An Archive of Our Own, a project of the Organization for Transformative Works
Summary:
Nicky and Joe need an experienced gambler for a job. Booker still has another twenty years in his exile but he's really the best option. Adding a deadly competent woman who happens to be gorgeous will ensure Booker goes in with back up and is underestimated. Joe, Nicky, Booker and Nile work a job in Monte Carlo.
Thank you for the incredible art @emiliaoagi which can be found here
Oh god, energy drinks. Guy at work's son is a brand ambassador for rockstar and so we occasionally get to try some of the different flavors and some of them are frankly horrible. (Blue raspberry sounds good in theory, but in reality? *so so so sugary*) Imagine, for this au, that thats perhaps sokka's side gig (or he knows a guy)
Sokka: I got them 🎶 free samples 🎶
Katara: These are literally disgusting, have you read the ingredients, have you tasted them???
Always Together, Eternally Apart | Posting on April 13
Fic by EmiliaOagi
Art by Aceriee
After escaping from the dungeons of a supposedly inescapable military fortress, Sam encounters someone he'd never thought to see again: his brother Dean, estranged these 10 years. Drawn back into association with his brother, Sam soon realizes that Dean is hiding something, a secret that may have something to do with the mysterious Castiel who appears only at night.
When Dean’s hawk is wounded, Sam learns the terrible truth: that Dean and Castiel are lovers, cursed to be forever apart by the very general whose fortress Sam has just escaped from.
With the help of a retired Bobby Singer, Sam joins Dean in his quest for revenge against General Michael Bishop, and perhaps put an end to the cruel curse.
Based on the movie Ladyhawke.
Keep reading for a sneak preview!
The wolf, still snarling, leaps tackling the charcoal burner to the ground. The man screams.
Sam doesn’t watch. He runs into the barn, the man’s screams and the wolf’s snarling in his ear until suddenly the screams cut out.
“Dean,” Sam shouts, calling for his brother even as he grabs the crossbow from where it leans against the wall. “Dean, wake up! There’s a-” he stops as he opens the stall door. Dean is gone, and Sam stares for half a second at the empty stall, then swears and spins around.
There’s a gap in the barn wall and Sam levels the crossbow through it. He aims it at the wolf, still tearing at the corpse. Then he swears when he realizes that it’s not loaded, and scrambles for a bolt. He finds one, slipping it into the notch as he quickly returns to the gap, aiming the crossbow at the wolf.
Before he can shoot, a hand reaches from behind and removes the bolt.
“What the-” Sam turns to find a strange man behind him. The man looks at him curiously for a moment, then he turns and heads for the door, the bolt dropping from his hand as he goes.
“Don’t go out there!” Sam says, as soon as he realizes the man’s intent. “There’s a wolf! It’ll maul you!”
The man turns again, and gives an odd look that seems at least a little amused. He shakes his head ever so slightly, and puts a finger to his lips, then turns back to the door.
Sam stares after him, turns to look through the gap in the barn wall and watches as the man, insanely, walks towards the wolf.
The wolf growls, but it stops when it turns and sees the man. The man squats down, holding a hand out to the beast. Sam is disbelieving. “What the hell is he doing?”
The wolf cocks its head then goes to the man sniffing his hands before, inexplicably, licking them. It looks up at the man, mouth open and panting. The man strokes its head and seems to be whispering to it.
Then he rises and walks towards the woods, the wolf at his side, as if it were a trained bloodhound following its master.
Sam stares until they are long out of sight.
“What. The. Fuck.”
Look, I know you've covered this already but I just want to reiterate how AWESOME it is that several lines and scenes of s14 were deliberately drawing our attention to the in‐betweens, to the fact that these guys have lives outside of what we seen and that they have significant moments in those off screen lives. I just fricking *love* that.
