i'll do all of them or as many as the jar can fit

averagetaynara  asked:

Hi! So @tinkdw said you also believe that s13 may be the last season of spn. Was just wondering, maybe you wrote some post about it somewhere? I'll be very interested in reading it ☺️

Hello, my lovely - and I am so very sorry for the late reply! I have actually not written a post about my brewing conviction that SPN is ready to move into Wrapping It Up territory. So here are my thoughts! :)

Tink is indeed right: I have believed for quite some time now that S13 will most likely be the final season. I’ve thought this because of how the narrative is beginning to tie back to the beginning, through callbacks and a very clear push towards - what I firmly believe - will be a positive endgame.

Narratively there are three acts - or parts - to a story. There can be five, or seven, or however many goddamn acts the writer deems fit for the story they want to tell, but the Alpha and the Omega - Aristotle - divided his story structure into three distinctive parts: the Beginning, the Middle, the End

Simple enough. 

So here are my personally cobbled together Acts Specifics:

  • Act One sets up all the story elements that will be integral to the narrative.
  • Act Two takes these story elements to further explore, deepen and evolve the narrative.
  • Act Three reveals the hidden truths of the chosen story elements and delivers on the promise of the premise by answering the thematic question posed in Act One and picked up on with every new Story Beat throughout the narrative.

So, Act Three gives us the juicy bits:

  • it’s where the bigger picture is finally beginning to reveal itself
  • it’s where the good storyteller will avoid bringing in any new elements that will sincerely jar with what has come before, and instead use all the foreshadowing set up in Act One and furthered in Act Two to provide a Twist that feels unexpected, and yet unavoidable 
  • The Twist is what sets off the narrative’s movement into Act Three and pushes the momentum of the Plot and Character Arcs towards Climax. (yes, that’s what it’s called) (don’t look at me like that) (or do) (I kinda like it) (*flirty*) (moving on)

To my mind, Act Three of the SPN narrative began with 11x01, because S11 focused so entirely on our Protagonist - that would be Dean - taking huge, huge steps towards his endgame by realising he’s in love with Cas.

This undeniable love is what has facilitated Dean’s character growth since S4, so for him to actually understand his own emotions and being forced to admit them to himself is monumentally important for him reaching his endgame.

Reaching his endgame - self-worth through self-acceptance - will reward him with a long and happy life with the man he loves. Just to be clear.

And, to my mind, admitting his emotions to himself has informed his attitude and actions throughout S12, so the growth spurt of S11 was not for nothing and they kept building on it, giving us tension and confusion and a mixtape.

The Twist that S11 offered us, then, was introducing Amara into the narrative. 

Originally posted by casclaire

  • Amara is not something new thrown in last minute
  • She is an Act Three Standard as she is in fact a Callback
  • She is a Callback to all the women who came before her
  • She is what Dean before Cas might actually have been seduced by
  • She is everything Dean has always convinced himself he should want, everything any average viewer would assume he does want
  • But Dean’s love for Cas is true love and it blocks every last attempt from Amara to control Dean’s heart

Amara’s first purpose in the narrative is to underline Dean’s love for Cas for the sake of us, the audience.

  • She is continually a Mirror Opposite for Cas throughout the season
  • This places her firmly in the Not What Dean Wants At All Ever Box 
  • As Cas occupies his Everything I Could Ever Want and Need Box
  • Amara is placed in her box in every single scene she shares with Dean 
  • Yes, even that kiss between them, because it is so very clearly not what Dean wants, which is put in dialogue twice: with Casifer and with Sam

Amara’s second purpose in the narrative is to highlight Dean’s love for Cas in order for Dean to admit to himself how he feels.

