and says it’s cause he can barely wait for the next time they are all together. MC can suggest one of the three worlds. (personally I chose the Devildom cause the brothers aren’t allowed in the Celestial Realm and as much as I am completely in love with Mammon’s human world look I miss the aesthetic of the Devildom.) Diavolo laughs and says he’s happy they’ve taken such a liking to the Devildom and that he’d love for them to come back and that the brothers will be thrilled too. From the distance and getting closer they hear Lucifer telling his brothers to quit pushing him. Mammon tells him to just hurry up and go inside. Levi says Lucifer has to be with them or they won’t be taken seriously. Lucifer groans and asks if they’re actually planning on saying “this to him”. “Of course.” Says Satan. Belphie says it’s at least worth asking. Asmo agrees saying anything’s possible if you put your mind to it. They all tumble into the lounge area and Solomon asks what brings them all here. Lucifer looking tired says that his brothers have something to ask Diavolo. Mammon tells Lucifer not to act as if he isn’t part of this and as if it hasn’t been on his mind too. Diavolo chuckles and asks what they want to ask. Beel says they’ve all been thinking about something for a while now and they want to discuss it with him. The brothers all together yell: “We want MC to join the family!” GUUUUUYYYYSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSS!? Not me softly sobbing at the image this makes in my head ahhhhhhh!??????? AHHHHHH!?????????? MC’s shocked and speechless. Asjvfkjffvuiefhi pls don’t give me hope like this wtf and what do they mean by join the family cause I don’t mind Lucifer more or less adopting them, and like Beel said they already seem to be a part of the family but MC brought up proposals with A LOT of the brothers so is that what they mean? Like marriage??? But they’re all asking and other than Beel & Belphie wanting to share with each other and Asmo being open to threesomes none of them want to share MC so……. Also I do not see my OM! MC getting married at all but at the same time if it was to squirrel their way into a permanent position in the family then…

Diavolo’s wide-eyed and stunned silent, and then he asks “…huh!?” Solomon bursts out laughing. Luke is red faced and tells Solomon this is no time to laugh. Solomon still laughing chokes out that he’s never seen Diavolo so stunned. Luke pauses and then asks what exactly they mean by ‘join the family’ and then he turns red and demands if they mean marrying MC. The brothers obviously haven’t really thought about what ‘join the family’ means and only now realise it can imply marriage. Asmo immediately volunteers. Mammon red faced protests to MC marrying Asmo and then stuttering says that if they’re gonna marry anyone they should marry him (he screams the last part out after struggling through the first part). Levi gets pissed saying if MC marries a scumbag like Mammon they’d have a dark, terrible future (watch me put together a 200 slide presentation refuting this) Belphie tells Asmo and Mammon to back off before they mess things up. Lucifer, looking dead tired, says it’s already a mess. Diavolo goes, “Umm…Lucifer?” and asks him to explain what’s going on. He says the others want MC around on a permanent basis so they don’t have to say goodbye ever and they put their heads together and decided on this. “Marriage!?” goes Luke. Solomon says the demons hadn’t thought how they’d make them part of the family. Lucifer tells Satan that he can look at the others like they’re a band of idiots but to leave him outta it. Solomon asks MC what they think of all this and they say they want to be part of the family too (it’s implied through out the main storyline that generally MC’s someone who’s very calm and collected and who while being incredibly blunt doesn’t express their emotions outwardly much (at the beginning of S2 Lucifer even comments on them being more expressive than before they left) but I’d like to imagine at this moment they are wet eyed and beaming because of these loveable idiots who ARE their family even if it’s not official). Diavolo smiles and says he sees. Luke has problems with humans and demons mixing and being a family (LUKE I THOUGHT WE WERE OVER THIS!?) “Yes, Luke. I know…” says Diavolo. His face then becomes serious and he’s silent and contemplative. Diavolo looks at MC and says that though they aren’t aware of it there’s still bad blood amongst the three worlds and that no matter how much they all want to be a family and stay together it’s not within his power to let that happen. He looks upset and apologizes. Lucifer is silent. He says though that his goal is to one day remove these barriers between the worlds and that he’ll do everything in his power to make that happen, and as the future demon king he promises that one day he’ll make it so that they can marry anyone in this room (I’m screaming just MC – queer as hell and with they/them pronouns waiting in the human world for marriage to get legalized only to fall in love with someone from another world and having to wait AGAIN for marriage to be legalized… I’d have lost my entire shit.) “WELL, isn’t that good for you, you apprentice poaching motherfuckers but guess what I’m a human meaning WE can get married in the meantime… CHECKMATE, BITCHES~” says Solomon. Mammon actually snaps at Solomon and calls him a “son of a –“ before he remembers the child in the room and trails off and snaps at him not to say stuff like that. Belphie asks if Solomon can even be classified as a human given his age. (Can MC even be classified as fully human given the whole Lilith situation? I mean ik Lilith was reincarnated as a human but she still kept and passed on her supernatural magic. Plus there’s a Belphie devilgram that takes places pre S1 that implies MC’s not fully human plus that whole thing about fairy hallucination angel!Lucifer not taking MC’s word for it when they said they were human… it’s very likely though everyone here’s too dumb to realise it). Satan says at this point Solomon might as well be a demon. Asmo tells him not to pretend to be a human when it’s convenient. He laughs and says that even though he can’t grow old or die he still belongs to the human race. Beel says that maybe but Solomon isn’t playing fair, Levi agrees and says Solomon’s also making him jealous. Diavolo says MC sure is popular seeing as they are all fighting over them. Lucifer says he knew this would happen and that’s why he didn’t want them to have this discussion. Luke’s shocked that MC’s got demons and the world’s greatest sorcerer wrapped around their finger, MC asks him if he sees them in a new light now. Luke says he thinks it’s impressive but it also creeps him out.

Back near the dance floor, Satan laughs and says Beel’s eating too much, Beel says Satan’s drinking too much, Satan who actually seems tipsy says he’s nowhere near his limit and challenges Beel to a competition to see who reaches their drink/food limit first, Beel agrees. Given how much beel can eat I can only assume this is the last we see of Satan RIP. Barbatos, looking uncharacteristically extremely worried, tells them to slow down cause neither of them know to stop. Levi, finishing up his song, calls for Luke who booked next but Mammon says Simeon went to put the “little guy” to sleep and asks Levi to come play cards instead. Lucifer, who’s playing with Mammon, asks if he hasn’t lost enough at this point, Mammon turns red and says this time he’s gonna win it all back. Asmo laughs and says Mammon just jinxed himself. Belphie asks why MC’s looking around the room so restlessly and they can say A.) I don’t see Diavolo anywhere B.) where’s Solomon? Either way the answer is he has no idea where Solomon went but he did see Diavolo head out earlier. He says the two of them are probably together talking. MC finds Diavolo and asks what he’s up to. He says he wanted a break and to gaze at the city lights and sober up a little since he won’t be able to see them again for awhile. He asks them to sit next to him and then laughs and says he could barely believe his ears after he heard what the brothers asked. He says he’s known the seven of them for a long time and knows how close they are and that it’s unbelievable that they’d want to include someone new to the family (MY HEART!? ALSO FOUND FAMILY TROPE!) He says it almost makes him jealous. They say that they know for a fact that he’s very important to the brothers too. He’s like “thanks for saying that but rn you’re either playing dumb or you actually are this dumb which makes me question my taste but then again I’m also in love with Lucifer so…” and he says he’s jealous of the brothers not them (Sure, Jan. We know you’re jealous of them both don’t lie). He says he feels the same as them and blushes and says he keeps thinking about how it could be if they were together forever (Sir, pls Lucifer is right there. He’s available. Pls.) He says if their relationship was on that level and if their bond was deep and permanent like those of a family he can’t even imagine how amazing that’d be (he keeps repeating ‘family’ and the brothers weren’t even thinking marriage when they asked for MC to be part of their family and Diavolo was really shocked and he now said specifically it was them asking about being ‘family’ before Luke even first mentioned marriage that made Diavolo jealous. What I’m saying is that considering Diavolo’s lonely, strict childhood the one thing he wants more than anything is a family not marriage specifically). He smiles and says they beat him to the punch and that he asks them to give him time cause he’s gonna do everything he can to mend the bridges between the three worlds for MC and for the brothers…and a little bit for himself. He gives them his word.

Out on the balcony Solomon greets them and asks if they shouldn’t be down with the others, they say they needed a break and wanted to talk to him, he wonders if the others would be pissed if they knew Solomon had MC all to himself. He says he figured he’d stay out of the way today and let MC and the demons spend time together considering he’ll have enough time to hang out with them later. He says he can’t believe they asked MC to join the family and that he didn’t see that coming. He starts laughing again about how serious they looked and how shocked Diavolo looked, and how Lucifer looked like he had a migraine (Ik we all say Lucifer’s the sadist but have we considered…) MC asks if he really thinks it’s that funny (and I’m pretty sure they’re offended on the brothers’ behalf and hurt cause that’s what they want too.) Solomon says for him it’s funny. He says it’s common of a demon to ask for a business arrangement or a pact but he’s never heard of them asking humans to join their family. He smiles and says he’s beginning to think he chose a “truly incredible” human as his apprentice. MC asks what the demons in his life are to him, he gives it serious thought and said these days he sees them as close friends. MC asks if things were different earlier and he says they were but also asks that they not get into things rn cause the story is long and tedious, MC asks if he’s just trying to avoid their question and if he’s gonna tell them the truth or not. He laughs and says nope and that though you can’t tell it by looking at him he’s a little too tipsy. He reminds them that they’re barely a sorcerer rn and that they should leave questions like that for later until they can use “magic like this” without an incantation. He uses magic to teleport the others on to the balcony (what a snake. Imagine instead of going to a crowd to escape a conversation you use your magic to bring the crowd to you to avoid a conversation AND to set a line for MC to reach before they can start poking at his past.) Asmo says he’s being wondering where the two of them went and how naughty it was to sneak off together, Levi complains about being cut halfway through a song, Beel asks MC to judge his eating competition with Satan and Satan says it’s actually a drinking competition. Barbatos looking deeply concerned asks if the two of them intend to empty the hotel’s pantry AND its wine cellar. He asks MC to stop them. Lucifer’s goading Mammon and kicking his ass in a card game and Mammon refuses to give up (HC that Lucifer taught Mammon to play cards up in the Celestial Realm as a way to get him to sit still and NOT set the drapes on fire). Belphie comments on the card game and the party continues. (Pretty sure Solomon saw the demons as pawns or tools to get what he wants/ for more power and that he was much more ruthless with making pacts with them than he is now when he pesters Lucifer (aka getting Asmo drunk while he was upset and making a pact) the question is why? And why did Michael basically sponsor this? We know that the Celestial Realm and Devildom had just called a truce when Michael took an interest in Solomon so could it be that he wanted someone to keep an eye on the demons and the best way to do that was to have a powerful human sorcerer make as many pacts with demons as possible. I mean Solomon made a pact with Asmo mostly because he was Lucifer’s brother and Michael still has a heavy interest in the brothers so it could be possible that he wanted Solomon to make a pact with one of them so that he could see what they were doing?)

LAST ONE GUYS! :) I’m okay really :)))))))) Outside the manor in the morning, Barbatos tells Diavolo it’s time and Diavolo looking really sad agrees. (RIGHT OFF THE BAT HUH!?) Even Solomon seems upset when he realizes it’s time and then that damn song starts playing, that ending song that always chokes me up and this time it doesn’t feel as sad as last season because honestly the “Till we meet again” party really helped while last season all the brothers tried to run away with MC and that shit HURT but it still makes me choked up FUCK I want them back so badly. Diavolo comes up to MC and says they have to return and that though they weren’t here for a long time it was really fun. “So, till we meet again, MC” he ends with. Barbatos thanks them for all they did to make their stay in the human world more comfortable. He says next time they meet he’ll prepare a special tea for them that he’s sure they’ll like. From here we’re going to direct quotes because I am EMOTIONAL:

Mammon says, while not meeting their eyes: …Listen, why’re you sittin’ around twiddling your thumbs, huh? I saw how hard you worked to become a sorcerer, so I know you got it in ya. (He blushes, still not meeting their eyes) Hurry up and learn summoning magic ASAP! You big dummy… (he finally looks up at them and smiles) And once you learn it, you’d better summon ME first! All right? You promise, right? (MC can either hug or kiss him….AND YOU GUYS MUST KNOW ME BY NOW SO MC just kisses him in front of all the brothers just like that????????? – he blushes and looks away again) Dammit, now I wanna take you back to the Devildom with me… (He meets their eyes one more time, face still red)

Levi says, blushing and looking aside: …You know that game we were playing? Final Devil Kingdom… (He looks up at them, still blushing) Well, I’ve decided not to make any more progress in it until I see you next. (He smiles brightly then) So we need to get together and play it again as soon as possible, okay? I mean, I’m dying to move on to the next dungeon… (He looks up at them with a sad expression then and they can either hug or kiss him and look I love Levi but I’ve already made my choice so MC hugs him – he blushes and gets a determined expression on his face) I’m going to be messaging you a lot, okay? So… don’t ignore my texts, or I’ll cry. (He smiles at them one more time)

Satan says, looking confident and meeting their eyes: …There are several cats who come by the manor for food each day. Make sure to take care of them for me. If you’re on the job, I feel like I can rest easy knowing they’ll be okay. (He frowns, blushes and looks away then) But keep in touch. Let me know how the cats are doing every day. Got it? Every day. (They hug him and he laughs and then says with a smile) Knowledge is power. The more you have, the better off you’ll be. So study hard, and learn to stand on your own two feet as a sorcerer as soon as you can.

Asmo says, looking really upset but making eye contact: No matter how I dress myself up or how cute I make my nails and makeup, if I can’t show it to the one I love the most, it won’t be fun at all. (He smiles then) So, I’ve decided to think about it this way… I have to strive to make myself more and more beautiful with each passing day! 🤍 (He smiles even more brightly) So that one day you’ll fall for me completely and then you’ll be all mine! How does that sound? (MC hugs him and he giggles, and says smiling) I’m going to put a little something extra on my hug! 🤍 (he squeezes them closer)

Beel says with a soft smile looking in at them: …It was fun getting to eat together with you every day here human world, MC. (His smile brightens) You know, when you’re with the right person, good food has a way of tasting even better. I want to be able to eat with you all the time, every single day. I want that to be normal. And I’m going to do whatever I can to make it so that someday soon, it really will be like that. (MC hugs him and he blushes and smiles and says) Make sure you eat enough, okay? Take care of yourself.

Belphie says also with a soft smile, making eye contact: I’m glad I got this chance to live here in the human world. Spending each day together with you in your world has been incredibly fun. (He looks sad and looks to the side) …Having to go to sleep every night in a house without you in it from now on is going to be really sad, and really lonely. (MC hugs them and he blushes but his expression is still sad and he doesn’t make eye contact) Take care, MC…

Lucifer’s wearing that fond smile that makes his eyes squint shut and he says: …Never did I imagine that one day, I’d find it this hard to say goodbye to you. I’ve managed to shock even myself. (He looks up at them then) Once I’m back in the Devildom, where I can’t see you anymore, this feeling is probably going to grow even worse. I hope this is every bit as difficult for you as it is for me. (MC hugs him) …Let’s make sure we see each other again sooner rather than later. (He gives that soft fond smile again)

Barbatos opens the portal. Solomon tells them all to take care. There’s a flash of bright light and the opening song starts playing. “MC!” Yells Mammon with a bright smile before he jumps in. “Toodles!” Says a beaming, waving Asmo. “Till next time!” says Levi with a small smile. “Take care of yourself!” Says a brightly smiling Belphie. “Bye…” Says Beel with a smile. “See you around.” Says Satan with a smile. “See you next time.” Says Lucifer with a nod of his head and a smile. “Goodybe, MC.” Says Diavolo with a bright smile. There’s another flash and the portal’s closed and they’re all gone. The credits play thanking all the main and side character VAs over human world backgrounds and YOU! Back in front of the manor Solomon says it suddenly got so quiet that he feels lonely. MC’s silent and doesn’t answer him. “Hey,” he says after a bit, “didn’t they officially hire you as their “babysitter” because you came here looking for a job, you know that thing you need to be able to survive independent adult life in the human world… Did they ever pay you for that?” “…SON OF A B–” At the angel’s halo Simeon tells a sad, silent Luke that the others must have gone back home by now, Luke quietly agrees. Simeon laughs and asks if that bothers Luke. Luke blushes, stutters and denies it. Luke tries to change the topic by telling Simeon to hurry up and grind some coffee cause they’re about to open. Simeon says they still have enough time and Luke says he’s gonna take out the trash and runs out back to avoid his feelings and this conversation. Simeon laughs. The door opens and Simeon turns to tell them they’re not opened yet but trails off. ??? says, “I can see that, yes…” Simeon’s eyes widen and his mouth turns down, he’s too shocked to say anything. ??? says, “Well, look at you. I could almost believe you really are a human, brother…” Simeon’s entire face goes blank and settles on a cold emotionless expression though he still doesn’t reply before he slowly smiles, “…Welcome. So glad you could stop by, Raphael.” And the chapter, the lesson and the season is over. So…SO…you know I don’t even have words really. I’m not, we really are getting new characters aren’t we. I mean I said in some of the earlier summaries that at this point with the way they were hyping up the angels in this season that it only makes sense to bring them in BUT I never 100% believed they would and now I’m just???? They really are gonna do it holy fuck GUYS!? I need S4 badly like rn immediately but given that the break between S2 and S3 was really small AND that they maybe introducing at least 2 new characters the break between S3 and S4 might be longer AND I get it y’know but still I desperately need this now. Holy shit. And Simeon’s facial expressions! How he looked surprised and upset and then how his face just shut down (something we rarely or never? See from him) and then how it smoothed out into a smile ajsdvbkdwhskcjksk Raphael’s way of speaking fit exactly with what I imagined after what Asmo, Lucifer and Belphie said about him. This kinda formal, authoritative, cold, distant way. And the tension between him and Simeon!? “BROTHER!????” Does he mean brother in the same way as the Sins do or is it more brother in arms the way I see Lucifer and Simeon being in the Celestial Realm? It felt cold compared to them. Pls give me a heavily dysfunctional, distant and cold angel family to contrast with the dysfunctional but close and loving demon family I WILL SCREAM. I’ve screamed all my angel and celestial realm theories in the previous summaries (there are a lot) so I’m not gonna go into detail about them here but I will say I’m keeping my fingers crossed for morally dubious/grey angels who believe they are completely in the right at all times and I’m deeply scared of getting at least part of S4 without the brothers as we are introduced to the angels – I mean don’t get me wrong I’d love if they took time to introduce us to the angels without the brothers’ dynamics with them being involved and to give us a chance to hear their side of the story before they have the whole reunion between everyone BUT I’ll also feel the heavy withdrawal effects of being deprived of the brothers so yeah. Overall the goodbye to the brothers felt far more uplifting than last season’s one given that they ended with the upbeat opening song and not the melancholic sounding ending song. WOW okay. I’m gonna try and get through the hard lessons and unlock the chapters I couldn’t since S2. SEE YOU NEXT SEASON! LOVE AK 🤍