Hi hi! I know you sent this like a week ago, but I really wanted to have time to sit down and detail all the moments in s14 where they’ve used this device before replying– both for the sake of completeness in demonstrating just how critical they’ve made these “in between” spaces to the overall narrative, as well as for my own general reference purposes. :P
I’ll start by saying that the show has done this on some level from the start. I mean, the entire series begins with a cold open in 1983 before jumping 22 years into the future to begin in the “present day” of October, 2005. We begin our introduction to the story of Supernatural immediately aware that there’s already a metric fuckton of backstory we’re due to have filled in, and we’re primed to begin looking for more pieces to flesh out that history from the moment the first scene airs.
*clenches fist* STORYTELLING
I’m currently in mid-late s7 in my eternal rewatch, and even s7 uses this device MULTIPLE times. I mean, s6 does this, as well, immediately informing us that a year has passed since the events of 5.22, and gradually filling in the missing events from that gap, using Sam’s soullessness and then post-re-ensoulening amnesia about his soulless time, him “scratching the wall” and beginning to piece his own memories together, as one entry point into this “filling in the blanks of the past for full understanding of the present” storytelling device. The other major expression of this device in s6 is Castiel’s story throughout the season, which doesn’t truly begin to fill in all the blanks and answer all the questions until episode TWENTY.
(I am not defending this storytelling choice, because in s6 it served as a metaphorical “punishment,” which is still so skeevy I struggle to watch the season as a whole… in Gamble Era, characters are “punished” for remembering their past– Sam for his guilt over what he did while soulless, and eventually Cas for his hubris in believing he could devour the souls of purgatory without consequences… and again, what I get from Gamble Era overall is an unkindness to all the characters… this Erasure of Identity. For years now, I’ve read this exchange from 6.09 as a bit of an indictment of the story of that era by Ben Edlund:
SAM: So you’re saying having a soul equals suffering.DEAN: Yes, that’s exactly what I’m saying.SAM: Like, the million times you almost called Lisa. So you’re saying suffering is a good thing.DEAN: I’m saying it’s the only game in town.
but back to the point)
S7 employed this technique in really in-your-face obvious ways, showing us time skips with little montages that cover several weeks in a matter of less than a minute, during which we’re shown the tone of the events of the “missing time” and are being told directly how to fill in those blanks:
7.01 shows this montage through Dean repairing Baby while receiving occasional updates on Sam’s recovery and Cas’s Godstiel rampage.
7.03 gives us a montage of Dean’s healing leg while he’s relegated to the sofa in the cabin watching tv… weeks elapse like this before the action picks up again.
7.10 uses flashbacks as Bobby lays dying to directly show us a fuller snapshot of who he is as a character, and why he’s been so important to Sam and Dean as their adoptive father figure
7.11 uses another “weeks pass” montage to show us Sam and Dean’s grief and their respective ways of handling Bobby’s loss
7.17 uses another flashback montage as Castiel literally rebuilds his identity from these moments… can’t really be more anvilicious than this about the import of filling in the narrative gaps…
But over the years, this has evolved in the narrative from these blatantly obvious tells to something we’re being low-level reminded of in nearly every episode through a constant implicit assumption that these characters have lives outside of what we see on The Magic Rectangle for 42 minutes a week. The show’s gone from literally subtitling these scenes and telling us exactly what we’re seeing to requiring our assumption that all we need to learn how to fill in the blanks is to assume these are actually real people who casually reference things we never knew before from their own lives and assume we know all the characters well enough by now to correctly fill in the blanks they so casually point out to us, or even expand on vast swaths of otherwise “missing time” from what we actively see of their lives from an otherwise minor comment made in passing…
Gosh, ain’t it nice when writers assume their audience is actually intelligent, considerate, engaged, and caring like this? Honestly in this day and age of GOTCHA! oneupsmanship, of authors attempting to demonstrate their intellectual superiority over their audience, it’s rather refreshing.