  • Amara tells Dean they are bonded, tying herself inexorably to Cas’ statement of how he and Dean share a profound bond 
  • Amara states that she and Dean were meant for each other, intruding on his Free Will as she tries to make him understand there’s nothing he can do and he should just give in
  • But Dean’s heart is completely filled up with Cas, and Amara’s Mirror Opposite is only working to make him more and more aware of this
  • Because Cas is all Dean cares about, worries about, truly wants
  • Amara’s statements are true, just not when applied to her: they can only be applied to Cas
  • With one significant difference: Dean would choose Cas in a heart beat, of his own Free Will, no coercion, no tricks, no power plays needed
  • And Dean slowly comes to realise this during the seasonal narrative

Originally posted by faramaiofnerdwoodforest

(Chuck’s face. Chuck’s face. Chuck’s goddamn face! *shipper*)

Dean realising he’s actually in love with Cas is a Big Push Forward for our Protagonist, and as our Protagonist’s Journey moves forward, so does the narrative itself, because without the Journey, the narrative flounders.

So then, that’s my reason for believing we’re in the final stretch here: the journey for every main character is coming to its head. It’s also my reason for not believing they’ll want to drag this narrative out for a whole lotta more seasons.

I find it hard to believe they’d even want to drag it out for two more whole seasons, especially after how S12 ended with every character leaping and bounding forward in their character growth:

  • Dean’s walls torn down (or blown to rubble via grenade launcher)
  • The brodependency crumbling
  • Sam stepping into his shiny Leader of MoL boots
  • Cas’ death, that simply must be setting him up for a much needed rebirth

All of the main character arcs aren’t moving at glacier pace anymore, they are fucking snowballing towards endgame.

Originally posted by princesscas

I can understand that they’d want to go for that 300th episode, however.

After JiB8 and the J2 panel, where both Jared and Jensen spoke positively about, possibly, doing a shorter season (though airily and not really in reference to a final season at all) I’m musing over whether this might be what they’re planning. That episode 300 will be their last. 

Jensen mentioned during an on-set interview that they don’t know how long they’ll go for, that they have the studio and network fully behind them, and that, as long as there is a good story to tell, they’re all willing to stay with it. This comment made me feel, more than ever, that they are all invested in this narrative and they know that it’s coming full circle.

They are closing the narrative, they are bringing it home, they are pushing it towards that climactic moment, when the characters have learned all their lessons, when the plot line is ready to reflect this, and the narrative can be tied up in a satisfactory and emotionally fulfilling way.

So even if S13 isn’t the absolute last, I do wonder if we’ll actually get a full S14.

But, hey, these writers are brilliant at what they do. I am in jaw-drop awe of how they have built the Destiel love story for going on 10 seasons now, so I am absolutely certain that if they wanted to go for longer than episode 300, they are all more than capable of delivering something fucking amazing. 

And let’s not despair if SPN is actually ending!! Not only will there be Wayward Daughters, I’ve no doubt! The SPN Family will continue and it will flourish! And we’ll have over a decade’s worth of glorious television to watch and watch again and then watch with friends and coerced family and slowly we can brainwash our work colleagues into our obsession until, finally - world domination. All the domination, peeps.

And rainbows. Always rainbows.

anonymous asked:

Sorry if it's a bother, but I'm kinda in the questioning phase (cis girl who used to think herself very straight, but is now having feelings for girls too) and I'm wondering if you have any advice or know of any resources? I'm still pretty freaked out and scared that I'll get it wrong and will never get this figured out...

I do have some advice! Sorry this response is delayed but I wanted to say it right.

There is no way to get it wrong. Having feelings for people and loving who you love isnt wrong. It is easy to internalize this idea of mistakes and abnormalities, because the whole world tells you that you can get it wrong and that anything outside of a very particular set of circumstances is abnormal or incorrect. However the closer you look at any lines the blurrier it gets, and the more you realize that such clear cut distinctions rarely work. And to call queer feelings and relationships the ‘exception’ also isnt fair, because if there are that many exceptions then there isnt really a rule is there? 