[thegeminisage]

Here's something I'd love your take on: I read a meta recently (would link it but I can't remember where, ack) that suggested that Sam is able to forgive John in later seasons because a) he's had the whole "family making unilateral decisions for your own good" thing repeatedly shoved down his throat, and b) whatever John did under this umbrella in their childhoods, Dean has done far worse by that point, and Sam HAS to forgive him so by extension he can't really be mad at John anymore (1/2)

(2/2) As someone who has admittedly only seen bits and pieces of the later seasons, this seems to jive with Sam losing a lot of his characteristic early-seasons anger, letting Dean call the shots almost all the time even when he thinks it's the wrong move, and moments of sympathy for John (contrasted w/Dean's growing resentment, which is so interesting!). But! I got some big ol' gaps in my spn comprehension, so was curious if you had any thoughts on this dynamic

wow okay long answer warning! i got carried away and forgot how to use punctuation. nobody is obligated to read all of this lol and the biggest part of the answer is behind a cut. anyway!!

first things first: i think a big thing to remember with sam’s characterization in later seasons is that it’s like...not there, and when it is there, it’s sometimes flat and inconsistent. because dean became sole the main protagonist after the first 8 (arguably the first 5 or even first 2) seasons, sam sort of got demoted to “side character we don’t know what to do with” along with cas and crowley. they all had good arcs pop up now and then (sam had some fun stuff going on with lucifer in s11 and s13) but most of the time the writers either don’t know how to give him a meaningful characterization or don’t care (or both). so we have to do a lot of that work ourselves. 

so, for example, when we talk about sam losing his anger, i like to read it as him OVERCOMING that anger to avoid becoming his father (which may even be where some of the seemingly sympathetic comments come from, because he’s trying to be forgiving instead of angry), but really...it’s that the writers forgot he had anger issues. in-universe explanation vs irl explanation, yk? and i think pretty much all meta about sam in late seasons is written through that lens, whether the writer of that meta knows it or not. including this one! i can’t prove any of this shit, it’s my personal reading, i’m making it up. like there were just SO many different people involved in the production of supernatural that there was a lot of conflict and contradictions in things like continuity and characterization. (most of the writers room hadn’t even seen every episode!) so there’s not one definitive way to go about it. in many ways it makes the characters more nuanced and in many other ways it makes me fucking insane.

as for sam and john and whether or not sam forgives him, i’m actually glad you asked because this has been driving me nuts for a long time and it took me SO LONG to pin it down - sam’s relationship with john is very different to dean’s, and i couldn’t figure out WHY. it’s not that he was “abused less,” it’s not that he loved john less or was less hurt by his actions, so why doesn’t he seem as INVESTED in everything that happened to them as kids? like he says in season 14 he had to learn to let it go and that it was all a lifetime ago for him. meanwhile i think dean still deals with it every day. he’s still stewing in it to some degree 24/7. so like what’s the difference??

i think it comes down to two things. firstly, that while dean didn’t have anybody parenting him except john (and mary, but only for a very short time that he could actually remember), SAM’S parents were john AND DEAN. most of the time dean was the one raising sam, and in fact he arguably did way more parenting of sam than john did. so the person that made dean feel safe and like he could fight back against monsters, the person he was grateful to, was john. but the person who made SAM feel safest was dean. he doesn’t have that same gratitude towards john that dean does and he never will, because of how john made him feel alienated and excluded from their family growing up. dean’s resentment of john is so tangled up in this very deep and unconditional love and gratitude for him that sam just doesn’t have. 

secondly, i think dean has a serious case of “i can fix him” re: john that sam doesn’t have and possibly never had. john just never showed sam the same kind of inclusion and warmth and trust that he showed dean (however rarely he showed it, and however fucked up it was). i think sam figured out very very early on that their quest for yellow eyes was either a long shot or straight up impossible, and that they couldn’t waste their entire lives doing it, and that even if the demon died, john was never going to change. dean 100% drank the koolaid - he really truly believed in a world where someday they’d kill the demon and all retire from the life and be normal and be a family again, because that’s what john said and dean took his father’s word as gospel. sam knew better.

so i think what sam did was just disengage. partially because he felt he couldn’t afford to nurse that kind of anger and not become either his father or lucifer, and partially because even though sam loved john, still loves john, he never needed him the way dean did, because sam had dean. so it doesn’t hurt him as much to just “gray rock” it. i think if sam stopped and really dug into it he’d find that he’s still quite angry (probably more angry on dean’s behalf than his own, at least at first, because in his mind he was able to move past it and dean was not, dean had it worse, HIS OWN trauma isn’t real etc etc), but he doesn’t do that because he doesn’t want to be that angry, and possibly even thinks that if he brought it up dean would jump to john’s defense and it would cause a fight, which the opposite of what a gray rock does.

as for being forced to forgive john because if he didn’t he would also have to condemn dean...i don’t think i buy that at all. sam is fine making dean his exception and he allows dean to get away with a lot of deeply horrible shit he would condemn other people for. partially because he’s dean and sam loves him, but in my ~personal reading~ of sam, this is also because once sam became an adult the weight of everything dean did and had to give up to raise him really sank in, and part of him felt guilty (even though sam arguably didn’t have a childhood either). you know how kids take care of their parents in old age to repay them for raising them? that’s sort of how sam is with dean in later seasons - he implies multiple times that he would leave the hunting life forever and not look back if it weren’t for dean.

and as a side note - sorry, this is only tangentially related - dean implies several times in later seasons that the job is where he finds his sense of accomplishment and self-esteem and meaning - he believes the world is a better place because of what he and sam do, and even though he doesn’t always like DOING the job, he likes the outcome. it’s weird because this is as close as we see dean get to even HAVING self esteem. sam, emotionally intelligent, would have picked up on that - and since he and dean have both tried to leave the life multiple times and have always come to regret it, i also think part of sam believes you CAN’T escape - certainly SAM could never escape so long as dean was still in it, because whether he meant to or not dean would always pull him back in. and part of dean doesn’t really want to escape because he’s made his peace with it. so sam stays, and i think even if he can’t find the same meaning in the job that dean does, he finds a lot of meaning in being there for dean. (this, like gray rocking, is also consistent with the seasons where sam’s sole character trait is caring about dean lol. but i’m happy enough to read it in a kinder and less bitter/resentful way.)

it IS worth noting i think that the most forgiving sam ever was about john was in the adam episode, where he said he understood why he was the way he was and why he did what he did, and when dean said they were alike sam decided to take it as a compliment. sam in season 4 is arguably at one of his lowest points - struggling with addiction, consumed by anger and hatred and the need for revenge. he WAS like john in many ways, and i think he justified what john was doing because it also justified what HE was doing. but what he was doing led to breaking lucifer out of hell and the apocalypse that followed, which is why i like to think sam worked so hard to reign in his anger afterward - both to avoid his fate and avoid becoming his father.

in short: i don’t think sam has actually forgiven john so much as disengaged from him and moved past it. because if he DID engage with it, it’d bring up a whole lot of stuff he didn’t feel prepared to deal with. one of the risks of gray rocking things is doing it to the point that you lose touch with your own wants and needs and personality, so i think by late seasons sam’s repression, which is much more sneaky and quiet than dean’s, has settled in to the point where he’s like “yeah whatever” about dad out of sheer self preservation - because otherwise, he’d end up going crazy about it like dean does. i think it’d do him a hell of a lot of good to be able to get to shout at john and finally say his piece/ he’s really afraid of his own anger, but i think it’d be healthy for him to get back in touch with some of it.

[spn masterpost]

[verobatto]

Destiel Chronicles

Vol. CII

It was a love story from the very beginning.

The Bad Joke and The Scoobynatural

(13x14/13x15)

Hello there!!! This time I'm gonna talk about one of the most OOC episodes ever and one of our favs episodes Scoobynatural. I put them together bc one was so bad I needed some fresh air. Hehehehe.

Let's start!

So OOC that hurts...

Episode 13x15 "A Most Holly Man" was written by Dabb but also by Robert Singer.

This episode was odd, with easy bad jokes, and OOC. It also had Wincest subtext, and it was very messy.

If you rewatch the entire season, this episode seems to be out of context. If they've wouldn't put the search for the element they needed for the spell, it could have been passed as an episode from another show.

I could write more criticism, but let's just talk about little pieces of dialogue that worked as clues, I'm very sure it were put by Dabb (even if I dislike his writing) more than Singer.

The three elements the gangsters wanted to get were:

Incense: Is used by christian rituals to elevate prayers and gifts from the parishioners to God. This could be speaking of Chuck coming in the next season.

Chalice: The chalice represents sacrifice for christianity. The Holt Blood of Jesus Christ that have his life for humanity. So, is talking about a future huge sacrifice. It could be taken for Dean and his Mal'ak box or Castiel in 15x18.

Skull: it's related to death, and it could be speaking of Mary Winchester death in season 14.

Another little take from this episode was this little piece of dialogue:

MARGARET: Oh, don’t thank me yet. Greenstreet has all the trappings of a gentleman, but… I would advise caution.

Okay subtle, but not that much. The last name is a combination of two words GREEN and STREET, it's obviously related to Dean, and the quote after this 'has all the trappings is a gentleman, but... I would advise caution." It's obviously talking about AUMichael!Dean.

A brief comment about the Wincest subtext... We had Sam flirting with Margaret and Dean showing signs of jealousy, it could be taken as annoyance, but, because is Singer involved, I would say it was intentionally written to be Wincest subtext. And after this we had Dean flirting... Super out of character, with a brunette... With a lame excuse... Unnecessary. But it worked to make this time Sam the jealous one. Connecting the drops, my dears...

Dean has faith again and the distracting rubbing lips...

In this episode we can also rescue another good points as Dean declaring he has faith. Remember at the beginning of the season he was lost and faithless, I ask myself what could happen to make Dean to recover his faith???

Oh yes, Cas is back.

Then the rubbing lips... We had the same gesture from Cas in the previous episode, so, I wrote two entire metas about how Dabb team used the hands to show foreshadow. So I truly thought Dean and Cas would kiss... Hehehehe. It could fit perfectly, but nah.

This episode also talked about how a priest, a righteous, a saint man, was trying to get the most precious thing for his community.

Trying to get back the most important thing he had, willing to make any sacrifice for it, it's the same would lead Dean to say 'yes' to Michael. When Lucifer kidnaps Sam and Jack.

(This could be just nice because family, and because Dean raised Sam, so Sam represents a son and such, but, because is Singer... Wincest again.)

Another piece of dialogue I found is the following...

FATHER LUCCA: (...)And what your brother’s doing, it’s a good thing.

DEAN: Yeah, or a stupid thing.

FATHER LUCCA: Or both. Many times, they can be the same.

This is telling Castiel's name, Because Dean is always asking him not to do stupid things.

Another foreshadow was Father Lucca talking about Lying is wrong, is a sin. This was the preamble to one of the most revealing episode that will bring Chuck back. The episode in which Jack erase the ability of telling lies in the whole world population.

Dean's cave meaning and visual narrative.

Episode 13x16 was full of symbolism, and is one of my fav episodes.

At first, we had Dean fighting against a huge green dinosaur, practically a monster in green. Just like the Squirrel/Godzilla in one t-shirt we'll see in episode 14x04, is representing DEAN, his inner photography of himself. He sees himself as a monster.

Everytime we see SCOOBY-DOO in Supernatural, it's related to Dean's innocence and purity. Those qualities on him will be the key to release him from his emotional prison in season 14.

Visual Narrative in Dean's cave

Let's talk about the Dean's cave. When Dean says to Sam "Be like Elsa, let it be," he's referring here to the most deepest feelings and fears. Elsa released what she had tried to repress her entire life, her powers. And once she accepted what she really was, she was really free.

This will happen to Dean too, the process had just started. Now that he got Cas back, and now that deep inside he had accepted he can't live without the angel, he will slowly be able to embrace his bisexuality, to accept who he really is. The climax of this metamorphosis it's gonna be describer through the whole season 14. It's the birth of Healing!Dean.

Dean's cave represents that. First of all I want you to know that the Dean's cave had been made to watch movies with Castiel. It's subtextually displayed by the location of the two couches and the color of the lights in front of them: RED AND BLUE. Those are Dean and Castiel's places. That place had been built to share time with his angel.

Gif credit @out-in-the-open

Fred and Daphne were Dean's bisexuality representation.

Mostly than Dean having a crush over the two characters (openly with Daphne and repressed over Fred) both characters were representing Dean's bisexuality (just like Pamela and himself in Rocky's bar and his friend and the waitress in 15x07).

When they had to team up (just like in 14x04) we had Sam and Vilma represented the insight, the intelligence. (Just like Sam and Sam). Castiel pairing up with Yaggy and Scooby, the innocence and the talking dog, the most precious thing for Dean. (Remember Dean would take a bullet for that dog, that's why Cas was compared several times in season 12 with a dog, and that's why Dean follows him anywhere to keep him safe after suffering his lost).

Gif set credit @gentleman-demon

Finally, the bisexual team Dean with Fred and Daphne. In one opportunity Dean asks Daphne what does she sees in a man. Without mentioning she loves ascots, what this symbolically represents is Dean asking to his female side what she really likes to see in man. And we have Fred related to blue color, as a switch mirror with Castiel. Also because Daphne describes the perfect man as STRONG AND HONEST. Which are characteristics related to Castiel.

Castiel's entrance a la 4x01 and the dinosaur in love

Castiel enters in the mansion the same way he did in 4x01, stormy, mysteriously, and bright.

Immediately after his entrance, we had this weird dialogue...

DEAN: It's a book we're writing. Yeah, about...killer stuffed dinosaurs. It's called...

CASTIEL: "The Killer Stuffed Dinosaur in Love."

FRED: Huh. Great title.

SCOOBY: Yeah. Great title.

"It's a book we are writing " this is very meaningful Because, the book they're writing despite the one Chuck is writing, is Team Free Will, but... We are talking about DESTIEL. Dean and Cas are writing their own story... Why? Because when they mention the title of that book is... The KILLER (Do you remember REGARDING DEAN? another brief appearence of Scooby Doo and Dean's innocence? In which Rowena told him he was a killer? So yes, Dean sees himself as a killer, that's why the image of a monster, a green DINOSAUR, and huge Godzilla Squirrel... But this KILLER GREEN DINOSAUR has a very important characteristic HE IS IN LOVE. DEAN IS IN LOVE, as he confessed in 14x12.

Do I have to explain how writers connect d Castiel's first entrance in 4x01 with this book they're writing as they go? The book is named DESTIEL.

Jealous!Castiel and the little scared ghost boy

I loved the scene in which Daphne freshly confesses Dean grabbed the ghost by the thigh and immediately Cas shows his jealousy over that.

Gif set credit @tearsofgrace

But There's another almost at the end of the episode in which Dean mentions his affair with the Cartwright Twins and Cas asks about that, and Dean's face is priceless. Because if CAS would just represent a friend to him, he were absolutely explaining to him what happened with those twins, but he didn't. Why? Because Castiel is not just a friend. Castiel is Dean's love interest. So... Better not to talk about it.

Gif set credit @sssssssim

But let's jump over the symbolism of the trapped child ghost.

BOY: I'm not. I never wanted to hurt anyone. But the bad man, he makes me.

CASTIEL: The bad man?

BOY: His name is Jay.

I want to point here we are inside of Dean's head as you've noticed so far, so... Velma is Dean's intelligence and reason, and is linked with Sam (just like in episode 14x04 in which we had the scooby-doo box opening the locked door). Yaggy and Scooby are the innocence and love, part of Dean and linked to Castiel. And Daphne and Fred are Dean's bisexuality. But There's another huge character inside of him THE MONSTER. The monster, the one he has to defeat, is represented by JOHN WINCHESTER'S TOXIC HERITAGE AND AUMICHAEL, they're part of his toxicity, his rage, his violence. The little ghost here is all the good inside of Dean, his childhood, his innocence, but the bad man who obligates him to kill, it's his inner monster. So this is a war between TOXIC!DEAN and HEALING!DEAN as we will see in season 14.

BOY: When I died, my soul was tied to a pocketknife. My dad gave it to me. It meant everything. When Jay found me, he used me to...Sometimes, I get so angry I break things, hurt people.

John Winchester's toxic heritage implies the GUILT. So, Dean's soul is tied to that GUILT. Jay represents AUMichael here, when AUMichael finds this tool, the guilt, he uses it against Dean to control him. The boy says he gets angry, he breaks things and hurts people. He's describing perfectly Dean's toxicity. His violence. We will see it in this season but also, at the end of season 14.

To Conclude:

In episode 13x15 we had a very OOC bad episode, but with a few clues for foreshadows.

Episode 13x16 was a travel through Dean's innocence, inner thoughts and repressed feelings. It's a preamble to Healing!Dean season and how Dean will be able to break free from his emotional prison, defeating his inner monster.

Hope you liked this meta, see you in the next one!

