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Neven's 10x03 Thematic Review

“I don’t mind being called a liar. I am. I am a marvelous liar. But I hate being called a liar when I´m telling the perfect truth.” ― Patrick Rothfuss, The Wise Man’s Fear

10x03 - “Soul Survivor” There’s a long list of what our title could be in reference to. Considering our show’s history of choosing rock songs, the most likely reference is to "Soul Survior", by the Rollings Stones.

When the waters is rough The sailing is tough, I’ll get drowned in your love. You’ve got a cut throat crew, I’m gonna sink under you, I got the bell bottom blues, It’s gonna be the death of me.

It’s the graveyard watch, Running right on the rocks, I’ve taken all of the knocks. You ain’t giving me no quarter. I’d rather drink sea water, I wish I’d never had brought you, It’s gonna be the death of me.

Soul survivor, soul survivor. Soul survivor, soul survivor. Soul survivor, soul survivor. Soul survivor, soul survivor, Gonna be the death of me, It’s gonna be the death of me.

When you’re flying your flags All my confidence sags, You got me packing my bags. I’ll stowaway at sea, You make me mutiny, Where you are I won’t be, You’re gonna be the death of me.

There’s a lot of season 9 recurring imagery here, mainly, a ship upon the water. Sam is also comparative to a sailboat in 9x17 through the use of associative mirrors. This is also another love song about the dangers of love. The singer expresses the need to get away from love because it is causing them terrible pain that will be the death of them. We will see every character explore this in some fashion within this episode. The “bell bottom blues” are referenced within this song and the Eric Clapton song of the same name is here. It’s about leaving a lover, THE LOVER, but not wanting the parting to happen. Another lover being seen with the singer upon meeting THE LOVER again and still having wishful longing for “the one” is expressed at the end. Bells are a recurring theme and we’re about to see them again.

New themes: "What’s in a name?" - “Doctor” and “Father” - Two identities simplified into job titles. One is real and one is false.

Recurring imagery: “Bells and Whistles” - Sam gets blood at St. Agatha’s Hospital. She is a martyr and (among other things) known as the patron saint of bell-founders, or bell creators. The best composition for making bells is 78-80 percent copper and 20-22 percent tin, close to a 4:1 ratio. In other words, in order to achieve the most effective sound, a blend of metal is needed. Copper can not do the job alone. Copper needs tin to make a lasting metal that produces the most attractive sound. This 3000 year old process will later in our episode become a metaphor (needing 2 things together) for how both Sam and Cas are needed if Dean is to change one bell (John’s conditioning) into another (his own tune). This can also be viewed as Dean’s “lying ratio” later. 4 truths for every lie. And it’s the lies that are needed for Sam to successfully “ignore” the truths, as the plot demands it.

Impala symbolism: Commonly associated with Dean’s psyche. The Impala is filmed racing behind trees. We can not see it clearly. It is obscured by nature. Sam leaves it parked outside the bunker, but not in the garage. If it is not at home, Dean is not truly at home.

Recurring themes: "Windows and doors" - Sam steads himself to open the door to the dungeon where Dean is trapped.

Recurring themes: "Making things square" - Sam tells Dean, "For whatever it’s worth. I got your blood type." Sam gets O blood at the hospital. O (negative) type blood is universal donor blood. It can be given to anyone. The downside to it is that if you are this blood type you can only receive blood from someone who is also O. There is heavy symbolism here. In order for things to work for Dean, things must be equal. He can give love to anyone, but equality is needed for him to receive it in order to heal.

Recurring themes: “Dog references” - Dean gets his first shot of human blood and starts barking as the effects begin.

Hannah worries about Cas. We can see Cas awkwardly glancing at her. She voices her confusion over Cas going to help Sam against his fading grace and Cas explains he’s fine. She points out he’s lying and he explains he’s acting human, doing something humans do when they don’t want to talk about something. More explaining humanity to Hannah. We see that Cas is basically preparing himself for the possibility of killing Dean. Hannah finally explicitly voices her worry and smiles. We cut over to Cas who looks more than tired. Whether it is from simply the grace, or how he doesn’t seem to like where Hannah’s feelings for him are going goes unsaid.

Recurring themes: “What makes a monster?” (Can you fight your nature?) - Dean gets his second shot. He mocks Sam’s faith in lore, hunting, and the Men of Letters, calling the whole thing (the life) a load of crap. He embraces his demonic nature, calling it the natural order. God created the system, the system lead to “the problem with angels” and that lead to demons and everything that followed. This is similar to how Cas felt and saw things at the end of season 7. It was much easier for him to just embrace the crappiness of the system and stop fighting.

