bangingpatchouli:

saelyg:

smartiespn:

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.

Who’s in the driver’s seat?

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The Impala is often a stand-in for Dean’s soul, and I’m not the first person to draw this parallel between the bloody handprint on the car’s window and the scar on Dean’s shoulder.  

I’m also not the first person to comment that every driver in this episode reflects something about Dean.

What I would like to comment on is that each driver reflect on the journey taken by Dean’s soul and who has had the charge of directing its course.

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Here we have young, joy riding Jessie.  The soul is not hers.  But her job is to ferry it to a place where it rests and waits, and she expects to be paid for her efforts.  

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Dean’s soul has not just seen it’s share of reapers, but a monster has been behind the wheel, as well.  Is he a man?  Is he a monster?  When he looks in the mirror, what will he see?

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And here the most poignant of all.  

John Winchester in the driver’s seat, directing any and all choices Dean made.  He did his best, “anyway, for what it was worth.”  But still, his legacy is still played out today.  He “played [his] part” in setting them on the path that takes Sam and Dean to this point.  

Dean, the man that John Winchester made and then sent out into the world. 

What choices will Dean make?  Who will be in the driver’s seat?  Will Sam still be “Sam,” not “Samuel”  and not John’s “son”?  

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We’re all in the car.  I’m sitting in the driver’s seat, Dad’s sitting shotgun.  But there aren’t any shotguns.  There’s no monsters.  There’s no hunting.  There’s none of that.  It’s just… He’s teaching me how to drive.  And, uh, I’m not little like when he actually taught me how to drive. I’m 16, and he’s helping me get my learner’s permit.  Of course, you’re in the backseat, just begging to take a turn.  We pull up to the house, the family house, and I park in the driveway, and he looks over and he says, “Perfect landing, son.”  

The dream isn’t just about having a home and something more, it’s also about the longing for what wasn’t.  It’s about grieving the fantasy of the family that you wish you had had, the one you needed.  The one that let you be in the driver’s seat of your destiny, but was there with you, guiding, mentoring, and giving you praise for a job well done.   It’s about letting it go, and taking a firm grasp of the wheel and setting your own path.

Why? What is Robbie doing here?

Is it just simply a reference to the imprisoned feminine?

Piper in OITNB was imprisoned after she was enticed into crime because of being what she thought her lover wanted her to be. She then felt betrayed by her lover into an unjust imprisonment. The first season was all about her journey questioning who she thought she was, and perhaps concluding she wasn’t quite so innocent as she thought she was.

Or is he bringing Sam and the “imprisoned feminine” into association?

See butterflydm’s meta on the imprisoned feminine

So many themes of being hungry, worn out, and longing for more for Sam in this episode. Of experiencing intimacy, and feeling release and be succored by the encounter. But ultimately he wanted more than his partner wanted to give.

Why are there so many themes of perspective and POV these recent seasons? Why are we being drawn into feeling sympathy for The Darkness?

I keep thinking of Sam’s line about saving all of the people, even the ones who were killing because there was something wrong with them. This episode, too, was about saving the “monsters,” redeeming them and giving them peace.

Sleepsintheimpala points out that the need to break the chains that bind us, both literal and metaphorical, is an important theme this season.

Larinah pointed out that Sam was pictured flirting with yet another blonde woman at a cash register with key chains and poker chips All alluding to chains and keys and taking a gamble.

And so I wonder if we’re headed down a journey of the Winchesters trying to do things the old way. Fight the Big Bad of the season, but, ultimately, they learn to see things from The Darkness’ perspective.

And that the only solution isn’t about overpowering and imprisoning The Darkness, but the key to their problem is to take a risk, and save The Darkness, too.

larinah:

armyofthereblogbutton:

larinah:

justanotheridijiton:

El Sol:
Kripke: 2x20 // 4x22 // 5x17 // 5x18
Gamble: 6x01 // 6x09 // 6x15 // 6x22 // 7x04 // 7x11

(previous version)

So, El Sol and Schultz are both fake beers made for SPN, right?  (A lot of their beers are fake, but I’m just going to mention these two because they’re often shown near each other…I see two examples of that in this photoset, and the roadhouse from this week’s episode has it again.)