Tagging @magnificent-winged-beast @emblue-sparks @weird-dorky-little-d @michyribeiro @whyjm @legendary-destiel @a-bit-of-influence @thatwitchydestielfan @misha-moose-dean-burger-lover @lykanyouko @evvvissticante @savannadarkbaby @dea-stiel @poorreputation @bre95611 @thewolfathedoor @charlottemanchmal @neii3n @deathswaywardson @followyourenergy @dean-is-bi-till-i-die @hekatelilith-blog @avidbkwrm @anarchiana @dickpuncher365 @vampyrosa @authorsararayne @mybonsai1976 @love-neve-dies @dustythewind @wayward-winchester67 @angelwithashotgunandtrenchcoat @trashblackrainbow @deeutdutdutdoh @destiel-shipper-11 @larrem88 @charmedbycastiel @ran-savant @little-crazy-misha-minion @samoosetheshipper

@shadows-and-padlocked-hearts @mishtho @dancingtuesdaymorning @nerditoutwithbooks @mikennacac73 @justmeand-myinsight @idontwantpeopletoknowmyname @teddybeardoctor @pepevons @helevetica @isthisdestiel @dizzypinwheel @jawnlockwinchester @horsez2 @qanelyytha

@destielle @spnsmile @shippsblog @robot-feels @superlock-in-the-tardis @superduckbatrebel @2musiclover2 @madronasky @anon-non2 @cea1996 @lisafu02 @asphodelesauvage @destiels-canonahhhhhhhhhh

If you want to be added or removed from this list just let me know.

If you wanna read the previous metas from season 13 here you have the links...

Vol. XCIII, XCIV, XCV, XCVI, XCVII, XCVIII, XCIX, C, CI.

Buenos Aires, February 28 2020, 2:23 PM

[marireadshellblazer]

Constantine TV Series Episode 4 “A Feast of Friends”

Aight, I feel the need to express some feelings about this episode. I’m not sure this is going to be terribly articulate, but I’ll do my best. Let’s do this.

First off, it’s obvious to anyone who has read Hellblazer that this episode is based off of the first two issues of the comic book series. As I wrote in my post about my experience reading it, these issues were the perfect way to start off the series. It’s like “BOOM! This is how it is! Get ready for some serious shit! This is your only warning; this is what you’re in for.” Even though they did change the story for the episode, I still absolutely loved it. The storyline from the comics is a favorite of mine, but even with the changes made in order to adapt it for TV, this was an awesome episode. In fact, it’s my favorite episode of the TV series. Here’s why!  

   Why is it episode 4?

  Unlike the comics this story was adapted to be episode 4, meaning it doesn’t start the TV series. So, why wouldn’t it start the TV series? I think that you have to look at it from a few different perspectives.

  Let’s start with the comic: Issues 1 and 2, titled Hunger and A Feast of Friends respectively, make up the first arc of the Hellblazer series. Most fans know, however, that Hellblazer is not John’s first appearance in comics; he got his own series after appearing throughout the American Gothic story arc of Swamp Thing. Consequently, many people came into Hellblazer at the time having some familiarity with the character. While this chapter does expand on John’s character some, this doesn’t serve as a major introduction to him. They just drop the reader into one of his nightmare-inducing everyday situations with little to no preparation. Those who are familiar with his role in Swamp Thing will, odds are, not find these issues to be terribly weird or particularly jarring considering it’s in a series about John; they have a good idea what they are in for.

   Here is a quick run-down: John returns to his apartment in Paddington after dealing with the horror show that is the Brujeria in the Swamp Thing comics. Exhausted, he comes back to an unwelcome guest; Gary Lester. Gary is one of the friends who was involved in the Newcastle incident (which is fully explained in issue #11), which left each of them scarred in their own way. Gary dealt with the aftermath via drugs, which have left him wide open for other issues. After foolishly releasing a demon from a sacrificial victim, Gary runs to John for help dealing with the destruction said demon is causing. In this case it’s a hunger demon that causes people to feast upon whatever they greatly desire; food, a crucifix, and even an athlete committing autocannibalism. With help from club owner and Voodoo practitioner Papa Midnight, John betrays his vulnerable and trusting friend in order to stop the demon by instead making him the new sacrifice. Trapping the demon inside of Gary, the literal and figurative ghosts of John’s past haunt and torment him mentally as his friend dies slowly and in agony, ending this arc with a melancholy feeling. John stopped a demon, but at the cost of a friend who truly trusted and cared for him.

Using this story to begin the TV series as is, however, would have been more than a little strange. In the minds of most people outside of the comic book world, John Constantine was first introduced to them via the horrifyingly inaccurate Keanu Reeves film. (I love Keanu, I really do, but that film give me agita). Or, if they were introduced to the show after it had already aired, they are introduced via Matt Ryan’s masterful work portraying him in Legends of Tomorrow. While he does an incredible job in both Constantine and Legends (to the point where I find that I may simply be unable to accept anyone else taking on the role in live action) it depresses me terribly that Legends toned down John’s character so much with all the goofiness. It did not suit John at all! If anything, I find myself feeling sorry for Matt Ryan, who tried so hard to do John’s character justice. Uhg.

   Anyway…Already, a lot of the audience is going to be more than a little taken aback by the Constantine series’ portrayal of the character, however comic book accurate he may be. This show is tailored to as wide of an audience as possible, meaning they expect that pretty much no one has read Hellblazer or Swamp Thing before. Consequently, having the series start by just dropping the audience into his crazy world, especially with this particular story arc, might not be the best idea. I’m not saying that his introduction is done super well with the first episode (it’s not a total wreak, but there are issues) but it would have been much harder to start with A Feast of Friends.

     Characterization

    Now, let’s look at it from another angle: characterization. As the 4th episode this was, odds are, done assuming that there would be a lot more episodes after this (oh, the painful reality), but really the viewers are still just getting to know John. So, these early episodes are supposed to establish his character. They see him as knowledgeable and ready to handle the weird and scary in the first episode, and in 2 and 3 you see that he is serious about his work, a loner, weirdly well prepared, and how he interacts with others. While in some situations he does come off like a douche, his douche-ness is on full display in this episode. Honestly, this is accurate to how he is in the comics; he’s a nasty piece of work, after all. A world class bastard. He gives Gary shit for his drug addiction pretty much the entire episode as well as his choice to mess with a demon and the chaos it made that he now has to fix. He, like in the comics, tricks Gary into helping him and it results in a slow, painful death for the man. Gary really did trust John, and not only did John betray him, but he was callous about it. Now, that’s not to say that the situation and Gary’s death doesn’t bother him, and this is also seen in both the episode and the comic, but John solders through a lot of it with his mask of stoic indifference; he blatantly a deliberately betrays his friend without much hesitation.

    John’s characterization in the show is really important. While fans of Hellblazer know what they are in for (John being a dick, betraying people, sacrificing friends, etc) the wide audience the show was meant to appeal to might not respond well to that. How is the audience supposed to relate to a character whose major personality trait in this arc is to basically be a douche (even if it is justified in a way)? Generally speaking, TV shows try to have a lot of characters with redeeming traits and very basic bitch personalities so that as much of the audience as possible can relate to them in some capacity. They can describe the main character as “cool, quirky, sweet, loving, etc” because that is what network television strives for. The point is for the audience to relate to and find a lot of reasons to like the character, especially the main character. The audience is supposed to be able to see the qualities of the character in themselves. An example of a douchy character being changed for network television is the titular character in TV series Lucifer. He can be an asshat at times, but his redeeming qualities shine through in pretty much every episode; he’s helpful, has a strong sense of justice, and cares about Chloe. He often goes out of his way to understand others, although he often misses the mark, and tries to fix problems and issues that he accidentally creates in order to keep relationships with others. These are things people can relate to, and although he can be rather uncouth, it’s played for laughs, and he has more redeeming qualities than not. If the Constantine series started off with John coldly betraying a friend after giving him shit for his addiction the entire episode with not a lot of his positive traits coming through, from the perspective of most people, this might not be a good way to try and connect with the audience. I’m not saying there are people who don’t/won’t, but again, this is network television and they tend to play on the safe side.

    Comic book -> TV

    Ok so let’s move onto the meat of this; the changes made to the story. People always complain when something isn’t totally accurate to the book down to every last detail (Harry Potter *cough cough*) and making story and character changes to adaptions of comic books is nothing new. However, to be fair, there are some legitimately good reasons for this. Time, money, limits technology wise, and pacing are good examples. The most important thing to consider, in my opinion, is that we are going from a comic book to television. Literally, that is the most important thing. Essentially, what the writers had to do when adapting this story for the show was carry over the plot from one medium to another, which is tricky.

    What’s a medium? A medium is a platform that allows a message to be shared or presented. So, using the medium of a comic book is how Jamie Delano was able to share his message; the story of John Constantine. The writers of the television series then had to adapt the story from comics, a visual and written medium, into a different kind of visual medium with different features to it; stage craft, voice, music, etc.

    Comic books have features for story telling; the size and placement of the panels, the writing, word bubbles, narration bubbles, colors, art style, etc. The pro’s to this are that you don’t get paragraph after paragraph describing a place or a person; they literally show them to you and the art presents those details. They also allow for the art to take in the reader emotionally through what the images convey; messy art, sudden loss of color, or even a sudden blank page after a tragic event are simple yet effective ways to convey emotion that are, at times, difficult or downright impossible to put into words. And sometimes the writer wants to leave things to interpretation or allude to something without saying it outright. While this can be done in writing, it can be done through the art as well, and depending on how skilled the artist or creative a set up can be just as effective if not more.

     In television storytelling can be done with another wide array of features. Close-ups on the actors, the actors and their performance in general, music, background narration, changes in location, lighting, ect. This allows for emotions to come across in different ways; the quality of the acting can make or break the effectiveness of the scene, and music and lighting can alter the message or feel of scene in order to change or heighten the point, pacing, the use of CGI or practical effects, etc. So, keeping this in mind, there are many features that are exclusive to film that are not in comic books, and vice versa. So, as you can imagine, adapting the stories or message from one medium to another is nowhere near as straightforward as people like to think it is. In other words, I tend to give the writers/actors/etc a break when it comes to adaption because, honestly, there is a lot that goes into it and it’s not like I could do better, honestly. I mean, there are piss poor adaptions, I’m not gunna lie, but there are a lot of them that I think don’t get enough credit simply because it’s “different” in some ways.

     Aight, let’s first refer back to what I said earlier concerning the comic; these issues aren’t so much an intro to John as they are literally following him from the end of the American Gothic arc in Swamp Thing and to his apartment where he gets involved with more shit (no rest for the wicked, amirite?). So, again, not a good way to start the TV series. In the TV show, they also have to tie in the changes they set up in the previous episodes. Continuity, my friends.

    So, what is different? Here are a few things: John having a safe house, being in the US, Chaz being American and also not involved, Zed being involved and being Latina, the new angel character Manny, and the absence of Papa Midnight really change a lot about the story. The heart of it is John’s relationship with Gary and the defeat of the demon, which thankfully remains unchanged at it’s core. This is the central idea that drives this story and I think that idea was actually done a bit better in the film medium than in the comic.

   Keeping all of these factors and all of these changes that needed in order to keep things consistent with the TV show’s changes, let’s get into why I think that this episode is good even with the changes, but why I love it.

I love It

      After taking some time to consider things, I realize that what really makes this episode great is the actors; specifically, Matt Ryan and Jonjo O'Neill. The chemistry between them is undeniable. The way they look at each other and how they talk to each other really makes you feel like, at one time at least, they were friends. The scene where Gary swipes the ID badge and says “I learned from the best” is a great example of this. The look on his face and John’s; I don’t have a real eloquent way to say it. I just sort of feel it.

The retcon of Gary’s character really helps with this. Being that Gary is introduced and then killed off in two issues, you don’t really get to know his character in the comics. He’s only in one episode of the TV series, yet he feels more fleshed out. Soul was added to the character. Showing his struggles with addiction, as well as what I suspect to be depression and PTSD, really humanized him. In the episode, he was more than just a desperate, annoying junky; he was a flawed and relatable human being. Who hasn’t made a mistake? How many people have made BIG mistakes with consequences difficult to handle? How many people are haunted by their actions from the past? Addiction and the effects is has on people is devastating. I’m glad that they kept the ending true to the comics, but the way he was portrayed in the episode really made me feel for Gary in this case. It almost made me hope that maybe he really would get better, and have the chance at redemption that he was trying so desperately to find. But it wouldn’t be a John Constantine series without an ending like this one; John loses a friend and slowly digs himself deeper into hell.

Of course, it’s the ending of the episode that people really remember best. It’s the scenes that solidified, at least for me, Matt Ryan as John Constantine. It’s what really helped me have faith in the series. Watching it now, and seeing what really could have been, makes the episode somewhat bitter sweet for me. I felt like this is when the series really found it’s footing; the acting, storytelling, and how well arcs from Hellblazer could be adapted. This is where I think Matt Ryan hit his stride and we could see what he was really capable of as an actor if they let him spread his wings. In the earlier episodes I was honestly unsure. He looked the part, but the soul of the character had not really had a chance to shine through.

How John treats Gary at the end really made a difference, too. Holding him while he was in pain, and sitting with him as he died in agony; these simple yet effective changes really drove home John’s humanity in the face of evil and the tough decisions he has to make. The look he gives many at the very end, the anger and sorrow he seems to be struggling to hold back, is haunting.

In this episode, Matt Ryan’s love and dedication to John’s character shine. Seeing the story in live action gave this story a stronger impact. Even without a lot of the social commentary that was present in the comic, the live action element is what really helps drive the story home. I think it’s because it’s real people showing these very real emotions that can be hard to translate into art. Not to say that John Ridgway did a bad job, but it’s different in live action.

I hope I was able to get these thoughts across. I wasn’t sure if I should share this or not, but it’s something I’ve been thinking about for a long time. I know this is sort of jumbled, but hopefully it’s not a total mess to read.

[princess-mei]

Mei 美美 Qin – Character Sheet

it’s like everything you say is a sweet revelation / all i wanna do is get into your head / yeah we could stay alone, you and me and this temptation / sipping on your lips, hanging on by a thread, baby

late night watching television / but how’d we get in this position / it’s way too soon, i know this isn’t love (no) / but i need to tell you something

i really really really really really really like you / and i want you, do you want me, do you want me too?

Archetype — The Explorer Birthday — July 9th, 2002 Zodiac Sign — Year of the Horse, Rising Leo, Sun in Cancer, Moon in Cancer MBTI — ENFP Enneagram — 2, the Helper Temperament — Sanguine Hogwarts House — Gryffindor Moral Alignment — Chaotic Good Primary Vice — Lust Primary Virtue — Charity Element — Water/Fire (she’s a Water Horse, so she definitely identifies with that but in Western tradition she is Fire.)

Overview:

Mother — Tanya Qin Father — Peng Qin Mother’s Occupation — Editor-in-Chief of the San Francisco Chronicle Father’s Occupation — financial diviner Family Finances — wealthy Birth Order — middle Brothers —  none Sisters — Ting-Ting (Gemma Chan, May 13, 1993), Su (January 22, 2003) Other Close Family — close to their mother’s side, father’s side lives in China, but they’ve taken trips to see them once or twice. do not have any cousins/aunts/uncles, but close to their grandparents. Best Friend — Daisy Zanetti, they grew up together. Met in school and were thick as thieves right away. Daisy is a half-fairy, so they both understood the whole “half” background thing. Other Friends — Lots and lots of friends~ Enemies — There was probably like one Mean Girl that Mei was always antagonizing and who was always antagonizing her. Pets — None. Home Life During Childhood — Relatively happy. Has nice, loving parents. Did a lot of Family Activities, since that was important. Mother was busy a lot with work, but her father was around a lot and Ting-Ting was always around (until she went to school.) Town or City Name(s) — San Francisco, CA What Did His or Her Bedroom Look Like — Posters everywhere! Very personalized and customized. Lots of reds and golds. Probably had like one of those net things around her bed. Always very messy, because Mei starts a project and then just jumps to the next. Lots of natural light too probably. Any Sports or Clubs — Dance and Gymnastics. Mei has kept up with both of these throughout the year. Does both ballet and hip hop. Her favorite gymnastics is rhythmics. Favorite Toy or Game — She wouldn’t consider it a toy or game, of course, but loves doing tarot and tea readings. Also enjoys a good board game, is very competitive though. Schooling — Public school. Favorite Subject — Physical Education ?? Maybe literature. Art classes… Popular or Loner — Decently popular. She wasn’t one of the people that everyone knew but she had a wide circle of friends. Important Experiences or Events — Discovering she had divination skills. Deciding her specialization. Moving to Swynlake! Nationality — American Culture — Chinese-American Religion and beliefs — Spiritual, borrowing from a spread of Taoism, Buddhism, Chinese folklore, and Confucianism.

Physical Appearance:

Face Claim — Cheng Xiao Complexion — Fair-skinned Hair Colour — Naturally a dark brown, but she dyes it a lot! Eye Colour — Dark brown. Height — 5’6 Build — Athletic, but slim. Tattoos — None. Piercings — Ears. Common Hairstyle — Likes to braid it or put it in two buns. Does a lot of half-up/half-down hairstyles. Clothing Style — Chic and trendy, lots of colors and patterns. Mannerisms — Very bouncy, doesn’t sit still much. Twirls her hair around her finger a lot. Usual Expression —

Health:

Overall (do they get sick easily)? — Pretty healthy! I’m sure this is due to Ting-Ting constantly balancing her Yin-Yang Physical Ailments — None. Neurological Conditions — None. Allergies — None! Grooming Habits — Rather good. Takes a lot of care with her appearance. Always makes sure to moisturize and exfoliate and change out of sweaty clothes. Sleeping Habits — Average. Eating Habits — Eats a lot because Su is constantly making things, but can forget meals if she is distracted or concentrating. Exercise Habits —  Exercises a lot! Does all sorts of things like pilates and swimming and jogging. Emotional Stability — I give her a 7/10, she loses points for being a stubborn, unreasonable teenager and for her temper, but otherwise is pretty even-keeled. Body Temperature — Average. Sociability — Very social! Loves surrounding herself with people. Addictions — Love? Drug Use — None, we will see. Alcohol Use — Has gone to parties where she’s drank before, but not often.