Recurring themes: "What makes a monster?" - Dean says that Sam isn’t much different from him. In true thematic heavy-handedness from this writing duo, he asks our tagline of the season, “Which one of us is really a monster?”

Recurring themes: "El Sol" - Sam stands under the sign of false dreams, where you are given what you want in the worst way possible. We see Lester, our guy who made a demon deal to kill his wife, at the bar drowning himself in a drink, talking about how his life is over, how his wife is a bitch, and how “nothing” ever works out for him. He is still colored as a loser and sexist dick (whose main upset is his wife not having sex with him, not over her taking his “stuff” as he complains about later). He is, by design, someone we are crafted to feel no sympathy for, which is why this storyline loses its punch…

Recurring imagery: “Gaming references” - Mindy’s new love played in her bowling league. They had one type of relationship that evolved into something else. Several teams of 3-5 play against one another in a league game. We saw bowling in 9x22 as well.

Sam implicitly tells Lester about demon deals, suggesting he can have “anything”. We know Lester only asks for one thing tho… which is weird considering how greedy he is about his stuff and sleeping around on his wife. The question of “why did he only ask to kill his wife then?” lingers…

Recurring themes: "Communication/Miscommunication" - Lester starts to summon the crossroads demon. HE SAYS A FEW WORDS CORRECTLY AND THEN SAYS SOME THINGS INCORRECTLY. This is SO, SO FUCKING IMPORTANT. Sam corrects him and it is played for laughs, but this points out something important in regards to Demon!Dean later. Like Lester, he will say some things right… but he will also say some things wrong. This is a more subtle association from, let’s say, the taser in 9x08, but I feel it is very clear and deliberate in terms of thematic associations and intent.

"Who summons me and for what purpose?" LOL. Nice "sell" you got there girl…

Recurring themes: "What makes a monster?" - Lester quickly asks for his deal as Sam “rushes” to stop him but he is too late. Not exactly what I’d call “monstrous” really. This theme should instead be labeled, “What doesn’t really make a monster?” For NOW at least…

Recurring themes: “What makes a monster?” - Sam tortures Dar for info that she doesn’t have. She looks pathetic and about as sinister as my year old left shoe. Someone clearly forgot to give this girl the note that demons are supposed to be evil and scary, not whimpering and weak.

Recurring themes: "The flower of free will" - Dar tells Sam, “You made that poor son of a bitch sell his soul.” Uh… NO. Sam gave him a way to get revenge and Lester took it. He made a choice. Just as Sam made a choice to willingly accept Lester’s eventual death and the subsequent damning of his soul in the event that the deal was made (as it was). As Metatron told Hannah, you had a price you were willing to accept when you walked into the choice. Metatron being free for Hannah, Lester damned for Sam.

New themes: "What’s in a name?" - Perhaps this carries over from 10x01 where Dean is called “porn guy”. Mindy marries “the tattoo guy” according to Dean (damn that was fast and how did Dean even get this news so fast?), meaning Dean checked up on her afterwards and cared enough to note what happened to her. His identity is simplified into the ink he bears.

Recurring themes: "What makes a monster?" - Dean tells Sam, “Wow. You might actually be worse than me. I mean, you took a guy at his lowest, used him, and it cost him his life and his soul.” I think Dean is comparing Lester’s situation to his own here. Two crossroads deals. Two lives forfeit. There’s resentment boiling up at how Dean thinks Sam doesn’t truly realize the damage done to him by their situation. And how could Sam? When Dean isn’t forthcoming with how he feels? Sam doesn’t know the true extent of how much Dean has really given up because Dean has shielded him from that knowledge, just as any parent shields their child from their struggles.

Dean implicitly asks that Sam kill him if the cure doesn’t work. At first Sam looks angry at what’s become of him and then he looks like Dean’s suggestion might kill him as well.

Homoerotic subtext: Dean/Crowley: Crowley is judging traitors to Hell as he sits on his Hell Throne (lol, wut?). He boringly sentences people as he boringly reads paperwork. People are also waiting outside for requests, but Crowley has zero fucks to give. Crowley also listens to word of Castiel and informs his Sean Connery-like demon to simply follow him and give him updates on his condition. Crowley’s mind wanders then… to Dean. Dean with Ann Marie. Dean flubbing the defense as they play foosball with the twins. Crowley suggesting they rule Hell together. The whole thing reads like a “lost love” montage and it is quite simply funny. It focuses on Dean not “meshing” with him and Crowley’s lingering thoughts over that. A demon snaps him out of his reverie and offers to be his “new Dean”. He is overeager and awkward. Crowley snaps his meatsuit out of existence (seriously… wtf) and goes right back to looking bored with his job.

