Something about the fact that both Dean and Cas think they’ve fucked up too many times to be redeemed, that they aren’t worth saving, and yet they forgive each other.

Something about the fact that both of them, faced with an outside force compelling them to kill the other, pushed past that to save each other’s lives.

Something about Cas dying to save Dean time after time because he can’t stand the thought of seeing Dean dead, not knowing what it does to Dean to see Cas dead, and to feel like the blood is on his hands; about Cas trying to restructure the universe for Dean and Dean just wanting him to stay.

Something about Dean teaching Cas to be more human and then, when he is human, failing to help him and having to live with the regret of that.

Just…something about Cas and Dean and the way that they’re simultaneously doomed and inevitable, always circling around something but never able to land

alright here’s the wikihow article i’ve been threatening to write on how to brainwash yourself into not entirely hating 15x20, or: castiel’s absence is a good thing, actually.

disclaimers:

- i do not claim that this is the intended interpretation

- i am watching the show with my destiel/dean coded cas girl goggles stapled on

- i do not enjoy being bitter about things i like and therefore probably jumped through a lot of hoops to arrive at this conclusion

i know there were a LOT of things people hated about the episode and this will not address all of them. my main issues with the finale were 1) the manner of dean’s death, 2) the unresolved dean/cas arc, 3) sam’s extremely emotionally hollow happy ending, and 4) cas’ complete absence. the production quality/editing/pacing was terrible as well but that’s nothing out of the ordinary on supernatural rip

1. the bad guy (spn writers room) won

my correct opinion is that this was, in fact, one of chuck’s endings (though i don’t think they made it bad on purpose). on a meta level it makes a lot of sense for this to have been chuck’s ending since he is the meta stand-in for the writers. as long as they are the ones telling this story, EVERY ending will be a chuck ending.

some supporting evidence:

from 14x20 moriah

chuck loves circular storytelling: sam and dean as cain and abel as michael and lucifer, or dean and jack as sam and john as abraham and isaac. we know that chuck’s ideal ending would have the brothers regress back to their brodependent s1 selves and then have them meet a tragic end (15x04 atomic monsters). and something that really stood out about 15x20 is the way it just... completely erased 15 years of sam and dean’s character development. someone said you could watch the pilot and then the finale and understand everything and that’s completely true and extremely frustrating to any viewer with a brain. it’s also a trademark of chuck’s writing.

if you watch it with that in mind, 15x20 is so reminiscent of season 1 that if you pulled jarpad’s hairline back across his forehead and slapped on a grunge filter it might actually be the walmart version of an alternate s1 ending:

- jenny the vampire returns

- complete absence of any characters that aren’t sam and dean

- motw, specifically working one of john’s unfinished jobs

- sam happily leaving his hunter’s life behind and living a normal picket fence life with his blurry spouse, the way he dreamed in s1 and has repeatedly stated is not what he wants for himself anymore

- dean dying as daddy’s blunt instrument

- i hate to say it but the borderline romantic framing of dean’s death scene also counts as a kripke era callback considering how many romantic tropes sam and dean played into during the earlier seasons. erotically codependet etc etc

- probably more but i watched the finale exactly once and am not planning on doing it ever again in my life

tl;dr the 15x20/s1 parallels aren’t just parallels, it’s sam and dean actually regressing to their past selves because they are once again living chuck’s story (or on a meta level: still living the writers’ story). they don’t notice it and neither does the viewer because the framing of the episode suggests that god is defeated and sam and dean are living life the way they want. and yet their endgames are anything but what they would choose for themselves.

(if you watch the back half of s15 through this lense you can also suddenly excuse dean’s character assassination in 15x17/dean failing to break the cycle and being a bad father to jack just as john was a bad father to dean. running in circles is kind of chuck's Thing. god made them do it is a god tier coping mechanism for everything i’m mad at supernatural about.)

it all comes down to what cas said: freedom is a length of rope and sam and dean hung themselves with it. imo it’s still a dissatisfying ending after fifteen years of character development but it is narratively sound. the reason the story set up all these endgames and then didn’t pull through is that the antagonist won. 15x20 is a depressing tale on the dangers of hubris.

OR IS IT.

2. castiel’s absence is a good thing, actually

alright so this is where i’m probably REALLY going against authorial intent. here’s the thing about cas: he is the only character in the show that possesses true free will, both within the story (”you never did what you were told”, god himself in 15x17 unity) and outside the story (the showrunners kept trying to kill him and he kept coming back, cas falling in love with dean despite writers, actors and network actively trying to prohibit it). so if cas as the representative of free will had been in 15x20 my whole argument would collapse because his presence would mean it either WAS the ending sam and dean chose for themselves, or that cas no longer possessed free will.

but what did cas do instead? he rebuilt heaven for them. heaven is now a paradise of his own making, a place free of chuck’s influence and it’s where sam and dean will finally get to choose their ending. off-screen. post canon. across 50 ao3 pages. dean and cas are shyly linking pinkie fingers as we speak. because the ending the characters choose for themselves is not the writer’s ending to tell.

3. on destiel

i've already talked about my feelings on deancas in dabbnatural/15x20 so i'll just link those posts:

- i think they handled dean and cas’ relationship very well given the circumstances (my post and another very good analysis)

- textual reciprocation or not, destihellers won

- supernatural = queerbait is discussed with like zero nuance on this website and it's annoying as hell

i wrote this at 2 am, i hope i've managed to make my point. again, i'm not saying that this is what the writers were going for. but i do think it's a valid interpretation for the most part and i hope it helped someone feel a little less bitter about the finale!

what are your thoughts on the deancas endgame.. how will they resolve the Empty.. any thoughts?

Ah that old question! How it pains us all! :P

What are my thoughts on DeanCas endgame now? Honestly it changes everyday!

When Cas first made his deal with the Empty, it seemed so damn obvious to me that it would be a lead up to overt canon Destiel. At the time I was pretty sure that there was nothing else that could bring Cas that level of happiness. Now I’m not so sure. Cas’s devotion to Jack has only grown, and the fracturing of the Winchester family at the end of Season 14 was a huge hit to him. I can now easily envisage something as simple as Cas being invited to carve his name on the bunker table being the trigger point, so long as Jack is alive and well. Being part of the Winchester family has definitely been the principle factor the writers have built on for Cas over the past season. I therefore think that if the Empty does come for Cas, it will be from something familial, something like Jack and the Winchesters all sitting around and them paying specific attention to Cas for doing something great, like actually stopping a monster, saving a ton of people, and doing it all the human way, leading to a very impressed Sam and a loved up Dean beaming at him and telling him to carve his initials, and making sure he adds the W.

As much as I would love it and ascend to fandom heaven if it happened, I don’t think the empty deal is gonna be triggered by Dean grabbing and kissing Cas up against his bedroom door, or even actually saying a very clearly romantic “I love you”. Not that I don’t think that will happen at all, but I feel the Empty deal will need to be addressed very soon, and I just can’t see any overt confirmation of Destiel in text before the very end (if at all) at this point.

Please let me explain my thought process on this before anyone get’s upset or jumps on me.

Season 15, imo, has done a lot for Destiel. Since the very first episode we have had a clear emotional storyline specific to Dean and Cas. Their relationship drama has basically fuelled the emotional heart of the season so far. It has lead to journalists, interviewers, and plenty of check marks on Twitter agreeing that whatever Dean and Cas have, it’s something very special, and important to Supernaturals beating core.

