andrew crowley

12x12 Episode Review - Still Screeching...this time about the colour “Peach”.

I gave my 12x10 episode review the title “Pterodactyl Screeching into the Void” because I was so happy about it I couldn’t help but scream with glee at practically every moment. I also said this: “I feel like there is so much to talk about in this episode that fandom will be chewing on it for months if not years to come.” I still believe this, I just didn’t expect that two episodes later I would be reliving this exact same thoughts and feelings. I considered 12x10 to be a one off, a glorious gift to fandom wrapped in a big destielicious bow. Clearly, we celebrate our fandom birthday only two weeks before fandom Christmas because we just got ANOTHER gift wrapped in an even BIGGER destielicious bow and I can hardly contain my glee. (baring in mind fandom Christmas falls on the tenth anniversary of tumblr and close to valentines day I can’t help but feel this was planned - PRESENTS ALL AROUND)

But anyway. Lets talk meta. Once again I am very late to the party as I doubt I will be posting this any earlier than Saturday evening when you have probably all been talking this to death for the past two days. But eh, I’m gonna do my thing and hope you all agree, or aren’t bored by now if everything I talk about is stuff already gone over by my fellow very talented meta writers.

Starting with the obvious, Director Dick Speight Jr and Writer Davy Perez made this episode an homage to Tarantino movies. Specifically Reservoir Dogs which has so many ties to this episode both visually and subtextually that it is kind of difficult to keep track of my thoughts on it. I have to confess, I hadn’t ever watched Reservoir Dogs all the way through prior to watching the episode because it never really interested me. However, after watching the episode for the first time Friday lunch time I decided that it was in my best interests as a meta writer to give it a go. I watched it and tried to take in everything Tarantino was saying and doing with this movie… 

Being a meta writing, destiel shipper with heteronormative goggles permanently removed since watching this show guess what the first thing I picked up on was? That’s right Mr White and Mr Orange… what WAS going on there anyway? Because these guys didn’t know each other very long but they became VERY close by the time of the heist. Poor Freddie and Larry. Such doomed tragic lovers… do we have a ship name for them yet? Frarry? Leddie? Or maybe just “peach” (hence my title)

I believe that when Perez was writing this episode he had a SPN character in mind for each character in RD (mostly anyway). Cas is obviously Mr Orange (the bleeding out from the stomach thing gives it away as does Davy’s tweet here. Here is who I think the rest of the characters are supposed to be:

Dean – Mr White (duh)

Mary – Mr Pink

Wally – Mr Brown

Sam – Nice Guy Eddie maybe? I struggled here

Crowley – I wanna say Joe. (though I also kinda think Ketch would be Joe here… its not too obvious)

Remiel – Mr Blonde (“yellow” hair)

Explanations and various meta under the cut. This gets long:

Keep reading

It seems as though the theme of the extended family, the family of one’s choosing has featured especially heavily in the episodes of Andrew Dabb, and I figured it would be useful to look at how his episodes have dealt with the concept of family as we approach the new season.

Beginning with his first episode in the new story-arc in season eight, in What’s Up, Tiger Mommy? we not only flesh out the relationship between Kevin and his mother, but we have, for the first time, Dean confessing that his home is with Castiel.

In his next episode, Hunteri Heroici, Castiel describes himself as the third wheel to Sam and Dean in a broken metaphor, indicating that his precense would add stability to the relationship of the brothers. But what’s more important in the episode is Dean’s offering of the shot-gun place in his car to Castiel, because up until their life as lived so far, the car is home to Sam and Dean. Dean is essentially offering a place for Castiel by his side, at their home.


Trial and Error is a story about a dysfunctional family, blood relatives that can’t stand the sight of one another (“the Beverly Hillbillies”). Dean is settling in the bunker, making it his home, bringing in the photograph of his mother. Sam’s sentiments are very different to Dean’s. Later, we see Dean Winchester mother hen Kevin Tran, making sure that the kid is alright to the best of his ability.