Your Character’s Character:

Bad Habits — Interrupting people, bouncing from topic to topic, meddling in things that she shouldn’t, talking back, being a general nuisance. Good Habits — Very kind, very caring. Wants to take care of all her people. Strong moral compass. Best Characteristic — Her certainty. Worst Characteristic — Her stubbornness. Worst Memory — Being told she would have to move to Swynlake. Best Memory — When her father told her that he was proud of her for completing her studies for being a sorcerer and accepting an apprenticeship. Proud of — Her magic, her family history, her looks, her sporting ability. Embarrassed by — Not much, probably the fact she isn’t very good at school. Driving Style — Probably was just learning how to drive. A speed demon, but surprisingly a good driver. Strong Points — Her moral center and her big heart. Temperament — Can be explosive, but general soft and sweet. Attitude — Generally positive. Weakness — Not knowing what she wants. Fears — Not knowing what she’s going to do with her life. Phobias — Anything unlucky, though I wouldn’t call it a phobia, more of a cautious regard. Secrets — None really? She doesn’t keep much from people. She’s very “This Is Who I am. Fight Me.” Regrets — Having to leave Swynlake. Feels Vulnerable When — People are angry or upset with her, she’s not following her heart. Pet Peeves — Being told she’s wrong, lol. Conflicts — Duty to Family v Duty to Heart Motivation — Following her heart. Short Term Goals and Hopes — Make friends and something out of her life in Swynlake. Long Term Goals and Hopes — Figure out what she wants to do with her life. Sexuality — As-is she is straight, but this can change. Day or Night Person — Day Introvert or Extrovert — Extrovert. Optimist or Pessimist — Optimist except she can be really sour when things don’t go her way.

Likes and Styles:

Music — Oh, gosh–where to start? Mei loves love songs, of course. Big fan of Elton John, Elvis Presley, Celine Dion, etc etc. She also loves modern stuff, of course. Taylor Swift, Carly Rae Jepsen, Ed Sheeran…if she’s really feeling it some Florence and the Machine. Loves KPop too. I’ll let Lauryl tell me who she stans. (Is that the phrase I feel like there is a phrase.) Anyway, anything that is love related, she’ll give it a listen. Books — Doesn’t actually like reading that much, tbh. Doesn’t hold her interest. Magazines — Do people read magazines anymore? Does Buzzfeed count as a magazine? Probably giggles over Cosmopolitan. Foods — Sweets! Chocolate is her favorite, but she likes licorice a lot too. Is one of those weird people that likes black licorice. Also, loves a good rice pudding. That’s probably her favorite dessert. She also loves chicken, any kind of chicken–she doesn’t care what you put it in or what you put on it. Isn’t much of a picky eater. Actually really enjoys being adventurous with her food. Drinks — Green tea, green tea, green tea! Mei loves tea, especially iced. She also surprisingly likes salt soda water–she goes back and forth on sweet and savory. Sometimes, she just really wants salt soda water because it is just crisp and refreshing and wakes her back-up and reorients her yin-yang when she needs it. Animals — Elephants! Mei loves elephants. She’s that girl that has like elephant shirts and an elephant backpack and an elephant stuffed animal probably. They have such a high emotional capacity and Mei really respects them for this. They are also just so cute with their floppy ears and their soft, sweet eyes! Loves birds too as most of them are symbols of good luck and good tidings–besides owls, which are harbingers of death. Sports — Gymnastics and dance. Social Issues — Magick Rights is the biggest one. Also feminism. Also all the “main” issues. Favorite Saying — “Better to light a candle, than to curse the darkness” - Chinese Proverb Color — Golds, yellows, reds, blues are her favourites. She loves gold because it is a Classy color. Most of her jewelry is gold. She loves yellow because it is bright and happy! Red is lucky in Chinese culture and it always reminds her of times like New Year’s! Also, it is the color of passion and love. Blues she likes because they are calming and gentle.  These are her lucky colors. She also loves pink, even though it is technically a color that she should avoid. Really hates white, because she doesn’t like what a blank slate it is. Also, hates brown because it is an icky boring color. As you can see, she has a lot of Opinions on colors. Clothing —Chic and trendy, lots of colors and patterns. Jewelry — Loves it! Wears mostly gold. Probably has a few staple pieces but then exchanges things depending on her mood. Websites — Tumblr, Instagram, Twitter etc etc TV Shows — CW shows and K/Cdramas Movies — All the great love classics: Gone with the Wind, the Titanic, When Harry Met Sally, Roman Holiday, all of Audrey Hepburn probably, the Notebook, Singing in the Rain…I could go on and on. She loves movies that tug at the heart strings and are full of that wild, amazing, passionate kind of love. They always make her swoon and if she is choosing a movie for movie night, you know it’s gonna be a romantic tearjerker. Though, she also likes romcoms. Doesn’t like action movies or horror movies or anything too intense, they freak her out Greatest Want — To figure out what to do with her life. Greatest Need — To grow up and learn things aren’t all about her, lmao.

Where and How Does Your Character Live Now:

Home — A three bedroom apartment with Ting-Ting and Su. Household furnishings — Rather plain at the moment, but will probably grow cozy as they settle in. Favorite Possession — Her pseudogrimoire where she writes down all the signs and stuff that she sees and puzzles out the meaning to. Most Cherished Possession — Her wand, which is a fan that was her mother’s, her mother gave it to her and her father and Ting-Ting help her imbibe it with magic. Neighborhood — Tortuga Place Married Before — No Significant Other Before — Non-serious boyfriends and Serious crushes Children — She iS a child Relationship with Family — Very close with her dad, even though he’s always yelling at her and being disappointed in her. They have a lot in common and she loves him. Her and her mother also get along more or less, she’s less stringent than her dad. Ting-Ting and her probably have the most contentious relationship, but even that hasn’t been that bad really. Mostly Mei being a nosy, annoying little sister. It will get more intense now that Ting-Ting is the authority figure and Mei is pissed about their situation. Su and Mei get along more or less well, they annoy each other, as sisters are wont to do, but Mei would def consider Su one of her best friends. Car — None. Career — Student Dream Career — She doesn’t know !! Dream Life — Married, with children, though she doesn’t know what she wants out of a career. Love Life — Nonexistant, which pisses her off. Talents or Skills — Excellent gymnast and very good with her magic. Intelligence Level — Decently intelligent, has street smarts, tbh. Very sharp in conversation. Finances — Wealthy

[winchestermotel]

The Road We Take

Chapter 1

Pairing : Dean x Reader, Sam x Reader, Dean x Reader x Sam

Warnings: fluff, smut, angst, loss of a loved, all kinds of kinky sex and stuff(we’ll see where it goes), nsfw, 18+, slow burn(hopefully)

WC: 2464

Summary: Y/N is a hunter who has just lost a father figure. Sunny took her in when her family died tragically and raised her. She grew up listening to Sunny go on and on about how good Sam and Dean were as hunters and as people, but she personally never met them. The only Winchester she met was John and she didn’t like him at all. Now she invites all hunters on Sunny’s contact list for his Wake. She can’t wait to meet the Winchester Brothers. Their meeting isn’t ideal, but it marks the beginning of a new chapter in Y/N’s life but where does this road lead to?

Assume all warnings apply to all chapters. Chapters will be individually warned as well.

A/N: Hi. This is my first fan fic ever so if you’re reading this THANK YOU but also, I would appreciate if you could leave some constructive criticism and comments on how you would like the story to progress. If you like it, share it with your friends as well😊

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Dean Winchester. Sam Winchester. You had grown up hearing these names. Best damn hunters in the world. You couldn’t wait to meet them only because Sunny seemed to have loved them. Sunny used to hunt with their dad, John. Well, Sunny taught John how to hunt, how to fight and generally how to hold his own and Sunny introduced Bobby to John as well. It was almost weird you and the Winchester Boys still hadn’t met or chanced upon each other until now, until Sunny’s wake. The Winchester Brothers were going to be your closest relation at the wake, and you didn’t even know what they looked like.

The pain struck again when you remembered. In all fairness, you had not forgotten, you were trying hard not to think. All alone in this ramshackle house in the middle of a forest. The once maroon wallpaper, covered in decades of dust, blood splatter and sigils coming of the walls had turned brown. The green fungus on the walls was slowly creeping towards the ceiling. Neither Sunny nor you stayed here long enough in between hunts to care much for housekeeping. If anyone thought the living room looked bad, they would faint if they saw the basement. The place you occasionally held down demons, witches, vamps, werewolves, sometimes gods or any manner of monster that needed some extra persuasion to talk. The 3 bedrooms were in no better condition however the kitchen was spotless. Sunny kept all work, killings and rituals out of the kitchen. It didn’t even look like a part of the house, but your favorite place was the rooftop.

The house didn’t have another floor, the rooftop wasn’t high enough for a very nice view, but it did look over the forest. You and Sunny had set up some lights and kept a  small fridge and two very old recliners. The nights you both were back home this was where you both would spend most of the time but none of it really seemed to matter now because you felt all alone haunted by your own memories and now that he was gone everything in the house was screaming for attention. Everything reminded you of the man that took you in and raised you.

You had sent out messages to every hunter on all of Sunny’s phones, but you didn’t reply to anyone. Building his pyre, burning his body had left you exhausted both physically as well as mentally. You were hardly 5’0 but had built strength and stamina from years of hunting. At 25 you still had a decade worth of experience in hunting. You had made the arrangement for the wake which was mostly just booze, bacon and burgers. Now it was time for the hunters to show up.

The clock strikes 3pm and the hunters start showing up. One after the other. In half an hour, there was hardly any space to set foot. You didn’t imagine so many would turn up. When 6 more hunters turned up you were certain you would run out of beer. The hunters all made themselves at home. You kept making small talk. Everybody apologized, everybody had stories to tell you about him. After a while you wanted the beer to run out, so you had a reason to get out of the house for a second and breath. Couple hours passed and the general topic was way past Sunny. Some had passed out from drinking, some were still playing a drinking game, others were telling jokes or catching up after years of not seeing each other. You had to replenish the beer supply twice now, not that you minded but it was only 7pm.

The noise suddenly was too much, the smells were to potent, so you ran outside. You didn’t get far before you tripped and fell just a few yards away from the front door.  You looked up at the stars and tears rolled down on your cheeks.

“Why did you leave me? Why did you have to push me to the side? Nobody would’ve cared if the werewolf ate my heart but look at all of these people. They love you. Why didn’t you let me save you , you bastard? You screamed into the nothingness.

You sat there as tears rolled down your cheeks when you heard a roar an engine nearing you. As you look up, you’re blinded by bright headlights. The car comes nearer and nearer. You’re not sure the driver can see you, but you don’t move. You’re not sure you want to. The car stops right in front of you and the lights turn of. Because you had been starring right into the bright lights, now you can’t see anything, but you hear two doors creak open and you hear an angry man walking up to you.

“What the hell are you doing, lady? Tryin’a get yourself killed here?” you hear him speak as he comes closer to you.

“Dean wait….” You hear another voice. This one’s a little calmer.

The lights have somehow sent you into a trance because you can’t move. Every muscle feels a lot heavier. You look up to see two giant men towering over you.

“Oh…I..um..’’ you hear the angry man’s fury fade away as he looks at you.

“Here, let me help you up.’’ The other one offers you a hand.

You take his hand and stand up.

“Woah….’’ Is all that you can muster.

You were always the short one but these two were huge and because you were standing so close, you could hardly see their faces. Maybe you were tired from the day or drained from the crying, you lost your footing for a second and stumbled backwards when you pushed your head back to get a good look them.

“Oh hey, careful sweetheart. Are you alight?’’ He stepped forward almost immediately to help you, but you had already stabilized and nodded.

“My name’s Dean. This is my brother, Sam. We’re John Winchester’s sons. We’re here for Sunny’s wake.’’

“Oh, I’m sorry. My name’s Y/N. Please go inside. Make yourself at home. I’ll be there in a minute.’’ You said monotonously.

“You’re y/n? Sunny’s kid? Sam asked and when you nodded, he immediately hugged you.

You didn’t know whether it was nobody had hugged you or was it because he called you ‘Sunny’s kid’ you started crying again into his chest and his grip tightened.

“Hey, hey, hey. It’s alright. Let it out. I’ve got you.’’ Sam almost whispered as he attempted to calm you down.

You step away and wipe your tears away and barely nodded to say thank you.

“ You alright?’’ Dean inquired.

“Yeah. I needed that I think. Come inside. Please.’’ You reply in a quiet and embarrassed voice as you turn around to lead the way.

‘They probably think you’re a stupid cry baby now. Quite the first impression.’ You think to yourself.

The second you open the door; every head in the room turned towards you.

“The Winchesters are hear!’’ somebody yells.

You think a fight is about to break out but in a matter of seconds you realize it’s more of celebration because everybody cheers them on as they step inside behind you. You’re not comfortable with the whole situation.

“This is about Sunny. This about remembering him. This is NOT about your petty little drinking games or playing catch up.’’ You yelled as you opened a door that revealed a staircase behind the living room and went up.

It wasn’t a very cold night but the thought of Sunny never being up on the roof top made you shiver.

“Mind if I join you?’’

You turned around and saw Dean walking towards you.

“Hey….’’ Is a you can muster.

“ I’m not gonna ask if you’re okay because I know you ain’t doing so well. Beer?’’ he offered

“I’ll pass. And yeah not doing so well. The guy who was the closest thing I had to a father died 3 days ago, saving me from a werewolf. I had to build his pyre, burn his body and now I have to look at his friends having the time of their lives in his house. So, you’re right, I’m not okay!’’ you almost yell at him.

“Hey. Look. I’ve lost my fair share of family. Hell, other than Sammy I’ve lost everyone I loved. I even lost him a couple of times, but life doesn’t stop. I know it’s hard right now and it never get easy, but you move on. So, we keep grinding. No matter how much it hurts, no matter how hard it gets, you got to keep grinding. And that's how we keep fighting.’’ Dean replies in a firm tone.

“Dean….he was all I had. He gave me this life. There’s nothing else I have. After my family, he took me in. Now that he’s gone I…...’’ You break down in tears again.

You feel Dean wrap his arms around you. There’s a comfort in his hug but somehow the tears don’t stop.

‘yeah, now they’ll definitely think I’m just another emotional bitch’ you think to yourself. ‘Awesome way to embarrass yourself!’

“ It is okay. You have me and Sam now. It’s what Bobby and Sunny would have wanted. You got us now. You ain’t gonna be alone ever.’’ He soothed. His hand rubbed your back.

Without breaking out of his embrace, you looked up into his eyes. They were green. He was very tall as well but not as tall as his brother. The freckles scattered over his face added to his persona. He was a very handsome man. You could see hints of his father in his face. High cheek bones, the green eyes, the way he talked had the ghost of his father.

“Do I have something on my face?’’ he smirked.

“No….you’re….’’ You weren’t sure whether you wanted to tell him what you really thought.

“ I know I’m adorable.’’ He stepped back and you could swear he pouted

“Someone’s cocky!’’ you smirked.

“Y/n, the people downstairs meant a lot to Sunny and us hunters, we’re messed up. But the fact that they dropped everything and drove here from all over the country to be here is the most they can do to show they cared. You need to get yourself together, go down and raise a toast to Sunny. Now they’ll be leaving soon but Sammy and I’ll stick around for the night…..if you want.’’ He tried not to make it sound like an order.

You turned away and looked up at the sky. You closed your eyes and thought about Sunny and a tear rolled down your eye. Taking a deep breath, you turned back around, wiped the tear and nodded.

Dean leads the way and you follow. When the other hunters see you coming down everybody is silent. The remnants of the emotional breakdown you had earlier still lingers in the air. Once in the living room, you can feel all eyes on you.

“I’d first like you apologize for whatever I said. I know what I said was wrong. You all are…..were as much a part of Sunny’s life as much as I was’’ You begin. “So many of you knew him as a friend, a buddy, a leader. He was a kind, loving man even though he would never admit it, he loved every single person in this room. I mean look at me. He took me in when he didn’t have to. The case was dealt with. He had no business sticking around but he did. Took me in when everybody refused to take me in. Hell, he died saving me and he knew nothing would survive that fall but he jumped at the werewolf, gave me an open shot and fell over the cliff.’’

You paused for a second trying to keep that ball that just formed in your throat from chocking you and your crowd cheers you on. They could feel your pain, but their cheer gave you strength to continue.

You continued  “ Sunny died doing what he loved and there was no other way he wanted to go out. A couple days ago I gave him a hunter’s sendoff because he deserved nothing less. Sunny was tough, strong and stubborn as hell. The man did know how to cook though. He loved to cook. But his legacy will live in on all the lives he touched, the lives he saved and the love he gave to the people he cared about.’’ You raise your beer  “To Sunny!’’

“ To Sunny!” everybody repeats unanimously.

After that things did become easier. You wanted to thank Dean, but you couldn’t see him or Sam. You moved around, talked to everybody else. Now you wanted to talk to them, you wanted to listen to what they had to tell you. Everybody appreciated the toast you raised to Sunny. You even spotted a damp eye or two, but you knew they would never admit it.

The crowd around you started thinning as the hunters started to leave. Soon, you were all alone again. Seeing off the last hunter you went outside. The black beast that you nearly let run over you was still parked there.

They’re still here. But where are they??

“Y/N up here!” you heard Sam’s voice.

You turned around and looked up. Sam and Dean were on the roof.

“ Come up sweetheart. Have a beer with us.’’ Dean smiled at you.

[weekendwarriorblog]

The Weekend Warrior 4/23/21: MORTAL KOMBAT, DEMON SLAYER, TOGETHER TOGETHER, STREET GANG, SISTERS WITH TRANSISTORS

Ugh. Trying to maintain this column as a weekly entity during the final few weeks of the longest Oscar season ever has been really hard, and I’m not sure that will change once the Oscars are over either, because I look at the number of movies being released both theatrically and streaming over the next few weeks, and it makes my head hurt. Sorry for the kvetching, it just is what it is.

There are two big theatrical releases this weekend, Warner Bros’ MORTAL KOMBAT and DEMON SLAYER THE MOVIE: MUGEN TRAIN from FUNImation Entertainment, both which have already been released internationally. I also probably won’t be able to watch or review either before this column gets posted.

