#spn 10.06

[normalbrothershow]

damn seems like bobby had a pattern LMFAO

[ardentpoop]

milf bait (real)

[lower-the-volume]

ask jeeves

[castiellesbian]

Charmelo and Snyder:

6.06 You Can't Handle the Truth

6.14 Mannequin 3: The Reckoning

6.17 My Heart Will Go On

9.05 Dog Dean Afternoon

9.13 The Purge

10.06 Ask Jeeves

10.13 Halt & Catch Fire

11.07 Plush

11.13 Love Hurts

Raelle Tucker:

1.03 Dead in the Water

1.12 Faith

1.14 Nightmare

1.21 Salvation

2.04 Children Shouldn't Play with Dead Things

2.10 Hunted

2.16 Roadkill

2.20 What Is and What Should Never Be

[foxthefanboi]

10x06 - Ask Jeeves

[mittensmorgul]

10.06, Ask Jeeves.

Things locked up tend to not stay that way. You can't shove your problems in the attic and pretend they don't exist and hope everything will be fine. They will not be.

There were a lot of anvils for Dean's possession by the Mark of Cain in this one, and because of the specific nature of a few of them, that also makes them perfect metaphors for what happens in 10.23, with the "unlocking" of the Mark of Cain and the release of the Darkness, which had been locked away in Chuck's closet since the beginning of everything...

But there's also Olivia, who'd been locked away, and now that she's out, she wants what's hers, so she goes about killing the rest of the family. Like Amara did in s11 (but replace "the family" with "everything Chuck built").

At one point, Dean and Sam are locked in the house's Security Office (which was little more than a glorified closet, where they could only watch the action unfold outside the room on the security monitors, which only gave them limited information based on where the cameras were strategically pointed, like a tv show just for them), and they were forced to perform "trials" to find a way out of the room that was locked from the outside. Sam finds keys, but there's not even a keyhole on the inside of the door (which seems like a stupid arrangement for a security office, you know? but also makes it a tidy metaphor for the Mark of Cain... which could only be "unlocked" from the outside.)

While locked up, they discover the tools they'd trusted in to identify the monster had been forgeries (the silverware wasn't actually silver, but cheap knockoffs), which meant they hadn't really had a hope of solving the case anyway without access to their "real tools" out in the car while they'd been stuck inside the house, prevented from leaving by the police. Once they finally get out, they each have their own mission-- Sams was to take the regular gun they liberated from the locked cupboard in the security office that didn't actually have a hope of hurting the shapeshifter, and make a distraction for Dean to run out to the car and get silver bullets that COULD kill it.

Sam ends up cornered and hiding in the kitchen, hearing Olivia's story, yet unable to talk her down. Only, because this is his first kill after having his soul un-demon-ized, it's the first test of how the Mark of Cain is still affecting him. Very messy... he can't stop shooting until the gun is empty, even though the first shot took Olivia down.

There's one other thing I want to point out in this episode, because it laughably reminded me of Jack's little angel blade magic display in 14.16, which ended far more tragically than Dash the Idiot waving his gun around because he assumes just because he hunts pheasant, he actually knows even the first thing about how to handle a gun responsibly.

AMBER: I don’t get it. Why would Sam and Dean want us dead? DASH: Isn’t it obvious? [waving the gun around] They wanted our inheritance. Guess whatever Aunt Bunny left them wasn’t good enough. HEDDY: For the love of God Dash, put down the gun before you kill someone! DASH [using the gun to point vehemently at his own chest]: It’s okay. I….Hunt….Pheasant! AMBER [alarmed]: Put it down! [Dash puts the gun down on the coffee table.]

At least Dash recognized that he was frightening his family and eventually did stop inappropriately waving his weapon around. Tragically, Jack... didn't.

[holisticfansstuff]

I'm watching S10E06 and... Bobby ruined that shifter's life for nothing. Nothing. Her only crime ( back when she was first locked away ) was that she was born different. The measures Bobby Singer took to keep her "under control" directly contributed to her undoing ( and the family's ).

The part where Sam, usually the voice of reason, says : " ..then Bobby spared you. You should be grateful. " is so heartbreaking on so many levels.

[campingmonkey]

Dean and Baby. 🥰🥰

[googledocsdyke]

the styne family plot is so boring and like a massive squandering of the potential of frankenstein lore but like there IS something to be said for cyrus as sam-figure (born into an abusive family sustained by a generational violence he wants no part in) that makes it doubly heartbreaking & compelling that dean kills him

[stephanie-likes]

  I owe you two an apology.

[steveyockey]

Watching spn for the first time in 2021 (embarrassing ik) and im on season 8ep14 and dean says he knows he’s gonna die w a gun in his hand so Sam can grow old and have kids and grandkids etc... and it’s very clearly presented as dean being Wrong (obviously) bc he isn’t putting value on his own life and being overly suicidal and risk taking for sams sake, and Sam literally says at much. But then (from what I understand) that’s literally exactly what happens in the finale. ik everyone talks about this but holy shit is it an experience to watch for the first time lmao what a shitshow

8.14 // 10.06 // 12.06 // 13.05

15.20

DEAN: Can you imagine? You, me, Cas, toes in the sand, couple of them little umbrella drinks. Matching Hawaiian shirts, obviously. Some hula girls.