One more thing before we jump right into s14. Dabb and Company have been “educating” us on how to read these subtextual instructions for years now. We had the Mixtape Revelation in 12.19 that idiotically devolved into fandom arguments over what a mixtape itself was intended to symbolize, with people arguing that the thing itself had no inherent romantic implications (which… wow… but people be dumb sometimes…). I’d argue that regardless of what anyone has convinced themselves the gift meant symbolically (or didn’t mean symbolically for people with their heads shoved so far up their butts they actually made that argument in a public forum with a straight face and actually got mad about folks who actually know better…), what it meant NARRATIVELY was that the original gifting of the tape was something that had happened in the past, that we-the-audience previously had no knowledge of this particular interaction between Dean and Cas, and were being SPECIFICALLY TOLD that even though WE DID NOT SEE IT HAPPEN ON SCREEN, it absolutely, definitely, CANONICALLY ACTUALLY HAPPENED regardless of that fact.
Not only did that unseen exchange canonically happen, it was discussed by Dean and Cas in a casual fashion, as if it was simply one moment in a past filled with moments just like it. In a season where the episodes leading up to this one were filled with comments about Dean and Cas calling each other regularly (conversations that we never see, yet are informed casually happen constantly offscreen), and Dean’s increasing distress over NOT being able to reach Cas for several episodes, it’s impossible NOT to draw the conclusion that this lack of communication is HIGHLY IRREGULAR and therefore SOMETHING WE SHOULD ALL BE CONCERNED ABOUT. We didn’t need to *see* all of this to apply this fact far more broadly to the entire narrative, and understand there were massive gaps between what they could show us in 42 minutes a week versus what the baseline background life is for all of these characters in those between-times.
They doubled down on this in s13, specifically in 13.06, both with the “Dean and Cas regularly watch movies together” comments AND in the casual knowledge Cas shares with Jack about Dean’s sleeping and coffee drinking habits. It’s not just these isolated facts that we’re supposed to take away from these sorts of exchanges, but what they mean in the larger context of their off-camera interactions and relationship as a whole.
So that said, let’s move on to s14, where this has honestly evolved to the next level. The rest of this is going under a cut for now, because the totality of this post is something like 7700 words...
14.01, Stranger in a Strange Land:
The season begins with a montage of Dinkle’s actions over a period of weeks, talking to different people and asking what they want. We don’t see every one of these conversations, but we can extrapolate out from the ones we DO see and infer how all of those experiences guide his subsequent actions (as well as Dean’s subsequent emotional and psychological state later down the road).
But we’re shown one more of those conversations INDIRECTLY, from an offhand comment of another character, where we’re both reminded of Dinkle’s little conversations, AND reminded that they don’t constitute the sum total of those conversations. There is much we haven’t seen (and will NOT see, because this scene renders any additional on-screen time to cover the tone and content of those conversations superfluous and redundant), and yet we still understand the importance and gravity of Dinkle’s entire occupation during those missing weeks:
Kip:You see, recently, I had a revelation. You know, somebody asked me what it was that I wanted. And I realized that after 600 years as a demon walking the planet, destroying, drinking, defiling – you know, the Three D’s – I didn’t know. So, I sat back, and I gave it a good think, and I realized exactly what I wanted.Castiel: And what is it?Kip: Everything.
We also see this from the other side of the narrative– through the progression of events occurring at the Bunker in Dean’s absence. Sam’s despair is conveyed not only in dialogue in his conversation with Mary, it’s conveyed through just how poorly he’s looking after his own wellbeing, not shaving (visual confirmation of his mindset informing us of what his life’s been like over the previous weeks), not eating or sleeping (we’re told, and believe because of how he’s presenting himself, but also emotionally informs us of how he’s been affected by his ordeal), while simultaneously having stepped up to lead the army of AU Hunters– i.e. people from a world where war against Michael has been their lives for more than a decade, and are literally bringing that experience to THIS world, metaphorically going back to the start of their own battle to a world where Michael is only BEGINNING to enact that war on this world, who now have the experience of having survived that war and the knowledge gained while having fought against it, but also a chance to stop it before it can be allowed to start again. Or that is the hope, you know?