The fact is, Dean and Cas are already being written as a romantic couple. They are being written as two people who deeply love each other, to the point that they get ridiculously overly emotional around each other and when the other hurts them. Their relationship is constantly called out by other characters (Belphegor, Rowena) and mirrored to the more overt (however unfair that is) heterosexual relationship in the show (Sam and Eileen).

If we were still living within the era of the Hays Code, if this was The Celluloid Closet, then we would already be championing Destiel as an epic example of queer romance. It IS a queer romance after all. Destiel is real, it exists within the Supernatural story, and the SPN writing team including actual queer writers are 100% on our side and writing Destiel as best they can. This I am 100% certain of at this stage. As a meta writer, I am already validated that my reading of the show and of Destiel as a queer romance in the show is correct. Destiel isn’t something anyone can justifiably call us delusional for seeing anymore. We have come way far beyond that point here. If you see Destiel as a romantic love story, your reading is a correct reading because that IS the story the writers are writing. Season 15 has confirmed that with the Destiel break up story arc and Dean’s prayer. This I say with absolute certainty. Your reading of Destiel as valid and an actual queer love story is correct. It is the story they are telling. People can’t deny Destiel anymore because it is those deniers who at this stage look pretty damn delusional ya know?

I have bolded several lines above because they are important and I really want to stress that this is my stance on the matter. Do not let anyone try to convince you that I feel differently here. If you are a young queer person who sees yourself and your relationship in the DeanCas love story you are valid in seeing that. Exactly as it is, right now, without any need for further confirmation within the story. I am in no way trying to invalidate you by what I am about to say next.

I mentioned the Hays Code and the Celluloid Closet. If you haven’t seen the Celluloid Closet I urge you to watch it as it is a fascinating look into queer coding within the Hays code era. Also, quickly, if you aren’t aware of what I mean by the Hays Code it’s basically the code that Hollywood had to adhere to, setting out rules of what could and couldn’t be portrayed in cinema at the time. Here’s a link to the Wiki article on the history of queer cinema. The introduction of the Hay’s code also meant the introduction of queer coding and subtext rather than explicit dipictions of queer romance in cinema. When I refer to this in relation to Dean and Cas, basically what Supernatural is doing with Dean and Cas is exactly what was done to dipict queer romance in order to get around the Hays code during the era when it was enforced.

So when I say that Destiel is real and valid and being written as a love story, I mean that the writers are basically doing with Destiel what savvy filmmakers had to do to circumvent the Hay’s code during Hollywoods golden age.

Do you see the issue yet?

It is 2020. The Hay’s Code has been abolished for around 50 years.

I fully respect the SPN writing team for trying to tell the Destiel love story as best they can, but at this point in time, even with everything they have already given us, it is still subtext.

Subtext IS a part of the text. What is Canon? What isn’t Canon? Honestly? I’m done with the arguments about it. Believe what each of you want to believe. What I will say is that I don’t think we are going to get anything more overt from the show at this point. The reason I say this is because the writers have now had plenty of ideal opportunities to actually bring the Destiel love story into text. They could have had a single line in 15x07 that confirmed Dean and Lee had a romantic relationship when they were younger. It would have been so easy to do. But they didn’t. Dean’s prayer to Cas, in all it’s glory, could have given us one line more as well. We could have had a love confession. They could have taken it there. Again, it would have been so easy, and it was the ideal opportune moment for Dean to confess. But they didn’t.

I have gone back and forth on this particular question over and over again. The question being will Destiel be brought into explicit undeniable text by series end?

Again, I stress, this question is completely separate to the question of the validity of Destiel already within the text and I swear to God if I get a single argumentative person in my mentions coming at me because they’ve been brainwashed by *people* trying to twist and blur these lines I am going on an even bigger blocking spree to the one I’ve already been on.

In my opinion, the answer to this question resides not with the decisions of the writers (who I fully believe would make it overtly canon in a heartbeat if they could) but with the CW execs. I have my own theories about what goes on behind the scenes, and what I think Dabb has been fighting with since he first took over as showrunner in season 11, and I just really hope that at some point once this is all over we will get a big expose on the truth about Destiel which confirms my speculation and slams the CW execs for not wanting to go there with Supernatural in particular (something I have previously talked about here). I would love for the execs to have given the green light on Destiel being overt by season end, and I am still hoping they have been more lenient this season even if the okay is only for one small moment. Whatever we get or do not get, it will be at the hands of the CW execs and not the writers. That’s the one thing I ask everyone to please keep in mind whatever happens in the end.

As far as what I think may or may not happen...

I would love for the Empty to take Cas because Dean confesses his love and kisses him. Or even if the Empty takes Cas because of other things, having Dean then rescue Cas from the Empty in a poetic reverse of Cas rescuing Dean from Hell, with the big reunion being their overt textual getting together. I feel like the story could go in so many different directions right now as I don’t actually feel like the plot of season 15 is all that coherant so far. The main key notes were Dean and Cas’s relationship drama, Sam and Eileen’s reunion, Chuck messing with the boys and Jack’s return. I think that things will ramp up pretty quickly in this final run of episodes from mid March to the finale, and I think a lot of storylines will get addressed and resolved in a short space of time, at this point, if anything overt does happen for Dean and Cas, it will happen quickly, and the story will move on, or it will be left in the subtext until the very final episode, or it will remain in subtext completely.

Personally, I think that Dean and Cas’s love story will remain subtextual until the very end, with potentially an “I love you” from Dean that will be interpreted as platonic by all major media sources much to all of our frustrations (a repeat of the Season 12 Cas “I love you”) (As Dean needs to tell Cas he loves him as a plot point at this stage, regardless of whether it is romantic or platonic the story basically demands it be said). I am still quietly confident that Dean and Cas will end the season together in some way, either living or dead, I don’t think that their story or their individual story arcs work if they are separated, and I will be stunned and hurt the same way I was for Game Of Thrones if the show does take a different route.

Therefore, since I see the show ending with Dean and Cas together, I can potentially see them taking each others hands in one final shot that basically subtly confirms that they are an item without ever actually textually stating anything more or giving us a kiss or anything. I personally, would be very satisfied with this. If it doesn’t happen though, if I’m totally honest, I would also be satisfied so long as they are still together by the shows end, as I have continually stressed, Destiel is already a real and valid love story that totally validates me as a meta writer, even if it isn’t technically “canon” by all major definitions of the term. (Again I stg if anyone comes at me for saying this I am blocking without devoting a second of my time to arguing with you I am literally at zero tolerance on this ridiculous argument right now and refuse to be dragged back into the bullshit).

Whatever happens, I am loving what we are getting so far. I’ve really been enjoying this season especially the Dean and Cas storyline because it has been so intense and emotional and I LIVE FOR IT! :D I know I’ll be a puddle of tears whatever happens and I just hope that it keeps up this excellent trajectory because so far I’ve been really pleased with everything else we’ve got even if I was slightly disappointed by the show not pushing 15x07 and 15x09 just that tiny bit further into overt canon confirmation of Bi!Dean and Destiel. We’ll see. As I have already said several times, I am feeling pretty validated by my interpretation of Dean and Cas’s relationship over the past so many years I’ve been writing about them. I am confident that I will continue to feel validated as we reach the final run of episodes, and I will continue to be optimistic that Dean and Cas will get a satisfying ending together, whether that includes overt textual Destiel confirmation or not.