Mortal Kombat seems like the easiest sell being that it’s based on the popular Midway Games video game franchise introduced in the early ‘90s that led to a series of films, books, comics and you name it. It was a very popular fighting game that had over a dozen iterations including one in which MK characters fought against DC superheroes.

The very first Mortal Kombat movies opened in 1995, right amidst MK-mania, and it was directed by one Paul W.S. Anderson, his very first movie in a long line of video game-related movies, including a number of Resident Evil and the recent Monster Hunter. There are a lot of people who love those games, and yes, even people who love that and other movies, but to others, who may have been too old to get into the games when they came out, the whole thing about different fighters fighting each other just looks kind of studio. Even though I’m interested to see what producer James Wan brings to this reboot, I just don’t have much interest otherwise.

Unfortunately, and this is pretty daunting, Warner Bros. wasn’t sending out screeners to critics until Wednesday with a review embargo for Thursday night at 7pm, which is never a good sign, and yet, it continues Warner Bros. continuing the trend of being one of the only studios that screeners EVERY movie to film critics rather than just making them pay to see it on Thursday night or Friday. I hope to watch it and maybe add something Thursday night, time-permitting. Not sure you heard but the Oscars are Sunday.

As far as box office, Mortal Kombat opens on Friday but also premieres on HBO Max, and I’m not sure there will be as much urge to see MK on the largest screen possible, as there was with Godzilla vs. Kong. Because of that, I think the cap for this one over the three-day weekend is about $10 million but not much more and probably more frontloaded to Friday than we’ve seen in some time.

Mini-Review: As you can imagine from my statement above, I don’t hold the Mortal Kombat games or other iterations in any particular high esteem, so I’m basically jumping into this movie, directed by Simon McQuoid, just as a movie and not necessarily as a video game movie.

It starts off promising enough like a samurai movie with a flashback where we watch Hiroyuki Sanada’s hero sees his wife and son be killed by Joe Taslim’s character that will later become Sub-Zero. The general principle seems to be that there’s a world where people from other worlds fight each other to gain complete control. The hero is Lewis Tan’s MMA fighter Cole Young, presumably a popular character from the game? He is also soon attacked by Sub-Zero presumably because he’s marked with a dragon tattoo that deems him a champion of these fights, but he needs to find someone named Sonya Blade (Jessica McNamee) to help him get to the “Mortal Kombat.” At the same time, he meets the movie’s most entertaining character, Kane,

played by Australian actor Josh Lawson, mainly because he swears constantly and cracks wise -- he’s a bit like Wolverine, actually, and he’s actually the best part of the movie.

Otherwise, everyone and everything is always so deadly serious that everyone else we meet just doesn’t have much impact, because frankly, none of these names or characters mean jack shit to me. Sure, some of them sound vaguely familiar but I was more interested in the great Asian actors who turn up including Tadanobu Asano’s Lord Raiden, who is gonna claim Earth if its champions lose at Mortal Kombat. And Sub-Zero basically just shows up and tries to kill everyone.

As with far too many action movies, the action itself is great, the writing and acting not so much.

As it goes along, things become more epic and fantasy-driven but that also makes the dialogue seem even worse. Similarly, the fight choreography is pretty great, but the movie still leans way too heavily on visual FX to keep it more interesting for anyone not too interested in MMA… like myself. When all else fails, they can show off Sub-Zero’s cool ice powers every chance possible as well as the other’s powers, but some of them (like Lord Raiden) just made me think of this as a rip-off of the great Big Trouble in Little China.

The thing is I’m not a fan of the video game nor of MMA, so Mortal Kombat really doesn’t have much to offer me. The whole thing just seems very silly, just like almost everything from the ‘90s. (How’s THAT for a bad take?)

That said, I thought the final battle was great, and I enjoyed some of the gorier aspects of the fights, too, and it all leads to my favorite part, which is the three-way fight between Cole, Sub-Zero, and… actually I’m not sure if it’s a spoiler or not, but it’s a pretty cool fight that almost makes up for some of the dumber characters introduced earlier on. (LIke that guy with four arms. I know he’s a character in the games, but I didn’t even care enough to look up his name.)

It’s perfectly fine that they decided to go Rated R with the movie since most of the nostalgia for this movie and franchise will be towards older guys, but at times, the CG blood is so hinky it feels like the decision to go R-rated was made well after it was filmed.

Even though I went in with the lowest of expectations, I still found most of Mortal Kombat kinda trite and boring, maybe something I’d appreciate more as a teenager but not so much as a grown adult. But what do you expect for a movie based on a video game that’s just a bunch of “cool fights”?

Rating: 5.5/10

And yet, Demon Slayer could be the surprise breakout of the weekend, considering the theatrical success FUNimation has had with theatrical releases of the My Hero Academia movies into theaters in 2018 and 2020, and the hugely successful Dragon Ball Super: Brolly, which grossed $31 million domestically after a surprise $20.2 million in its first five days in roughly 1,200 movies. In fact, it made $7 million its opening Wednesday in January 2019, and FUNimation is hoping that Demon Slayer will have a similar success by opening it for a single day (Thursday) in IMAX theaters before Mortal Kombat takes over on Friday.

Demon Slayer has already grossed $383.7 million internationally compared to Mortal Kombat’s $10.7 million, and you cannot ignore the huge popularity that anime has seen over the past few decades. In fact, a bunch of screenings for Demon Slayer in NYC have already sold out, although you have to bear in mind that these are 25% capacity theaters. Even so, I still think this can make $4 to 5 million on Thursday and another $7 to 8 million over the weekend, depending on the number of theaters. Yes, it will be quite frontloaded, and I’m not sure what the cap is on theaters and how that will affect how it does over the weekend, but expect a big Thursday and a more moderate weekend but one that might give both Mortal Kombat and Godzilla vs. Kong a run for the top of the box office.

Also hitting theaters before streaming on Netflix (on April 30) is THE MITCHELLS VS. THE MACHINES, the new animated movie produced by Chris Miller and Philip Lord, following their Oscar win for Spider-Man: Into the Spider-Verse. It’s a little weird to open a new animated movies, presumably in select theaters, when such a hugely anticipated animated movie like Demon Slayer is opening, but Netflix won’t

The movie itself is directed by Michael Rianda and Jeff Rowe, and it involves a family named the Mitchells, whose eldest daughter Katie (voiced by Abbi Jacobson) is leaving home for college, so her father (voiced by Danny McBride) decides that he’s going to drive her there and use it as the chance for a cross-country family trip. Meanwhile, it’s set up how the world becomes overrun with robots when a tech giant creates a new personal assistant.

I wasn’t sure whether I’d like this even though I’m generally a fan of all of Lord/Miller’s animated movies including both Cloudy with a Chance of Meatballs movies. It took me a little time to get into the family and the general premise. In some ways it reminded me of Edgar Wright’s The World’s End where it’s trying to merge these two disparate genres, but when they actually merge, it just doesn’t work as well as it may have seemed on paper. That worry is soon expunged, because Rianda finds ways to integrate the two ideas over time.

On the trip, the Mitchells run into their perfect family neighbors, the Poseys -- voiced by Krissy Teigen, John Legend and Charlyne Yi -- and you’d think they might be a bigger part of the movie then they actually are. I’m not sure I would have liked doing the family-vs.-family thing so soon after last year’s Croods movie, but I did love the dynamics of the Mitchells being a very relatable imperfect family with Danny McBride being particularly great voicing the family patriarch. It even has a really touching Pixar’s Up moment of Katie’s father watching old home movies of them together when she was younger.

In general, the filmmakers have assembled a pretty amazing voice cast that includes Conan O’Brien, Olivia Colman, Fred Armisen and Beck Bennett. Actually the weirdest voice choice is Katie’s younger brother Aaron, voiced by Rianda himself, and it sounds like a strange older man trying to be a kid, so it doesn’t work as well as others.

What I genuinely liked about Mitchells vs. the Machines is that it doesn’t go out of its way to talk down to overly sensitive kiddies or skimp on the action while also including elements that parents will enjoy as well, and to me, that’s the ideal of a family film.

While some might feel that The Mitchells vs. the Machines is fairly standard animated fare, it ends up being a fun cross between National Lampoon’s Vacation (cleaned up for the kiddies) with Will Smith’s I, Robot, actually, and yet, it somehow does work. It’s a shame that it’s really not getting a theatrical release except to be awards-eligible.

Next, we have two really great movies I saw at Sundance this year and really enjoyed immensely…

So as I mentioned, I first saw Nikole Beckwith’s TOGETHER TOGETHER (Bleecker Street), starring Ed Helms and Patti Harrison, at Sundance, and it was one of my favorite movies there with Helms playing a middle-aged single guy named Matt, who hires the much-younger Anna (Harrison) to be his surrogate, because he wants a baby. It’s a tough relationship thrown together due to each of their respective necessities.

Part of what drives the movie is how different Matt and Anna are, him being quite inappropriate with his suggestions and requests but not really having a working knowledge of female anatomy, pregnancy, delivery etc, but being really eager to raise a child and having the money that Anna clearly does not.

While I was familiar with Helms from The Office, The Hangover, etc. I really didn’t know Patti Harrison at all. Apparently, she’s a stand-up comic who hasn’t done a ton of acting, comedic or otherwise. That’s pretty amazing when you watch this movie and see her dry sardonic wit playing well against Helms’ generally lovable doofus. What I also didn’t realize and frankly, I don’t really see this as something even worth mentioning, is that she’s a trans woman playing a clearly CIS part, and she kills it. I certainly wouldn’t have known nor did it really affect my enjoyment of the movie, yet it still seems like such a brave statement on the part of the director and Harrison herself. The thing is that Harrison isn't just a terrific actress in her own right, but she brings out aspects of Helms that I never thought I would ever possibly see. (If it isn't obvious, I'm not the biggest fan of Helms.)

The movie has a great sense of humor, as it gets the most out of this awkward duo and then throws so many great supporting actors into the cast around them that it’s almost impossible not to enjoy the laughs. There’s the testy Sonogram tech, played by Sufe Bradshaw from Veep, who tries to maintain her composure and bite her tongue, but you can tell she’s having none of it. Others who show up, including Tig Notero, Norah Dunn and Fred Melamed. Just when you least expect it, Anna Conkle from Pen15, shows up as one of those delivery gurus that make the two of them feel even more awkward.

What’s nice is that this never turns into the typical meet cute rom-com that some might be expecting, as Beckwith’s film is more about friendship and companionship and being there for another, and the lack of that romantic spark even as chemistry develops between them is what makes this film so enjoyably unique. Beckwith’s sense of humor combined with her dynamic duo stars makes Together Together the best comedy about pregnancy probably since Knocked Up.

Another great Sundance movie and actually one of my two favorite recent documentaries AND one of the best movies I’ve seen this year is… you know what? I haven’t done this for a while so this is this week’s “CHOSEN ONE”!! (Fanfare)

(Photo courtesy: Robert Fuhring/Courtesy Sesame Workshop)

Marilyn (Mad Hot Ballroom) Agrilo’s STREET GANG: HOW WE GOT TO SESAME STREET (Screen Media/HBO Documentaries) is a fantastic doc about the long-running and popular PBS kids show that’s every bit as good as Morgan Neville’s Mr. Rogers doc, Won’t You Be My Neighbor? Which was robbed of an Oscar nomination a few years back.

Let me make something clear on the day I’m writing this, April 21, 2021, that this is my favorite movie of the year, the only one I’ve already given a 10/10, and the end of the year might come around, and I have a feeling it will still be my #1.

You see, I was raised a Sesame Street kid. It’s not like I didn’t read or play outside or not get the attention of my parents or family, but there was so much of my happy, young life that I could attribute to my time watching Sesame Street, and when you watch Marily Agrilo’s amazing doc, it all comes rushing back. There is stuff in this movie that I haven’t seen in maybe 50 years but that I clearly remember laughing at, and there’s stuff that got into the mind of a young Ed that influenced my love of humor and music and just outright insanity. Sure, I loved The Muppet Show, too, but it was a different experience, so to watch a movie about the show with all sorts of stuff I had never seen or knew, that’s what makes Street Gang such a brilliant documentary, and easily one of the best we’ll see this year. Of that I have no doubt.

From the very origins of the show with Joan Cooney developing a show that will be entertaining and educational to the kids being plopped down in front of the TV in the ‘60s and ‘70s, so they can learn something, it’s just 1:46 of straight-up wonderment.

Besides getting to see a lot of the beloved actors/characters from the show and many of the surviving players like Carol Spinney aka Big Bird/Oscar, you can see how this show tried to create something that wasn’t just constantly advertising to young minds.

More than anything, the show is a love letter to the bromance between Jim Henson and Frank Oz, and you get to see so many of their bits and outtakes that make their Muppets like Burt and Ernie and Grover and, of course, Kermit, so beloved by kids that even cynical adults like myself would revert childhood just thinking about them. Then on top of that there’s the wonderful music and songs of Christopher Cerf and Joe Raposo and others, songs that would permeate the mainstream populace and be remembered for decades.

The movie is just a tribute to the joy of childhood and learning to love and sing and dance and just have fun and not worry about the world. I’m not sure if kids these days have anything like that.

It also gets quite sad, and I’m not embarrassed to say that in the sequence that covers the death of Mr. Hooper, I was outright bawling, and a few minutes later, when Jim Henson dies in 1990, I completely lost it. That’s how much this show meant to me and to so many people over the decades, and Brava to Ms. Agrilo for creating just the perfect document to everything that Sesame Street brought to so many people’s lives. This is easily the best documentary this year, and woe be to any Academy that doesn’t remember it at year’s end.

The other fantastic doc out this week, though I actually got to see it last year, is Lisa Rovner’s SISTERS WITH TRANSISTORS (Metrograph Pictures), which will play at the Metrograph, both on demand and part of its Digital Live Screenings (available to join for just $5 a month!). This is an endlessly fascinating doc that looks at the women of electronic music and the early days of synthesizers and synthesis and some of the female pioneers. It’s narrated by Laurie Anderson, which couldn’t be the more perfect combination.

The movie covers the likes of Suzanne Cianni; Forbidden Planet composers Louis and Bebe Barron, who created the first all-electronic score for that movie; the amazing Wendy Carlos, who electronically scored one of my favorite movies of all time, Kubrick’s A Clockwork Orange; Delia Derbyshire, who was also the subject of Caroline Catz’s short, Delia Derbyshire: The Myths and Legendary Tapes, which tragically, I missed when it premiered at the SXSW Film Festival in March. Derbyshire was also famous for creating the iconic theme to “Doctor Who” while working at the BBC Radiophonic Workshop in the '60s. Others who appear in the movie, either via archival footage or more recent interviews are Pauline Oliveros and Laurie Spiegel, who I was less familiar with.

The point is that as someone who was a fantastic for electronic music and synthesizers from a very early age and for someone who feels he’s very familiar with all angles of music, I learned a lot from watching Rovner’s film, and I enjoyed it just as much a second time, because the footage assembled proves what amazing work these women were doing and rarely if ever getting the credit for what they brought to electronic music, something that still resonates with the kids today who love things like EDM.

An endlessly fascinating film with so much great music and footage, Sisters with Transistors can be watched exclusively through the Metrograph’s Live Screening series, so don’t miss it!

Hitting Shudder this week is Chris Baugh’s BOYS FROM COUNTY HELL (Shudder), which I didn’t get a chance to watch before writing this week’s column, but Shudder in general has been knocking it out of the park with the amazing horror movies it’s been releasing on a weekly basis. This one involves a quarelling father and son on a road who must survive the night when they awaken an ancient Irish vampire.

Also hitting theaters and streamers and digital this week:

THE MARIJUANA CONSPIRACY (Samuel Goldwyn Films)

MY WONDERFUL WANDA (Zeitgeist Films)

WET SEASON (Strand Releasing)

CRESTONE (Utopia)

VANQUISH (Lionsgate)

BLOODTHIRSTY (Brainstorm)

SASQUATCH (Hulu)

SHADOW AND BONE (Netflix)

And that wraps up this week. Next week? No idea… I know there’s stuff coming out but I probably won’t think about it until after THE OSCARS!!!! On Sunday.

[the-trashy-phoenix]

Supernatural season 2 review (part 1)

Link to part 2:

Here we are, we’ve already finished the second season of Supernatural (we’ve also already started the third to tell the truth) and it’s time for my second review. I have to say I’ve enjoyed this season more than the previous one, maybe because I knew the main characters (mainly Sam, Dean and Bobby) quite well, and also because I think the plots of all the episodes were really catchy and original.

The first episode is meant to be tragic, with all the issues connected to Dean’s apparently inevitable death, but I wasn’t worried at all because 1. Dean had already escaped death once , in episode 12 from season 1, when a healer kind of cured him; 2. one of the main characters can’t die in the second season out of fifteen; 3. Carly had told me they always seem to die but they never actually do, or if they do they suddenly resuscitate. Despite all that, seeing Sam so sad about his brother really broke my heart, not to mention all the things he’ll go through during this season, but let’s go in order. Of course the price for Dean’s life is high, but at least we finally get rid of John… I don’t want to be harsh on him, because at the end (by the way I’m not sure this is really the end for him) he does what every good father would do sacrificing his life for his son’s, but still I couldn’t help blaming him for how he treated the brothers when they were children (a lot of details from their childhood emerge in these episodes through flashbacks) and how he denied them a happy life, so that I don’t think this ultimate sacrifice is enough to repay Sam and Dean, also because it makes Dean feel so guilty even though he has no reason to.

John’s death gives the boys a new impulse to hunt the “Yellow-eyed demon”, which killed their mum and at this point also their dad, because Dean was saved thanks to a deal he made with the demon. In their search for this creature they find out there’s a complex net of hunters John belonged to, who gather in a bar owned by Ellen, wife of a dead hunter, and her daughter Jo. They seem to have some secrets but still help the boys in their hunts: especially Jo is willing to become a huntress herself and embodies the prototype of the young girl who wants to follow her own path and make her experiences break free from her mother’s control. But Ellen, helped at some point by Sam and Dean, just wants to protect her from a dangerous job, the same that killed her husband and which will end up killing both of them. A special mention to another character met by the brothers at the Roadhouse, Ellen’s bar, Ash, a really weird man who can find out whatever is needed in an impressively short lapse of time. He doesn’t talk much but he’s extremely helpful, and I think Sam and Dean never thank him enough for his work.

