Mrs. Dalloway said she would buy the flowers herself

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I’ve said elsewhere that flowers are used as a visual device to hint of secrets, things yet to unfold.  And here we have the introduction of Dr. Hess, and her incongruously brightly flowered scarf, a hint that things are not quite what they seem.  

Next, her entrance into the room is proceeded by a goat with horns….

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and there she stands again with horns above her head. Hmmmmmmm.  

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Mick’s history so closely paralleled Sam and the Azazel’s children death match in the same season that we’ve been introduced to the other yellow-eyed demons.  

What do you want to bet it’s the British Men of Letters that have been compromised?

12×11

lost-shoe:

treefrogie84:

spearywritesstuff:

treefrogie84:

spearywritesstuff:

dorkilysoulless:

spearywritesstuff:

There’s some interesting things going on with eyes. Not sure what it means yet, but in an episode where Sam’s soul was going to be traded for the witch guy’s soul, maybe the windows to the soul matter. I dug up these pics because seemed like it might matter. I mean the voodoo doll didn’t have to have a missing eye. Seems like it might be something.

Don’t forget Scooby Doo getting shot in the eye with water – on the TV while Dean is watching – in this ep as well. 

Oh, I forgot that. That was the other thing. There was a bunch of dog references. Dean’s told to “stay” multiple times in the ep, Scooby Doo…

(apologies for the utterly disjointed ramblings below. I’m pre-coffee)

In an episode about memory, in a season about thoughts and memory, we have an awful lot of missing eyes. Now i feel like I need to do a rewatch looking for ravens.

I’m going to Odin with this one. I’m not sure how he fits in (particularly since he’s dead-ish since season 5 [my thoughts on whether or not Gods can actually die is besides the point.]), but that’s where my brain is going. 

Odin sacrificed one eye to drink from the Well of Poetry/Wisdom/Knowledge. It takes the loss of an eye to gain knowledge/wisdom. 

That’s what Charlie and Lily have done. Lily far more literally than Charlie. Charlie too though, ‘loses’ an eye in the episode where we learn she’s started hunting, gaining knowledge.

Scooby Doo episode is Hassle in the Castle. Scooby finds a magic hat while he’s scouting ahead of the gang. First he pulls a rabbit out of the hat, then drum beats while it’s empty, then the flowers which squirt him in the eye. It’s a temporary blindness, that leads to VELMA saying she’s ‘starting to figure things out’

We never actually see Dean use the hex doll. He’s far more interested in the pins. I’m not sure what to make of that, perhaps knowledge un-used?

He does stab the doll though. He only stabs it through the head, the center of knowledge and whatnot. Did anyone notice too how the folks one eye moved about a bit oddly? Also I’m wondering who the figure represents. I’m now on the lookout for a yellow haired, one eyed enemy of Rowena.

Yeah, I saw that he did stab it in this morning’s gif sets (after I’d already responded.) I missed it last night, even while I was paying attention.

the hex doll has a googly eye, which is why it moved funny. I’m just not sure how it ties in. 

Possibly Rowena wanted whoever that’s tied to (which yeah, that would be useful information! i was thinking lucifer, but all his recent vessels have been dark haired) to know what’s happening to them? 

I read this a while ago (thank you to @elizabethrobertajones​ for helping me find it again!) and it lodged firmly into the back of my mind as “Thing to keep an eye on” (pun intended ;P) and it’s striking how often we get this visual, in particular in relation to Dean. In addition to the above examples, we have Lady Toni threaten Dean with the Sharp Pointy Stick of Ouch:

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In the Foundry, the doll you’d give only to children you hate (found by Mary, so a minor exception to the rule?) is missing its left eye:

And then, most recently I believe (I’ll need to rewatch 12.15 to see if I’ve missed something there) you have this graffiti behind Ketch and Dean that may just be coincidence but the line through the eye is quite striking to me nonetheless.

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Also, this might be part of the thing too?