So here is some things

- It’s scary, it is. Depending on your environment and support system it can be hard to admit to yourself let alone anyone else that you might not fit into the pre-made box you were given. But heres the thing about it. It only feels wrong because it feels like you can be punished. People are rebuked or punished for incorrect things, thats how our society functions and interacts with itself. So if you fear punishment (meaning negative reactions, lack of acceptance, isolation) and punishment could indeed fall on you, then it must be wrong. It is difficult to challenge such a large idea, but thats what you have to do. Because you have to rewrite the script you’ve been given, and tell yourself that it isn’t wrong. It’s not. Having feelings for both genders or neither or the same gender or all genders or the opposite gender isnt wrong, its all the same. 

- You don’t have to define anything if you don’t want to. Sometimes labels and clear definitions bring comfort to people. It’s a very common mindset to be comforted by as much information and clarity as possible, which is why people fight so hard to define labels. And that’s great and fine, and if that’s something you want then keep looking to find what fits you, but know too that you don’t have to. People always focus on the most complicated aspects of love and affection, and it is indeed complicated sometimes, but sometimes its not. Not every matter of the heart is hard to understand. And if you find that you like someone of the same gender and grow fond of them romantically and find yourself attracted to them, this is not a complicated thing. This is affection in its most basic form, and it is only the uncertainties and anxieties that come after that make it so jarring. Inherently it’s not complex in the slightest.

You like her.

And that’s okay. 

Thinking then of how you felt in the past, how you feel now, what you might feel in the future, how your family would react, how the girl would react, how this plays into your understanding of yourself, whether or not that was wrong- these things come second. What comes first is natural, unedited affection, and if it happens with someone of the same gender, any gender, genderfluid, no gender- that’s what it is. Affection, attraction, feelings. And that is okay. You are okay. This is not complicated, this is not wrong. 

-You are coming to understand things that confuse you, because you had an understanding of yourself that has been called into question. Remember too that humans are one of the grandest and most fascinating things in the world because of their ability to change.

You change every day of your life as you learn new things, experience new events and define for yourself what is right and what is wrong. 

I feel that there were times in my life where i ‘knew’ who i was, but as time goes on I change and I have to rewrite the lines. If I led my life to the same script I wrote when I was a teenager I wouldn’t be who I am now, and should I always adamantly adhere to the script I have today then I would never be anyone else. 

- The only way you are going to know anything is if you are honest with yourself and keep an open conversation with how you feel. If you edit things or refuse to let some thoughts or emotions play out then you can’t hear what they are trying to say. Let yourself feel things, if you don’t you won’t learn anything new. 

- No matter what you learn about yourself or what fears you conquer I am proud of you for having the conversation with yourself, and no matter what that’s a hell of a thing. 


You don’t have to define anything you aren’t ready to. Be honest with yourself and understand that getting to know yourself again and again is essential to being alive. Whether you are straight or gay or bi or anything else, you are okay. It isn’t wrong to love someone. 

I love you, I hope I managed to say something that could provide some comfort. 

The Problematic Nature of Fixer Upper

I have a fairly large bone to pick with the Fixer Upper scene. I mean THIS is the scene that’s meant to be the big love duet for Kristoff and Anna? Fixer Upper is what stops Frozen from being completely perfect. While Fixer Upper is cute and catchy and has been stuck in my head for the past two weeks, there’s a lot wrong with how it fits within the narrative framework of Frozen. 

Fixer Upper has some messages to get across, don’t get me wrong. I just find issue with those messages.

Starting simple, the purpose of Fixer Upper is to further reinforce the fact that Anna and Kristoff belong together (further further reinforced in the following scene where Hans acts as Elsa’s hero, instead of Anna’s). This is all well and good except: 

This is unnecessary. It would have made the end seem more smooth without the obligatory love duet, since we’re already witnessing the natural progression of their relationship throughout the film. The point was it wasn’t love at first sight between them, it was very natural. They fall in love over the course of the film. So this scene was jarring in that respect. Instead of what could have been a subtle and natural romance plot that culminates in the (Anna and the audience’s) stunning realization that “Kristoff loves me?” We get to roll our eyes at how far behind Anna is.