I’d say the second antagonist of this season (the first is of course the Yellow-eyed demon) is Gordon, a hunter Sam and Dean meet while hunting some vampires. From the very beginning it was clear to me that he was a real pain in the ass (do I have to start worrying about the fact that I constantly feel like using Dean’s expressions? And even if Sam is still my favourite one?), but Dean really liked him at first, maybe because he desperately unconsciously needed a strong figure to take the place of his dad. Sam immediately recognises him as extremely cruel, because he kills creatures instinctively supposing they will necessarily harm someone just by the fact they’re supernatural. But also the brothers, especially Dean, sometimes seem to be driven by this thought, so I think the episode about the “vegetarian” and harmless vampires (the same in which we meet Gordon for the first time) also demonstrates them not only that not all hunters are good people, but also that not all supernatural creatures are bad. That’s a good lesson, because it leads them to focus and argue more about the ethical aspects of their work and about how murder of whichever creature is a very problematic ground to which they must always pay attention, in order to kill less and try saving as many innocent creatures as possible. Going back to Gordon, after having tried to separate Sam and Dean, both mentally and physically, he gets arrested (but of course he comes back to bother them as the show goes on) and Dean finally understands he has to rely more on Sam’s judgement and accept the fact he’s an adult who doesn’t always need his supervision and who can also protect and help him if necessary, in every possible way.

One of the big deals of this season is Sam’s struggle to find his identity, solving the mystery about his psychic abilities. Everything can be related to the Yellow-eyed demon who wants Sam to be the leader of a demonic army. His meetings with other guys (such as Andy) who have similar abilities and lots of things in common with him make the episode’s plots quite interesting, but the ending was quite banal to me: even if you don’t know who’s actually dying or surviving, you still always know that Sam won’t die (or, at least, that if he will, he’ll also eventually resuscitate). I also found so unrealistic that Dean would kill his brother if he becomes evil. Of course that’s what John whispers to him at the very end (and we all know Dean would do anything to please his dad), but still it’s very unlikely to happen both because Dean would never kill Sam, even if it was the right choice to make, and because Sam would rather kill himself than becoming evil.

Another thing I have to point out is the constant breaking of the law. I do understand they always do it for the best, but the fact remains, and I think they could do better if they only wanted to. Starting with credit card fraud: I do understand they earn nothing from their job, but I still think deliberately stealing money just because your job is to save the world and you don’t get paid for that is wrong (not to mention they spend it to buy disgusting food…). Going on, I don’t understand completely passing themselves off as police officers or FBI agents: I know this way it’s easier to get information quickly, but if they really wanted to they could do it without this constant lying. But, you know, that’s just fiction… But also in fiction you get arrested! Sam and Dean know it well, but we have to say also the police knows them well (that’s easy if you are evidently involved in a bank robbery!) and keeps trying to catch and imprison them. Who can blame them? Without knowing the truth, the brothers make a lot of unexplainable crimes… And I think the fact the police is after them keeps the show on a field of realness, even if I can’t stop wondering how they figure out hiding from the police from very long periods of time (by the way police seems always to be quite stupid in series like Supernatural, that is when you see events from the “criminal” ’s point of view).

I’ll go quickly examining in order the episodes I liked (or scared me) the most. Episode 2 scared me quite a lot, but that’s just because I find clowns really really frightful: I can’t understand how a child could find them funny, to me they’re just terrifying. Episode 9 quite hit me because the story of the mortal virus reminded me how what we considered supernatural some months ago is now real and tragically near us. I also have to mention episodes 13 and 15. In the former, angels seem to order people to kill sinners and that’s a crucial point because it’s one of the first mentions of God, faith and religion in general in the series. I found it quite interesting because it’s unusual to have this kind of theological reflection in a fantasy story (Carly also pointed me out Dean’s lack of faith in angels, which is ironic considering his future close relationship with an angel, Castiel, but I was not supposed to know that). In the latter Bobby appears to help the boys: that’s important because he’ll be a permanent character and because both Carly and I love him. He’s literally the kind and caring and strict-when-needed father Sam and Dean never had and deserved, and I’m happy he’s always there to support them and make them feel like they’re not alone in doing their job. By the way, my favourite episode was the twentieth because it’s been involving to see Dean’s possible life if his mother wasn’t dead: it underlines this feeling Dean has in the whole season (and as far as I now in the whole series) of having wasted his life, which could have been happy and stable instead of constantly in danger. It’s been heartbreaking seeing Dean renouncing to a perfect life, the one he had always desired, in the belief his current life could never be perfect, but it’s the one he’s destined to and it’s the altruistically best choice he can possibly make.

In conclusion, the last two episodes are dedicated to the solving of the plot and the last fight with the villain of the season: after having kidnapped Sam and the other guys with superpowers he’s defeated, as that was predictable, and the boys can’t stop a horde of demonic creatures to come out from hell, whose doors the Yellow-eyed demon succeeded to open. Well, they could’ve tried to close them faster but they were too distracted by the epiphany of John Winchester who came out of hell to say hi and encourage them to keep fighting… But thinking about it, if they succeeded in closing the doors and preventing the demons from coming out from hell, who do you think they would have hunted in the next season(s)?

- Irene 💕

[charmingpplincardigans]

If le petit prince Crowley is your fourth favorite thing about Good Omens fandom, I implore you to share the first three! (Also, what fictional character do you have the same energy as: I can't figure it out because I associate people too strongly with their favs! DO YOU have Crowley energy? Is that what the kids these days call "vibes"? But if I got creative I could absolutely justify saying you have Crowley energy anyway so moot point!)

Oh god. I don’t know if I have Crowley energy. I certainly have ‘asking-too-many-questions, wanting-to-sleep-for-literal-years, past-me-constantly-inconveniencing-future-me’ energy, but I don’t know if I can claim that certain je ne sais Crowleyness of him. He really is relatable for a demon though, right? Like, I too just want to drink wine with my friends and have my plants be verdant and be left alone by my boss to FUCKING PINE. The cute girl I like that I rudely turned down because of my rude brain posted an internal profile to the department the other day and I was just sitting at my desk going ‘OH NO, SHE’S STILL CUTE AND GREAT, FFFFFFF.’ I’ve done this to myself, but then so did those dummies. 

Anyway! KL’s Top Three-ish Favorite Things About Good Omens Fandom 2K19!

3. How it just fucking, rose from the depths!! I was mostly a lurker in Good Omens fandom back in the late 00s. I wrote some (VERY BAD, DON’T FIND IT) fic and I roleplayed Crowley in a multi-fandom game where he got to terrorize Cesare Borgia a bit, but I didn’t really feel like I was a part of it. Probably because I was in Too Many Fandoms at the time. But now this has happened and I’m just. SO. ECSTATIC. There’s so much new art and fic and headcanons and discussion-and and and-for this book turned tv show that I absolutely love to pieces and have for YEARS. There’s so much art in particular that I queued that Le petit prince post a month and a half ago and when I saw your ask I had to stop and go ‘WAIT, WHAT WERE THE OTHER THREE THINGS??’ My queue is groaning. My drafts folder is burgeoning. MY PLANTS ARE WATERED AND MY ANGEL IS FED. 

And mainly, mainly my favorite thing about all of this is that I haven’t seen a single person try to make a distinction between book fans and tv fans or “real” fans and “new” fans. We’re all just in here crying about these idiots (and I certainly mean Crowley and Aziraphale, but also everyone else HEY ANATHEMA, HEY I LOOOOOOVE YOOOOOU) together and it’s beautiful and I’m so happy. 

2.5 The David Tennantssance. Look. I’m just. If you need me I’ll be huddled in my blankets re-watching that whole four seasons of Doctor Who again and also everything else he’s ever been in. Just yesterday Audible informed me they had a voice play of Carmilla with him in it and I cackled to myself in my bed for close to a minute. Like yes, lesbians, vampires, and David Tennant, the true trifecta of common interests. 

2. ALL OF TIME AND SOME OF SPACE. Don’t get me wrong, there was always fanwork for Good Omens that utilized historical moments (for all the characters I believe, because why not). Especially that much detested fourteenth century. But now I feel like that cold open gave us carte blanche to just go ape shit by breathing a little more context into those moments. Never have I been so pleased to see so many people utilizing their hyper specific knowledge/education/interests/upbringing when it comes to depicting these characters because it all works! It’s all on the table! Pick a time period! Pick an occupation! Pick a favorite dessert or type of flower! Pick a PLACE IN THE SKY BECAUSE CROWLEY HELPED BUILD THAT NEBULA. God, I am never going to get over that stupid, single line. I am here for Crowley among the stars, especially outside of time and space. TV!Crowley hits so many of my buttons and I AM ABSOLUTELY LIVING. 

1.5 ALL OF ART HISTORY IS AN OPEN BOOK. God you guys, I am just, never getting over fandom’s decision to redo EVERY PIECE OF ART with Crowley and/or Aziraphale in it. It’s AMAZING AND BRILLIANT THANK YOU ALL. I’M JUST SO HAPPY. And I’m still trying to think of a reason to ask fandom to redo John White Alexander’s Isabella and the Pot of Basil with Crowley because I am IN LOVE with the lighting in the fucking painting and of course I want to put Crowley in it. 

1. Gender? I don’t even know her! WHAT DID I JUST SAY ABOUT MY BUTTONS? Because like, what even is gender? Fuck if I know. I once asked a salesperson at Kiehl’s that after they apologized for trying to sell me on a men’s moisturizer and they did NOT have an answer either! (Probably they thought they did not get paid enough to deal with that, but I don’t care what side of the store the moisturizer is from, my man, just moisturize me! *spritz spritz*) I’m just out here living in the world being both fine with and affronted by the way strangers read me day in and day out like. It depends, but also WHY DO THEY HAVE TO?

So I love every fucking discussion post about Crowley’s gender presentation in the show and outside of it. And I imagine much of that was the work of the costume department with notes from GNeil et al, but it works because, honestly, why would non-euclidean beings give a toss? They have to blend in, so they do, but for all they’ve come to love us they’re not us. Which leaves them free to do whatever, which fandom has fucking run with. My heart grows another size every time I see art or fic of both Crowley and Aziraphale (especially Aziraphale, hedonist extraordinaire) depicted in a way that embraces that, however the artist or writer chooses to depict it. 

And outside of the aesthetics of it, at the risk of being Serious here for a sec, I love the way that lets other fans explore and express themselves. Here are these characters that canonically love humanity but sit outside of it, so why shouldn’t they navigate those spaces of gender and sexuality to the fullest? For research or business or pleasure or whatever? (I mean, also, more angels-are-monsters interplanar weirdness in your sex scenes 2k20, but that’s a separate issue.) 

And I think they as characters should be allowed to do that in the works we create with them because I feel like it’s a very human thing to want to explore and for some people fandom is the safest place to do that. I’ve always been a big proponent of fandom as catharsis, or even as expression of joy that can’t be shared with the outside world for whatever reason. Which is why I go so fucking feral for Michael Sheen telling off jerks on the internet who think fandom is loving this thing The Wrong Way. Mostly, the wrong way to love something is to assume your way is the right and true way when [rant about the nature of art and ownership and belonging redacted]. Kindly fuck all the way off indeed. 

Anyway, I want people to feel safe to find themselves. Honestly, this is a selfish desire, because I’m in my 30s and I also just want to be safe to keep finding myself for however much time I have left. And I think this is a canon and a fandom sort of uniquely positioned to allow for all of it. So we should continue to celebrate that. 

[lairofsentinel]

Seriously... I finished watching Black Sail and had several thoughts I want to keep in one post.

Spoilers ahead, of course.

Flint's ending: It's queerly romantic, in the most broad sense of the word. But it felt a bit odd to me. Not because I don't like it, I find it a good smart ending that doesn't imply “bury your gays”. But it felt unrealistic for the context of the series. Through the show, we saw Miranda telling Flint that she could not recognise herself in the way she had changed compared with the woman she was when Thomas was alive. Flint agreed in that respect, and made the same comparison with the man he was in that time. They wondered if Thomas could ever recognise them both now. The scene meant “we both changed too much”.

The message along the series is that loss and pain change you, transform you. Life is a painful continuously changing process. Even the characters that were “written in stone”, like Charles Vane, changed! So, with such reinforcement of the narrative related to “change”, Flint's ending feels troublesome.

How can Thomas, such a naïve and over-idealist man, embrace this Flint, so distant to the man he left in England? The level of tragedy and horror and blood that Flint's wake spread in those years in the real world can't be overlooked, not by Thomas who was a man who cared so much about the manners and the procedures.

Flint also killed Thomas' father. Imagine that scene where he knows this news... I don't know exactly if this news could be problematic for Thomas, since we did not see him too much to infer what kind of reaction he may have. He could be disappointed for his father, but that's different to wanting him dead, specially due to his lover's hand. How much of this event can hurt Thomas' love?

And Flint, in the end, abandoned Thomas' war. Flint himself, in the first time he is asked, said that Thomas would never put aside this war due to all what it means. In the second time he is asked, when he hesitated, it was more his own desire .

After all, Flint is so fucking tired of all this war and blood. I think that letting Silver get closer to him showed that; he was tired of fighting, he was tired of killing his closest partners just because the war demanded it. When he and Silver talked privately, and Flint disclosed his story to Silver, they joked about how they would end. Silver even joked that Flint should not worry to fear to be killed by him. And Flint's response was one of a such tired man. It transpired that he was in peace with the fact that, if Silver ever attempted against his life, he was going to let him do it. Flint is a man so alike to the one that belong to England and Thomas. How the hell this Thomas would see this man? I wonder.

So, for all that, even though I think this ending is nice and Flint truly wanted this [his idea of a Pirate Kingdom to have a place where all pirates can retire and live in peace was always in his plans even though he never allowed himself to be part of it, probably because Thomas was not in that Kingdom]. Flint has changed so much, that honestly, I think Thomas would be completely horrified of him. I don't know how much Thomas could look aside or forgive. This series is also about how forgiveness has limits too... so I wonder.

Sure, Thomas probably changed a lot, but his experience was far less violent and less mutable as Flint's. I don't know. I have mixed feeling with this ending. Maybe too cheesy and open for the deep darkness it hides.  

Madi's ending: This was super sad to me.  We saw in this series that all women had always been controlled and manipulated or coerced by men. Eleanor's story is exactly this, reflected in most women in the narrative. I thought Madi was going to be the exception... but it was not. Silver, the white man, decided for her what was best for her.

I know, war is not a solution in general... but he denied her anger. He decided for her. He did not allow her to make her own mistakes. And she ended up accepting it just fine. It felt odd. I suppose the best way to describe it is “it felt grey”, like most things in this series.

Sure, war was not the solution of anything... but this whole ending of never doing the revolution and taking comfort in half-measures that can be changed so easily without much consequences.... I mean, as long as Max lives in Nassau, there will be no slaves.... once she dies... what?. I suppose the series has the answer in several repeated scenes: “nothing lasts”. I suppose the freedom of the black people is something that “would not last” either. I felt a bit weird with that idea floating in the last episode.

Eleanor’s ending: Another woman in the series whose ending was so fucked up. I would not mind her story if she were the only woman whose narration is about how fucked up men control women's lives. But sadly, her story was just taking this narrative to the extreme... since her story is the reflection of the life of most women in this series. Anne is controlled by Jack and/or the guilt or gratefulness she has for him, Madi by Silver, Miranda by Flint... most women dancing to the whims of their men. Eleanor thought she was in control of everything, she was the independent strong woman... and yet, her control jumped from man to man, from his father, to Charles Vane, to Flint, to Scott, to the governor. She was never truly free of a man's control, and this is such a devastating truth for her. Her story is so sad... and a lot of her most disgusting betrayals were fuelled by those men. Super sad her ending.

John Silver ’s ending : He is my fave char. Probably his ending is the one I like the most. He was always smart enough to avoid death in the most disastrous situations. But in the process, he started to become darker. Over days, he became closer to Flint, to his thinking process, to his darkness. I understand he saw that he was getting close to become Flint at some point, and Madi put a stop to that. She changed things in his life. Flint also helped him to stop that process, opening himself to him. It's sad to me that Silver could find a way to take control over his own life by deciding over Madi. I know, breaking the cycles is a nice narrative... but I'm not so sure I like to see it when a white man decided such a thing, when you have a wise smart black woman there to do it.... But again, this series is all about grays. It was a nice but at least, realistic shade of gray.

Max's ending: Probably the best ending of all chars. She fought so much to be in control of her own life... and she finally could do it. With a level of intelligence that it was a pleasure to see. She was not even under the control of a man... she was men's toy. Her story is so fucking painful. And somehow, she survived thanks to her intelligence. In that regard, she is like Silver: both hard survivors thanks to their brains. At least she could overcome that fate of being in control of a man. She denied that chance of marry an idiot noble because she wanted to have control over her life and her decision of trying to retake Anne. Lesbian love in gray shades.

Anne's ending: I loved her char. But again, I felt so weird when her life is, once again, restrained to what she feels she owes to Jack. I thought I was going to find a scene of relief when she fought those men that saved her crew's lives. But no. It was just more of the same... the bodyguard of Jack. I don't resent it much though, because Jack truly loves her and cares for her in beautiful ways... but that scene of Anne resenting her own feeling of being in eternal debt with Jack stuck in my mind.

Billy's ending: this char was so surprising to me. He went from one extreme to the other... and he, more than any other char, showed that life, events, tragedy, pain, and loss, change people. And it changes them in ways from where there is not return.

Charles Vane ’s ending : He was a beast. There is almost nothing to say in his favour, he was evil-chaotic to the core. But his vulnerabilities were unbelievable when you contrast them with his personality. How such evil-chaotic man could do such gestures of (twisted) love? Sure, he did a lot for Eleanor in his wickedest ways, but the most surprising love I saw in him was for Jack and Anne. And honestly, being he the symbol of the beginning of the revolution is such a gray thing that this series used. It felt, like all things in this show, wrong and good at the same time. There was probably no other char in this story more “free” and “animal-savage-like” than him. He dismissed domesticity, he hated “peaceful” times. He was a char born in battle to die in battle. Revolution had to be born from this savage to be effective, so he being hanged was a reinforcement of that sentiment that had to be inspired in the revolution. But at the same time, he was absolutely random, selfish [in the beginning] and his behaviour was mostly the confirmation of all the demonization that the stories tell about pirates. He being the symbol that starts the revolution was also a way to tinge the revolution with cruelty and dirt.