SAM: You talking about retiring? You?

DEAN: If I knew the world was safe? Hell yeah. And you know why? 'Cause we freakin’ earned it, man.

13.23

[ardentpoop]

(thru gritted teeth) enough. enough.

[lividbrunette]

as I watched criminal minds, I made a list of all the Supernatural characters that appeared (that I recognized) bc why not so enjoy LOL

(in no particular order, spn/criminal minds)

- courtney ford as kelly kline/austin 4.09

- mark pellegrino as lucifer/lieutenant evans 4.10

- jim beaver as bobby singer/sheriff williams 3.07

- steven williams as rufus turner/captain wright 2.22

- rachel miner as meg/molly grandin 6.15

- sebastian roché as balthazar/clyde easter s6/7

- chad lindberg as ash/tony 6.19

- keith szarabajka as donatello/hardy friedman 8.14

- timothy omundson as cain/phillip dowd 1.06

- matt cohen as young john winchester/john franklin 10.06

- sterling k. brown as that mf gordon walker/fitz 10.19

- benito martinez as that bitch edgar/raul montoya 11.04

- dj qualls as garth fitzgerald/richard slessman 1.01

- mitch pileggi as samuel campbell/norman hill 04.11

[mittensmorgul]

Watching 10.06, and feel like mashing my face all over the keyboard, because this is the clown college version of 14.19, from a skewed perspective and a vastly different point in the narrative spiral:

OLIVIA: After Bobby killed my father, he came after me. Mother pleaded with him to spare me. He agreed, under one condition. SAM: That she keep you locked up. OLIVIA: For my safety, and the safety of others. Mother told the family she lost the baby. And she locked me in the attic. But she remained devoted to me until the very end – Even got Bobby to promise to take care of me if anything happened to her. SAM: Wait a minute. Then, Bobby spared you. You should be grateful. OLIVIA: For what? Keeping me locked up my whole life? It would have been kinder to kill me. SAM: Olivia…you don’t have to do this. Being a monster is a choice. OLIVIA: That choice was made for me a long time ago. Why haven’t you taken a shot? Oh, you don’t have any silver bullets, do you? [Olivia is now pointing the gun directly at Sam. She’s shot from behind by Dean. After she drops, Dean shoots her 7 more times.]

[bi-impala]

Dean and Archetypal Class

Dean and Sam both fall into these fairly stable patterns with how their class is represented, with Dean being the Eternal Working Man and Sam more complicatedly being a Symbol of Upward Mobility. There are lots of times throughout the series we see a clash of working class and upper class aesthetics (like in 1.19 and 10.06), and each time Sam is shown to be much more comfortable (relatively) interacting with rich people than Dean is. In Provenance Dean gets them kicked out by making fun of the people and food around them while Sam politely asks relevant questions about art periods. In Ask Jeeves Dean sticks outside with the ranch hand in the barn while Sam guards the rich family in their mansion. 

This is easily tied to two interrelated things: Sam went to Stanford for four years, and grew up hating everything about his family, including their poverty (Sam never quite gets out of the JD Vance stage of blaming them for their situation, in part because the writers could never commit to Dean being a parentified child trying his best). He spent a portion of his life learning and valuing the codes of the upper class. Dean on the other hand deeply derides the lifestyle of the rich. He has conflicted feelings about the middle class American Dream style of living, but the rich he hates and it’s very funny. 

My favorite iteration of this is AU Sam and Dean, and how they speak to Sam and Dean's more archetypal and recurring class themes. Dean cant help but be working class, and Sam appears to fully embrace their wealth. This occurring even in the au world, where the Winchesters exist in an entirely different class context, implies a certain kind of eternal class characteristic to the characters, more so than their relationship to each other or their relationship to their parents. Bc in the au world, Dean is the one more at odds with the family, not Sam, but he remains drawn to the archetype of the working class man. He seems exasperated and exhausted by both the corporate work he is expected to do and the trappings of his wealth, such as the planes they own. He is the one to fall in love with crappy beer and flannels first, and convinces Sam that they should try to live in the bunker with our Winchesters. Dean, no matter the version, is working class.

This is obviously connected with his version of masculinity (seriously look at how gay the AU Sam and Dean are), but we can also draw some interesting parallels between the othering he faces for his class and queer othering. Always existing outside of the boundaries of mainstream society, reviled by both middle class and upper class sensibilities. Spn definitely mythologizes the working class aesthetic with the hunting life, especially in later seasons when we are a bit more distant from the stress of motel living, but there are point in the show that genuinely seem to explore what poverty looks like for this family. Subtextually, we can analyze how poverty has affected the very foundations of their nuclear family. It seems that these class differences between Sam and Dean are stable no matter what season we’re in, even as their relationship to John and to each other varies wildly writer to writer. 

[milfsisyphus]

very weird to move on to 10.06 because i am now watching new spn content for the first time since 2014. so strange