New themes: "What’s in a name?" - The demons call Crowley many things: One, Sire, Great One, Your Majesty

Recurring themes: "Lose your chickens" (Chickens and wings) - Eager demon offers to be Crowley’s new “wingman”. This is imagery of one with wings by one’s side. The term refers to a person who helps guide you to and against intimate relationships. A wingman is a support role both socially and in the traditional military definition.

Recurring themes: "Wishes and Broken Dreams" + Recurring imagery: “Americana”/”Stars” - Larinah talks about this here first. Hannah has taken a wrong turn by accident (there’s symbolism here for her blossoming feelings towards another angel instead of her coming to love humanity) and her and Castiel are lost by the “Star Brite Drive In”. It is abandoned and in severe disrepair. Drive ins used to be popular in the late 50s and early 60s, frequently used by teenagers for dates. They now represent 1.5% of total theaters in America. They represent the decline of an era as new indoor theaters began to replace them. The indoor theater is the “rocket” (like from the little girl’s dream in 10x02) that replaced the star basically. They are the new lights (on the ceiling in indoor theaters, plus the new projectors) that replaced the old ones (where outdoor theaters required nighttime and different projectors to function). Old-thinking angels (“stars”) are the way of the past, where new angels (“rockets”, “indoor theaters”) are the future. It is no wonder Hannah (who admires the stars) is framed next to this “broken dream”. It becomes more symbolic later when Cas “shoots her down”, just like a rocket…

"Funhouse of Mirrors" - Hannah complains about more human stuff, this time cars. She calls them primitive and confining. Cas called them confining to Lucifer in 5x10. This furthers her mirror to the Cas of the past.

"It’s time we stopped avoiding the obvious. You and I both know how to fix this- both you and the situation" - Hannah is suggesting they kill the rogue angel Adina and give Cas her grace. Hannah believes in killing for killing. She also wants to save Castiel.

"Then you carry on" - Cas tells Hannah that she is all she needs basically. She responds with "I’m not enough", showing her reliance on him. “Sometimes enough is all you have.” Cas is warning her about relying on him. He is going to leave her one way or another. She grabs his wrist as he moves and if what she’s feeling hasn’t clicked with him yet, it most certainly clicks with him now. He is speechless and the phone rings.

Sam talks to Cas about how the cure is going. Sam is worried he might be killing Dean (he’s already “dead”, but okay…). Cas tells Sam to be prepared to (maybe) kill Dean if the cure doesn’t work, that Dean’s not really Dean right now (and basically Dean will never be “Dean” again if this doesn’t work anyway). Cas looks at Hannah for the next part, “I’ll be there as soon as I can.” It’s not what she would have him do, but it’s what he’ll do nonetheless.

Recurring themes: "Communication/Miscommunication" - Dean tells Sam, “I chose the King of Hell over you.” Uh… no he didn’t. Dean chose FREEDOM over Sam. He didn’t choose Crowley at all. He “dumped” Crowley in fact, once he saw what Crowley wanted from him that which he couldn’t (wouldn’t) give. One set of chains for another. John’s orders to Crowley’s orders. This is Dean mispronouncing the spell like Lester. He is saying the wrong thing. And then he says the right thing (as in the “truth” as he sees it). “Maybe I was just… tired of babysitting you or always having to yank your lame ass out of the fire… since forever.” Dean is speaking of the responsibility to take care of Sam that was given to him. There’s resentment here, something he spoke of in 9x07 when he confessed this sentiment to Robin in not so many words, using fixing cars and them leaving as a metaphor to his situation. And now Dean speaks (“pronounces”) wrong again. “Or maybe it was the fact that my mother would still be alive if it wasn’t for you.” Mary is dead because she made a choice, not because of Sam. She made a choice in a game orchestrated by angels since before their great, great, great, great grandparent even thought about their own names. Mary’s death is not Sam’s fault. And now Dean pronounces correctly again (what he feels is his “truth”)… "That your very existence sucked the life out of my life." And this is it. Dean’s resentment is out in full force, as the edge of his voice breaks. He sacrificed everything for Sam and Sam hasn’t a clue just how far that sacrifice goes. Because Dean? He won’t tell him. And so Dean goes… picking waitress after waitress to replace the one he never could have. The waitress he left alone at the dance, just as he kicked Cas out for the same reasons, whose “fake Heaven” (Hell) in 9x22 was being at a dance alone… And Sam “plays through the pain”, but inside he is dying. “This isn’t my brother talking,” he says. “You never had a brother- just an excuse for not manning up.” Dean has never been Sam’s brother. Not really. Their relationship has never been equal, or even close to that of older brother to younger brother. No. Dean has taken care of Sam like a parent. The “manning up” jab, I feel, refers to how Sam “stood up to John”, but not in a way that made a difference. Again, Sam was a shielded (by Dean and John) KID. You see, this is really Dean talking to himself here. He’s projecting. Dean is mad he could never “man up” to John and now the damage is done and it can’t be undone, only glued and repainted. Sam tells Dean, “This family is all we’ve ever had!” Dean replies, “Well, then, we got nothin’.” If it is just them two, then that’s not enough for Dean. He needs something more. And then Sam goes low, knowing enough (though not everything, obviously) of how much John’s “dictatorship” tore Dean apart. “Would you say that to Dad?” Sam is trying to get Dean back to humanity, and nothing is more “rooted” in his humanity than the John Winchester party line. Dean tells him, “Dad? Oh, there’s a prize. Here’s a man who brainwashed us into wasting our lives fighting his losing battle.” And there it is. The scratch to the surface that we so rarely see Dean touch. Here, he admits that John was horrible. This is something Dean himself could never “man up” and say to his father and so our story goes…