So recently I made a post (x) about reasons behind the fanon schisms that divorce themselves from the actual canon. Some of it has to do with people hyper-identifying and not being ready for the message, others come with people that spent far too many years with open and loosely filled sandboxes and character definition in early seasons that gave the characters a certain plasticity.

So @dotthings ​ recently made a post (x) in sync with this to some level as well, focusing more on one particular lane’s behaviors.

This, ultimately, sent me off onto a rant in my server’s meta-salt section (aka #meta-pickling) that I figured I’d immortalize in the public view as well:

Bronlies were honestly who I had in mind when it came to things like early open sandbox vs archetypes. Loose archetypes let them imagine very openly what the characters were like. The loose canon sandbox was also very wide and flexible, the text (much less subtext) wasn't as dense.

But the longer SPN went on the less room there was and the more it required them directly pushing back against the canon content, recalibrating it, warping it. Early canon didn't make them confront where their readings were off base because the base was already slim. As the canon evolved and they drifted left of it, they still had several years where they could kind of do fuck all, and by the time canon was boxing them in, they had years of patterned behavior of denying/sculpting canon.

Key moments I can think of are S5 with Dark Side of the Moon active misinterpretation or that accursed Zachariah line where they ignore the end of the episode showing it was horse shit.

At this point they were already running into canon walls they kept trying to make me about them, but no matter how many circular arguments they ran with the content while missing the entire point, they remained objectively wrong, even if they wanted to convince themselves they were right, so they continued veering more and more aggressively left.

Gamble era didn't help at all, and it's probably why they love her, bc once again the text got, IDK. It was diet text. Lots of bounce around room for chaotic reads. So by the time Carver came back and as showrunner and hit the reset button they were already way the fuck off center.

S4-5, and S8+ is when, for lack of a better phrase, the characters got souls--not like in literal storyline, but in the complexity of their vision and coming to life.

Sometimes those souls did things we do or don't like, but the expansion of those souls over the kripkegamblecarverdabb sandbox that proves fairly hollow without it, is also what makes it very hard for people that just wanna use them as barbies to have... room to interpret the canon text/world as that.

I remember on rewatch how utterly painful watching S6 was, and it has nothing to do with Cas' story for me as for many people. The characters were... plastic. They were barely even representative of their old archetypes. After a few dense years of serialization and expansion in S4-5, all of a sudden they were acting like teenage girls, but it was boy drama!!!

S6 bros didn't even resemble what S4-5 bros had grown into, not even remotely.

I'm gonna say it: in this metaphor, Cas is the serpent that gave a soul to the show. Gamble try to shovel him off, frame him as a villain, and remove him from the picture and it straight-up backfired. Think gnostic, where Chuck (the author) created the bodies that became man, but it wasn’t until something that existed outside of it reached through that they became humanity as we know it, complete with souls.

It’s no surprise how often villain-Chuck-the-bad-writer brings up her work and ideas as awesome, either. Leviathans are great! Monsters! Rararar. Ooga booga. What’s a Cas.

He yielded a whole level of complexity that there was no “putting back in the box.” Gamble tried, but the show started crashing and burning. By S7, she tried to revert to “cardboard cutout guys dancing in loosely defined world with a year long monster of the week” storyline and honestly, we saw the results. The same people deny what the results were despite all existing information to the contrary, but that’s nothing new.

But at the end of the day, doubling down and failing to figure out where they veered off course while insisting on playing barbies with S1-3 style characters and demanding their fanon ideas of the characters from those seasons remain the current course leads to being wildly divorced from the show while ignoring what gave the show it’s complexity, it’s strength, and it’s soul. A show that started failing without that element -- both the thing/character who was the original source but also the native complexity and wide-spanning emotional spectrum each character themselves develops after this point, independent of the original creature/character of the advent. 

Carver era may have done some things other parts of fandom don’t like, too. The characters disappoint people at times and challenge them at others. But the Carver reset seems to be when the schism completely manifested, because those minor areas of story-disappointment were still getting warped by habit into other schemas, and by the time we drifted into Dabb era, who completely opted to subvert the old ways, in ways Carver only flirted with, these people were off in some whole-assed AU not too dissimilar from the random shoddy drafts in Chuck’s head, which aren’t The Ones. Not the Real Sam and Dean, as even Chuck put it. Not this Sam. Not this Dean. As the characters said. Just plastic playthings.

Which is utterly fascinating because while these same fandom people understand Chuck is a shot at them (one even called Dabb’s writing “vindictive”), they also choose to align themselves with Chuck’s POV to this day, despite knowing the futility of rooting for the bad guy. They know the bad guy is going to lose. But the bad guy is the only one that endorses their plastique character ideas and creates the worlds and settings they want, rather than rooting for the individualized characters as people all their own, outside of Chuck’s point of view. And due to upend it. 

I can’t imagine trying to watch canon on that level, where historically you’ve fused the villain viewpoint to the heroes’ and identify the heroes as their suffering, rather than their victory. Chuck is the highlighter on it, but this tracks--such as back to DSOTM I mentioned above, where they embraced an old Zachariah line that Zachariah himself even said was bullshit at the end of the episode. This litters time and again through the show, lording how Michael talks down a character they didn’t like or X, Y, and Z elements; wanting these heroes to fail, to be reduced to their barest blackened form and never regrow. To remove the soul of the show and watch them melt in a loosely constructed sandbox.

I fear inquiring how they watch other TV shows.

Okay one last thing for the night and then I’ll be quiet.

I’m constantly rewatching the show, and tonight I just happened to get to “Swan Song.”  It’s one of my faves, a great ending to what the show was then, what Kripke had created, but watching it now with all that we know, with how different the show is is almost impossible.

And because it’s me, I gotta talk about Cas in this episode, specifically after Michael and Lucifer fall into the cage.  He’s brought back, heals Dean, resurrects Bobby, and then just kinda...fucks off.  I still remember, when I watched that episode for the first time, how weird it felt that Cas, who’s been by their sides for the past season, every step of the way, just kinda leaves, off to be an angel again.  Cas was always a side plot to Chuck/Kripke, he was useful, available to pull the boys out of tight squeezes, but not much more than that.  His humanity, the way the fans adored him, was something organic, something that I don’t think Chuck/Kripke ever intended when he brought him in for a couple of episodes Misha was slated for in Season 4.

Chuck says in “Swan Song” that “endings are hard” and “the fans are always going to bitch, there are always going to be holes.”

Kripke had a lot of disdain for the fans, or rather, the fandom.  We see it with Becky, with the way Chuck talks about the fans of his own books, the way he even talks about them at the end of the show.  The fans were always the other, the people that the writers begrudgingly let into the world, but only to observe, we took it too far when we started predicting, asking questions, writing our own work, creations that got a mind of their own if you will.

