#the HOMOEROTIC TENSION. how was i not supposed to become immediately obsessed

[anatomical-puppet]

Sorry not sorry but i am literally never going to be able to be normal about winter solstice roommates. It’s all i’ve thought about it’s so stuck in my head i am unwell

[just-sort-of-happened]

Remember in 15x05 when Lilith says that God has a, “...very weird, very pervy obsession with”, Dean?” (Starts around 2:30)

Like, he died getting stabbed in the back, being penetrated, up against a wall, tenderly touching foreheads w someone. Like, it’s a very feminine, sexualized death that you expect a sexy female character like Ruby to get. She gets meta boned by Dean while Sam holds her arms and she makes an O face. A stabbing is a symbolic kind of rape and a sexy stabbing is a mainstay of horror movies. Why we would tolerate this tripe in the case of Ruby’s death is that, well, this is her nemesis, in the original sense of the word: in a just world, this is what she has coming, no pun intended.

In the end, Chuck, the evil creator, the writers the network, get their pervy Dean death and the ending where one brother dies, as predicted all season, because as Lilith says, “foreshadowing!”

Like, self-consciously pointing out how perverted and predictable your ending is going to be doesn’t make it more interesting, meta or clever. It’s just crap that knew it was crap all along.

Lilith even says Chuck is not Shakespeare, he’s more like a third-rate Dean Koontz. Warning the audience you’re about to screw up the ending does not make the ending good.

When Dean and Sam are arriving at the vampire lair, on their last case, Dean says it looks like, “something out of Wes Craven’s erotic fantasies”. Now, I’m thinking he said that because saying, “wet dream”, might have been too racy for TV but still adding the word, “erotic”, there, really sets the stage. A third rate hack who is sexually obsessed with Dean is about to give him a sexploitation horror movie ending.

Did you know Wes Craven directed porn before becoming a horror movie director? Did you know his first horror movie is the infamous sexploitation, rape-revenge flick, “The Last House of The Left”, (1972)? If it feels like Dean got fucked, or even raped, in this ending, it’s because he did.

If you’ve ever seen Night of the Living Dead (1968), then you know (spoilers ahead) that one of the finest heroes of our time, Ben, does the right thing at every turn. He is strong, intelligent, brave and a true leader under extreme pressure. At the end, once he’s managed to be the only survivor of his party, he is gunned down by the police who assume he is a zombie, on sight.

This legendarily bleak ending works because this is a horror movie. The end itself is a horror. This is the feeling I get when I watch Dean die this cheap, bizarre, sexualized death: that this is a horror episode and he’s getting a horror death. All other genres used in the show be damned.

After embracing the drama side of the show to its fullest, after having the real emotional climax of the show be Cas’s confession, the writers the network decided to dispose of Dean Winchester like he was a horror movie bimbo, being punished for giving us so many boners.

It had already occurred to me that maybe the whole driving force behind the show has always been Jensen Ackles’ sex appeal. It is that sex appeal that created, I think accidentally, W*ncest and then, slightly less accidentally, Destiel. The raison d’être of the show is to watch hot guys be hot. But the protagonist of the show was so hot that anyone you put him next to seems to want to fuck him.  If you're a writer who admittedly also has the hots for Dean/Jensen Ackles then at the end maybe you have to punish him for this hotness.  In a slasher film the slutty woman dies first, as a punishment.  The last woman standing, or, ‘final girl’, is usually a virgin, a, ‘good girl’.  This is literally why Dean had to die and Sam had to survive.  Dean is the slutty, excessively sexy, bisexual, epicentre of the lust of everyone, men, women, creatures: everybody.

I really think that the original concept of the show is homoerotic: two guys having adventures, on the road.  To no-homo that concept they made the two guys brothers but because they’re sexy and they have chemistry people shipped them, anyway, against logic.  So, to diffuse this awkward situation they introduced Castiel, to siphon away some of that tension.  Now, we got another hot guy who has chemistry with Dean and is not his brother, the show runners could breathe a sigh of relief.  But, then the Cas character evolves to be a dude whose whole life revolves around Dean and Dean also really, really cares about this, ‘weird little dude’, and the subtext ramps up to incredibly high levels.  Like, the thing is just text a lot of the time.  Dean’s bisexuality also ramps up from subtext to text.  The fans love it.  Or don’t see it, depending on who they are.

Then, when it’s time to see how it’s going to resolve: Cas, the angel, literally an angel, gets to express his love but Dean, sinful, sexy Dean, he does not.  He gets to die, not for love, but for fate.  A fate sealed in the beginning of the narrative when he was the bad boy and Sam was the good boy and the bad girl dies and the good girl survives.

Maybe it was supposed to be a return to genre: to give them a horror movie ending.  Even the last of the denouement feels like a horror movie.  Heaven, soft-focus, empty, shallow: doesn’t it feel like the end of Carrie (1976), when everything is so good that you immediately feel fear?  Then a hand reaches up from the ground and drags the only survivor under?  The hand that grabs you and pulls you under is when you realize that this facile, stock nightmare is the ending.