Homoerotic subtext: "Dean/Crowley" - A demon confronts Crowley’s crappy rule as he sits upon his throne looking bored to the world, sentencing demons to death without even reading all the paperwork in some cases. He calls Dean Winchester Crowley’s “boy toy”.

"Funhouse of mirrors" - Crowley’s resentful demon lights himself on fire with holy oil. This comes right after Dean verbally tears apart Sam. Being dead is preferable to living under the rule of tyranny and “no reward”. As our narrative has Dean compare Crowley to John (even though that’s not what Crowley wants), this puts Dean in the same place as the “resentful to being ruled” demon. Tearing down Sam is the same as Dean setting himself on fire, narratively speaking.

Recurring themes: "Bells and Whistles" - Hannah and Cas stop for gas and a train whistle can be heard in the distance. Hannah’s about to miss the proverbial train.

Cas: “You know… this- this road we’re on, it’s- it’s dangerous.”

Hannah: ”All right.”

"Um… we can’t afford to lose our way.”

Hannah: "I know that. I’m sorry about the map."

"No detours of any kind."

Hannah: "Castiel, if these are metaphors and you’re attempting another human communication, it isn’t working."

"I’m just trying to say that this mission is everything.”

Hannah: "I know that."

"Getting to Dean and hunting these rogues… I- I’m not at full capacity so I- We n-need total focus.”

Hannah: "Like a laser. Got it."

"Just- I’ve been around humans for long enough to see… how easily distractions occur."

Hannah: "Distractions…"

"Emotions- Feelings- They’re dangerous temptations."

Hannah: "How biblical, Castiel."

"I don’t mean to be unkind."

Hannah: "You don’t need to be kind."

"I just- I’m trying to keep our priorities clear.”

Hannah: "Not to worry then. I’m very clear on my priorities and yours.”

Castiel uses “union” wording with Hannah, “..road we’re on”, “…we can’t afford to lose our way”, "I- I’m not at full capacity so I- we n-need total focus". The last correction is everything. Cas is taking the “I” and making it the “we” to “be kind”. Almost all of the “feelings” focus has been on Hannah, just like it is with Crowley. Cas is able to see her feelings and understand them because of how he’s “been around humans a long time”. He recognizes them for what they are. Hannah takes his rejection hard for someone fumbling through the dark of human emotion. When Cas tells her, "our priorities", it is Hannah that separates the “union” language, "I’m very clear on my priorities and yours." They have different priorities. Cas’ is Dean and Hannah’s is getting the rogue angels with his help. Cas’ is to die and Hannah’s is to see him get better. Dean “dumps” Crowley and now Cas completes the mirror and “dumps” Hannah.

Recurring themes: "Whistles and Bells" - Hannah goes into the store and the bell announces her presence.

New imagery: "World War II" - The cash register’s total is set to "D-Day".

"Just kill me, but let her go." - In the strongest case of "the plot demands it" that I’ve ever seen in my life, Adina has been tracking Hannah and Cas for days. Knowing his death is coming anyway and that Dean might not be able to be cured, Cas tries to ensure Hannah’s survival, hoping he has taught her enough. Adina thinks a better punishment is to kill him slowly in front of his "honeybunch", Hannah.