I know so many amazing meta writers have talked about the mirrors of the showrunners to various characters they write, but it is so clear that Kripke is Chuck, and Chuck is now the big bad.  Dabb, these current writers, are finally undoing so many of the things that were shitty about the early seasons.  They’re directly playing into the shitty writing, making it the villain’s own words, which is why I think the end of Supernatural isn’t going to be the hopeless “endings are hard” thing we got with season 5.  These writers have redeemed Becky, brought back Eileen, they’ve already played directly against so much of the hopelessness we just expected in the first five seasons.

I don’t want anyone to get me wrong here, I love early SPN, I really do.  But I just am so fascinated by what Season 15 is doing, because it’s showing that the sad, dark, one brother dies and the other lives ending isn’t what the show is anymore, it’s grown, the boys have grown, and the writers are operating at a level taht I honestly didn’t think was possible for a show that is 15 years old.

I talk a lot about the writers, how much I love this writing team, but being able to directly compare the endgame for Kripke in teh middle of endgame for Dabb is so interesting, because it’s like I’m not even watching the same show.  Dabb’s Supernatural bleeds hope where Kripke’s bled fear and hopelessness, and making Chuck, Kripke’s mirror, the big bad for the final season, I really just can’t help but feel that we’re getting Dabb’s type of ending: hopeful, a new end for a new show that has changed so much since “Swan Song.”

“Is it a plot twist, or is it just lying?” and brief thoughts on the SPN road so far

To paraphrase an exchange from Bob's Burgers: Is it a plot twist, or is it just lying?

This seems to be an evolving theme of Supernatural's Season 15. I haven't been keeping up on my reviews here, dern it, but after some mild kerfuffles I've experienced between various fans (including myself), I'm re-inspired. Or perhaps incensed.

“Writers lie.”

When we first learned that God is a right asshole and as such, opened a rift in Hell before checking out to leave our intrepid heroes to deal with the undead invasion spilling forth—and then decided to check back in just to start fucking with the Winchesters again—I wasn't overly bothered, but nor was I particularly thrilled by the implications. I was begrudgingly interested to see what was evolving.

Well.

Kinda like watching a slo-mo train wreck, as it turns out. We're witnessing how this canon ret-conning is already starting to fray. How playing fast and loose with what the show has established as the rules of its universe is creating this “It was all just a dream” Dallas-esque meta embarrassment.

Seasons back, when the show first shattered the Fourth Wall by introducing the SPN books and conventions into its own mythos, that self-awareness was a really risky move. To this day, you either love it or hate it, but it managed to hold together because of the infrequency with which it was explored, and the skills of the writers at the time. (Even then, we got Season Seven, Time for a Wedding, arguably one of the more tasteless episodes of the whole series.)

As Dabb and company are choosing to further explore Chuck-as-God-and-puppetmaster, one of the show's important thematic cornerstones, that of the value of <i>freewill</i>, is taking a big hit. And the show knows it. They've had Dean come right out and air his disgruntlement with it several times already. So we get it, yeah, it's a thing. It's what Dabb is using to propel this last season (along with rampant fanservice and as many returning characters—dead or alive—that he can shoehorn into 43 minutes).

Now, I do loves me some fanservice on occasion, and there are certainly quite a few characters who died in rather inglorious ways and probably deserved better send-offs than they got, but I'm not sure 'hanging a flag on it' does enough to compensate for what this means in regards to the past 14 years of the show. In asserting that all of the past canon has been little more than Chuck's manipulations, it also means that the viewers' investment into the whole of the SPN universe has been hung on a lie within its own framework. “Ret-conning” doesn't even come close to describing this level of narrative dishonesty. (Wow, that sounded dramatic, but it's kind of true, you know?) By undermining the canon of the past 14 years, the current show creators have made Gamble, Carver and yes, even Kripke unwittingly complicit in this snake oil operation.

If SPN were just a movie, two hours designed from the jump to play out this way, I might think it was a little cheesy but oh well. I'm not that invested. (See 'Cabin in the Woods', which was a helluva fun neo-horror romp, in a similar vein.) But this is FOURTEEN YEARS we're talking here. That's a loooong time to be invested in a narrative, just to have the latest showrunner unseat all the canon that came before him. The only thing that matters one iota now? Season 15. It, apparently, is the only “true” canon. The only canon where “Chuck” is revealing his hand and operating with any in-world narrative legitimacy.

Thanks, I hate it.

I'm not going to pretend I like what Dabb is proposing. The segment of fandom hungry to bust Sam and Dean's so-called co-dependency is pretty stoked about it, naturally; they see classic SPN as toxic and unhealthy (and let's be real, in the way of a certain ship).

But here's the thing that gives me The Feels™, and it's not turning the Winchesters (or Cas, for that matter) into domesticated, well-adjusted Hallmark Channel leading men. (That's what, you know, The Hallmark Channel is for.) And it's sure as hell not invalidating the canon of the show I fell in love with.

It's urban legends, black humor, the endless highways and guttering neon. It's two brothers raised on the fringes of society, their unbreakable fidelity, finding comfort wherever they can since tomorrow, they may meet the business end of a rugaru. It's the colorful characters they meet along their travels. It's Led Zeppelin, greasy spoons and ancient tomes. It's faith and heart and sacrifice.

Unless Dabb dismantles these things too. At which point, a pox upon him and his house. Writers may lie, but this would be universe assassination.

●●●

Oh! I was going to mention some episodes too, lol. Here are a few quick take-aways, since I've already blabbed on enough.

Episode 3: RIP, Rowena. I looooooved the line, “But I believe in prophecy. I believe in magic.” That was SO her. Of course an ancient witch, the most powerful in the game, would live (and die) on those words. And kudos to the show for remembering it put that Sam gun on the mantel in Season 13, iirc. Pretty sure we'll see Rowena again before the grand finale, though.

Big happy for the suggestion that Sam is a witch-in-the-making. Also glad Cas finally got his brain wrapped around the fact that Dean was pissed at him but he didn't need to take it anymore. Dean has some valid reasons to need space from Cas, and it's a handy way to get Cas off doing his own thing (as Misha is not contracted for every episode).

Berens did a solid job writing this episode, but I'm glad we've wrapped the customary 3-episode season premier. I had high hopes for myriad crusty, decaying dead shambling around a grim world, but instead we got a handful of ghosts, literally running around in broad daylight. The first two episodes were … clumsy.

Episode 4: 'Atomic Monsters', was written by my favorite current SPN writer, Davy Perez, and he did not disappoint! Something about the way he writes dialogue sounds so naturalistic to me, and he manages to tap into authentic feelings in the characters without feeling rushed or contrived. I believe his stories. I never get thrown out of his episodes.

The episode was lovingly directed by Jensen Ackles. The guy flat out knows what to give us. That whole beginning red scene, with Dean and his John Wick bad-assery and then … then we get a Sam who has never eschewed his demon blood addiction. It was chilling and gorgeously actualized and I might have watched that bit more than is healthy.

And we got to revisit Becky Rosen, who is now a fangirl—like many of us—but she's grown up and assimilated fandom enjoyment into her daily life. Perez did a great job in saving Becky, as a character. She isn't the butt of anyone's joke anymore. She isn't a dangerously unbalanced fan. She's just … one of us. Thank you, sir.

Episode 5: Fun stuff in this one! Brotherly banter, Sam and Dean dressed as sort-of Fish and Game employees, a brilliant turn by actress Anna Grace Barlow reprising Lilith (no one saw this coming!), werewolf brothers as yet another example of monsters that aren't as cut-and-dried as hunters might like, and more 'visions' from Sam wherein Sam is Lucifer again, and Dean still has the Mark of Cain. YUM.