Next, Bulda sings of the abstract theme of the song, “People make bad choices when they’re mad or scared or stressed. But throw a little love their way and you’ll bring out their best.” It relates back to the theme of the movie, and this is always good. What’s more, bringing it back and deliberately saying it can be platonic “Father! Sister! Brother! We need each other …” was a nice touch. A lot of people relate this verse back to Elsa, and I personally like that. 

Unfortunately, there is an underlying problem with this message and here it is:

How many Frozen fans belt out against Hanna (or Helsa) shippers. Hans is an irredeemable character, who doesn’t deserve love!! Nevermind the fact that he never had love in the first place.

I think Hans is a tragic figure because he’s a consequence of being raised without love. - Jennifer Lee

 If all you have to do is “throw love” someone’s way to “bring out their best”, isn’t it hypocritical to say that Hans can never be redeemed? If Anna just loves him enough, would he get fixed? According to this song, yes. Doesn’t this lead to unhealthy relationships? Love, in all its forms, is a two-way street.

Finally, a problem I found more on the surface of the song. The audience is meant to laugh at Kristoff’s misfortune of having to deal with his pushy parents because duh you do belong together! Right? But some of the things the trolls do and say are problematic in their own right and Disney fails to frame it as such. This is exacerbated by the fact that we’re meant to agree with them.

The trolls completely ignore Anna’s and Kristoff’s protests. Going so far as to deride Anna’s engagement. “Get the fiance out of the way …” Since we side with the trolls, (you can’t marry a man you just met) this is meant to incite nods from the audience but this is extremely disrespectful to Anna. Even if we don’t agree with Anna’s engagement, it’s her bad decision to make. In fact, at this point in the movie we have no reason to doubt Hans’ sincerity.

This pushiness culminates in an almost troll wedding that neither Kristoff nor Anna agreed to. I’m not sure about you, but I want an OTP to get married because they want to (and not the same or second day they met, sounds familiar?). This rewinds the message we’ve been hearing over and over again since the beginning, take it slow and get to know each other.

tl;dr - 
1) It ruins the natural progression of Kristoff’s and Anna’s relationship by giving us a jarring musical number that forces them to appreciate each other.
2) If you’re not ok with redeeming Hans then this song isn’t for you. Since love cures all, right?
3) Takes away Kristoff and Anna’s agency in their own relationship, ignoring protests and forcing marriage on them. Regressing the message we heard from the beginning (about Hans) that relationships are a slow process of getting to know each other. 

Remember you can love a piece of media and still be critical of some problematic aspects. 

Anon, I am not 100% sure it’s Daryl. I just think he fits the bill more than anyone else. 

“Last Day on Earth” opens with the audience looking through the eyes of a person swimming to consciousness. Right off the bat (ha) this should make us ask questions: Who is this person? Why are they waking up? 

The last episode (“East”) provides a clue in that it ended with Daryl getting shot in the shoulder proceeded by a fade-to-black. This convinces me it’s Daryl’s POV.

Throughout the episode, there are three scenes in the van before it’s opened with a fourth (and final) scene. Each of these scenes is accompanied by muffled dialogue that proves the person waking up is happening in tandem with Rick’s group getting surrounded by the Saviors. 

How do we know? 

The first scene has the Saviors’ disconcerting whistling. The second is the Lead Savior (Ogg) saying, “You made it. Welcome to where you’re going. We’ll take your weapons,” which happens when Rick’s group makes it to the clearing. The third is the Lead Savior taunting Carl, “That’s yours, right? Yeah, it’s yours,” which happens almost right after the second scene. The fourth is the doors opening with the van occupants getting herded out by Dwight. So all these scenes happen in relatively close proximity to one another. 