Recurring imagery: "Cas and pie" - Sam looks through Dean’s room. It’s the same as it was in 9x23. Porn lies on the corner of a ratty green couch. Beside the couch is a table with a single old phone, books, and a piece of half eaten pie. Pie, in Carver’s era, represents the state of Cas in Dean’s life. The last time Dean ate pie was when Cas was in the bunker. The pie (remarkably unmoldy, lol) is almost gone, reflective of Cas’ fading grace.

Music: Iron Maiden’s Greatest Hits “Two Minutes to Midnight”:

Kill for gain or shoot to maim But we don’t need a reason To Golden Goose is on the loose And never out of season Blackened pride still burns inside This shell of bloody treason Here’s my gun for a barrel of fun For the love of living death

The killer’s breed or the Demon’s seed, The glamour, the fortune, the pain, Go to war again, blood is freedom’s stain Don’t you pray for my soul anymore?

This album is featured in Dean’s room (and thanks to actualdemon who named it). On the album, “Two Minutes To Midnight” is the only song that the show has used as an episode title (5x21). Themes around this episode involve desperation. Sam is faced with needing to drink demon blood again in order to say yes to Lucifer and jump in the hole. We learn that Bobby has desperately sold his soul. Dean desperately talks to and lies to Death about his intentions. Cas desperately grapples with no powers out of a coma. The episode’s other “great” theme is outlined in Pestilence’s “disease talk”.

"You boys don’t look well. It might be the, uh, Scarlet fever. Or, uh, the meningitis. Oh! Or the syphilis. That’s no fun. However you feel right now? It’s gonna get so very, very much worse. Questions? Disease gets a bad rap, don’t you think? For being filthy. Chaotic. Uh, but, really, t-that just describes people who get sick. Disease itself… Very…Pure…Single-minded. Bacteria have one purpose —divide and conquer. (Pestilence steps on Dean’s hand) That’s why, in the end…It always wins. So, you’ve got to wonder why God pours all his love into something so messy…And weak. It’s ridiculous. All I can do is show him he’s wrong, one epidemic at a time. Now… On a scale of 1 to 10, how’s your pain?” - Pesilence 5x21

The episode is about there being conquer in “the divide”. If Team Free Will isn’t “whole”, then the mission fails. At the end of the episode we see the Horsemen’s rings assembled to create purpose. The episode ends with Bobby talking about Sam’s darkness and Dean being afraid of losing him. The latter we just explored last season and the former folds into our current season’s party line, “What makes the monster?” The difference between then and now is that “fate” is transcribed as duty and “free will” is transcribed as desire. The cogs working against the Winchesters are their own, not a singular outside enemy. There is setup for reconciliation instead of annihilation as there was before. I dare say that we’re quite a while away from that yet though.

Recurring imagery: "Coat hooks" - Several coat hooks are on Dean’s walls. One green jacket hangs from one and a plaid shirt hangs from another.

Sam finds some of Dean’s pictures and goes through them. He tries to manage a smile, but the weight of possibly not being able to bring Dean back weighs heavily. He lingers on the last photo the longest and takes it with him, throwing the others back on the table.

Recurring imagery: "Game imagery" - Crowley tells a beaten and bloody Cas, “Hey champ.”

Recurring imagery: "The long road ahead" - This is my tag for Dean and Cas’ progressing relationship. I’ve had it for a long time now. Earlier, when Cas was speaking of feelings to Hannah he called it “a dangerous road” and now here, Crowley calls him, “roadkill”, as in Cas has been killed by the road. I think it’s completely coincidental, obviously, but the comparison (his destination at “the end of the road” is to get to Dean and Hannah took him on a detour for which the dying Cas is “hit” by circumstance) is still funny. Especially when I refer to our “current road” (to Destiel and Cas figuring out “What broke the connection?”) as as a path that requires the writers to take "detours" and "wrong turns" (which Hannah does), which results in us looping back around to previous positions that further delay our final destination. I’m just laughing over “feelings” being representative of a road to be traveled considering how much I use it as a metaphor and then Cas and Crowley do the same. There’s chase imagery in here as well. Dean and Cas are always chasing after one another and hardly ever are they in the same place. The mirroring this year is extraordinary, however.