But there were also a couple some not-so-fun things. The girls glamping in the beginning was just plain silly, the fight scenes had too many jump cuts (imho), but mostly, why on earth would they leave the God gun in the glove compartment of the Impala?? I noted that back when Dean put it in there, Episode 2 I think it was, but I seriously doubt they wouldn't have locked it up safely after that. Please, foo. Don't make our characters stupid.

By episode's end, Dean is clearly frustrated and demoralized by their predicament. It's clear Sam and Dean will be taking turns buoying each other's flagging spirits this season. As co-dependent as ever. I am here for this.

●●●

This post has gone on long enough, so I think I'll hold Episode 6 ruminations for a separate entry, and maybe dish about where we think the series is heading, for a finale. Anyone reading this probably has a numb butt by now. Anywho, thanks for hanging in with me, gang! Talk at you later...

I'm sorry, I didn't mean for my ask to upset you.You're a terrific writer & I love your meta! For awhile, I've been having a hard time reconciling the show's original "humanity" theme with what's happening now. Jack's almost invincible & has God-like powers. He singlehandedly took care of Michael, Nick, Lucifer & is teaming up with 2 other supernatural heavy hitters. I like Jack but TFW's my jam. So I hope you're right that they'll still be important, even if they're not special with superpowers

It’s okay, I’m fine, really :D

I guess I’m just confused as to how the humanity themes aren’t still being well represented, considering 14.20. I mean... Dean, a human, literally snatched the guitar out of God’s hands and smashed it. He stood there, thinking there was literally no other choice but to kill both Jack and himself to save the world. After he spent more than half of s13 thinking HE needed to die or be locked in that box to contain Michael and save the world. But in the end, he literally stood up to God and said NO. No he would not destroy himself and Jack for Chuck.

(and then Chuck went ahead and killed Jack anyway)

Dean, a Human, has spent the entire season telling cosmic beings to shove it-- Michael, Billie (re: him getting in the Ma’lak box), Chuck himself. While Jack was human for a while and then finally bonded with Dean and became family to him.

But as I’ve been writing for a really, really long time, the A Plot, the defeating of the seasonal big bads, has long ceased to be the point of the show. I’ve written several things in the last few weeks about how it’s undeniably clear now that Dabb has been writing toward this endgame since he took over back in s11, and has been exploiting the show’s own spiral narrative to do it.

https://mittensmorgul.tumblr.com/post/184788264850/i-will-always-maintain-that-dabbs-finales-titles

here’s a post linked in the one above that I wrote right after 12.23 aired, pointing out the fact that watching this as if it was a plot-driven narrative would lead to frustration and like... missing the whole entire point...:

https://mittensmorgul.tumblr.com/post/160988290690/12-while-i-do-not-ask-this-to-be-negative-at

I mean, I’m sitting here watching 13.01 right now, which from the perspective of post 14.20 looks like a freaking bookend... in pretty much every way. Dean’s prayer to Chuck which goes unanswered (which feels like the complete opposite sentiment toward Chuck that Michael will express, the opposite of what Lucifer expressed), Sam begins to teach Jack how to Human, but also to help him understand his own powers.

All of this was supposed to stop after 11.23, after Dean found a peaceful reconciliation for the original divide of the universe. Chuck promised the world would be okay without him, but it wasn’t. The hits kept coming, and in 14.20, we learned WHY:

Chuck: Listen, you guys know me. I'm hands-off. I built the sandbox -- you play in it. You want to fight Leviathans? Cool. You got that. You want to go up against -- what was it? -- the "British Men of Letters"? Okay. Little weak, but okay. But when things get really bad, like the Apocalypse or the Other Apocalypse, that's when I have to step in.

This was still Chuck, watching his favorite show, watching his guys reenact his favorite story over and over again. We’ve complained for literal years about Lucifer being a one-note, boring Big Bad, because he was. Intentionally. People were disappointed in the whole Michael storyline, because it was never really made clear what his motivations were, or what his plans were outside of the completely nihilistic desire to break everything Chuck ever built. He sounded just like another tired rehash of Lucifer’s storyline since s12:

https://mittensmorgul.tumblr.com/post/184740345285/im-watching-1207-on-the-tnt-loop-and-yeah

and see this for Dabb As Death, his chosen in-story avatar, the way Kripke was Chuck and Carver was Metatron:

https://mittensmorgul.tumblr.com/post/184557290140/death-is-one-of-my-favorite-characters-in-the

Dabb literally introduced Billie in 11.02, singing O Death. He killed her in 12.09 and then leveled her up to the mantle of Death. That’s Dabb’s function in the writer’s room... started out as just another writer, stuck around paying very close attention to the characters, through every other showrunner’s tenure, and finally leveled up himself to showrunner where he is calling the shots, and will be the one to finally end the show. Well he’s already ended the long spiral of Chuck (Kripke’s) original story. Considering how long the loop has been looping, there was really only one way to stop it: narrative syzygy and the sudden dropping of the curtain in such a way that TFW can finally see the Big Narrative Spiral for what it is. For the complete Cosmic Runaround they’ve been put through over and over again for Chuck’s entertainment.

Big Bads from the Leviathan to the BMoL to Lucifer to Michael to Asmodeus to even Crowley sometimes, to the alternate universe’s apocalypse have all been rendered secondary to what the actual point was-- the gradual character growth for Sam, Dean, and Cas. 

Sam, Dean, and Cas are the characters we care about. They’re the reason we continue watching this show even after 14 years. I wrote a post the other day about this:

https://mittensmorgul.tumblr.com/post/184829064145/why-is-every-piece-of-media-now-about-surprise

and here:

https://mittensmorgul.tumblr.com/post/184459635020/you-know-what-i-love-dabbs-vision-for-spn-he

and quoting myself from that second post: “Viewers don’t identify with apocalypses, we identify with the characters who survive them, who save the world from them, you know?”

But see, I think looking at the show as “must defeat the big bad, this is what’s important” is literally missing the entire point of watching. THAT is what Dabb wanted us to take away here.

First off, it was Dean who killed Lucifer, by finally saying yes to a version of Michael, but then Dean lost to Michael internally. He eventually DID defeat Michael inside his own mind in 14.10-- with the help of Sam and Cas. I mean... TFW victory, right? And then he spent several episodes struggling to keep Michael contained.

And all of it, in the end, when the three of them stood there facing God, was pointless. Pointless in the plot-narrative of defeating an endless string of Big Bads. Discovering that no matter how well they succeeded, no matter how many people they saved, Chuck would just throw another wrench into their lives and start the story again. Every time they thought they were finally winning, finally allowed themselves to think about their lives reaching a sort of stasis where they went out on occasional hunts and handled them easily, and even considered the “toes in the sand” sort of break from hunting where the world wasn’t constantly trying to end itself... Chuck would just toss another Cosmic Catastrophe at them.

And Jack... was one of those Cosmic Catastrophes.