Many cite the last shot (the fourth) as the smoking gun that says it’s Glenn’s POV we’re seeing as the top of Daryl’s head can be seen. I disagree. In the first three scenes, the camera is close to the door; only on the last one (fourth) does the camera fall to the back of the van (arguably “Glenn’s POV”) to give us a wide shot of the doors opening. I think this was done just for artistic sake, as the door opening in the “close up” perspective (of scenes 1-3) would’ve been confusing and less balanced.

More importantly, this scene echoes when Daryl was waking up from getting cracked in the head with a baseball bat in “Always Accountable”

In “Always Accountable”, after Dwight knocks him out, Daryl wakes up three times before Dwight jars him to consciousness a fourth and final time. In those three different wake up shots, Daryl hears Dwight, Honey, and Tina talking – which mirrors the muffled voices in “Last Day on Earth”.

So the scenes in the van? Of the person waking up? Is a direct parallel to something that happened to Daryl. 1) Knocked out, 2) wake up intermittently, 3) hearing voices, 4) confronted by Dwight.

Why is all this important?

“Last Day on Earth” closes just as it opens – with a POV shot. It’s not a stretch to assume that whoever’s eyes we see through in the first shot? Is who we’re looking through in the last as well. And the person who fits the bill for this POV shot the most is Daryl. (For all the reasons I’ve stated above).

“Always Accountable” had a few other hints that point to Daryl: 

Sasha writes DIXON on a door with her knife; the “X” is fairly pronounced. The Lead Savior spray paints an orange “X” on their victim. 

Daryl is literally the first one to “fall” to the Saviors (he is shot at, tumbles off his bike) and also is the first to shed blood (which drips onto a skull).

Speaking of the “X”, in “Last Day on Earth”, the Lead Savior tells the terrified “X” man, “The one who fired the first shot, we strung him up to make an example of him.” In Rick’s group? Daryl is the one who fired the first shot at the Saviors in “No Way Out”. 

Daryl was also indirectly responsible for the fate of Tina (who is assumed to be one of Negan’s wives). NR said in an interview that the events of the finale wouldn’t have changed even if Rick’s group hadn’t killed Negan’s men. NR said Negan doesn’t care about his men, but women? He definitely does. It’s curious NR would make a comment like that seeing as the finale gave to indications of Negan’s special treatment of women, and Negan even said he was killing them for retribution for his men’s death, but NR could be privy to why Negan would take his ire out on Daryl specifically (and that’s for his role in Tina’s escape/death).

I know, I know, it’s hard to believe the show would write out Daryl, but it could be argued it’s his time. He has come full-circle in that he’s following in Merle’s footsteps – and NR said that Daryl would “be making Merle proud right now.” After all, what happened in “This Sorrowful Life” (3x15)? Merle set out on his own to kill the Governor. Likewise, Daryl set out on his own in “East” (6x15) to take out Dwight. Glenn even said ominously that Daryl would “get himself killed,” which is exactly what happened to Merle when he pulled this same kind of stunt. 

NR slipped in a post-season interview with TV Guide by saying he "played Daryl Dixon”, not “play”. In the same interview, AL joked that NR was Kenny from South Park (a character who is famous for dying and causing the outrage of his friends). I mean, some of this is more “loose” evidence, but it still makes one raise an eyebrow.

Plus some stuff seems like Easter eggs just for “funsies” – like Daryl and Beth stumbling upon a barbed-wire baseball bat in “Inmates” or Daryl being on his knees next to Michonne like Hershel was in “Too Far Gone” (even with blood coating the right side of his neck a la Hershel after the Governor took a whack at him). Or the fact Daryl was stabbed in his left shoulder in “No Way Out” and shot in his right in “East” rendering his wings “clipped.” He’s flightless. 

There’s evidence pointing at almost everyone – but the most compelling material directs my eyes at Daryl and Daryl alone.