We’re also seeing Jack struggle with guilt, with adapting to life without the magical powers he’d been born with, and being forced to confront what is truly important to him, and what his own humanity means to him.
We’re subtly being reminded of VAST quantities of canon upon which the current character developments are resting.
14.02, Gods and Monsters:
There’s a lot of “backtracing” through character arcs in this one, which I’m gonna boil down to the general themes:
Jack seeking out his familial history, seeking out Kelly Kline’s parents to make a personal connection to his mother’s past in order to better understand himself now
Cas relating parts of his own past to Jack (falling and becoming human, not mourning the past he can’t change but finding strength in himself regardless of his current circumstance, and to have patience while his circumstance will change in future) (aside to remind folks that this setup at the beginning of the season is entirely about subverting his words through his own actions throughout the season… with 14.14 being the massive turning point again for both Jack and Cas)
Nick’s setup of beginning to fill in the blanks from his own life after a decade of having lost everything to his possession by Lucifer. He’s got a lot of catching up to do, and a heck of a lot of blanks to fill.
the absolute knowledge that the show is 100% aware of how they’ve trained us to look at the narrative this deeply, using character mirrors, foreshadowing, parallels, etc., and that they’re keen to use this power against us. And it’s up to us to understand the difference between “things being presented to us for the purposes of subversion” and “things being presented to us to fill in narrative blanks.” Like the entirety of Dinkle’s conversations with both Dean and Lydia the vampire. Heck I’m already down to bullet points and I’m gonna need to extrapolate on this one… *sighs*
Let’s start simple, with a couple of quotes:
Michael: Why do you think I dumped your brothers and sisters in plain sight? Why do you think I let you escape?Lydia: You let me escape?Michael: Rule number 1 – you can’t have a trap without bait. That brings us to rule number 2, which says once the trap has been sprung, you don’t need the bait anymore.
and
Dean: Get… out!Michael: I don’t think so.Dean: You can’t!Michael: Oh, but I can. Because, see… I own you. So hang on and enjoy the ride.
Because the first defines and contextualizes the second… Do I really need to elaborate? No? Oh good, then we can move on!
14.03, The Scar:
Again, using the trope of amnesia and memory recovery to illustrate the emotional and psychological impact of “missing time,” if not the entirety of the content of that missing gap. In addition, to Dean recovering his memories and demonstrating his reaction to his own lost time, the two respective cases of the week (Darth Kaia, learning how she came to this universe, and everything she’s endured at Dinkle’s hands also informing further the information we learned in 14.01, and in the bunker Jack and Cas helping heal Lora of a witch’s curse that was literally stealing time from her in the form of her own life energy).
I love demonstrating how “filling narrative gaps from the past” is not only built into the inherent structure of the narrative like this, it’s also the entire purpose of all the character development we’re witnessing, as well as setting the foundation of the entire story going forward.
We had that in spades from Jody, putting in plain words what we all saw happening in 13.10:
Jody: They have a right to know but I can’t. I promised Claire human cases are mine, but anything “monstery” I’d loop her in: this. God. Claire’s been doing so good. I mean anything connected to Kaia, she’s a powder keg. First loves strikes quick, and then to lose it like that. Wow, you two are having a time of it.
Confirming the subtext of Claire and Kaia’s relationship, while simultaneously informing us of what Jody, Claire, et al’s lives have been like since then, filling in a huge narrative gap with just a few innocuous comments. But there’s one more example from within the span of this episode:
Sam: Okay, look, I’m just saying… you said you let Michael in, then, bang you’re back in a blink. But for me? You were gone for weeks. I didn’t know if you were alive. I just need you to talk to me, to slow down so I can catch up.