(which is why no matter how much he’s become family, no matter how important he is to all of them, no matter how much they’ve all grown by their relationship with Jack, he’s still in a different narrative category than our Three Heroes)

I don’t know what Jack’s fate will be at the end of the road, but what I do know is that for the rest of TFW-- for Sam, Dean, and Cas-- s15 will absolutely be about their very human wants and needs, and their final release from Chuck’s eternal cosmic spiral. 14.20 was about their individual awakenings to this fact of the universe, this fact of their entire lives having been engineered entirely for the original creator’s entertainment. Only now can they truly fight for THEMSELVES, instead of fighting to stop an apocalypse and save the world. For the first time EVER, they are fighting for their OWN humanity.

I really really hope this makes sense. There’s only so much yelling I can do about this. :P

“The Most Meta Finale”  Or, on trying to disown old canon since season 11.

To be honest, I was going to spend today re-watching some season 6 episodes to see if I could come up with a much more modest plausible theory about the reason there was so much AU and time travel nonsense especially in the latter half of the season, was because of a theme of shattering canon, quite deliberately. In a way of staking a claim but also washing hands of messing up the stuff that came before. And instead I ended up giving myself a migraine seeing canon since season 5 as something that's been repeatedly disowned and carefully distanced from over and over.

In 5x22 Chuck ends the story with his definitive THE END on the whole mess. Of course it's a bit ridiculous because season 6 was already long foretold and the story was going to have to continue. But Chuck sits there representing the author, in a very unsubtle way, with his finished drink, finished manuscript, and all cleaned up, washing his hands of the Chuck the Prophet persona and going on to chill out and enjoy the ~finished story~

6x15, though, represents in the most meta ridiculous ways the trouble the show felt, or lampooned itself being stuck with, having to continue on into season 6, with the theme in 6x15 and then seriously in 6x20, being what to do when the original story was over, and how to continue on. In The French Mistake "Bob Singer" dismisses the entire idea of season 6 out loud, rolling his eyes at the fact they're continuing to make the story. At the end of the episode he is killed off, and "Kripke" is taken out with much dramatic fanfare (and the same music as 6x18's cowboy confrontation, which amuses me no end and is another weird link between the episodes about travels in time and space, testing the bounds of the universe they're written in, and breaking them.) Of course killing "Kripke" off is the very unsubtle message about the death of the author, a metatextual image that goes with God leaving the story and sending it off into the wild. Kripke (the real one) wrote 6x22 as his final episode, before leaving it all in others' hands since then. On pretty much every level of the story it's handed off to writer after writer.

I think it's interesting that the "original story" is captured within the show as the Winchester Gospels (and my tag for that has plenty of amusing exploration of the ways this makes canon fascinatingly more complex) - but also that it makes SUCH a clear divide between the Original Story aka the subject of the Gospels, and what comes after. Charlie giggles in delight at discovering that the seemingly random hunters she meets later in their story have been the subject of the books and have such a meta backstory, and in 8x20 their lives are turned into a low key conflict between the real and the novelised in the way Charlie interacts with them. 

In 10x05 they see their lives from the outside, Marie's canon which echoes their lives up to the point the Original Story ends, and we get another line which is one of my favourites in that episode, dismissing everything that comes after 5x22 as terrible fan fiction. Not that Calliope thinks she did much better...

I've written somewhere else about the meta episodes or characters such as Metatron showing the writers' anxiety about taking on the story, and it often comes with this deep horror of the weight on them to continue the story, the meta story within the story also making this shove on them that shackles them to this narrative of the Original Story. I also should have really included Metatron being waved off into the Empty or wherever in between Chuck's disappearances but I ran out of gif space up there... 

Rewatching 11x20 recently I was deeply struck by how alike Metatron and Chuck are even down to their little curly haired vessels, though of course with wonderfully acted different bearings to make their personalities and place in the story clear. 

Metatron has his own huge part to play in representing the story and the deep, deep anxiety they had about following on from it. In 9x18 Metatron burns a copy of Tall Tales while trying to stand above the old canon, and Chuck takes him to task for it in 11x20, and Metatron folds and admits he's a terrible copy-cat writer, the anxieties you can see all over his appearances in Carver era while trying to wrangle the story in his favour. And in the end Chuck leaves his desk with a manuscript on it again just like in 5x22, though this time going to what he thinks may be his end:

These moments of trying to end or box off old canon with Death of the Author moments are incredibly numerous. We have Chuck leaving in 5x22, "Kripke" dying in 6x15, the entire plot of 10x05 being about Calliope coming to consume the author, and the meta nonsense there, and then Metatron's death, Chuck slated to die but saved by network panic about what you can and can't show on screen... 

This shot of Chuck was a zoom out in comparison to the zoom in on dead "Kripke", but feels very similar, especially with Amara having raged at him about the story, after in 11x20 Chuck refused to allow it to be her story. Of course the resolution allows the suppressed, forgotten, fridged feminine side of the story to be released, and Mary is brought back. And after Chuck and Amara - now joint authors of the story with her action to bring Mary back creating the narrative of season 12 and flipping the influence from the douchey male creator to the women whose stories were never told, we've had ANOTHER absconding of the authors of the story, once again leaving the story in a sort of 5x death of the author situation, and once again like season 6, which season 12 mirrored in many ways, scrambling to understand their ends of the story.

I think the destruction of old canon seems almost like a necessary sort of household chore on the story - a chance to try and reclaim it, to put it into the hands of new author figures within the story, and an attempt for those left behind after showrunners and enormous creative influences like Edlund (who set Metatron up to go, threw him at the story, and left) or Robbie (who set Chuck up, threw him at the story, and left) have gone. Once Carver left somewhere before the end of season 11, we entered the rather strange world of the first time since season 2 not having part of the "Carver Edlund" duo the show's own God was named after on the writing team, and Dabb, who had been with the show almost as long as Carver and written more episodes than any other writer by like, the end of season 10, so will probably hold that title forever now, was left to remove the characters related to all this from the show, to start fresh.

And it seemed like everyone was having a stab at telling the story - the BMoL in particular twice referenced 9x18 and Metatron in a bid to wrangle control of the story with face on talking to the camera asking for stories or typing them - although lampshaded that the story really wasn’t going their way.

I find it really fascinating then to look back to season 6 and these other examples of trying to disown and distance the story from the old canon, to try and strike out and say the story now belongs to someone else, that these old parts of it are no longer our parts of it, though they influence us and we draw from them. If season 6 was using these AUs and time travel stories (The French Mistake, My Heart Will Go On and Frontierland) to explore the shattering of the world (before 6x21 and 6x21 explored smashing open Purgatory and bringing in new monsters and new plotlines to change the game for season 7), then season 12 referencing the most meta of all these examples when bringing in its own AU seems to me to be very deeply relevant.

The premise of the AU is one that in a way wipes the slate clean - removing the Winchesters, their entire influence, trashing every single word in those gospels, so the story can never happen that way, in a way is the freshest start so far. If season 13 focuses on characters like Michael or Bobby's experience of this AU and give us another history, an explanation of where it all went different, which all seems fairly likely at this point that we should learn more and understand the motivations and lives lead in the Winchesters' absence, then I think this really will live up to the threat that this was the most meta finale yet. A throwaway reference to the French Mistake doesn't SEEM to make it all that meta on the surface. But in the immediate context of the episode, the AU's description, of being turned on Mary's deal not being made, was used to absolve her and lift up Sam and Dean in the context of their own world - that they'd made the right choices, that they had authored their own world far better than it would have been without them.