In Clip Show, Crowley utters Dean’s line, “Saving people, hunting things. The family business.” Castiel likes the bunker that Dean considers home, thinks it’s orderly. Dean attempts to mother Sam, but it falls short of his treatment of Kevin in the previous episode.

Dean is confused as to why he should give Castiel a free pass after what he did, and Sam answers him simply with, “Because it’s Cas”. The implication being, because Castiel is family.

Metatron uses the word ‘family’ three times in the episode in relation to angels, to get Castiel to do what he wants. He uses the concept of family to manipulate him.

Sam expresses regret that he wasn’t the one to marry and start a family with Sarah Blake. It’s interesting that we see Sarah Blake as the throw-back to Sam’s past, and we see Tommy Collins as a throw-back to Dean’s past, especially since the latter was symbolic of the family Dean desired.

Dean describes a demon that ate the children of his host as “Number 1 Dad”. We’re also introduced to Crowley’s mother as he describes himself as the son of a witch.

Crowley calls Dean on his cell phone and asks him what he’s wearing and then makes reference to 'sexting’. When Dean tells him that he’s going to hang-up, he acquiesces that it isn’t a social call. This particular call wasn’t a social call, that is. There may have been other calls that were social calls.


In Devil May Care, the episode with the “kids love grandma” demon, Dean calls Kevin family. He explains what family means to him:

Because you’re family. After all the crap we’ve been through, after all the good that you’ve done… man, if you don’t think that we would die for you… I don’t know what to tell you. Because you, me, Sam and Cas, we are all we’ve got.

Crowly calls the bunker 'homey’. There’s a big scene highlighting Crowley’s masochistic tendencies just seconds after Dean had punched him and confessed that he never gets tired of doing it. We also get from Crowley the line:

I torture all my friends. It’s how I show love. I was raised in a dysfunctional home environment.

This is also the episode in which Dean shields his crotch when Sam tells him that the town they’re entering is poison, protecting his unborn offspring.


In Road Trip, the three amigos ride again. But it’s actually the first episode in which we really see the four main characters in a room together, working together. Dean tells Crowley the code word that he and Sam have had since they were young. Crowley calls Dean and Castiel Laverne and Shirley, lampooning the closeness between them. The episode is extremely domestic.

In the episode, Crowley tells Dean that he loves him, and risks his own life to facilitate their escape. After having just risked life and limb to save Dean’s brother. This is important.

Bloodlines is about households, both alike in dignity.


In Stairway to Heaven, Castiel chooses Dean Winchester over his family, the angels, which were textually described as family by Metatron in the episode. He tells the angels that Castiel doesn’t care about them, he only cares about Sam and Dean. Sam and Dean, that is, are Castiel’s real family. The entire episode is about Castiel choosing his family. The family one chooses instead of being born into being a major theme in Dabb’s episodes.


In Reichenbach, and I haven’t seen this discussed before, Crowley chooses to give up Dean for Dean’s own good. That is, Crowley has Dean’s back, even when it hurts, at a cost to himself. By seeking out Sam he does what’s best for Dean, not what’s best for Crowley.

In the episode, we hear Crowley’s thoughts on family following a kid calling Dean 'grandpa’:

Kids. Am I right? In my day, we respected our elders. Of course, back then, anyone over 30 was ancient. Now 40-year-olds are still living with mommy, lying on OkCupid, and taking pictures of their food.

It’s the tail-end of Dean and Crowley’s 'summer of love’, and there’s a domesticity to their interaction. Much has been written on the erotic subtext in the episode, there’s no need to rehash it here. Dean does tell Crowley that he’s not his bestie nor his underling but will call him when he needs him, and this scene follows immediately after Hannah tells the mechanic that she and Castiel “are not… that”.

Crowley then explicitly makes reference to their fling, describing Dean’s as not relationship material. Hannah and Castiel may not be… that, but we don’t know what Dean and Crowley are. Not even Dean and Crowley know what Dean and Crowley are.