Sam, defining the narrative gap and begging for information to fill it with. And then at the end of the episode, he gets an answer, but it’s nothing like what he expected or hoped for:
Dean: And it wasn’t a blink, being possessed. I make it sound like that, but it wasn’t. I don’t remember most of what Michael did with me because I was underwater, drowning, and that I remember. I felt every second of it – clawing, fighting for air. I thought I could make it out, but I couldn’t. I wasn’t strong enough. And now he’s gone and he’s out there putting an army of monsters together and he’s hurting people. And its all on me, man. I said yes. It’s my fault.
And it’s still not really an answer.
14.04, Mint Condition:
Narrative gap reshuffle yahtzee. I’m just gonna give a few links to meta already written for this one, because it’s about the journey, and being informed enough to pay attention to all the sights along the roadside as we go:
And because this reading list is already getting long, I just want to use this post to point out how the use of narrative mirrors informs our understanding of those one-off characters through our established understanding of the main characters, enabling those mirror characters to serve their function in the story. Davy was not subtle with pointing that out in this episode, and it’s an essential tool in understanding the bigger picture of the narrative. But it’s also a device in filling narrative gaps by recognizing and applying the subtextual lessons being demonstrated:
So this isn’t just about individual lines at this point, but an entire narrative shift that the writers spent the entire first half of s14 laying out for us through these sorts of storytelling lessons hidden just under the surface of the story itself. Brilliant.
Basically, if you’re NOT making these connections and using your brain to flesh out the entire world pointed at in the narrative gaps, you don’t really have a hope of understanding the bigger story.
14.05, Nightmare Logic:
Aah, the superpowered djinn, 3D walking metaphor for filling in gaps from the past to find wholeness in the present. Also, one of Michael’s “monster traps” he laid out in order to lure in and kill unwary hunters, which he believed (and the monsters themselves believed) made them more powerful, but in reality became the vehicle through which the Winchesters were eventually able to gain the upper hand… they survived the encounter and walked away with new knowledge about both themselves AND Michael’s bigger plans that had been evading them before this episode.
Information fills narrative gaps.
The djinn itself has been “enhanced” from djinn we’ve seen in the past, able to create its illusions in reality rather than only within its victims own minds. What was imaginary becomes tangible. Subtext becomes text.
We also get AU!Bobby’s backstory, which demonstrates that this alternate version of Bobby is really nothing like our original version, and the sum of his life experiences have made him who he is.
We also get another “zombie” reference, which the more I think back on this entire season (and Jack’s long obsession with zombies in general) is an interesting metaphor for this sort of viewing, not engaging with the deeper text and instead shuffling across it without looking deeper. Because pretty much every time someone suggested the monster could be a zombie, it’s definitively shown to be something much more complex once they begin to dig for answers.
(we also have Dean discussing his past, his relationship with his father, and talking about how setting that baggage aside and living in the present, and for the future, is something he’s worked long and hard to achieve for himself. And we’ve seen some of that journey for him, but this was a huge step for him, which will become profoundly more evident in 14.10 and 14.13)
14.06, Optimism:
Oh, we wanted zombie references? Well, alrighty, have some zombie references! Via the entirely self-deluded MotW character, masquerading as a person with a sad backstory of being “unlucky in love” while all the while she’s a necromancer who murdered and resurrected her boyfriend as a mindless zombie she enacts a brutal game with for her own personal pleasure: luring in suitors and letting her zombie boyfriend kill and eat them. Worst honey trap ever.
Speaking of honey, the other MotW is a fly dude who couldn’t find love among his species and exiled himself to live alone among a pile of rotting corpses of his victims. I mean… ew.
But back to our necromancer, who is a lonely librarian, who is surrounded by stories and laments that people in her town aren’t interested in stories. All the while she’s not engaging with her own reality, and has decided that her own version of the story is an accurate reflection of reality (while the rest of us shake our heads in horror because whoa no hon…)
We also learn AU!Charlie’s backstory, with the constant reminders that what Sam keeps mistaking on the surface level for “his Charlie” IS NOT HER. Man, I feel that feel, AU!Charlie.
