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#spn 14x14
horrorcas · 1 day
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*processing...
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sunglassesmish · 4 months
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fathers and son
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xofemeraldstars · 21 days
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SUPERNATURAL 14x14 ❝ ouroboros ❞
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14.14 - Ouroboros
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captainchilly · 4 months
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"Maybe we're wrong, and this isn't a monster at all." ↳ 14.14 - OUROBOROS
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sirlancenotalot · 1 month
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🩸Bloody Dean Every Episode🩸- 14x14 Ouroboros
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plutoniclesbian · 2 years
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14.14 OUROBOROS
There's this pounding in my head. It never stops. Michael's in there, and he is fighting hard to get out. And I can't let my guard down. Not for a second.
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soullessjack · 4 months
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6am exhaustion posting but it’s very funny to me that jack is compared to so many serpents, the biblical serpent in the garden. the ouroboros. the black snake. and then he loves fantasy movies with heroes that crush villains. he reads fairy tales like sleeping beauty, fairy tales that predominantly have knights in shining armor slaying the dragon or the serpent. obviously with him wanting to be a hero he’d follow the KISH archetype, but also look. serpents are medievally satanic symbols. fairy tales are majority stemmed in European Christianity. He’s literally a dragon that wants to be a knight . A satanic if not Thee Satanic Serpent wanting to be a hero and a Knight In Shining Armor and actively partaking in slaying other beasts for acceptance. this vision came to me with caffeine and zero sleep but do you see it .do you see how this is insane and also funny. Do you understand it …..
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samsrowena · 7 months
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i actually love the way dean and rowena pretend to hate each other and they cannot go more than two seconds in the same room without bitching but then as soon as they're apart she's worried about him and he's gushing about her. like they will never ever ever admit it but they are literally besties <3
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shallowseeker · 5 months
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There's something so astonishing about Dean n' Cas in the Ouroboros diner. In the episodes leading up to it, Dean's been icing out everyone about his Michael burden.
And yet, in 14x14, Cas leans forward, pins Dean's eyes to his own, and Dean: (“Oh, you wanna--? Okay.”)
He folds. Opens right up. He can't help it.
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sunglassesmish · 8 months
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how is this real
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newobsessionincoming · 8 months
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I spy with my little eye a DeanCas foot touch
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becauseofthebowties · 2 years
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14.14 - Ouroboros • SPN Time Stamp Roulette (30/?) •
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captainchilly · 5 months
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One Castiel Quote per Episode 118/136 → 14.14 “OUROBOROS"
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restlesshush · 2 years
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People talk about how refridging Mary to make Dean want to kill Jack in the soulless Jack arc was a really shitty thing to do, and it was, but the thing is I don’t think that’s even quite what happened, writing-decision-wise. Refridging Mary is not only not necessary for the soulless Jack arc to work, it also actively makes it less effective as a storyline, specifically in ways that seem to clash with what was otherwise being set up. Which makes it look like they didn’t kill her to serve their plot, given they actively made their story worse by writing her out.
(Edit: I’m not going to speculate as to what was going on with Sam Smith because I don’t know, but approx 1400 words under the cut about what I think was happening writing-wise)
Anyway so this is all based on an initial theory from @autisticandroids (who also asked me to write this post, hi!) that the way Mary’s death was handled makes it look like the sort of character death that happens because of an actor having to be written out, rather than one the writers really wanted to do otherwise. And once you’re primed to be thinking about this, 14x18 especially does really come off as the show scrambling to try and make her death hit, which is sort of the opposite of what fridgings are for – they’re normally thought of as being a low-effort way to pack an emotional punch. But because we’ve kind of barely seen her all season (she’s in less than a third of episodes), and because this is Mary so if we’re going to kill her again it has to hit, they feel compelled to spend time giving us a couple of slightly on the nose flashbacks to try and make sure we care. It’s the sort of work you’d normally do before you kill a character, rather than slightly messily afterwards to try and make their death look worthwhile, which is really how it comes off here.
And the thing is, it’s not just that it’s kind of messy – it doesn’t actually help facilitate the soulless Jack arc at all really, instead it actively distracts from it. Obviously this is true in terms of screen time, because we have to take time away from Jack stuff for the flashbacks and for Mary’s funeral, but also in terms of the story’s focus. The interesting thread here is “someone we care about is ~dangerous now, what might we have to do to stop them??”, which is pretty decently well-trodden ground for spn, which you could easily have done just based on the snake and burning Nick alive on their own. And then in theory, this would all be made extra tragic by the fact that it was Jack saving them from Michael that even put him in that position, but we barely lean into this because we’re so focussed on Sam and especially Dean’s reactions to Mary’s death. Like, that thread does even still gets pulled on a little bit! You have Dumah's “he lost his capacity for good through an act of goodness” – and that’s what’s actually compelling here. But it’s barely touched on really, because if you’re going to kill Mary, that’s what you have to focus on, or at least that’s what the show seems to be convinced of. Nick even explicitly says it in 14x18 – “Buddy, you killed Mary Winchester. You cannot come back from that.” So we get hung up on an accidental death that could easily have just happened while Jack had his soul, instead of the actual implications of Jack’s soullessness beyond that.