"The problem with angels" - Adina cuts up Hannah and tells her to suffer as “my Daniel” suffered. There were feelings between them. She calls Daniel hers. Adina tells Hannah, “An angel who would have hauled us back to that Heaven of yours.” Adina is disowning Heaven. She cries as she tells Hannah, “You should have left us alone.” I might be mistaken here… but I believe this is the first time we’ve ever seen an angel cry. It shows that they are fully capable of human emotions even with their grace. Obviously this range can only happen with time and understanding, but it is able to be grasped just the same.

Crowley slits Adina’s throat and removes her grace. He then stabs her. “Why can’t you people just sit on clouds and play harps, like you’re supposed to?” When has Crowley ever cared about angels? Well… never. He’s not really talking about angels you see. He’s not talking about Adina. Crowley is asking her something he’s asking himself. Why can Crowley not just sit on his throne in Hell like he’s supposed to? Why is he not satisfied with that role? Why does he want to be more… human? Why did Adina? And we all know the answer to that…

Crowley pops a crystal skull topper on the stolen grace. This will buy Castiel some time, but his death will be “back on course” before long.

Recurring themes: “Reap what you sow” + “Let it go” - Dean hunts Sam through the hallways. Sam hugs the walls while Dean stalks down the middle. They are… uneven. In the kitchen, Dean looks for a weapon to use against Sam. He picks up a meat cleaver and puts it down, opting instead for a hammer, a blunt instrument just like him. defilerwyrm talks about this here better than I ever could. The drawer is full of many tools and out of place is a tin of sugar. Tin is associated with Dean through the Tin Man in 9x04 (also with bell making) and sugar is the product of long cultivation. And not just any long cultivation… Sugar requires a mostly tropical environment to grow. It is a very effective photosynthesizer among the plant kingdom and formed at one time a triangle trade that made use of slaves. This is similar to “endless game” imagery of 8x20 as well, with Dean (and later, Sam) being “unable to let go”. Sugarcane requires heat to be processed. This ties back to our tea kettle imagery in 9x08, with the “heat” being the codependency of the brothers.

Crowley offers Cas Adina’s grace. He explains it’s hers, but that it’s “okay” to take it since she was killing (“your girlfriend”) Hannah. "Your hands are clean." He tells Cas. Cas has been seen washing his hands twice in the past 2 episodes. To the shock of no one, short sighted foreshadowing (once again) is a specialty of this writing duo.

Crowley tells Cas that he saved him so that he can “fix the problem” with Dean. Crowley says having him as a demon has caused Crowley nothing but problems. Cas tells Crowley, “You realize, worse comes to worse… that means killing him.” Crowley replies, “I’m not sentimental.” Yeah, okay. Whatever you say Crowley. That’s why you’ve been killing all the unloyal demons, right? Because killing them is easier than killing Dean? They pay for the hole he left in you, but you’re “not sentimental”, sitting on your throne, bored as fuck, daydreaming of “better days” and vaporizing demons who dare try to fill that void. It seems Cas senses some of this at least. So that’s TWICE we see Cas able to perceive feelings and not just any feelings… romantic ones. With these examples, a clear picture is painted that Cas understands and can identify romantic longing (supposedly from his time “with humans”). That’s why he gives Crowley the warning. Cas, at the very least, seems to understand he is being used by Crowley to save Dean.

"Funhouse of mirrors" + Recurring imagery: "Windows and doors" + Recurring imagery: "Demonic death" (red/black combo colors) - Dean kicks the door to his room in as Sam unlocks a cage that houses the bunker’s electrical system. Sam flips the power off and the bunker goes into lock down with red lights. Dean comments that the doors will not open now, reflective of how Sam, alone, can not reach Dean’s mind. Dean walks into the electrical room as Sam hides. Dean cuts the power back on. This is more short sighted foreshadowing for Dean “coming back to life”, as the bunker’s “power system” is reflective of Dean’s state of living: human or demon (much like it went into “lock down” upon Cas leaving him in 8x23). Sam runs for the door and locks Dean in the room. "I know you’re still in there somewhere." This doesn’t nothing to “snap Dean out of it”. Now, we watched a whole season last year of Dean being locked behind doors by his own demons. This year, instead, has Sam locking Dean behind doors. Dean still gets out each time through his own will, but it’s symbolic that is it now Sam putting and attempting to hold him there.

Pop culture references: "The Shining" - This one is strictly visual. Dean starts chopping in the door ala Jack from “The Shining”. The demonic “condition” is referred to as an “illness” where “treatments” are given. Dean taunts that Sam will not kill him, explaining that it will be a choice Sam makes. This is different from last year where “non-choice” was highlighted.