Jack: What's 'courting?'Dean: It's what you do before you start dating.Jack: Oh, and that's the thing you do before the sex.Wanda: Sometimes you just have the sex.
Yes, Wanda. Sometimes you skip all the courting, all the emotional and interpersonal stuff, and just go right to the sex. But then you tend to just walk away after without any sort of deeper connection having been made. One night stands are fine, but they’re very different things from deep interpersonal relationships.
You can absolutely engage with Supernatural like a one night stand. The story’s fun on the surface, but ultimately the courting is what provides the deep payoff.
14.07, Unhuman Nature:
We get back to the twisted story of Nick, and his quest to understand himself. He’s filling in more of those horrific gaps in his history and getting closer to the Worst Possible Conclusions about himself. He ENJOYED being Lucifer’s vessel, and wants that feeling of power back, even if it wasn’t HIS power, just being the vehicle for that power is enough for him, more important to him than even discovering the truth about himself. At the bottom of himself, he’s just an empty douchebag-shaped vessel for pure evil.
What a fucking delight >.>
Nurse: Uh-huh. Family medical history? Let's start with the father.Dean: He's dead.Nurse: Cause of death?Castiel: He was stabbed through the heart, and he exploded.Dean: Okay, you know what? We don't have time for this. All right, he's sick. His name is Jack Kline. His father exploded. There, you've got all the basics. Now what does he need to do to see a doctor?
Well that simplified the whole “filling in the backstory through the narrative negative spaces” thing in this episode, didn’t it?
Jack: Since I've been alive, everyone assumed that I would be this special 'person' who goes on forever. Only now it looks like forever might be a couple of weeks, so--Dean: We don't know that.Jack: What I do know is I'm done being special. Before my life is over, I want to live it. I just want a chance to get a tan or see a hockey game... get a parking ticket... get bored... and when it's all over -- die.
I mean, isn’t that what all of TFW kind of wants? They want to not be “special.” They want the universe to stop picking on them specifically. They want to just live their lives until they’re done.
Jack: You once told me you and your father did the exact same thing. It was your happiest memory of him.Dean: I didn't say that.Jack: It was how you said it. I could tell. I guess my point is that if I don't make it... The stuff I'd miss -- it wouldn't be things like Tahiti. Or the Taj Mahal. I'd miss more time with you. I'm getting that life isn't all these big, amazing moments. It's time together that matters. Like this.Dean: Well, who'd have thought hanging out with me would make you sentimental?
Dude. Dean. Everyone thought this. You are the king of “family is the most important thing in the universe without which I am nothing.” Talk about Jack filling in that particular blank for you.
14.08, Byzantium:
Aka that one where we discover something important to Jack in his own Heaven-- and it’s literally a missing scene from 13.06 and their road trip to Dodge City where they stop for burgers. UNPROBLEMATIC FAMILY BONDING IS JACK’S HEAVEN. And it also fills in a past narrative gap, specifically from an episode that was structured around filling in narrative gaps. WE’RE THROUGH THE LOOKING GLASS, PEOPLE.
We also have the return of Lily Sunder, now grown old since she’d completed her revenge quest against Ishim and the other angels who’d wronged her (including Cas, who literally killed Ishim FOR her). Talk about filling in a lifetime worth of gaps, and her literal near-lack of a soul she “fills in” through one final sacrifice made of love, which earns her redemption and entrance to Heaven.
I mean… those narrative gaps are looking pretty important here right about now.
Also, what’s that other big gap I haven’t mentioned yet? Oh, right! A villain literally known as “The Empty.” I’m sure that’s not meta relevant to the importance of the narrative empty spaces at all...
14.09, The Spear.
Sequel to The Scar (since the spear is what left Dean with the scar in the first place, so we’re back on our Dinkle nonsense again). There’s a lot of blank-filling going on in this episode.
