Optimism freeform meta
Jack, Harper, and the folly of pursuing of immature, illusory Perfection as the antidote to life's many disappointments.
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Okay, here it comes. It's our rambling, group Optimism meta from discord that I promised once upon a time I'd post here. Apologies ahead of time if I get your Tumblr names wrong.
Harper's flat is decorated in ooey-gooey symbols of love.
Green for growth (though Harper's growth pattern is certainly arrested), and red for passion. We have the green-Italian amore in the symbolic kitchen of life, and a bright red heart near the entrance.
BEWARE: You're entering Harper's heart. It's black and bloody.
We also see that her home is full to the brim with books and stories. She clings to them, hoping they'll bring her life meaning. The blood-red-pink-purple color theme continues in the form of her array of romance novels.
Harper herself is clothed in red, in a Sayles-coded corduroy, perhaps a mate to the hunter's anorak jacket. Her little scarf is certainly Scooby-Doo-Daphne-esque, but it's also a RED BANDANA calling to mind that she's an OUTLAW, like Dave Matthews in the Tombstone episode.
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But her bedroom is more serene, stuffed with zen colors, serene green, and a bedful of childish stuff animals. It's dominated by strong protector-types like lions and elephants.
via @honeyedwhiskey: okay so I got intrigued by the fact that she has these particular stuffed animals. the lion, symbolizing stalking her prey, elephants for their memory and their brutality (maybe a nod to wanting community) and the tiger for her actual isolation.
the puppy seems to be an older addition, maybe from childhood, and the smallest and most vulnerable one is being protected by the dog which seems to be a bear cub? reference to maybe a mama bear that protected her?
the three at the top are what interest me the most though because harper is represented by the heart and the color red so the mouse is her, and the two pigs seem to be her parents, with one being a combination of colors and patchwork looking. so it seems to me that one of her parents was zombie-fied, maybe from a young age.
I like the symbolic nature Whiskey acribed to the stuffed animals above a lot!
I too think her reaction to abandonment and Vance speaks to something really fucked up in her necromancy family, like maybe a necromancy-coming-of-age-trial that went REALLY REALLY badly and wound up with her being totally alone.
Maybe it's like how Sam jokingly told Charlie: "You're not really a hunter till you've come back form the dead." Or like Cas told Jack of his own death, "It's something of a rite of passage around here."
Maybe you're not really a necromancer until you've killed and brought your family back and ofc Harper failing that test would fuck her up forever.
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I noticed the teddy bear, too! There's a tee-tiny nod to the teddy-bear lovers' symbol above her bed, same as Marvelous Marvin has a red heart on his chest in season 15's Gimme Shelter. (And Dean's I Wuv Hugs from a million years ago.)
[The stuffed bear is] a simultaneous motif...of sexual intimacy and The Lover, it's also representative of The Beloved Child resulting from their contact.
(Jack is Marvin.)
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Here's love in the corner, illuminated by two lamps. Harper is getting Jack a book, a book about her little beloved hometown, McCook.
Deep down, Harper is lonely, and unlike her disdain for her other suitors, she's a little different with Jack here: she wants to be understood.
She wants him to understand her and her hometown. Just a little. She's prodding at the niggling, unusual, UNFAMILIAR feeling. So, she sits down and invites him to sit, to learn more about her.
By this point, it's possible she's figured out he's a hunter, which opens up the possibility of revealing her true self, for better or for worse. It's an intoxicating thought for Harper.
Jack hesitates, clearly interested but also a little bit "!!!!"
He's framed by the heart on the wall. Indeed Jack, like Dean and Mary, is a "heart" character. He's even clothed in one of Mary's key colors: dusky orangey pink. (Aside// You'll notice Connor also wears this color in Gimme Shelter.)
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Unlike in Tombstone, where Jack wasn't (via script) all that interested in Athena and Dave's relationship, now Jack's clearly grown. He's even interested in physicality.
Even though his emotional core can be kinda prickly, like Dean and Mary, he's at root a very affectionate character, interested in experience affection/connection with others:
So, he sits. Perseveres through he awkwardness. And lo and behold, Harper is as weird as he is.
They talk about having a positive outlook, even though they've had and terrible pasts, have done terrible things. And hey, look--she's getting the lamp treatment! How lovely.
They sit on the blue couch, as Harper tells him more about her past, subconsciously seeking his acceptance. The blue of the couch mirrors the blue color of her past, of her prom dress. We see her little prom queen crown, and we wonder...Harper is so awkward...
...does she really seem like the Prom Queen type?
I suspect it was fake. That she manufactured her own popularity with bit of magic. To meet the perfectionistic obsession with her romance tales. She is at core a fearful character, fearful of messing up, or being imperfect, of not living up to The Dream (TM).
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Jack makes a quick getaway. In this shot, he's effectively the trope of the divine masculine, fleeing from love, "amore."
It's interesting that the kitchen, a bit like the bedroom, is earthier in tone, filled with more "valley" colors: of browns, greens. The kitchen is about the imperfect strivings of every day life, divorced from the high-dollar reds of Harper's romance-novel decor.
In the bathroom, Jack is clearly interested in exploring "love."
To Dean, he says, "Just in case (she is in love with me)...tell me everything you know about sex. Go!"