Recurring imagery: "Gaming references" + "Chasing imagery"- Dean continues to chase Sam. He yells out, “I’m tired of playing. Let’s finish this game.” Dean is tired of the “you must take care of Sam” game. In order to finish and “win” he must kill his brother. Demon!Dean sees it that way at least. When Dean catches up to Sam he swings his hammer, striking the wall as Sam ducks. Sam puts the demon killing blade to Dean’s throat. “Do it,” Dean tells him, “It’s all you.” But Sam can not, for this is not how they “win the game”, end it maybe… but not win it.

Cas arrives and restrains Dean from killing Sam. He repeats Sam’s words from 10x02. "It’s over Dean. It’s over. It’s over…" Dean yells out and we hear the echo-y growl from before as the effects of the human blood were starting to take hold. We also hear the hum of Cas’ grace as he subdues Dean. We skip the scene of Cas dragging Dean back to the dungeon and Dean passing out to see Dean be given the last blood injection. Sam talks to Cas, “What the hell are we doing to him, Cas? I mean, even after I gave him all that blood, he still said he didn’t want to be cured, that he didn’t want to be human.” Sam is comparing the curing of Crowley and Dean here. Crowley, at the end, wanted to be cured, wanted to feel, was ready. Dean… not so much. Somehow, the pain Dean feels as a human is worse than Crowley’s deeds he needs forgiveness for. And that blows Sam’s mind. But not Cas’, who has spent the entire episode showing that he understand with great clarity what others are feeling. Cas tells Sam, "Well, I see his point. You know… only humans can feel real joy, but… also such profound pain. This is easier." Where exactly is the line? Because Adina was in profound pain over losing Daniel. At what point do angels and demons become “human” in their ability to feel? Once love is involved?

Dean awakens. His black eyes fade as Sam and Cas pose at the ready. He jokes about how worried they look. Only when Cas arrives is Dean able to be fully cured by Sam. For neither one can save Dean alone. In order for Dean to pull himself out of the darkness of his resentment, he’s going to need them both in his life. Sam splashes Dean with holy water in the face and nothing happens. Sam smiles. “Welcome back, Dean.” The water on his face streams down. It might as well be tears. Dean looks so sad to be “back”.

Cas ominously warns that the Mark of Cain will be a problem again for Dean and Sam is trying not to think of it. He goes to get Dean some food and asks Cas to keep “an eye” on Dean.

Recurring themes: "Negative Space" - Dean is on his bed, looking through the photos Sam had earlier. A knock comes at the door and he quickly hides them under a book on his nightstand. Cas walks into his room. He comments that Dean looks terrible, expressing worry over Dean as Hannah did to him earlier. Cas is shot so that he occupies the empty space (previous negative space) on Dean’s bed. “You know, it wouldn’t kill you to lie every now and again,” Dean tells him. “No, it wouldn’t kill me. I just… you-” Cas trails off. This reads really close to the Cas and Meg dialogue of 8x17, where she asks if it would kill him to read a book and he replied theoretically it is possible.

Recurring themes: "Please don’t leave me" - Dean tells Cas that he “on the other hand” is looking good. “So, are you back?” Ironically, Cas being “back” is equivalent to Cas “leaving” to Dean. When Cas has his powers he has angelic responsibilities to his family and can not stay with Dean. Dean is basically asking Cas what he can expect from him right now. Cas vaguely explains that him being “back” involves Crowley, some stolen grace, and a female in the car. None of which Dean is likely to be happy about as Cas realizes and stubbles over the last bit about Hannah. “Another time,” Cas tells Dean. My problems don’t matter. Only yours. Dean thanks Cas for stepping in and stopping him from killing Sam.

Homoerotic subtext: "Wincest" - Dean asks Cas what Sam has said to him, asking if Sam wants a divorce.

Cas tells Dean that he’s sure Sam knows that whatever Dean said and did wasn’t really him. "It certainly wasn’t all of you." This is PR we were heavily, hilariously, given before this episode aired. Demon!Dean spoke both lies and truth. We see here, now, that Dean will not distinguish which is which. Again, Dean is upset to hear that Sam will not give up on him, saying that their lives are messed up because what Cas says is true. Cas smiles. Dean tells Cas earnestly, “I’m glad you’re here, man.” Cas then suggests Dean take some time to heal. “Heaven and Hell- they seem reasonably back in order. It’s quiet out there.” Dean looks around as Cas leaves and closes the door behind him. There’s nothing here to smile about.

