(Seriously! I can totally get this – I like Carver’s era myself (though I like his eps before he become showrunner more) but it is deeply flawed, in some very different (and a few similar) ways than Dabb’s inaugural season. And I’ve been feeling too negative lately, I’d love to hear some positive thoughts on s12!)
Kripke is still my favorite showrunner. He had his own weaknesses, but he had a rare vision and understanding of what makes TV entertaining. (Or else he lucked into the perfect show for him to write? I haven’t watched any of Kripke’s other shows, so I don’t know if SPN is an exception or the rule.)
So basically you can’t talk to @mittensmorgul about anything, or it just goes all
And in this case it’s trying to explain, like, the ENTIRE tangled web behind the whole “crypt scenes” thing and why we even call it that when it starts with a thread beginning in 1x22 with John throwing off Azazel to save Dean, and ends up with me yelling at my screen when a tan-coat-wearing brainwashed dude answering to a heaven-like organisation is waving a gun at some random hunter whose only crime is being adorable and loosely romantically connected to Sam, and declaring it Prime Destiel Subtext.
This is the wire tangle in my brain that explains it :P
Details under the cut with the image above just so you can visualise all the bits of string, I guess, unless you can read my handwriting (on a browser, anyway, you can click the image to get it in a pop out, then right click, view in a new window, and view it in life size, and I used a LARGE sketchbook for it so life size is big ass spaghetti ramblings), in which case you get a prize.
So I started watching the Supernatural and now I’m at season 7 and maybe it’s only me but I don’t feel the show is same anymore. I mean the post apocalypse story (after season 5) didn’t give me the feels of the Supernatural I’ve been watching. Then I read somewhere that the show runner changed after season 5 and a new show runner left the show at the end of season 7. I wanna know what the show is like after season 7. The people who have watched till end, can you please tell me ? Thank you very much.
Maybe there’s nothing wrong with the show, and if there isn’t I apologise for this post.
It’s only been two days so it’s kind of ridiculous that Jessica is so excited to have Sam come home. But there you have it: she’s used to his sprawling limbs and his body heat beside her in bed, used to the quick kisses he drops on her cheek before he heads off to the library or to his coffeeshop job, used to his big hand in the small of her back as they walk down the street. And it’s just… the whole thing with his brother just worries her, Sam disappearing off before this interview which she knows means absolutely everything and it’s all for the sake of this father who kicked him out? Jess isn’t a horrible person but she’s not a pushover either and if it were up to her then there’s no way, no way that Sam would be gambling all the months of hard work he’s put into the law school applications just for this bum who can’t recognise what his son is worth.
Still. It’s OK. He’s coming home – texted her from the road to say he’d be late, to go to bed and he’d be in some time before morning – and she’s jittery with excitement, too wired to sleep so she’s baking to keep herself busy. Flour, butter, sugar, chocolate chips. Cookies for Sam to remind him she loves him. Something to keep her occupied while the minutes crawl by.
She’s just slid the second tray into the oven when somebody knocks on the door, and so she’s conscious of the seconds ticking at the back of her mind as she opens up to Brady’s wild-eyed grin.
“Oh great,” she thinks immediately, “another crisis,” something that’s going to take up time and effort and most likely money as well (‘you’re throwing it away, Sam,’ she’s said too often already this year). But then his hand shoots out fast and grips iron around her wrist and she doesn’t have time to scream before he’s pushing her back into the apartment, hard and vicious and oh poor Sam, she thinks, somewhere calm and detached outside of herself as she struggles and yells, he’s believed in Brady so long and this is going to mess him up so bad.
I referenced Monster’s Ball right in the script. We were asking ourselves, “Where’s the lowest place Sam can go in a state of despair?” That’s why calling it a love scene strikes me as hilarious. It’s kind of like self-mutilating and calling it getting dressed for the prom.
“We knew we had to start smaller and more intimate and kind of reestablish the world,” [Sera] Gamble adds; “start with the personal, and then introduce what the conflicts were gonna be.” Which for Dean Winchester meant him actually having a personal life. “It’s not a small thing for a character like Dean to move in with a woman and her child,” Gamble points out. “That’s huge! We’ve treated it as a serious character development, and it’s something that’s changed him and changed his perspective. He doesn’t see problems the same way. When you have attachments beyond the guy who’s sitting next to you in the Impala, you become a different kind of hunter, and that was a twist in the character that we were interested in taking a look at.”
