Author: hearseeno
Eat or be eaten.
I still think it’s interesting that Amara (who could be considered a human incarnation of THE DARKNESS) eats souls, while Jesus (who many consider to be the human incarnation of YAHWEH) offered his body and blood for others to eat for the nourishment of their souls. (Not that he’s the only divine one to do that.)
Like, he’s considered a sin-eater while she’s a soul-eater. He took on the burden of sin for those who believe it, and she seems to be taking on some of the burden of having a soul (even though some people like Len consider that to be a bad thing while others like Sydney thought it was good). Part of the burden of having a soul is the burden of sin…so maybe in a very twisted way these cousins are doing the same thing through opposite actions?
I guess it depends on what’s happening to the souls Amara eats. Do they disappear upon ‘digestion’ or is there still something of them left? Are they going somewhere like when reapers usher the souls of the dead on to Heaven/Hell/The Veil, or are they completely broken down and gone forever?
(Am I going anywhere with this? I dunno. :P)
Holy shit. holy shit.
Idk if anybody’s read my meta on Metatron as a symbol of Jeremy Carver/the changing authorship of Supernatural but I have new thoughts tied to that.
Ever notice how whenever Metatron is alone with someone, he tends to deliver this epic Breaking Speeches to the characters, almost like he’s trying to break them apart just to watch what will happen? He’s actually really cruel in that respect, pushing boundaries and pissing everyone off; Hannah and Dean, as some lesser examples, but especially Cas.
The strangest part is, there’s always an element of truth in what he says. You get more dialogue-based insight into a character when Metatron is telling them why they suck than at any other point in the narrative. He’s rude and abrasive and infuriating, but he not only gives us the best view into the protagonists’ minds, but he also asks some of the Driving Questions of the story (are you an angel or a human? comes to mind) and is such an obvious source of exposition that he can spill on pretty much anything the main characters need him to, from the Mark of Cain to the Darkness. He’s functionally the author of the text interacting with the characters to push the plot in the directions necessary to get the story where it’s going.
Metatron is symbolically the writers of the show, pulling the strings (see all other meta analysis on references to puppeteering/puppetry in the show, especially as representing soullessness/demonness because now it’s a meta reference to the inanimate nature of the characters and how flimsy that inanimateness is) to get what he wants out of the other characters. He’s the ultimate Magnificent Bastard because he is unscrupulous and willing to use anyone in any possible way to get what he wants. However, in Our Little World, the manipulator is unable to manipulate Cas anymore. He’s degraded, devalued, and has little to no control over the events. At best, he’s still the Knowledge Broker, but his skills aren’t very valuable to the protags anymore and his only value is to spill the dirt on the backstory (i.e., decide things like “Amara is God’s Sister” and “The river ends at the source”).
This is a surprising metaphor to encounter at this point in the game, but maybe not; the whole Charlie fiasco was seen by the fans as the writers shoehorning senseless death into the narrative for contrived reasons as opposed to developing the plot organically, despite the writers claiming that “we go where the story takes us.” Maybe Metatron’s newfound destitution and background role is supposed to be indicative of a new approach in the writers’ room; one where they look at the characters and what they would do first, and demand the events of the plot second.
If I see people complaining about Dean and Amara one more time…
Amara is technically much older than Dean. (I’m not sure she’s even attracted to Dean in that way. She seems more fascinated by him and their currently unexplainable connection.)
Dean is in no way attracted to Amara. (Not at the moment, anyway. And I doubt he will be in the future.)
I agree. There isn’t anything “romantic” at the moment, Dean is clearly creeped out by whatever this weird bond is. And Amara at this point seems more fascinated and affectionate, in her “Darkness” way, than romantic.
As usual you’ve got fans on tumblr going into mass hysteria mode because they love being upset by stuff, it’s like they are addicted to “high”(and also because they have a weird need to view every single interaction as somehow sexual…no one can touch anyone without a bunch of fans deciding it’s sexual). I swear no ability to see complexity, just sex.
I agree and disagree here. Yes, Amara is older than anything, but she has been presented as a growing girl. She was clearly a teen in the past couple of eps. Crowley referred to her having power and him having wisdom and experience. She is not worldly. She is ignorant of the ways of the world. I didn’t see her interaction with Dean as sexual, but she did come across as a teen with a crush. Carver called her a femme fatale, and the initial scene with her and Dean in 11.01, their interaction had a sexual connotation to it.
I agree that Dean seems creeped out by this “bond” he has with Amara. And he should. I hope that the storyline doesn’t go there, but it wouldn’t surprise me if tptb take it to a Sam/Ruby kind of place once she’s in adult body. It’s why I’ve had little enthusiasm for the storyline ever since Carver teased it during hiatus. I’d love it if they proved me wrong, but I’m definitely counting on it.
What bothers me about that final montage is that Amara’s dress, makeup, and hair are much more like what a teen’s mother would wear, not a teen. Then, in the montage that song is very much sung from the male gaze, and is paired with a male’s gaze – Dean’s. The men in both cases are portrayed as very much older than the object of their gaze, and the song strongly suggests that the young girl is an appropriate object of their gaze, their judgment of when she is a woman.
That bothers me because we live in a society in which girls are constantly being portrayed as full grown women, their desire to explore roles, and looks, and feelings as somehow indicating that they are ready for whatever that male gaze wants to subject them to. It’s used against them to blame them for their victimization and to exonerate the male who followed up on that gaze. It’s the catcalls that start with early puberty. It’s the “well she was very mature for a 13 year old and her teacher was under her spell.” As if a young girl has the ability to “overpower” a grown man’s self determination.
In between that montage, the portrayal of a young girl as being more mature than her age, and Dean’s comment that Amara overpowered him, Supernatural is treading on very rocky ground. They don’t have a history of navigating that kind of territory well.
Does anyone else get the feeling that the producers have been reading criticisms and maybe, perhaps, listening?
New (female) writer on the staff with a strong entry.
Sam is badass again (in the middle of being choked – now THAT’s old school SPN).
Tension is built on plot and less on manufactured brotherly melodrama.
We’ve actually passed the Bechdel test in this episode, too.
We’re recognizing that there are actually PEOPLE in those demon vessels. Haven’t seen that since Season 2?
Does that mean that consent issues are on the table?
(via hearseeno)
Edit to add: Annnnnnnd now I’ve just seen that musical montage. JFC. She’s a child. Could not have been more pervy. Guess I’ve got the answer to my last question, then. *headdesk*
Okay this is gross
she’s a young girl
this is gross
Yeah…. that was awkward and uncomfortable at best.
Cages and chains
Hmmm.
Does anyone else get the feeling that the producers have been reading criticisms and maybe, perhaps, listening?
New (female) writer on the staff with a strong entry.
Sam is badass again (in the middle of being choked – now THAT’s old school SPN).
Tension is built on plot and less on manufactured brotherly melodrama.
We’ve actually passed the Bechdel test in this episode, too.
We’re recognizing that there are actually PEOPLE in those demon vessels. Haven’t seen that since Season 2?
Does that mean that consent issues are on the table?
Hmmm. Castiel consuming reality TV and Metaron producing it. So Castiel is eating what Metatron is selling.
And I bet it’s not pie.
It’s a trap!
Hearseeno 