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I still can’t quite put a finger on what this symbolism is referring to, but given that I’m of the opinion that Bad Thing lies on Dean’s horizon this season, I don’t get feel good vibes from it.

So… That Apology Thing:

semirahrose:

I’m seeing a lot about Sam’s apology and Dean’s response in 12.15, “Somewhere Between Heaven and Hell.” It was good to see Dean accepting Sam’s explanation and understanding Sam’s motivations. Seeing Sam and Dean’s relationship get even a bit closer is always a pleasure.

But something rubbed me wrong: there’s this weird imbalance when it comes to apologies in this show. For example, we got almost this exact same thing in 11.11, where Sam, after facing Lucifer, feels immensely guilty about thinking Dean was dead and not saving him from Purgatory. He sincerely apologizes and Dean responds kindly, telling him all was forgiven and forgotten long ago.

So in short, Sam feels guilty about withholding the full truth about an honest mistake he made years ago. (I’ve written about my feelings on the topic of the apology 11.11 before.) Sam also, most recently, feels guilty about secretly allying with a group of people who tortured and brutalized him in unspeakable ways. He eventually comes clean and apologizes, admitting that he thinks their methods might allow them to save people. He is in a vulnerable position in front of Dean, who has the power to forgive or withhold forgiveness. Apologies are like that. One can’t go in expecting forgiveness, but Sam still apologizes.

Yet we never see the other side of that. And see, on the Sam and Dean front, that makes perfect sense. Even Jensen has said that Dean’s biggest flaws are not admitting he’s wrong and not asking for help when he needs it (x). (Hint to SPN writers: I wouldn’t mind seeing some development on that front.)

But it’s not only Dean who doesn’t bring these things up or apologize for them—it’s the show itself. Where Sam’s misdeeds come up repeatedly, Dean’s fade into obscurity.

  • Dean, who admitted that Sam would rather die than be possessed, agrees to in his brother’s stead to let Gadreel possess Sam. Sam’s body is used to murder people and Sam has nightmares about it. He is so messed up about the huge breach of trust that he cannot work together with Dean for a while. Dean never apologizes. In fact, his last words on the matter are that he’d do it again. What he did is never mentioned again except as a failure on Sam’s part to appease and work together with Dean.
  • Dean, who took on the Mark without Sam’s knowledge, keeps its nature and its effects secret for as long as he can, and then lies to Sam, knocks him unconscious, and leaves him on the ground. No apology. Never mentioned again.
  • Dean is a demon who hurts, mocks, verbally abuses, and tries to kill Sam. Of course he wasn’t quite himself at the time, but that has never stopped Sam from feeling and expressing guilt for his actions (see: soullessness). He never apologizes. It’s never mentioned again.
  • Dean then explicitly lies about the increasing power of the Mark throughout s10. He kills people who shouldn’t die and overkills things that should. He acts behind Sam’s back. He never apologizes. It’s never mentioned again.
  • Sam’s choice to save the world from facing an immortal, murderous Mark-bearer by seeking a cure, however, is brought up repeatedly by other characters to condemn Sam.
  • Mark-influenced Dean blames Sam for Charlie’s death, refuses to allow Sam to speak at her pyre, and tells Sam that he should be the one who’s dead. This is never mentioned again. Dean never apologizes.
  • Dean manipulates Sam into coming to him under false pretenses and then tries to convince Sam to let Dean murder him. He’s successful. He brutally beats Sam until he’s on his knees, calls him selfish. This is never mentioned again. Sam receives no apology.
  • Dean, out of fear, fails to tell Sam about the effect his bond with Amara has on him. Said bond puts Sam’s life in peril more than once when Dean’s responses are compromised. He admits the truth to Sam. (No apology for keeping the secret. Never mentioned again, by the way.) Sam understands and forgives without an apology, understanding that Dean feared rejection.
    • In contrast, Sam’s “visions” (from Lucifer) are revealed and Sam gets a lot of flak for his mistaken faith before Dean benevolently agrees to allow things to play out as they will.
  • Dean says in 11.22 that “I lie and tell Sam I’m sorry all the time.” I don’t dare wonder which rare apologies he’s actually talking about. This exchange is played for a joke, of course, but presented as fact and never countered. Never mentioned again, etc.