Remember Garth? Well, as he’s reintroduced in this episode it appears as if he’s gone over to the Dark Side, but of course we learn he’s actually there as a deep cover agent for the Winchesters. This tells us they’ve been keeping in close touch with Garth all this time, despite us not having seen him on screen in ages. (FIVE YEARS!)
Remember Ketch? Well, he’s also doing deep cover agency stuff for the Winchesters, but with a level of incompetence that reminds us all that he’s still not one of the good guys, no matter how hard he’s trying, he’s still… falling a bit short. But at least they’re still keeping contact with him. And BOTH of these characters appearing after a while offscreen reminds us that TFW truly aren’t alone in the world, and they DO have this network of people (at varying degrees of competence still ranging from typical bumbling civvie to TFW themselves).
This entire episode was also a massive reference to Die Hard. Just… it was Die Hard: Supernatural. And we know Dean has referenced this movie endlessly. But the funniest thing: Die Hard isn’t actually referenced ONE SINGLE TIME in text in this episode. Nobody points out the similarities between the situation at the Hitomi Plaza at Christmas with Die Hard. Narrative negative space ftw.
And then we have the reveal that Michael had somehow left a “secret back door” open into Dean, and was able to just jump right back into him when it was convenient to do so. I.e., when he was losing the fight to Dean. He had a cheat code at the ready, because his possession of Dean had been operating on cheat code rules since the start in 13.23. His entire possession of Dean was a violation of the “standard rules of angel possession.” Consent of the vessel being primary. Even BAD consent has been enough in the past-- tricking the vessel into saying yes, backing them into a corner. I mean, remember s5 and the horrors Zachariah was willing to go to in order to secure Dean’s yes? Not even manipulation here with this version of Michael. Even if the face of Dean’s abject rejection of his possession, he refused to vacate the premises. Which is an interesting narrative blank to fill in, yes? Angels may have these rules, but for some reason-- is it Michael’s supreme power? Is it the fact Dean is his “destined vessel?” is it a factor of this Michael being from an alternate universe that might operate on different rules? Is it a factor of Dean’s own lack of conviction in his demand that Michael get out? Whatever it is… it is interesting.
We also catch up with Darth Kaia, who after months of balking at the notion, hands over her spear to Dean with the promise that he’ll return it after he kills Michael. It would solve her ongoing problems with the monsters Michael had been relentlessly sending after her. But he also promises to help her find her way back to her own universe. And now we don’t even know if any of that is possible… (aside to say that I’m now crying over the loss of Wayward again, and I feel this lack of resolution here is a damn pointed statement on that from Bobo.)
14.10, Nihilism.
Nihilism being a descriptor of Michael’s basic personality, in this case.
The most long-term relevant narrative negative spaces in this episode are Sam and Cas venturing into Dean’s mind, and literally using what they know about Dean to find where Michael had locked him away. They literally rely on their knowledge of who he is as a person as a map to find him, and then as a codex to actually get through to him and break him out of the illusion Michael had trapped him in. And then they all turn around and weaponize all of that to lock Michael away in Dean’s mind fridge.
Metaphors, anyone?
Meanwhile, Michael literally insists he’s telling everyone the truth about how Dean really feels about them, but it’s all… ALL OF IT… a manipulation and a lie.
(aside to admit that at this point I have been working on this post on and off for the last 12 hours, can barely remember what the point of it even was, and regret everything. I think we were supposed to be discussing Narrative References To Stuff That Happens On Screen, but at this point, that is so deeply intertwined with the narrative structure as a whole that I’m having trouble separating out textual references to offscreen stuff from the actual content of the story as a whole… yes this is already approaching 5k words at this point, and no I don’t care anymore :P)
14.11, Damaged Goods.
Dean is given information (that we have not yet seen) by Billie (again, offscreen) about “the only way to save the universe.”