I am very curious to see what Dabb does with his clean slate, after he used season 12 to try and tie up as many loose ends as humanly possible, and churn up references to almost every part of old canon into the story to give it another hearing, another perspective, another chance to be told. I think season 12 was very much the tidying away season and an AU with potentially completely different rules, and definitely an entirely other history and sets of characters, is an interesting way to re-make the show in... something's image. I suppose these thoughts are for revisiting in the aftermath of the end of the season and whatever that ends up bringing...

Bucklemming are at it again or so current interviews indicate. *sigh*

Of those who are beyond casual viewing I’m still more on the “hey, I’m along for the ride”-train, so I don’t know the in and outs of whatever knowledge fandom has accumulated about the whole production over the years. And mostly I don’t care, because well, I like the show, I like some of the meta and otherwise I don’t need to know.

But what I don’t get but care about is the whole Bucklemming effect (Singer included). In case of Singer I have the visual proof that he simply is not the director he should be according the near reverence he sometimes seems to get. I mean, need I say more than freeze frame and wire fights at this point?

So I don’t get it, why he has so much impact on the show if he doesn’t seem to be able to make an effort.

And whenever I see the name Eugiene in context with Supernatural I automatically get the creeps these days. Don’t know about her writing partner, only that he does seem to be more of the same or he would not do the thing with her. Eugiene totally rejects the reality of the show and substitutes her own. She never cares about the established lore only her vision. No research, no care about the end product, as long as she can push through whatever fad she wants this season. Like Nick - because let’s face it, her going on and on about wanting Lucifer back because he was oh, so redeemed in her eyes is the only reason anyone would have revived his meatsuit.

Because the lore was very clear about what happened to Nick even back in season 5. You let in an archangel, you ride a comet, you burn out - in Nick’s case literally, because he simply was not the true vessel. Lucifer left Nick for a nice Sam suit and even if Nick’s soul was still in there somewhere the body was damaged beyond help - the only reason it held together as long as it had was the constant healing being done by Lucifer.

So, I somewhat could get behind Crowley obtaining what was left of the body, fixing it up with some demonic engineering, but Nick still occupying that vessel?! No. Boy was dead on arrival. Tethered to his body as long as Lucifer was riding him, probably because of the pesky little consent rule, but once Lucifer jumped ship the tether would have been gone. So would have Nick.

I know that now that Nick is back people are discussion the consent issue again, because well Crowley shoved Lucifer back into the Nick suit, so since Nick is now alive and relatively well he must have been there to give consent again. Or something like that. Originally - back in season 12 - I thought that Crowley could shove Lucifer into the Nick suit because Lucifer already had been given consent once and Nick never rescinded that. And now the body was emtpy anyway.

We know that angel rules are bendable at best. The Sacred Oath was definitively made up by angels themselves and interpreted as they saw fit - because let’s face it Chuck himself did not care about it or he wouldn’t have this nice little anecdote about Mary pretending nothing ever happened between them (and Christianity never would have happened) or his ill-fated relationship with Becky. Cas fell in pretty much any way imagineable or is assumed to have done by the entire universe (and alternative ones), still he was Chuck’s favorite. Nephilim are said to rip everything apart and yes, Jack opened portals to different universes, and still the waitress nephilim hadn’t been on anyone’s radar but Metatron’s - and he needed a nephilim dead for the spell to close Heaven’s gates. Gadreel could trick Sam into giving consent, without Sam even knowing that he was being possessed.

So what I’m saying is that we only know that consent needs to be given once and that probably enough force of will of the original body owner can force an angel out again. But we don’t know that if consent is never rescinded a body could not be repossessed at any time. We don’t know if the origical owner still needs to be inside. We only know that the body should be functional - see Rafael’s original vessel. See a fixed Nick suit. As demons like Ruby have shown us a functional body can be a braindead one. Braindead equals no soul inside - which is why Cas had been considered braindead that one time he sigiled himself across the country and woke up in the hospital. Okay, demons don’t have consent issues. But we don’t actually know if the same is not true for angels. We only know that angels believe to have to ask for consent beforehand. So it could actually be more of another angel code of conduct thing than an actual universal rule. Like the Sacred Oath. I mean if consent truly was an issue for angels, Michael should have been expelled from Dean’s body the minute Dean realized that Michael was going back on the deal. Instead we just accept that he needs to extent great force of will, to practically battle him within his mind if not given outside help by whatever the rest of TFW come up with.

So, yeah, I could totally suspend disbelief for Lucifer being shoved back into a previously used and now empty meatsuit. Braindead and already well-worn, improved by demonic engineering to actually hold up now.

I could also suspend disbelief (and have to because, well, duh, the show went there) that Nick’s suit somehow made it out fully functional even after the ganking of Lucifer. I can however not suspend disbelief that Nick somehow was inside all those years. That he survived the apocalypse, that he further suvived the years in storage for Crowley’s plotting, that he survived the engineering process which took him apart on a molecular level to improve every single cell in his body to hold the actual devil imprisoned, that he survived the subsequent repossession including Lucifer’s need for torturing everything and everybody he could get his hands on - which during his imprisonment would be Nick only - and then on top of it all survive an actual stabbing event with an archangel blade that was enough to kill Lucifer. As I said the body I could get behind. It was reinforced by measures beyond my imagination, so stitch it up, hook it up on some machines and it would be functional for another use. Maybe the body is actually non-killable now. Who knows. But Nick - guy’s been dead for 8 years. Don’t know where his soul went and don’t care. As tragic as his life story was, he let in literal Satan. So, I’m not bummed about his fate either way. But now thanks to Bucklemming we have to deal with a walking, talking Nick. Because they just wanted Lucifer - or at least Mark P. - back in some capacity. I hope to everything holy that this doesn’t turn out to be actual Satan again, because that fucker should stay dead. He doesn’t even deserve a sleeping place in the Empty. Actual Satan can not be redeemed and has done nothing ontoward luckily. Sadly Bucklemming don’t think so. They think he is just misunderstood, just want their pet-devil back and forge familial bonds with his son. Or some other nonsense. Because Lucifer never cared about Jack. All he cared about was the potential power he could gain from having an archangel-nephilim at hand. Lucifer always wanting to upstage his father and with Jack at his side he might have had comparable power levels at his disposal. He actually stated as much at the end of season 13. Like in actual text. So no, hard pass on Lucifer redeeming himself.

But Bucklemming have a hard-on for the guy. And for reasons I don’t get, they actually have the power to go against the book again and again and simply write their headcanons into actual canon. Even though the actual showrunner has wildly different visions. Aided are Bucklemming by director Singer, who doesn’t care for doing his research about motivations, who is totally okay letting actors who admit to not knowing the over-all story until way after the fact ad-lib to their heart’s content and shuffle lines around, even when that would make those lines OOC. The same director who has now canonically and meta-wise contradicted himself with lazy freeze frames. (Thanks “French Mistakes”.) Whyt do those three have on the rest that they can run buckshot over the product as they wish, without a care if they hurt the product or not. And they do hurt it. They make it inconsistent, they make it look ridiculous on screen and in pr. Oh, thankfully the rest of the writers know their craft and seem to actually care so it always somehow worked out in the end. But the seasons are now shorter, the percentage of Bucklemming has risen and inconsistencies have shorter time to be retconned. So, yeah, this is going to hurt, won’t it?