Sam’s character received quite the twist, too, to say the least. “We talked a lot about how to differentiate Sam’s experience from Dean’s,” says Gamble. “There was never a version of him that was gonna be okay. We had a lot of different options on the table, and it was Bob [Singer] who said, ‘What if Sam returns, but his soul is still stuck in Hell?’ As soon as he said that, we were like, ’Ooh!’ That was such a delicious, amazing toy to play with. Something really clicked into place, because we knew that souls were a huge thing for the season already. We were actually so excited by that idea that it eclipsed everything else for a few days. This was way early in the season, before the rest of the writing staff even got there. It became kind of a due north on our compass. It’s not the absolute center of the mythology for the season, but it’s just a really intense part of the personal aspect of the mythology of Sam and Dean for this season.”
“Soulless Sam was fascinating and very challenging [to write], Gamble continues. “He required tremendous amounts of conversation among the writers and producers of the show. We took it seriously and ended up having a lot of pretty deep philosophical conversations about the nature of the soul. We discussed all kinds of options – which ones we could dramatize, which ones we could fit into the world of the show, and which ones would give the most story for Sam. Once we got into our groove and figured out what was working for him it was really fun, because it was a flavor of Sam we had never played before, one in which he didn’t feel guilty about the bad things he was doing or the lies he was telling. That Sam is interesting. He was not fun for Dean to be around, so I don’t think he would’ve been sustainable over the long run, but he was fun for us and fun for Jared to play as well, I think.”
Source: Knight, Nicholas. Supernatural: The Official Companion Season 6. Titan Books, 2011: 8-9.
I know there a lot of people who are big fans of Carver’s show running for the past two going on three years. And there are several parts of his seasons that I absolutely loved/am loving. But to me, there’s a running thread of flaws in all his episodes that I just can’t over look.
So … in an episode where Cas has discovered riverboat gambling, and Dean says that college food is “better than Vegas” (where Sam and Dean used to make an annual trip), I wondered if there were any other gambling references. (Granted, Dean is talking about the food when he brings it up, but Vegas is associated with excess and vice—and fun, don’t get me wrong—of all kinds, most notably gambling.)
This dartboard in the sorority house basement was the only one that jumped out at me on my rewatch. (People do occasionally bet on darts in bars, albeit for very low stakes.)
This basement is a place that has been made comfortable, somewhat—the old couch and rug, the candle, the table. It has a lot of cleaning supplies, a washer and dryer, and a vacuum cleaner that I’m 90% sure is a Dirt Devil. (That’s a brand name, and don’t think I’m not tempted to try to read into that.)
Last episode had a basement that was a holding cell. It was cobwebby and scary and generally a “serial killer basement." (And of course, we have the bunker, an underground space which has been a place of refuge for Sam and Dean, as well as a place where they held prisoners.)
Dean needed Tina’s help as a distraction when he was escaping the serial killer basement, and later he needed Sam’s help when he came back and Hansel caught him. In this week’s basement he needed Sam and Corey—Sam to make the connection with Corey, Corey to talk Andrew down and get him to let Dean and Delilah go. (Very interesting, in light of how Sam has been communicating with Cas, who is strongly evoked by Corey, while Cas is looking for Cain to try to save Dean.) I think that "sometimes you need help” is probably the significance of the crutches.
The owl is harder to tease out. The dominant Western association is knowledge and wisdom, so maybe the idea is that Dean might learn something if he pays attention. They are, after all, on a college campus. But it’s a bird of ill omen (maybe connected with ravens and crows?) in other cultures. (Including some First Nations groups, and that’s imagery we’ve had a lot of in the Carver era, per larinah.)
I can’t help being a little nervous that our Cas parallel said to our Dean parallel, let go, when that meant moving on after death. On the other hand, maybe it means that Cas will successfully get Dean to let go of something else. Which would be good, because while Cas is gambling with money, Dean is gambling with the safety of others in his attempts to deal with the Mark.