More importantly, we’re again showcased the difference in how Sam and Dean view family. Sam’s earnest “You’re my brother and I’m here to take you home” is met by Dean with derision and pain. Sam’s statement seems to cause Dean pain. It’s easy to chalk up everything that Dean says as a demon as being caused by the perversion of his soul, but there’s really nothing said by Dean as a demon that he doesn’t believe true in his heart of hearts. Dean had left Sam, wanted his little brother to let him go. The inability to let go was also lampshaded by Cole, the man that spent his entire life on quest to avenge his father.

Dean calls the Impala just a car. The car isn’t his home anymore. The car hasn’t been his home for a while now.


The Things We Left Behind has very obvious connotations of family, what with the daughter of Castiel’s vessel being at the centre of the story. But it isn’t merely the relationship of Castiel and his Ersatz daughter that we see, we’re yet again shown the difference in how Dean and Sam view family, and their family in particular. Much has been written about the story about John Winchester that Dean tells at the bar, of how it seems like an example of the sanitized-for-Sammy histories that Dean is known for, highlighting the toxic undercurrent in Dean’s childhood in particular, and how Sam’s experience of it was very different. Dean tells Castiel that he loved his father with everything that he had, to the best of his ability, while Sam seems to have idolized him as a child.

We’re also told that Claire, a parallel for Dean, needs a father, and not a friend.

The episode also contrasts how Dean regards Sam and Castiel differently.


Inside Man contains Dean’s profound description of what family means to him. It’s not blood, it’s sacrifice. The implication of the scene is that Dean does consider Crowley family because he saw through some of the hardest times of his recent life. Bobby’s words, quoted by Dean, are given all the more weight by his presence in the episode. Bobby’s final words to Sam, “Kick it in the ass” remind us of other members of the family through shared sacrifice, now long dead.  Crowley chooses Dean over his flesh and blood at the end of the episode.

Dean comments that lying must run in Crowley’s family. Dean also lies, he does that.

In The Prisoner, Castiel calls the bunker home. Castiel counts himself among the people he knows Dean Winchester loves. Eldon Styne comes close to torching Dean Winchester’s home, the picture of his mother with it. The Stynes are another parallel, a dysfunctional and toxic blood family.

Crowley comes running to Dean when he thinks Dean needs his help. Even Sam knows this by now, using Dean to get Crowley.

Does he know you’re doing this? I only ask because your brother and I, such close friends now.


In Form and Void, which again contains the thematic of family because of baby Amara, Crowley, dressed as a priest, refers to Dean as “My son”, which prompts Dean to call him father. Mary, mother of God and namesake to mother of Dean Winchester, is both mentioned in text and in symbolism. I’ve discussed Dean’s fast friendship with Jenna in the past, Dean seeing the queer woman as 'family’ immediately.


The Devil is in the Details gives us more insight into Crowley and Rowena’s relationship and hints at Crowley’s birth father. Rowena tells her son that she hates him because his father had told her that he loves her and then abandoned her, and that she would love her son if she didn’t hate him. This is the climax of the episode. What Stairway to Heaven was for Castiel, this episode is for Crowley, the episode even beginning with a scene of the Crowley family Christmas.

In the episode, Sam tells Lucifer that he has faith in his family and in his friends, indicating that he does not see Castiel as his family the way Dean does. Lucifer explictly mentions the time Sam didn’t look for Dean when he was in Purgatory, and this has everything to do with the difference in how they view family. Dean spent the same year looking the angel, to bring him home. Lucifer is manipulating Sam, but the things he says are not untrue.

But in the same episode, in Sam’s voicemail, Dabb has another little actual brothers Sam and Dean Winchester moment, Dean teasing his baby brother. There was a similar moment in Dean pranking Sam in Inside Man.


Beyond the Mat has an obvious connection to Sam and Dean’s childhood, and again the difference therein is highlighted. Dean sought a father-figure in the wrestler he idolized, whereas motherless Sam’s interest was in older women. Beyond that, the band of aging wrestlers in the episode was an example of the family of one’s choosing, Rio actually explicitly calling them “like family”.

The demons (“friends, people who want you back”), however, are revealed not to be Crowley’s family any more than the angels are true family to Castiel. And the reason they despise him is because he’s “nothing but Dean Winchester’s number one fan”.