Hi. So, since you seem to know what you're talking about, I wanted to ask if you could give like ... a short list tips ... of things to always be aware of/think about/question when analyzing something or getting into writing? Have a nice day.

well I had typed something but X’ed out like a dumbass without sending it because my RP group is crack and consumes my focus so lemme try this again.

A few things to track, but I’ll expand on:

Author intent

Cinematographer intent

Production intent

These are in no way mutually exclusive and are very collaborative. However, recognizing that they are not all the same can help you figure out who’s putting in what level.

Realistically, anyone involved in the visual part of the art – directing, camera operation, set design, lighting – could be considered about on par with authors in regards to the validity of their storytelling, as they generate elements to the screen that if this were a book, the author would be etching out themselves. On the other hand, it’s important to recognize the limitations of screenplay format. Pull up some screenplays – SPN, or anything – and recognize it’s almost comedically barren on details. And that’s not to undermine the amount of thought that goes into screenwriting, either.

Screenwriting is an art of packing as much of your intent as you can into as few words as possible, leaving it to the director that takes on your work. Certain directors have made statements (it’s escaping me who it was–Sgriccia?) about understanding how the writing room works and what they’re aspiring after. And that’s good. 

But even after you get a collaborative writers room working with a collaborative cinematography team, you also get editors that run full circle back to the showrunners and other office end team that polish, rearrange, pin together, and trim.

So we have multiple phases of a process that’s really difficult for most people to casually eye, and I get that.

Generally speaking, if you’re looking at seeing primary plot arc direction as the authors at the start of this process intend, you need to look at what’s in the script. And we don’t get access to all scripts, but on reviewing a plethora of scripts both SPN and non-SPN, you can at least have a fairly clean shot at what kinds of things likely are or aren’t.

The directors collaborate off of work started by the writers, so the writers are the cornerstone in direction, characterization, etc; these are the primary things that propel our story, the rest just fulfills it. Knowing where to divorce these things from each other can be a huge step.

That’s not to say you completely ignore visuals either. There’s a vast wash of art in the crafting of set, the framing of shots, the choices in lighting and so on.

One of the problems I find, however, is that people will just get hell bent on an idea that X color will always mean X thing in X situation. Taking a few days to research color theory in film is something I very loudly suggest as a start. There is, most definitely, color theory but it’s not so clear cut as like “the drapes were blue here and the chair three episodes again was blue and Dean sat in it while talking about Cas so clearly the drapes are his window to thinking about Cas” because that’s… That’s not… I promise you that’s not how creators think. I literally just promise you that.

Hue, Saturation, Brightness, scale of color, there’s all kinds of psychology attached to the use of these in film, or different color coding. It’s the same logic on why most trashy high volume fast food places make their logos red and yellow or red and orange, because that evokes a feral side that induces hunger (or, depending on HUE, SATURATION, BRIGHTNESS AND TONE, anything from fear to rage to passion). Basically, lighting and elements like this are your Big Mood. Big Mood matters. But a random prop happening to be a random color is very unlikely to have major significance unless it is a focal point object. Objects that are chosen as focal points often have meticulous consideration put into them.

Ambient set design is huge. It can be everything from light to shape of a room, to a consistent theme in the background. For example, if Sam and Dean are reading a lot about exorcisms, the books we see littered around and most disturbed are all about exorcisms or demons. Sometimes it’s less front-facing than that, like perpetually taunting the background with themes related even if they aren’t textually searching for this. Modernly, that’s hermetic books and emblems, for example. These are all very relevant to the overall story arch. But if you’re looking to find that one Red or Blue or Green book binder to compare to a lamp shade from several episodes ago, you’re probably gonna have a bad time and sort of wander off into an area that ends up completely unfulfilled later.

Just like the writers all have their own style – and they do, and recognizing these styles can help with a lot – the directors do too, and how they choose to work and frame sets with the lighting team are not identical. You wouldn’t try to directly conflate the art of Munch with Gauguin, I hope, and that’s something we have to recognize here. The writing is the subject and they are the painters. And there is a strong stylistic theme, wherein the later production ends like editors mostly tie it into a product that doesn’t look like a wild disaster, but each of their styles bleed through. 

Sgriccia’s directing is not Wright’s directing and never will be. They’re both great. They both visualize the elements and empower things being lifted from the script masterminded from the authors to render it to us, but where they choose to put That Orangish Lamp is going to be in the microcosm of their episode/painting/works, not the macrocosm of the season, as given by the writers, who still will drive our direction.

The directors know and deeply understand what the writers are after, but there’s a bit of a hazard in conflating everybody like they’re one singular artist, rather than dozens of collaborative artists manifesting this on different tiers. 

Directors can, to some extent, know the story arena in the future too and choose to frame shots in it with strong visual storytelling. Knowing keys to visual storytelling is also really important, rather than getting lost chasing the story behind a black pipe that set designers just put in there because the building needed a damn pipe. Because part of building a set is also making it coherent and a lot of elements simply exist. Understanding if the director is dynamically framing it to call attention to it, however, is something else. 

One of the boldest examples I can think in recent history was when I had random directing drabbles about 14.7 (x) I simply observed very pointed plot (re)construction that changed depending on angle in a conscious decision. Dean being “boxed in” was a statement I wouldn’t even understand the full ironic dickslap of for a while, but it was right there, in visual storytelling, in something I couldn’t ignore. Or another one about the difference of focal point objects, such as the keys to the comic legacy (x) which finalized my faith that John was, in fact, returning.

Or in text, the literal dialogue of Michael (and, before that, Lucifer), over daddy issues, that had me swearing Chuck literally was going to come back this season, non-negotiable, in echo to resolving John-Sam-Dean issues as well. 

The thing is, many of these do boil down to the script - focal point items (mix tapes, literal keys by the ghost, dialogue). And the directing drabbles picked out a specific set of frames that literally required purposeful (re)construction which caused a visual storytelling element.

Personally, I am very, very picky about what I meta over or point out. And that’s not popular around here. Somebody’s always gonna crow “how do you know better”, and any time they get that answer they get offended like “well now you’re just rubbing it in my face!” – in the end, anyone CAN analyze anything, the point is whether people are wrapping their brains up in an idea that’s sort of sending them off to never-neverland and won’t pay out.

Key focal point objects versus ambiance; text versus cinematography; they’re all important, but all don’t drive our forward motion with the same thrumming baseline as the writers churning out content beneath it all. The others bring it to life and yes, collaborate with them, but there needs to be a certain level of judgment applied before diving off chasing dogs in picture frames if you actually expect it to lead anywhere.

And again, I point out to scene ambiance, which can be great to discuss! But those need to be held as microcosms unto themselves or at least that director’s hand. It can be interesting to study little things painted in the layers. My Red, Yellow, and Blue studies for Optimism are an example of that. I do enjoy color theory, but I often restrain myself from engaging in it because people tend to get ahead of themselves and not apply the other… stuff. *gestures vaguely above*.

Honestly, read about things like color theory, dynamic cinematography methods and more for that front, and read through some scripts to recognize the levels before trying to study and pitch into them entirely.