Hi Mittens! I love your writings and I think you have amazing insight for Supernatural! I just found a wikipedia page about "Watcher (angel)" (you can check it) and thought it's interesting, cause the title of the last ep of S12 being "All Along the Watchtower". Do you think its connected somehow? (sorry for my English, I hope you understand what I tried to say :) ).
Hi! “Watcher (angel)” anon again. I’ve forgotten to mention the Tower of Babel as a symbol of miscommunication? I mean humanity lost their unity because of it. Maybe a reverse-symbol of S12? Like: they have to destroy the Tower to be united again, to understand each other by speaking the same language again (miscommunication is a bitch)? Sorry, I seems to be obsessed with Watch-Towers lately :))).
Hi there! First off, your English is fine! No worries, I get you. We don’t have a Tower of Babel situation here. :)
The show has already really dealt with a concept of Watcher Angels, back in 10.20, with the Grigori. There’s several reasons I don’t believe they’re going to bring them up again, and most of them involve the fact that they’ve already picked out a ton of other lore surrounding the Watcher Angels and the Book of Enoch to use in other ways in Supernatural canon. Gadreel had originally been one of those Watcher Angels, after all, yet he filled a very different role in SPN. Not to mention these angels were believed to be responsible for siring the original Nephilim– yet now the nephilim we’re most concerned with is the child of Lucifer. But the Grigori themselves were considered to be followers of Lucifer originally, yet in SPN canon most (if not all, now that Tamiel is dead) of the Grigori are now dead.
If anything, I believe the title of the episode is a meta-statement on Bob Dylan’s original lyrics, which are loosely based on the Book of Isiah, in which a watchman relates the fall of Babylon at the hand of God. “And he saw a chariot with a couple of horsemen, a chariot of asses, and a chariot of camels; and he hearkened diligently with much heed./…And, behold, here cometh a chariot of men, with a couple of horsemen. And he answered and said, Babylon is fallen, is fallen, and all the graven images of her gods he hath broken unto the ground.”
The way Dylan structured the song played with the notion of time, storytelling, and defied expectation and the traditional “rules” of storytelling by telling the story in reverse order:
As with the third verse of “The Wicked Messenger”, which opens it up, and then the time schedule takes a jump and soon the song becomes wider… The same thing is true of the song “All Along the Watchtower”, which opens up in a slightly different way, in a stranger way, for we have the cycle of events working in a rather reverse order.
“at the conclusion of the last verse, it is as if the song bizarrely begins at last, and as if the myth began again.”
Yet one critique of the song on a strictly surface level misses the deeper point entirely:
Dylan has a lot to answer for there, because after a while he discovered that he could get away with anything—he was Bob Dylan and people would take whatever he wrote on faith. So he could do something like ‘All Along the Watchtower,’ which is simply a mistake from the title on down: a watchtower is not a road or a wall, and you can’t go along it.
Basically go read that entire wikipedia article and substitute “Dabb” for “Dylan,” and s12 of Supernatural for this song, and it seems as if Dabb is taking a swipe at everyone who’s missed the entire point of s12.
And it gets one meta-level deeper when Dylan refers to the Jimi Hendrix cover version of his own song, because honestly Dabb’s s12 retelling of SPN is doing the same thing with the canon he inherited from Kripke, Gamble, and Carver:
Dylan has described his reaction to hearing Hendrix’s version: “It overwhelmed me, really. He had such talent, he could find things inside a song and vigorously develop them. He found things that other people wouldn’t think of finding in there. He probably improved upon it by the spaces he was using. I took license with the song from his version, actually, and continue to do it to this day.” In the booklet accompanying his Biograph album, Dylan said: “I liked Jimi Hendrix’s record of this and ever since he died I’ve been doing it that way… Strange how when I sing it, I always feel it’s a tribute to him in some kind of way.”
So honestly? I think that’s about as far as we can (and should!) read into the words themselves. Because the words themselves are just the misleading surface text in pretty much every possible meta-level way.