In Red Meat, Dean is willing to sacrifice his life to save his brother. That is what family does, to Dean. Billie the reaper calls him out on this, that he’s not doing it for the greater good. And she’s right, the greater good is not what sacrifice is about for him – it’s family. Michelle tells Dean that she doesn’t know where to go without her husband, that there’s no normal for her after having watched the man she loved die. Dean seems to sympathize.


And then, Alpha and Omega. Brother and sister reconcile, Dean lets Castiel know that he considers him family, God and Rowena bond over kids. Crowley refuses to call God dad. An old lady tells the Darkness that she considers the birds that she’s been feeding for twenty years “practically family”, triggering the change of heart in her. Dean Winchester likewise speaks to her of family, describing it as a mutual needing:

I need him. He needs me. And when everything goes to crap, that’s all you’ve got – family.

Dean is willing to sacrifice himself for the world, his friends, and his family. Castiel, we know, is a part of the latter category for him. Dean needs Sam and Sam needs him. But the same is true of both Castiel and Crowley who are by his side at the end of the world.

Sam Winchester has a very conventional view of the family: mom and dad and baby makes three. He has friends and allies and he cares deeply about people, but his brother is his only living family. It’s the two of them against the world, and home is the Impala they grew up in.

But Dean sees family very differently. Dean, who lost his mother at an early age and who was failed by his father, he seeks family, seeks belonging, welcomes people into his family with open arms. It is the willingness to sacrifice for someone else that defines family for Dean Winchester, and anyone willing to sacrifice something of themselves for him are family, simple as that. He needs and he needs to be needed. Sam is his brother, Sam is his family, but it is the choices Sam makes that ultimately define his brotherhood for Dean. It is when Sam refused to sacrifice for him, refused to look for him, that Dean felt abandoned.

It’ll be interesting to see how this dynamic plays out in the coming season, Sam a stranger to Mary but someone Sam would consider family, and beloved of Dean – but is she willing to sacrifice for this grown man she barely knows?

12x01 - Keep Calm and... How do I keep calm when that episode was SO GOOD?

Top Moments

Dean and Mary Obviously. Some thoughts on their reunion and interactions in the episode:

  • The way she took him down at the start - Mary’s very first scene and she is proving to the audience that she can handle herself, she is no longer the original fridged woman. She is every bit the skilled Hunter and fighter she was when she was younger.
  • Dean talking about John and Mary’s meet-cute. Slaughterhouse 5 and Zeppelin. So now we know that it isn’t all John that Dean gets it from. His favourite things also come from his mother. That is certainly a positive point to know going forward.
  • Dean’s face when Mary hugs him - it was beautiful. I have nothing else to say.
  • Mary and the Impala! Dean’s realisation that his mother had sex in the back of the car and that he was probably conceived there… hilarious! Oh Dean. You and the Impala truly are bonded aren’t you? I see the Impala as a symbol of Dean’s soul (as I believe many others do too) and this moment was brilliant in tying up that theory that his whole life right from conception has been connected to his car.
  • Mary saving Dean from Knuckleduster Lady. She saved the day this episode. I doubt it will be the last time she saves her boys. 
  • Blood on her hands - That moment sitting in the car where Mary was looking at her hands reminded me of Lady Macbeth “Out! Damn Spot!” Anyone else think that or is that weird? I dunno.. but I think Mary is going to be very much haunted by her choices and what is ultimately her fault. She didn’t get her memory wiped of her deal with Azazel. We know she knew him when he was standing over Sam’s crib. Mary will recognise this and understand that it was her deal with Azazel that started this series of events that leads her here now, facing her grown son and his kidnapped brother, both doing exactly what she has been running from her whole life. Then, one of the first things she has to do as soon as she is brought back to life, is take another life. I can very well believe that she sees that damn spot… the blood on her hands. How she will deal with this will be an interesting thing to watch throughout the season ahead.
  • Are you okay?” “No.” GUYS. GUYS. You know when we were talking about what good things Mary would bring to Dean and Sam’s lives and how her presence should encourage good character development and a change for the better? THIS IS THE START. What was it that Cas said in 10x03?“It’s what the humans do. They say they’re fine. And even if I—I don’t look it, you say I look well, and that way, we avoid talking about something we can do nothing about.” Castiel learned this from the Winchesters, because they do this all the time. They repress any issues they have, they lie about feeling okay because its easier than dealing with the huge amount of emotional baggage that they are carrying. Mary however comes along and when Dean asks if she’s okay she tells the truth. and it leads to them having an honest conversation, with Dean helping her a little bit and her helping him to understand a bit more. It was such a good conversation for Dean to have. 