So. Dean almost never apologizes but says that he often lies when he does, and the show sees no need to rectify that. But Sam keeps secrets—the weight of which often has to do with his own body, mental health, or torture—and the show has him apologize more often than not to Dean’s patient absolution. I’m not saying that Sam has never done things to apologize for or that he shouldn’t have apologized, but I am saying that there’s a clear imbalance. I’m always interested in character growth, but something’s rotten here.

“I find that doll disturbing.”

welkinalauda:

“Her father gave it to her.”


“Here, play with this, and I’ll  tell you a story.”


“I remember you.  a rag doll all huddled up on our doorstep.”

And tears that I have covered with patches
Red and yellow patterns, nothing I own matches, hey
Where I have them sewn with black stitches
Are made exposed to be soiled and tattered, hey

I’m just a little girl, I’m Raggedy Ann
Making believe I’m happy, hey
Raggedy Ann, falling apart at the seams

12×09 tag (fix-it)

idontneedasymbol:

“What do you mean, there aren’t any more rogue reapers?”

Crowley shrugged, reaching for his drink. “Seems that Death has been cracking down on that.”

“Death?” Sam and Dean exchanged glances. “Death’s been gone for over a year.”

“Death has,” Crowley said smugly. “But now there’s Death.”

“Hey.”

Sam and Dean spun around. “Billie?”

Billie smirked at them. “S’up.”

“But you–Cas–” Dean started to mime a gesture, realized there was nowhere good it could go and stopped.

“Yeah, he did,” Billie said. “Took long enough.”

“How—?”

“So, here’s the thing,” Billie said. She looked the same—almost the same, except for the fathomless depth in her eyes. “Losing Death made things…difficult. But filling a position like that’s not easy; someone’s got to be right for the job. So there’s a requirement. Whoever of us immortal beings proves they are the master of death can take on the role.”

“A master of death…” Sam frowned. “You mean, whatever Reaper can die?”

“Seriously?” Dean said. “You guys made a bet that the first one to kick it gets the crown?”

“Pretty much.” Billie shrugged one shoulder. “And of course we couldn’t just kill ourselves—can’t make it too easy.”

“So instead you’ve been following us around for the last year and a half…”

“Making crazy deals with us…”

Billie’s smirk widened. “Given your track records, I figured it was a sure thing.”

“So now you’re…”

“Death,” Billie said. “But you can still call me Billie. Just don’t bother asking for my scythe or my ring.”

“Hold on,” Dean said. “If you were playing us—all those threats you made before, about things staying dead, and throwing us into the Empty…”

“Were to rile you up,” Billie said. Paused. Kept smiling. “And because I believe in them. That’s why I dropped by—wanted to let you know that there’s some new rules, now that there’s someone to make rules again. It doesn’t matter if it’s me who comes for you or anyone else. You’re getting a one-way ticket when you die.”

Sam swallowed. “A-awesome,” Dean said, and pretended he hadn’t stuttered it.

“And Sam, Dean?” Billie said, over her shoulder as she started for the door. “Thanks for the promotion.”

welkinalauda:

Mr Ketch pulls up to the cool jazz strains of “Take Five.”

The anti-Lucifer Five-Man Band (witch, angel, king of hell, giant, fire extinguisher) gets back together for one last show.
[”The Chick is often considered the heart of the group. This role is played by a woman or girl. Someone female. Otherwise, it is not a Five-Man Band.”  Cf. Ladyheart.]

They set their stage in room 5 at the Plains Motel.

After the show, Castiel tries to treat Kelly to lunch at the Five Corners Cafe, but she slips out the back instead.

Hmmm…. there’s been a fair amount of number references this season.  “3 way” stops and the like.  Must cogitate. 🙂