I don't know, this series is fabulous. It's so gray that you can be thinking in each char, in each concept... and nothing is sacred, nothing is clean, nothing is pure.  Nor good nor bad. Just a disgusting mixture of dirty and evilness and humanity. Masterpiece.

I loved this story, because its complexity makes the watchers think, and that's such a feat to do. But on the other hand, I felt the ending in general not very inspiring, tending to a moderate solution that, through history, we know it changes nothing. Moderate solutions [in times of slavery and empires] are absolutely prone to corruption and to return to the previous state of things.

The only thing I did not like was the unbalanced display of naked bodies or sex scenes when it came to women vs men. We saw all actress naked or having sex with other women and/or men in many, many, many times. In the whole series, only 2 men were displayed naked, and never was shown any gay sex scene. We only had 2 kisses between two men, very chaste, and almost hidden.  I mean, I can't care less about nakedness in general or sex scenes, but I'm always annoyed when I see such a big unbalance when it comes to women vs men or straight sex vs gay sex vs lesbian sex. It made me feel that this serie was done thinking mainly in the male gaze. Hell, considering how most female chars are controlled by men [mostly in their endings, showing that their stories are not exactly stories of emancipation] made me confirm this.

But putting aside that, it was a hell of a story, and I loved it.

[snowtimeisbesttime]

Thoughts and questions on Pesterquest Volumes 1 & 2! Two days late, but better late than never I guess!

Overall:

-[insert all the heart emoji pics ever]

-The title screen's kinda ominous, what with the music and the glitchy logo... Also kinda fitting for what goes down in certain routes of the launch volumes, though. (It should be noted that Friendsim's first volumes were relatively calm compared with later ones as well.)

~VOLUME 1~

-No fucking shit MC would be pissed off, and at Scratch specifically. Thankfully, the Best Guest (Spades Slick)'s here and has them covered while they go off on a new adventure... though if a certain other DS decides to poke around here and fuck shit up, methinks he's going to catch some fucking hands. And i'll be here cheering the MC on.

-MC now has the powers of the house juju (canonically the most powerful thingy in all the narrative, as it can retcon pretty much anything) and therefore the ability to zap anywhere... though it came at the cost of their memories of Friendsim. Obviously this had to happen because they had to forget they read Homestuck in order to properly befriend the cast, but in-universe... did they get “scratched” somehow? (Is that what happened to Fozzer back then?)

-Also, they were trying to go back to their friends in Alternia... we're going to have fun when we get to the Hivebent trolls. (inb4 the “probably vriska” thing comes back here; there's no way the MC isn't recovering their memories at some point)

-Scorist, sign of the Mutineer Mail

-And with the MC's yeeting of John's mail into a sewer, Pesterquest officially becomes a whole ass No SBURB AU. It's a shame the bunny had to be lost too, but there's a possible reason for that: breaking (more) timeloops, both here and in post-scratch Earth (Jake helping Jade build Liv Tyler the bunny)

-I hope they do get to play another, non- world-destroying game all together, though... wait, now that they're not playing Sburb they could play Minecraft, when it releases in about a month from now!!

-Unstoppable force (John wanting to know wtf happened to his mail) meets unmovable object (MC's willingness to keep digging themselves deeper in order to make friends)

-The beta kids are confirmed to be pretty much each other's only friends... :(

-MC looked like a weird alien on Alternia, but here on Earth they're just shaped like a friend, and nothing else.

-Dave's here too!! and he's also understandably concerned about this random Not Mailman that popped out of nowhere, at least at first. Considering we know Volume 4's title (The Loneliest Girl in the World) Volume 3 will probably feature him.

-mc Hass the ghost blanket

-MC says the house juju may belong to Lucifer... which obviously means Lord English, but might also refer to Vriska... (lucifer means “light- bringer”, and iirc vriska did have some overlap with the whole “demon without an eye and an arm” foreshadowing??)

-Considering Rose's volume, John probably finds out about the MC's powers in his good route, while in his bad one they both go on a stroll through time... then again, we don't know if this is like Friendsim, where only the good ends were “canon”...

-Whenever people need to Discuss Important Tactics, John's backyard's the first place anyone thinks about. Good to know there can be multiple people running around with retcon powers though.

-We get to see something of what led up to the Masterpiece, after who knows how long! And John gets to imagining what events will lead to him and his friends getting colorful pajamas, powers and four (4) new friends... not that he knows that *he specifically* won't have that future. John's bad route is... actually very depressing when you think about it...

-the first thing i thought of when john said that he thought Future Him & Co kept saying “english” was that they were telling jake to get off the pogo ride before he like fell off and fucking died or something... and then a while later i was like Wait Fuck They Meant Lord English He Sure As Hell Exists

-even back at the very beginning of homestuck, dad's dadly energies are too powerful

~VOLUME 2~

-This singlehandedly catapulted Rose to my Most Favorite Characters list; not that I didn't love her before, but now im love her even more.

-We know now that all the kids wanted to play SBURB, be it because of Weird Destiny Stuff or to have a good time with their friends, but Rose was the one who wanted to play the most... to talk with Jaspers again. This hasn't been addressed in this volume, but it might be in later ones.

-Good kitty, best cryptid. Also, Mom Lalonde's guide to lab intruders: sic a pumpkin tiger on 'em. Then again if she really thought we were a danger to her or to Rose we'd been sniped before we knew she was there...

-Rose doesn't have a short end; the first choice of her route only decides whether we befriend Cryptid Mc Whiskers (plus get some additional dialogue) or not...* or at least that's what i thought before seeing the image rips orz

-She's the kind of person who has a lot of interests but also has trouble settling down and focusing on one at a time... yall mind if i relate? (also, adhd rose??)

-And now we begin again the timeless MC tradition of “accumulating clothing from friends”. *At least in one route, apparently.

-MC gets into one of those “Screw This I'm Doing (What I Think Is) The Right Thing” moods, though they do mellow out later and Rose didn't take it badly. To be honest after the oatmeal thing I thought they'd head for the kitchen, rather than get rid of the alcohol; now we'll have to see if it has any effect...

-!!!!! Jade & Rose interacting ON SCREEN!!!! (also, Jade seems to still have access to Prospit despite the fact that they're not playing Sburb anymore... is this where “The Town Mouse and the Country Mouse” (the paradox space comic) hapens??)

-Bec's acting weird... wonder what's up with him.

-Then again, even in her good route Rose seems vaguely aware that something's different; in her bad route she straight up does Weird Light Shit, while apparently being able to hear MC's narration and probably referencing her Land (her comment about the rain lighting up a little). Looks like you can take the game away from the players, but you can't take the game out of the players... Rose's a Seer of Light whether she plays or not, and same with the others.

-Rose's routes are kind of weird in that the good one looks like it's going to be the bad one (re: MC getting in one of their stubborn moods, see two points above), while the bad one looks like it's the good one until it doesn't. Before getting there I genuinely thought Rose was going to have 2 good ends.

-We get some talk on wizards and witches, and we also get to read some fragments of Complacency of the Learned!!! Which is very much a subversion of typical wizard stuff, as Rose told us; even if she has a genuine interest in wizards she's still putting her own spin on things... kinda like fans interacting with content, maybe.

-Wizards hoard knowledge for themselves, while Rose, as a Seer of Light, explicitly guides others with her knowledge; from the SBURB walkthrough in GameFAQs (which she ripped from Earth's internet to upload it onto a server on the Furthest Ring, so it would help more people) to the book she wrote on the meteor. No wonder she despises them.

[mittensmorgul]

wheee monday! back to the tnt loop! 1.22 gives us a lot...

Bobby, most of all. And the beginning of our Good Practical Demon Knowledge. Not our Christo’s and our Two Part Exorcisms that make the demon wildly more dangerous before sending it to Hell. We learn that demons can keep otherwise dead or dying meatsuits alive, and exorcising them can kill the human trapped inside. We get all of this demonstrated for us via Meg. And we learn a bit more about where Dean’s ultimate moral lines are drawn:

Dean: Sam, there’s an innocent girl trapped somewhere in there. We’ve go to help her. Bobby (comes up to them): You’re gonna kill her. Dean: What? Bobby: You said she fell from a building. That girl’s body is broken. The only thing keeping her alive is that demon inside. You exorcise it – that girl is going to die. Dean: Listen to me, both of you, we are not gonna leave her like that. Bobby: She is a human being. Dean: And we’re gonna put her out of her misery. Sam, finish it.

(which will become interesting again in 4.02... the things they didn’t know at the time literally coming back to haunt them in new and bigger ways because of something new they’re just learning about... which is exactly what makes the spiral narrative spin. The same thing over and over again isn’t interesting, they need to keep leveling up, being forced to build on their knowledge and understanding and applying it to the next degree of cosmic problem, only to learn some more and compound their understanding, only to level up yet again.)

We also learn what’s “normal” for the supernatural world:

Bobby: Normal year, I hear of, say, three demonic possessions. Maybe four, tops. Dean: Yeah? Bobby: This year I hear of 27 so far. You get what I’m saying? More and more demons are walking among us – a lot more. Sam: Do you know why? Bobby: No, but I know it’s something big. The storm’s coming, and you boys, your Daddy – you are smack in the middle of it.

Heck they so did not want this, nor ask for it.

We still don’t really understand Azazel’s motives in possessing/kidnapping John outside of the fact he now needs to reverse his trap, use what he does have, and hope Sam and Dean are just as unable to resist saving John as he was to save them. In the most immediate terms, he just needed the Colt off the playing field. (heh, was he gonna store it in Ramiel’s armory for safekeeping I wonder, or just flat-out destroy it like Dagon did?)

We get our first “whoops they killed a dog, so they’re now irredeemable” when Meg shows up at Bobby’s and kills his dog. (cue 13 years of “Dean is a dog” imagery)

We also get both Meg and Azazel taunting Sam and Dean over the fact that they killed Mary:

Meg: Jeez. You kiss your mother with that mouth? Oh wait, I forgot, you don’t.

and

John/YED: What? You’re the only one that can have a family? You destroyed my children. How would you feel if I killed your family? (he smiles at Dean) Oh, that’s right. I forgot. I did. Still, two wrongs don’t make a right.

And they’re not wrong... for all we learn about Dean’s personal moral code, we also learn his exception:

Dean: Killing that guy, killing Meg. I didn’t hesitate, I didn’t even flinch. For you or Dad, the things I’m willing to do or kill, it’s just, uh .... it scares me sometimes. John: It shouldn’t. You did good. Dean: You’re not mad? John: For what? Dean: Using a bullet. John: Mad? I’m proud of you. You know, Sam and I, we can get pretty obsessed. But you – you watch out for this family. You always have. Dean: Thanks.

When “John” asks for the Colt a moment later, this is where Dean draws another line. He knows it’s not John. In the standoff, “John” and Dean play a weird game of “calling the puppy to them” when Sam questions what’s going on, why Dean has the Colt pointed at “John.”

Tell me this doesn’t sound EXACTLY like 14.20:

Sam: Dean? What the hell’s going on? John: Your brother’s lost his mind. Dean: He’s not Dad. Sam: What? Dean: I think he’s possessed. I think he’s been possessed since we rescued him. (He starts to get upset.) John: Don’t listen to him, Sammy. Sam: Dean, how do you know? Dean (fighting back tears): He’s .... he’s different.

vs

SAM: Our entire lives. Mom, Dad -- everything. This is all you because you wrote it all, right? Because -- Because what? Because we're your favorite show? Because we're part of your story? CHUCK: Okay, Dean, no offense, but your brother is stupid and crazy. And that kid is still dangerous. So pick up the gun. Pick it up... pull the trigger... and I'll bring her back. Your mom. DEAN: No. (Dean takes a few steps back to stand side by side with Sam)

“Your brother’s lost his mind” about Dean, vs “your brother is stupid and crazy” about Sam. Both times, Dean holding Magical Kill Everything Guns and pointing them at yellow-eyed monsters. Dean facing killing his father in 1.22, and someone he considers a son in 14.20. And he couldn’t do it either time, not to get revenge, not to kill the current concept of “Ultimate Evil and Danger” to the world. And yet another parallel between John and Chuck, even if this was actually Azazel speaking here he was using John’s face to do it. This is the archetype of “toxic fatherhood” in the narrative from the jump.

Dean does get one good comeback in:

John: You know, you fight and you fight for this family, but the truth is they don’t need you. Not like you need them. Sam – he’s clearly John’s favorite. Even when they fight, it’s more concern than he’s ever shown you. Dean: I bet you’re real proud of your kids, too, huh? Oh wait, I forgot. I wasted ‘em.

And then after this bit of mental torture, because this is psychological torture for Dean here, the physical torture kicks in. The wounds look shockingly similar, in retrospect, to the ones the hellhound leaves on Dean in 3.16, claw marks down his chest. And both times, Dean is unwilling to kill the person he loves to stop the larger evil thing.

This is also our very first instance of what we’ve come to refer to as a “crypt scene.” Breaking through demonic possession or other mind control to reach a loved one. For a complete rundown, including a description of this scene in that context, please have the very long and complicated history here (excellent reading, btw. Click through the read more for the entire original post and then the s12+ additions in this reblog):

https://elizabethrobertajones.tumblr.com/post/167800948433/elizabethrobertajones-so-basically-you-cant

Just another thread of the big narrative spiral getting broken in 14.20.

And not related to anything I’ve said above, but because heh I find this amusing  as heck, just as a weird... production wtf. At the scene outside the Sunrise apartments, there’s two men (one man in the crowd of bystanders and one of the firemen he approaches) who it looks like they were scripted to be possessed by demons in this scene. Both men open their mouths and gasp at the supposed moment of possession. But we don’t see any smoke crawling down their throats. I figure it’s because it was the VFX crew who realized it was implausible for random smoke to be floating around outside a supposed scene of a fire in broad daylight, without drawing any sort of attention from anyone in the crowd. So instead of these demons simply “activating” and coming to the surface of the people they’ve already been possessing, we get this weird “invisible possession” gasp. Because of who I am as a person, my brain has decided these two people were already possessed, but the demons inside them were lying dormant until they were called up for service, like a couple of understudies being told they’re finally getting to take the stage. And they’re both inordinately delighted by this, to the point they do the lil “gasp of excited glee:”

ME?! YOU WANT  LIL OL’ ME TO HELP?! *omg okay this is actually happening, we are really doing this, i’m readY I’M READY I’M READY!*

alrighty then, moving on to season two now :’)

[dearly-devoted-dawdler]

What if Season 4 is in John’s head?

I’ve read all of this spectacular meta about how Season 4 is all in Sherlock’s mind and I hear you, but like, what if we’re in John’s mind?

At the beginning of TLD we see John Watson get shot, then we flash back to see what led us there. Most episodes have a more linear progression (sometimes starting in the past- like in THB- but moving forward in time as we go.) The only other time we start with what happens at the end of the episode and return to it in the beginning is in TRF- when John Watson is also presenting what he believes to be reality, but is in fact a fantasy that he believes to be true.

In Sherlock’s mind John Watson is a *hero*. We know this because we know that in Sherlock’s mind (TAB) John cane to Sherlock’s rescue like a Knight in shining armor. That is not the John Watson we see in TLD or TFP.

Sherlock’s deductions (especially in TLD) are completely wild. Like borderline superhuman. But John can follow them without Sherlock explaining how he got from point a to point b. We don’t ever really see this happen. We see John ask Sherlock to explain his deductions and John usually follows along, but John doesn’t usually get it right on his own. (And sure, it’s “Mary” but she is just John’s subconscious in TLD.)

When Sherlock is shot- we see him face his demons in his mind: Moriarty (his fear of pain), Mary (standing between him and John), Redbeard (his fear of love and loss), etc. I would argue that after John is shot in the beginning of TLD we see him facing his fears in TLD and TFP. First (and probably most obvious) his fear that Sherlock loves anyone other than him (which is laughable, I know). When we see the casket in TFP we are meant to believe it is for John and John’s face splits open when Mycroft asks ‘who loves you?’ and the camera pans to John. We see this, too, in the way he pushes Sherlock at the end of TLD to go after Irene even though he looks like he is in physical pain whilst suggesting it. Second, we see John face the fear of becoming like his father. I truly believe that John Watson’s father was abusive and in TFP we watch him beat Sherlock to a bloody pulp. Third, in TLD we encounter multiple people who don’t believe that Dr. John Watson exists- they think that Sherlock writes his own blog. Then in TFP we get that heart wrenching scene where Mycroft tells Sherlock that John is essentially a plaything with no real value- John says nothing to combat this. In both of these things we see John fight the concept of his own self worth (frankly, an ongoing battle imho).

In HLV we hear Sherlock say, “The East Wind comes for us all in the end.” And then he tells John it’s a story his brother told him when he was young. In Greek mythology “Eurus” is the god of the East Wind (which you probably already know). BUT what you may not have known is his symbol is an inverted vase spilling water. John, at the end is trapped in a Well with water pouring in. We know that John knows mythology and folk tales because he recognizes what Sherlock is talking about in TGG when he references the Golem- it would make sense for John to know that the Greek god Eurus (East wind) was also related to water.

The wonky scene transitions. Need I say more? Things in TLD are pretty choppy, we seem to jump around quite a bit, but in TFP the weird transitions are even more pronounced. Both episodes seem to transition the way one night in a dream- one moment you’re in one place, the next you’re somewhere else. We see similar transitions in TAB (which coincidentally is also not real).

Sherlock is the hero. We know that Sherlock is a hero in John’s eyes- they tell us this blatantly in TGG- but it’s also clear in the way John writes his blog. In Sherlock’s mind, he does not paint himself as the hero- we know this from TGG and TRF because he literally says, “heroes don’t exist and if they did, I wouldn’t be one of them” and “I may be on the side of the angels but don’t think for one second that I am one of them.” But more importantly, in TAB, Sherlock doesn’t cast himself as the hero- he casts John in that role.