While El Sol and Schultz are both fake, they remind me of two real beers:  Corona and Schlitz.  Schlitz is “the beer that made Milwaukee famous”, while Corona is “miles away from ordinary”. 

If you Google vintage Schlitz advertisements, you’ll probably find that they strongly feature American “manly-man” images.  Cowboys, guys out fixing the family car with their trusty dog, fishing, hunting, etc.  (Also, there’s a fair amount of 50s style husbands insulting their wive’s cooking and such.  “At least you didn’t burn the beer!!”)

If you Google Corona ads, you get a bunch of beer bottles on tropical beaches.  Often they don’t even have any people in them at all.  They present the beach as being a place that is different from all other places.  A place of peace and quiet.  Maybe there’s a beautiful person there to share your time with, and maybe there isn’t.

The Corona ads are a clear escape from the Schlitz ads.  The promise of El Sol is a clear escape from the Manly-Man American role espoused by Schultz.

Note that in the second Corona ad above, the beach is located in the suburban back-yard of America.  You can find your beach, or make your beach, right where you are.  The implication is that it is all in your mind.

( @neven-ebrez and @justanotheridijiton as well as others have already talked about the “false world” that is often implied when an El Sol sign is hanging near a Winchester brother.  I just thought it was interesting that there is a real-world comparison to that symbolism used on the show.)

I would argue that if there is any symbolism between real beer and the ones mentioned on the show, “El Sol” is probably referring to the real Mexican beer Sol. Literally, there is a beer called Sol that is pretty much the same light beer as corona. That one is less about “miles away from ordinary” though and talks about freedom. But yes. That’s a thought too. And I mean Schultz and Schlitz.. and El Sol and Sol..? idk it makes more sense. They’re using different brands for copyright reasons probably, but I’d say that they would only tweak the name so much.. 

@drsilverfish brought up the real Sol brand as well, and I’m sure there’s some of that in SPN’s beer name, too.  But what I’m talking about is mostly the advertising.  If you look in that top left shot, that’s pretty recognizably a Corona-type ad.  (By the way, in addition to meaning crown, corona is also a term for the halo-like circle of light around the sun, so there is a sun connection to this as well…though not as clear as the obvious connection to Sol beer.)

In real life, the brand of beer someone chooses says something about that person, in large part because of advertising.  I don’t think it’s a very big stretch to say that fiction would do the same thing in the same way.

Schlitz beer had an ad campaign based on the traditional American Man role.  Sort of like the Marlboro man was for the cigarette company.  Corona, though, really came onto the scene in the 80s and stressed escape from every day life at home.  Instead of parties and sports and hunting and the like, most of their ads were very serene and encouraged a departure from all that.  Schlitz (and many other American beers) emphasize action and social situations in their advertising.  Corona’s campaign emphasizes relaxation, isolation (just a few people if any are shown at all), and escape.

Sometimes the bottle is even used to cover up an unpleasant reality in the ad.

Corona ads have been pretty iconic for decades.  They’re different from other beer ads in the States.  It’s not just a beer, it’s a state of mind and a state of being.  Corona somehow transports you somewhere else, someplace you’d rather be.  That’s what the ads say. 

But, you’re right, Sol’s emphasis on freedom is also interesting:

“Sol is a premium beer aimed primarily at men in their 30’s in urban
areas, which is an older demographic than Heineken® or Desperados,”
says Ludovic Auvray, Global Marketing Director Sol.

The brand’s message of freedom – Espiritu Libre – resonates
with this group. “These men are at a point in their lives where they are
successful, affluent and confident, but also have an increasing number
of responsibilities. While they embrace these, they also want to remind
themselves of their inner freedom; something a bottle of Sol can offer.”

In real-life advertising, it’s pretty clear that the message is that beer isn’t just something to drink because it tastes good or will get the drinker buzzed.  It offers something else.  I think SPN is using many of their fake beer brands in the same way…they have a message (though how that message is interpreted is of course totally up for debate).  In contrast to the old Schlitz campaigns, both Corona and Sol have to do with freedom from responsibility.  In my opinion, Corona goes much farther into escapism though with their ads, and that’s what the ad line “go someplace better” on the El Sol ad reminds me of.

both Corona and Sol have to do with freedom from responsibility.  In my opinion, Corona goes much farther into escapism though with their ads, and that’s what the ad line “go someplace better” on the El Sol ad reminds me of.