Dean and Castiel

continued under the cut…

Keep reading

"5-time Oscar Nominated film, Interstellar"

Sounds good right?

If you haven’t heard, Interstellar has been nominated in 5 categories:

  • Best Original Score - Hans Zimmer.
  • Best Production Design - Nathan Crowley (Production Design), Gary Fettis (Set Decoration)
  • Best Sound Editing - Richard King.
  • Best Sound Mixing - Gary A. Rizzo, Gregg Landaker, Mark Weingarten.
  • Best Visual Effects - Paul Franklin, Andrew Lockley, Ian Hunter, Scott Fisher.

One of my favourite things about this year’s Holiday Hellatus has been watching the dawning horror with which people have come to realize that the Christmas Shit is actually a part of the next episode (”Don’t worry guys, they just filmed it for a promo!” “Come on, it couldn’t possibly be a part of the episode!” “Oh God, it’s going to be in he episode, isn’t it!”).

Gif by @hellsbells91.

[*knocks on your door* If I could have a moment of your time to talk about our Lord and Saviour Andrew Dabb – he mainlines in Weird Shit and dropping references not even everyone working on he show gets.]

While I figured from the start that this was probably some nook or Circle in hell that manifests as The Night Before Suburban Christmas and obviously needs to be in the episode, this scene is so obviously also a Spinal Tap reference.

The elves are dressed in leather
And the angels are in chains (Christmas with the Devil)

The sugar plums are rancid
And the stockings are in flames (Christmas with the Devil)

There’s a demon in my belly
And a gremlin in my brain
There’s someone up the chimney hole
And Satan is his name

The rats ate all the presents
And the reindeer ran away (Christmas with the Devil)

There’ll be no Father Christmas
‘Cause it’s Evil’s holiday (Christmas with the Devil)

No bells in Hell, no snow below
Silent Night, Violent Night

So come, all ye unfaithful
Don’t be left out in the cold

You don’t need no invitation, no…
Your ticket is your soul

Don’t let it fool you, though. The previous episode was one where serious stuff was happening but was told to comedic effect, on purpose. This episode is likely going to be its inverted mirror. Because the thing this fandom hasn’t seemed to realize is that Bucklemming aren’t tasked to write what they write simply to break the fandom. They write what they write to get the plot where Andrew Dabb needs the plot to be. 

Keep Calm and Carry On Review

WELL, SUPERNATURAL IS BACK. [the new title card is awesome]

😞:

  • It was too freaking short, as usual.
  • Baby was hurt.
  • Toni was mean.
  • Sam was tortured :(

…..
😃:

  • Lots of Cas screen time! :D
  • MARY
  • DEAN AND MARY (DEAN BEING A GOOD SON)
  • DEAN AND MARY AND CAS
  • DEAN, MARY, AND CAS ON A MISSION TO SAVE SAM
  • SAM BEING AWESOME AND PERFECT (ALSO: WET!SAM)
  • DEAN AND CAS PUSHING THE CAR
  • THE HUG :))) I’M DEAD
  • CROWLEY BEING HIS USUAL SELF

I REALLY ENJOYED THIS EPISODE, CAN YOU TELL?

I freaking LOVE Mary. She seemed consistent with past Mary; it was nice! Castiel’s reaction to discovering Dean’s alive murdered me on the spot. :)) Sam’s display of strength and sass made me proud. I really like where the story is going! The continuity and pacing of the episode was great! (Dabb knows this show so well.) :) Season 12 is looking good, and I can’t wait to see what’s next! :D

Overall score: 10/10