Recurring imagery: “Americana” + “Native American imagery” + “The family color” + “Making things square” - A hotel in Tulsa, Oklahoma has four flags along one of its balconies. This area was first occupied by the Muscogee Tribe. It has the US’s most inland river port that connects to international waters. In other words, you can start small and “go big” from here. One of the worst race riots in the United States’ history, the Tulsa Race Riot, happened there. The city is also a key link on Route 66, which Cyrus Avery of Tulsa helped conceive. The road is often call “Main Street of America” or “The Mother Road”. Like the experience of the drive in theater, Route 66 experienced a decline in the mid 50s following the Interstate Highway Act. The new took over the old. Recently, there’s been interest of restoring some parts, particulary gas stations. One might say there are people looking to “reclaim the road’s former glory”. And… cue the introduction of Rowena, which I talk about in greater detail here. What I failed to go into on that post is that the two pinned men on the ceiling are wearing burgundy, the color of family. They also fall into our “double mirror” imagery because they are wearing the same clothes. Perhaps imagery for Rowena “killing” the Winchesters once they are “square”? I guess only time will tell…

—

Our most important takeaway theme from this episode is that Demon!Dean said some truths and some lies. That being “taken away” was so important that the Lester scene was included and the show felt it needed four creative voices talking about the theme in an interview on Screenfad before the episode even aired. It’s the truths that I’m guessing will be explored in the upcoming episodes, the things Dean can no longer ignore that are now out there for him to deal with, namely, his misplaced blame on Sam for “sucking the life out of his life”.

It was also rapidly apparent that Sam is lying like hell about what he’s done to find Dean. It is not, however, apparent just what that in all entails. At what point does the Lester setup fall? What had Sam done before? And what had he done after? What made him unable to use his blood to cure Dean? Does it have a physical component? Or does Sam simply not feel regret or remorse over his methods of finding his brother?

Also important was the fact that Dean and Sam could not be saved and together without Castiel. IN ORDER FOR THEM BOTH TO LIVE AND SURVIVE CAS IS NEEDED. He is literally the key to fixing things and helping them both. I honestly don’t know what else the show could have done to put further emphasis on this point. Cas getting together with Dean (and Sam) is always strategic in the structure at this point, and used to connect plot points. This was no exception. When this is folded into Dean’s desire to have a long term romantic partner in his life (as heavily illustrated and threaded through 10x01… so much so that the episode was fairly wasted on the illustration) we see an equation. Cas is needed. A long term romantic partner is desired (and necessary to pull Dean off not having any self-worth, only duty) by Dean. It’s Occam’s Razor as far as storytelling goes. This “component” (Dean desiring and wanting a long-term romantic partner, substituted for codependency with Sam) is something that I tightly held onto last year. It was the one point that illuminated everything else for me in terms of structure. And now, to see it reemphasized and revisited (in 10x01) and additional emphasis put on Cas’ needed presence (10x03) only solidifies my opinion on endgame Destiel being explicitly romantic. The points feel like two puzzle pieces uniquely designed to work together, even if they are completed last in the design.

I’m also of the firm opinion now that Sam is going to be on a season long descent in order to fully mirror Dean. Whatever made him calm in 10x01 following his hysterics is going to be whatever comes to bite them in 10x09, just as things fell apart for Dean in 9x09. It might be that Sam is working with Rowena, but there’s no indication of that as of yet (besides the American flag stuff that indicates two alike individuals against another two alike individuals). It’s certainly a possibility. The more I’m looking at it the more this season is looking simply to be season 9 “2.0” (and in a way, season 4 “2.0”), mirrored for Sam. The only difference is we knew what would come bite Dean in 9x01 and we don’t yet know what is going to bite Sam. Rowena seems substituted for angels, making the battle this year between her and Crowley, only there not really being a “battle” at all, much like there wasn’t a battle last year between angels and demons, only them fighting amongst themselves. I still expect the Veil to be a problem around mid-season, if not dumped by season’s end like I thought would happen last year. This will likely happen as everything yet again falls apart for Sam, Dean, and Cas, making them do more “I did what I had to”s.

It all just looks like a season 9 recolor if you ask me, or rather, two sides of the same coin, which means reconciliation (TRUE reconciliation) for the brothers being put off ANOTHER season. We’re definitely just spinning our wheels at this point and it’s just sad. I see why the writers feel they need to take this route and why it’s necessary (trauma must slowly be dealt with), but I’m honestly just pulling my hair out at this point. I’m just going to stop right there before I get too negative. Basically, I think everyone should expect season 9 redux only this time without the god awful consent issues theme and (apparently, so far) better treatment of female characters. Two steps backward and one step forward. Business as usual.