Well, that adds an interesting twist to Sam being called “sunflower” last season, in the midst of his massive denial about Dean and their situation.  Keeping his face to the sun.

We’re all headed for the exits

sleepsintheimpala:

justanotheridijiton:

hearseeno:

Exits signs as a motif hinting at impending death have reappeared in Season 11.

Season 2: The first appeared hinting that Dean was on his way out.

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Season 10: When Dean had exited life as he knew it.

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Lurking behind Sam when he was infected by the Darkness in Season 11′s open.

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And now here there are again in The Bad Seed, lurking behind a demon.

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And an angel, as well as white flowers – another harbinger of Death in the Supernatural universe.

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Both on the menu in restaurants.  Because Amara is Hungry, with a capital “H,” and she is ready to eat.   

#Awaiting an alliance between all parties (via hearseeno)

I love this collection of shots. And would like to add that I think the exit sign next to Sam in season 11 is indeed one of many potential instances of the foreshadowing of his death at the (near) end of this season. I also think that with Death’s demise, the exit signs might not be as straightforward as they have been.

As @lost-shoe and @dustydreamsanddirtyscars have said, it might be more a case of an indication of the death of co-dependence and not of an actual death, as – for all of Billie ’s threats- the Winchesters will live (unless this does turn out to be the final season, then all bets are off)

Also the fact that a lot of characters are framed with them could be indicative of a threat of the end of the world as we know it, given Amara is hell – bent on destroying God’s work, in which case everyone would die.

I also think that with Death’s demise, the exit signs might not be as straightforward as they have been.

Yeah, I was kinda wondering that myself.  It wouldn’t be the first time a visual motif in SPN started off foreshadowing plot points for specific characters morphed into something indicating more general portents.  

So, it may be more significant that an exit sign is lurking behind a human, in general, rather than Sam in particular.  That would bring the 3 axis of Heaven, Hell, and Earth into parallel.

As Pale as Death: Death Rides a White Horse

Supernatural makes vigorous use of visual imagery to support the narrative.  Just one more example: color.

The association of the color white and death started with the two Women in White early in the first season

From there, Dean and John stripped down to their most vulnerable, with little left to hold them here.

Hints of death showed up in What Is and What Should Never Be.  The girl, John, and Mary weren’t really there.  It was all a dream of those long gone.

It was a dream where Mary was associated with pink and red flowers and Sam with yellow flowers.  It was Dean, on the brink of death, who was associated with white flowers.

Sam wore the blue and white shirt of sacrifice and death at the end of Season 2.

White has hinted at death throughout the remaining seasons.

Until here, in bold, Death rides the palest horse.

We’re all headed for the exits

Exits signs as a motif hinting at impending death have reappeared in Season 11.

Season 2: The first appeared hinting that Dean was on his way out.

image

Season 10: When Dean had exited life as he knew it.

image

Lurking behind Sam when he was infected by the Darkness in Season 11′s open.

image

And now here there are again in The Bad Seed, lurking behind a demon.

image

And an angel, as well as white flowers – another harbinger of Death in the Supernatural universe.

image

Both on the menu in restaurants.  Because Amara is Hungry, with a capital “H,” and she is ready to eat.   

Voices and visions

larinah:

I felt like the beginning scenes in the bunker in “The Bad Seed” were an exercise in almost working as a team again.  Sam, Dean, and Cas are talking together trying to puzzle out what to do next, but there’s one thing Sam and Dean skirt around and don’t quite get to.  Not really out of flat out deception, but more from missing each other’s clues.

We start with Dean remembering his visions of the dark cloud, to the point where Sam has to say his name a couple of times.  But he says he’s fine, and they drop it.

Then they’re talking about an absent God and Sam says, “It’s possible he’s still around, closer than you might think.”  Dean replies, “What makes you say that?” but Cas immediately speaks before Sam answers.

Then we get Cas having his spell problem.  They put him back in the chair and Dean has his hand on Cas until Cas says that, “It’s difficult with these voices.”