When we’re inside of Sherlock’s mind (in TAB) there are some strange things that happen (like Mycroft being enormous- but even that is just a dramatization of the fact that Mycroft is constantly dieting) but for the most part it’s grounded in the facts of an unsolved mystery from 120 years ago. Meanwhile, TLD has a “good, old fashioned villain,” a hospital with movable walls, Mrs. Hudson driving a fancy sports car, and a suicidal blonde with a cane whom Sherlock saves (sound familiar?). Then there is very little actually realistic about TFP: The whole opening sequence at Mycroft’s (that’s like five horror movies combined) is completely ridiculous. Their flat literally explodes and they jump from the second story to escape and are somehow completely unscathed. Sherlock calls himself a pirate and they commandeer a ship. Eurus can literally manipulate people’s minds. Moriarty (another “good, old fashioned villain”) shows up out of nowhere. The Holmes’ family owned a huge mansion that was a “summer home” when the home that we see in HLV (and which I assume is their home the rest of the year) is actually quite modest and cozy. They go through a series of challenges that are unimaginably ridiculous where they are told that sentiment is weakness (just like Sherlock told John in Season 1 and 2). John is put in a well. The little girl in the plane turns out to be Eurus. This isn’t the kind of story Sherlock writes in his head- it’s the kind of story that John writes in his.

So, in conclusion, I think that John is shot at the beginning of TLD and everything that happens thereafter is in his head. 🤷🏻‍♀️

[elizabethrobertajones]

like? i honestly don't get people (haters and those who stopped watching) who say spn has bad writing? of course not ever episode will be as good, but for a show at it's THIRTEENTH season the writing hasn't let up at all (it's just more simplified), sfter all those years i still find the dialogue utterly fascinating. i really don't get it but maybe i'm just biased :/

Yeah, and the thing is the show has gradually moved from what was good writing for season 1 or 4 or whatever, to whatever makes it still work after 8 or 13 seasons… 

Like, the internal mirroring in season 1? It’s there, it’s good, there’s a lot more than you think and you’d basically have to watch the season twice, once forwards and once backwards as soon as you’re done before you forget all the little details to catch all the stuff. I mean there’s some things which are obvious like the Mary and Jess dying either end of their episode things. And then there’s stuff like 1x09 and 1x17 both having Sam and Dean obsessed with drawing something that they’re trying to capture on a piece of motel notepaper or whatever. Little motifs that barely mean anything but give a sort of coherency and nod to earlier writing, which is basically just stuff you do to assure the viewer there’s a sense of having things under control. 

Cycle all the way up to season 13 and you can have so many nuanced references going on that just the MotW in 13x05 mirrors 5 different season 1 episodes, a season 8 main arc thing, a random season 11 motw, or 7x19 even, for the house full of ghosts thing… and probably some other stuff I can’t even remember now, and that’s before we get to the main plot half, and the emotional arcs. And those references aren’t just in there as a competency check, but because it means stuff and it’s relevant. The parallel to Lucas the mute kid in 1x03 who Dean related to? SUPER RELEVANT to his emotional state now. For like the entire season we’ve had 1x02′s “saving people, hunting things” speech lurking around in Dean’s actions visibly decayed and broken from its original meaning. 1x10 was visually referenced and that is important because of the Sam and Dean at odds stuff, and some of their most important yelling at each other about how they see each other and how John affected them and how they see John through each other happened there, all of which is being recycled in how they’re treating Jack. I could keep going but point is, the writing is good surface viewing, and a really rich soup of past canon references for people who want to analyse it, because just showing they understand the story they’re telling is a huge sign of good writing, and makes me confident to assume they do mean basically everything they imply. 

But on the other hand in season 1 you can really feel scared and alone and confused and like the entire universe around them is too big and filled with evil and they’re small and incompetent and just want to find their dad and go home, and that aesthetic is excellent, but you can’t keep going with that past even season 1, so they start to get more people in their lives, even just passing acquaintances at first, and a couple of settled locations. And the story can’t just be the same simple goals over and over again or what’s the point in setting up a big looming battle between good and evil from the very start if it’s just escalating and deescalating clashes with a few important demons, a 4 episode per season main arc about family, and then a bunch  of monster hunts? For one thing they’d run out of hunts :P So more plot, more characters, and it all starts eroding the original aesthetic because better writing for what they’re working with means abandoning what originally made the show good because it can NEVER make the show good again IN THAT WAY.

And by season 6 the mytharc is all concluded, and you basically have to pick the show up and turn it around, and start telling it all backwards, and make it personal instead, because not only is escalating threat meaningless after the victory in season 5, but they have a massive world full of characters and resources and KNOWLEDGE and you can’t have the Winchesters alone against the world. There’s jokes about how in season 1 they wouldn’t know a vampire if it bit them on the arse but then in season 8 Dean just goes and clears a house of them out for his vampire BFF. Or season 1 Dean vs demons and then just cut to him and Crowley drinking together. Like… it’s experience and competence and also just the story can’t maintain itself if it never explores new avenues where monsters stop being scary for being monsters and start being scary for what they say about the characters… Which 2x03 does for Dean, and everything since has been post-picking up the story and turning it around. I mean, that can happen at any point really, but the season 1 approach to monsters was completely unsustainable because they’d run out of monsters. Look at how werewolves never came back until season 8 and when they did, Robbie retconned the crap out of them so they could be used in different stories. Werewolves who transform unknown to themselves and can be monsters without ever knowing it? Are good for like 1 story only, and that was the one they told in Heart. And until you suck it up and retcon it, you can NEVER use werewolves even as incidental monsters. We didn’t even see them in season 6. 

And all these changes are happening all the time, and bit by bit things like “can’t have the Winchesters without any reoccurring side characters to help/hinder them” and “monsters aren’t all evil” and “escalate the mytharc at least a notch higher than previously or start over but make it personal” and all these changes happen one at a time for good reasons, until you end up with a show which looks nothing like the original one but still has its DNA. It’s just grown up into an adult version of itself that can carry its own weight. And that’s good long-form writing.

I don’t actually think the writing has simplified, it’s just behaving in a different way now. Season 1 and 2 were pretty raw and full of character dynamic stuff but the main plot was very simple and tropey because it could afford to be because the show was a bunch of world building and a focus on the MotW episodes, and the main plot was a bonus and a mystery to string us through episode to episode, so the main pull WAS the character stuff between Sam and Dean as an identifying feature of the show. But you can’t tell that story over and over where they don’t know what’s happening and it never comes near them until shit hits the fan. For one thing, they blew all their cards ages ago on things seeded into their life from birth that they had no idea about but were always fated to happen, unless there’s something that happened to Dean that’s just been idly ticking away waiting for him to hit 40 for him to be slapped with some ancient curse Millie Winchester activated poking around with artefacts Henry brought home from work or something. Again, once the demon blood reveal comes you basically pick up the show, turn it around, and start telling in the other direction from the build up to that reveal, and we’re still going in that same direction that Sam’s been reacting to since 2x21. That’s the hugest thing to happen in their family history in terms of plot so everything has to loop around that somehow, and new reveals are just “why” ones not “what” ones, in 4x03 and 5x13.

The show the hardcore original couple of seasons fans are longing for is one that wrote itself out of existence with its OWN good writing. Sam and Dean DEMANDED more characters to interact with to show more facets of themselves and for them to be challenged, so they got Ruby and then Cas. The plot was rolling along building up steam so excitingly that it COULD go to an epic fated apocalypse, and sell that our guys were the ones caught in the middle and ready to save the world. They weren’t the same dweebs as season 1. 

And instead you get this INCREDIBLE character writing… Like, Sam and Dean leap off the page as it were right from the start, and without them being good characters the show would never have amounted to anything because Sam and Dean was all the show depended on to start with. And it’s still going on their charisma and chemistry, but it’s FAR from all that now. They get characters thrown at them to see what sticks, and increasingly characters begin to stick. Characters would basically never be seen again originally. And then a few began to show up over and over after Bobby and then the Roadhouse lot, and season 3 had a whole bunch of actual reoccurring characters and stuff like surprise returns for the Trickster or whatever - things that began to make it feel like the world was populated with more than the Winchesters. And by season 8 when the narrative shifts to being primarily character-based and action driven, repeat characters are allowed to show up and stay in ways that they never would have in the past. You get in season 8 Garth, Kevin and Charlie all coming back since season 7 first appearances, Cas and Crowley get their first season they’re actually both in all the way through at the same time, and then there’s repeat characters introduced in that season for its story. Amelia and Benny, and Abaddon and Metatron. It’s CROWDED. The Winchesters are being defined by the people around them and it’s how they react and make their decisions that affects the story. Which allows for delving right down into them and doing masses of character building because all the plot stuff is affected by character things.

And I think Destiel gets so compelling around this time because the shift to emotional storytelling means it’s less what they do and more how what they do affects them and each other. Everyone’s getting defined more by the people around them but Cas and Dean have this whole weird profound thing going already. 

As we go through all that the story becomes more and more self-reflective. 6x01 and 8x01 both reboot the story in weird various ways, going back to the pilot for inspiration. 6x01 just again is about picking up the story and turning it around and telling it in another direction, but 8x01 gets really meta about it… Dabb era snuck up on us because it starts somewhere in the middle-end of season 11, but the end of season 11 is another pick up and turn around moment, but instead of re-telling it begins to completely deconstruct and break down everything that the story had been previously defined by. Which means in many ways the drift back to trying to tell simpler episodes with season 1 themes and style makes it look simpler, but after you stick out 12 years of the show and then get to it, if you look at what they’re doing, part of the reason why the episodes feel SO good, is because there’s a deep intelligence to it all, at least in storytelling terms. Finding what is fresh by taking the things which are worn down and tiresome and trying to do something with them. Subtly, in season 12… A bit louder for the people in the back in season 13 :P But there’s a clever purpose behind it, and the episodes are engaging for other reasons and as a bonus we’re seeing the characters in ways we haven’t really seen them before. Or as we haven’t seen them for a long long time. 

I think a lot of intelligence in good writing is not forgetting the beginning of the story halfway through or at the end or anything. Which is a serious problem when the show is so long. It’s why you sometimes get lines like in 5x21 where Sam and Dean have an exchange where they talk about remember when we used to just hunt Wendigo (*takes a shot*) or in 12x06 why that was the monster they had that game about… It’s meta commentary for mentioning it to go back to the start, to examine their lives (as we were doing to Asa) and remember how it all began. To get a sense of context and continuity that these are the same guys from the start of the show, who have been through *all that* and are still here, being themselves, in their further adventures. 

I think the style has obviously, necessarily, changed a lot but I don’t think it’s simplified anywhere, just that the changes and evolution it’s been through means that the way it’s told now is different, in this case blending nostalgia with trying to convince us we need to keep watching, still, after 13 years, for some of the weird ideas they have going forwards… I think that involves a LOT of character emphasis like being able to take most of 13x01 to mourn Cas when we know he’s coming back, or this whole grief arc, really. Or look at the evolution of Dean worrying about Cas in season 8, 11 and 12 when he’s missing/possessed and how each time it was significantly louder and more important as what Dean was dealing with and how it was affecting him and how important it was to the narrative as a whole. It’s like someone saying a sentence over and over but repeating it with different emphasis. And louder. And the longer the show goes on the less it can rely on one type of telling and the more it has to rely on the other, although I sort of feel like season 13 is hitting a point where I’m not sure where else they GO from here :P 

It’s flipped right back to season 1 in a way, that there’s very little “main plot” intruding on them, right now, except via grief or having Jack around, which of course just elicits a bunch more character development and emotional arc stuff. But the entire history and complexity of the show is still there, so a regular MotW can turn into a chat with Death, who talks to Dean about cosmic matters. Their world is never not going to be huge now after it’s been escalated so far, but on the other hand, you can go back to that season 1 feeling where character development was basically all they had lying around… It’s all massively complex, but on a sublime lower level to what’s going on in the main plot. 

Same as last year, the plot stuff all just served the emotional arcs and it could be literally anything as long as it gave the right nudges to the characters. So far this season it’s been going much better, probably because it feels simpler and there’s been less direct main plot nonsense going on and letting the characters breathe and deal with the emotional stuff… 

Idk, tl:dr I sort of feel like everything season 11 onwards has just been rewarding fans of the show who kept watching that long, made by people who love the show and are delighted it’s been around this long… Like, if anything, the writing might seem simplified because they’ve written so much show that it’s like a self-fuelling self-nostalgia perpetual motion machine for the last couple of seasons. But the very fact it seems easy and simple is betraying how intelligent some of the writing actually is, because at no point has it let up on the depth it’s written at, and with more show it just means MORE stuff to mirror, parallel and build off of. The writing is probably proportionately better than it ever has been because it’s not a level playing field, it’s a MASSIVE MOUNTAIN of past canon all the new writers have to wrangle, learn, and love before they can start writing. And they show that they HAVE and produce great episodes out of it. 

[themanicgalaxy]

SPN 2X3 Bloodlust

Look I know Sam gets addicted to blood somewhere, is it here? or is that set up here?

I have said it every episode thus now, but the licensed fmv’s they’re making the previously ons are giving me such a good experience

FUN TIMES YALL OK LET’S GET ONTO THE ANGST OF THE DEAD DAD OR SOMETHING

ah lovely a Woman you know that means she's dead

OH MOTHERFUCKER SHE JUST GOT DECAPITATED

FUCKING YEAH BACK IN BLACK

O H M Y GOD THE SEROTONIN FROM HEARING THIS SONG

I’M LITERALLY FUCKING TEARING UP

NOPE I’M REWINDING IT I WANNA HEAR IT AGAIN

I do not much care for the zoom in on the car because I don’t care about cars but HOLY FUCK DO I LOVE THE SONG 

at least the impala’s back

Listen...Dean breaks the speed limit to AC/DC’s back in black....I break the speed limit to AC/DC’s back in black

look I’m not saying I kin him necessarily but it’s nice to feel seen

listen...Dean is...quite terrible...with people actually when he’s supposed to lie

I feel like he’s not as fine as he’s pretending to be, I feel like that’s the point

I saw this post where it’s like Dean’s bad with people, I feel like it’s more Dean can’t lie to save his life. He’s plenty charismatic when he wants to be

oho ho ho Fangs time

MORE VAMPIRE LORE FUCK YEAH

ah so they’re both acting a little bit off regardless of what they’re saying

the “lying to themselves” energy is on point

wait who’s the guy following them, I know that guy

I just realize they call their vampire related episodes a blood-related title(bloodlust, dead man’s blood), which is so funny

I KNOW THAT ACTOR HE WAS IN MAISEL?? THE AGENT?? I THINK

why does this man know so much about their dad

WHY DOES E V E R Y O N E Know about their dad, grow PAST him goddammit

STERLING K BROWN that’s his name

hey he’s a hunter too? that’s pretty cool

“Guys get out” Yes I’m sure they’ll do that

I do love how he just has a fucking sword

ok so attack the vampire, vampire fights back, Sam and Dean show up, showing they were Totally Justified to be the protagonists

well that’s a gruesome way to kill someone Dean what the fuck

AND he’s covered in blood great good job guys

I LOVE how this man talks, it’s very Smooth

pfft and Sam is gonna be a N E R D and be weird

to be fair, seeing your big bro decapitate someone like that is uh...well it’s a Lot

JOHN WAS TAKING HIM ON HUNTS AT 16 WHAT IS WRONG WITH HIM

I do love the swap of stories, and I love how this guy has a WAY different backstory(couldn’t save sister, went on quest for revenge and left home, learned stuff on his own)

“took some terrible beatings” ??? J O H N ?? 

I hate John so much what the fuck

“Game face on” :( :( :(

“hole inside you, gets bigger”

this guy always gets these monologues doesn’t he

I mean he’s good at them but still

I love Ellen’s mom energy

...this guy....threatening vibes

the “no moral gray” is...scary

A H FUCK THEY JUMPED SAM IN HIS ROOM

that’s a cool shot with the dying sun+car

the teeth coming in was just...so animated

like it wasn’t scary it was just funny

look I know teasing them about their budget isn’t fair, but it’s fun

Sam please stop antagonizing the vampires, you’re currently being held captive

OH these vampires are morally grey, that’s the idea

why is the vampire’s name Eli

this Not Like Other Vampires is SENDING me

ah the “what is a hunter” debate

kill the non-humans

FINALLY some moral gray? like idk if I like how that works, but...something?

substitute for Dad... great they’re doing this now

OPE and DEAN PUNCHED SAM

LITErALLY ONE NORMAL WAY OF EMOTING

and Dean has to hotwire his precious car pfft

of course they’re both good at this dumbassery, their dad made sure of that at least

That’s about the least he did

All I can think about is Dean’s Demon Bf during this Sad Conversation

good for him(them?)

the music vaguely reminds me of Avengers

THAT FUCKIGN MUSIC STING WHEN HE SHOWS UP

IT’S THE DUMBEST MUSIC CHOICE EVER

...great a gratuitous torture scene...this is So Fun whee....

....ah and the morally complex character went and killed his sister

WHAT THE F U C K COME ON GUYS

THERE’S A WAY TO WRITE MORALLY GREY BUT NOT THIS

well taunting her like this is...super cruel...on so many levels

DAMN Dean changed his tune quick

AH “you’re a killer” I knew that brutal way to kill was gonna come back

and ending on a punch, I wish I could say I was surprised

“we can go” was so airy...boi

Sam vs Dean are actively wearing different types of clothes, that’s Nice Characterization

DAMN did Dean do a quick 180

“Dad wasn’t perfect” OH THANK GOD FINALLY

aw Dean sounds choked up

Aw and Sam says he’ll stay

aight wrap up: 

1. Did not like how complex characters got overwritten for Dean and Sam(but really Dean) to learn a lesson. That just...that was wasted potential my guy

2. And there are ways to do the moral grayness, but this felt just....shoehorned and done so quickly. I get that low budget, no time, etc but still, :/

3. I did like the addition to the world, until it got fucked up, and I do appreciate a lil moral complexity

4. plus good sibling shit at the end :)

yeah that’s all i got this time. this is certainly a show to exist