Jack is a curious-and-courageous character, too. He's prone to experimentation, which is also why he so often gets the drug ("I like cocaine!" and The Who) motifs. Like Cas, he's maybe a little scared, but he's going to go-for-it no matter how silly and awkward he might look.
That courage is probably something Harper senses in him. It's attractive to her, like the symbolic stuffed-animal lion-and-tiger protectors she has in her bedroom. She wonders:
"Is he strong enough to love the real me?"
In THIS sense, the thing with Vance isn't completely "a naughty nurse game." Deep down, at her root psychological base, Harper is testing the potential lovers' strength. Very classically mythical, really. And she's disgusted by her suitors because they keep failing and failing.
No one is like Vance. Not even Vance is like Vance. Her idea of Vance was never real, and she was never prom queen. But admitting that to herself is so painful, she constructs this horrible pattern of death and destruction.
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"Her apartment has a lot of wallpaper/furniture from the 50’s! Or with that general aesthetic!" -Cal (@13-01)
It's so interesting, because this 50s retro theme is something that Jack, Dean, and Cas carry a lot, especially in terms of their "old-school" button-up pajamas and dressing downs. (Cas himself, with his overcoat, could be plopped in the middle of Mad Men tv series and fit into the surroundings, haha. And although we rarely see Sam carry the motif, but he dips into it in Peace of Mind as well.)
At the end of this episode, we'll see Harper seated in her own retro cafe with the same 50s vibe as well, a Charming Acres-sort of feeling. To me this symbolizes a backwards-looking illusion of perfection, that everything used to be simpler and better, and with enough effort, it can be simpler and better again.
Also there are dragonflies in her bathroom, a bit of a parallel to the lonesome fly plot that Sam and Charlie are on (in this same episode).
This too is the backwards-looking motif, of holding onto the illusory idea of Happiness (TM) so tightly that it becomes tragic and destructive.
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Since even her idea of Vance isn't real, it's become like Amara's illusory idea of love. It can never let her down. "It can never hurt her."
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Harper repeats the demon's words, and Jack braces for the truth to sink in.
"Two," she says. "She said you were two. As in two years?"
Jack nods.
"You were born two years ago. In 2017."
"May 18th," he adds.
At first, she takes it like a champ.
Then, she starts muttering to herself, swimmy eyes bulging out of her head. (It makes her look like Theodore from Alvin and the Chipmunks.)
Her hand skitters to her elbow, where she starts picking at a scab. (It's the one she'd gotten from fighting the Cougar: mushy, not even healed enough for the scab to dry out.)
When her muttering gets louder, the cashier starts shooting them furtive, suspicious glances. If she's going to have another one of her meltdowns in the middle of Burger King, he'll have to drag her out to the parking lot.
And all he wants right now is a glorious Spicy Tendercrisp.
"...yesterday," she whispers.
"Yesterday?" he pushes, hoping that she'll snap out of it.
She turns to him, blossoming into a beautiful, too-bright smile that has several passers-by stopping to stare.
"I said, 'you're my Born Sexy Yesterday.'"
He blinks at her. When she says nothing, he waits for her to explain, as she often does to the point of overload.
"Gosh, Jack. Don't you read?"
He's told her time and time again that he's a 'TV guy,' so he just rolls his eyes and offers up a new spin on the truth, "I read lore."
She seems to ignore him.
"You're my Adam from Blast from the Past, Jack, or- or maybe my very own George of the Jungle. Except more clothes, of course."
"I haven't read either of those," he says.
"They're movies."
"Oh."
Now he feels dumb. They move up in line.
"Actually, I think this is a good thing for us," she says.
He hadn't been expecting that, but he's not about to push.
When they reach the register, she orders a Fish n' Crisp, and Jack finally secures the promise of Spicy Tendercrisp.
"I was worried, you know. The way you're so strong and how you handled those demons made me think there was this...big power imbalance between us. I mean, it was one thing to learn you're a Hunter, but an Angel? I thought I'd have to cut ties and run."
Jack doesn't bring up that she's already tried to leave him behind on three different occasions.
"But this? That you're so new to the world? I think it's a perfect equalizer between the two of us. You're way too strong for me, like, you could probably break me in half.” She seems excited when she says it. “But I can teach you things about how the normal world works. I'm like Alicia Silverstone!"
"Okay," he says. He cranes his neck and hopes that it's their order the worker is finishing up.
"And she doesn’t fall in love with Brendon Frasier because of his inexperience or childlike wonder or fear of the world around him. She loves him because he's kind to her and tries to be the better, more experienced man that she needs. I'm not gonna be your Humbert Humbert. Okay?"
"Okay," he agrees.
He doesn't know a single person she's naming in today's psycho-babble.
"I'm not afraid of your rejection. You can reject me, Jack. I don't mind. In fact, I- I'm expecting it."
When Jack looks at her again, her expression's changed. It's harder somehow, strange and a little aloof.
Their staring gets broken by the clatter of a tray, announcing the momentous arrival of Spicy Tendercrisp, Fish n' Crisp, and a side of extra fries.
Finally.
As Jack eagerly grabs the tray and ushers them down the aisle to a booth, he almost misses her next diatribe.
"Just, don't be my Vision," she says, faux-sadly. "I'd hate to become so grief-stricken that I become a dark witch, you know? That's a comic book. Surely you read those."
Jack doesn't point out that she's already a dark witch. It'd be like kicking someone who's already down.
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