At which point Dean immediately does this:

And Sam says, “Are there voices?” and looks like this:

It seems to me that both Sam and Dean reacted a little strongly to what Cas said.  Like they were just about to say, “Hey, I’ve had some voices/visions going on, too…maybe we should compare notes on this.”

But then Cas says it’s just angel radio and they relax.

As far as we know, Sam knows that Dean had a vision and that she spoke to Dean but Sam doesn’t know about the bond she talked about (and possibly any urges to protect the baby that Dean might only vaguely be aware of himself).  And as far as we know, Dean doesn’t know anything about the weird vision Sam had at the hospital (or even that Sam was ever infected with the black vein stuff).

Communication among Team Free Will has gotten better, but it’s still not quite where it needs to be to really hash out all the problems to be faced.

oranges8hands:

oranges8hands:

*pinches bridge of nose*

The reason I shook my head when I
realized Jenna was played by the same actress as Emily (7.22) was
because the Winchesters deliberately left a kidnapped victim with her
(sexually abusive, emotionally manipulative) “father” and I knew  –
having paid, yanno, an iota of attention to the way this show does girls
– that something similar was going to happen to Amara. Crowley
“stranger in a white van” grabbed her and was literally trying to train
her (gotta make her loyal, like a dog); cupcake, sweetie, good girl, let’s take a step back and look at the big picture of this storyline: a being older than God, older than Death,
has to Emma-grow her way into being, underneath Crowley’s command,
locked away and rewarded with a pink dress (Emily and her pink room,
sexual abuse victims and their pink clothing) and controlled (how much
food does she get, what does she watch, what can she read) and her anger
is only seen in privacy, a reflection of her older self she needs to wait to reach. She’s powerful, technically, but mostly she’s a baby little girl, she’s listening to Crowley, she’s shunted off to a side room, she’s a rotating cast of growing bodies and she – locked away longer than Lucifer was even alive – has to wait before she can act. (Because first we need to see Crowley try to shape her, control her; and whether he’s able to or not at the end of the day, the narrative will always make sure its a possibility for the female character.) 

An additional summary of the women in this episode:

Women (witches) are a joke. Half the time they can’t even
finish the spell before a man is grabbing them (which somehow stops them), can’t defend themselves
and – besides Rowena – can’t save themselves. Dean winks and sticks his
feet up and talks to them like they’re stupid and beneath his notice;
Rowena is a joke to other witches and witches are a joke to the
Winchesters. Ruby used a map and fire to scry out Dean’s location in S4
and here we have make-up (mirror and foundation) to find Rowena. ”I’m a
nobody, I’m worse than nobody, I’m nobody’s third cousin who doesn’t
even get invited to dinner.”

Women are victims. We watch Cas stalk
and choke a woman,
Cas was on our screen trying to choke a woman to death, and Dean was watching
(how long would he have stood there and let it happen?) and we were
watching and our hero (not his fault, of course, can’t control his
actions and those Winchesters have inconsistent skills with handcuffs)
tries to choke a woman to death, he stalks and chokes her, we literally watched Cas
try to choke a woman to death, not his fault Dean tells him when he
apologizes for hitting Dean and there is a woman out there who was
recently almost choked to death, who ran (slowly) for her life and was
scared and hurt and as soon as she left the screen (left where she was
victimized) she was removed from our consciousness. Women get boiled
alive, they have their throats cut and then stabbed for emphasis, they
have violence visited upon them, over and over and over
again, they are dead and expendable.

Women are sexualized and
racialized and mothered. East Asian women are fetishized porn stars,
they are PR footage and silent voices and moans and available 24 hours a
day. Blonde women “have more fun” (she is about to be chained against
her will) and there to fulfill all those no homo needs (Dean was
definitely flirting with her, body close to her, in the dark, in an
isolated area, he is a big guy and he scoffs when she doesn’t want to
hear it.) They are pure evil but still somehow know how to be nannies
(and when they can’t, MOC can be feminized into their role.) They are
private jokes (MrsTran, “tiger mom,” was another woman Crowley locked
away) and dismissible.

This is how Buckner & Ross-Leming write women in this episode and this is how they write them in all of their episodes.