Everything with Mary’s death also obviously makes Dean come off less sympathetically (and not in an interesting way), if he’s motivated by revenge, rather than genuine concern about what Jack might do. In part because of the revenge motive, he seems to take a genuine vicious satisfaction in tricking Jack into the box, for example, whereas if it was more a tragic last resort for how to deal with this very difficult situation, it would make for a much more nuanced and interesting situation, that would hit much harder.
And this isn’t the only way in which the restructuring of the arc to accommodate Mary’s death has implications re Dean’s character. It does look like they were setting Jack up as a Dean parallel here, which obviously if he’s killed Mary, it’s hard for him to be in the same way anymore. There’s a really good post somewhere which I’m annoyed I can’t find about how good leaders don’t ask their subordinates to do things they wouldn’t do themselves, and how Dean would do insane things and so thinks it’s reasonable ask his subordinates to do them too. The post explicitly cites Jack in the Box and iirc also Moriah (edit: it was this post and it cites Jack in the Box and Unity) as examples of this, and while it’s a really interesting piece of character analysis, it’s kind of striking when trying to think about writing decisions that 1) this stuff would be strengthened if Jack was still in the category of people Dean could see himself in, which because he’s killed Mary, he can’t be and 2) by drawing the parallels it draws, it also points out that “oh hey! The writers have chosen to put Jack in situations that Dean has also notably been in! What does this tell us?”
Moriah is probably the less strong of the two examples re just the situation, but the thing is that in addition to Dean effectively asking Jack to be prepared to die for the good of the world like he has before, the obvious thematic use of a mechanic like the Equalizer is “by killing this person you are killing yourself not only literally but also figuratively”. Like, something something supernatural and wasted potential goes without saying, but they did presumably come up with that object for a reason, y’know? But then Mary’s death and the revenge motive means that Moriah doesn't come anywhere near to playing like Dean killing himself on two levels even though like… what is the point of that gun otherwise? It almost feels like a fossil from a different story. And then the situation re the Ma’lak box is very similar. @autisticandroids pointed out to me separately a while ago that Jack is becoming Dean in ouroboros – “I am a winchester + eating michael + being destined for the box” – and also that were it not for the vengeance motive things would very much more come across as “oh my god dean’s putting himself in the box”, which y'know would be both hard-hitting and also the sort of thing spn loves to do.
And it’s also what they’ve been setting up! Like, you go from Dean having something dangerous inside him that means he might have to be locked up or killed, to Jack ending up in that position instead, specifically via him fixing Dean’s issue! It's even him specifically who directly argues for killing Dean to protect the world from Michael in 14x02! There’s a lot of groundwork there for them as parallels in s14 which Mary’s death undermines – the season is just structurally way tighter and more thematically resonant if you take it out. Getting rid of Mary’s death and the revenge motive for Dean (leaving a tension between concern about Jack vs concern about the world in its place) also meshes way better with the way they originally set up the stuff with Jack’s soul too, where it’s meant to be a sad thing for him, that he would no longer be himself etc. And like, that’s arguably partly because it’s Yockey handling it and he’s the only writer who cares about Jack, but it is still what was being set up. “Jack died –> the mechanism we used to bring him back allowed him to burn off his soul to be useful –> he’s dangerous as a result of this and oh god we have to do something about it” is way neater and more compelling as a trajectory if you don’t throw in “also he accidentally killed our mother and so Dean sort of wants him dead because of that too”. There’s a disconnect between the obvious route to take this story and then end result, and Mary’s death seems to be the thing lying behind it.
So yeah, Mary’s death was a bad writing decision not just because it’s not worth refridging her for the sake of the soulless Jack arc (which it definitely isn’t), but also specifically because it actively makes the soulless Jack arc worse. Obviously misogyny was frequently a driving force behind writing decisions on spn, but it doesn’t look like it was here in the way people seem to assume. It doesn’t look like they were killing a woman in order to serve our story – instead, the story has been actively derailed by them killing a woman. Which does really make it seem like that’s not why they wrote her out.
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