Disclaimer to note that we STILL haven’t seen exactly what Billie showed Dean in her magical destiny book… which fact in itself can be open to myriad interpretations, because canon itself has shifted from this point in the canonical timeline to what we have actually witnessed unfold, which fundamentally differs between what Billie told Dean and what actually transpired on screen.
This… is major.
Also, Nick, and the effective end of his story… or is it? He’s finally got his personal backstory filled in, and turns out he was just a dick all along! Surprise! Because his “truth” never actually mattered to him. It was all a lie he told himself from the very first moment he was ever introduced on screen back in 5.01. He was never a good person who’d been used by Lucifer and manipulated into doing terrible things. He was always just a bad person who’d been looking for an excuse to do terrible things. Lucifer was just his excuse.
Dean fills in some horrific bits of their childhood for Mary through the metaphor of Winchester Surprise. Apparently delicious to Dean, but yikes… stuff like that’s really not healthy…
14.12, Prophet and Loss:
So, Donatello might not be as brain dead as previously believed! Let’s fill in that backstory, through a broken prophet who can’t be fully realized because Donatello’s technically not dead, so the new guy is getting a distorted message because Donatello’s interrupting the signal.
Dean asked Sam not to tell Cas about his Drama Coffin plan, but of course Sam had immediately told Cas about his drama coffin plan anyway…
CAS: Sam. Maybe if I spoke with Dean…SAM: It wouldn’t matter. Believe me, I-I I’ve never seen him like this. He won’t listen to me. H-He just – No. If we don’t find some way… Dean’s gone.
But then just a little while later, when Dean talks to Cas and learns that Cas knows his entire dumbass plan:
DEAN: Really?SAM: Dean, it’s Cas. I had to tell him.
Well, some time in the previous few hours, when Sam hasn’t been trapped in the car with Dean (which we know he has been canonically), Sam’s first priority was calling Cas to tell him about Dean’s plan. Like… duh…
14.13, Lebanon:
I love this episode on every possible level. It drops us at the climax of a hunt and just trusts us to understand what’s going on. Someone has been murdered for their collection of supernatural artifacts, and it’s been traced to this shop, where the owner trades in dangerous artifacts… all of that happened offscreen, yet we understand the context if not the specific case itself. Beautiful.
Then we have the cursed pearl that apparently grants a wish. Dean uses it to theoretically wish that Michael was out of his head. In monkey’s paw fashion, instead of just granting the wish through the simplest means, the wish actually attempts to rewrite history (this is the sort of thing that differentiates a “cursed object” from a “magical cure”) in order to remove the root infiltration of Michael into Dean’s life… by literally bringing John Winchester into the present time from 2003, removing him from the entire timeline to this point and changing EVERYTHING.
Talk about filling a narrative negative space. Cas doesn’t know them, Dean never went to Hell. Hell, Dean never even went to collect Sam from Stanford. NOTHING from the entire history of the series as we know it actually happened AT ALL.
D:
At least we got to see Zachariah get stabbed again. Sam deserved a turn, you know? :’)
But we also have the other half of the episode-- the case in Lebanon, and seeing the Winchesters through the eyes of the locals. Talk about a HUGE reminder of the things that happen offscreen. They go to the post office, the local shops, and have a weird reputation around town, despite most of the townsfolk accepting their brand of weirdness. It’s… weirdly refreshing, seeing how they’ve gone from “hunters of urban legends” in s1 to “actual urban legends themselves” in s14. The power of storytelling at its finest.
In this case, so many personal blanks were filled in for Mary, Sam, and Dean just by being able to share a single family dinner with John in the aftermath of everything else. In the end, Sam and Dean CHOSE their own lives, and smashed the pearl with John’s blessing, putting everything back the way it was. The most powerful line in this entire episode, to me:
John: Dean. I, uh -- I never meant for this.Dean: Dad, we pulled you here.John: No, son. My fight. It was supposed to end with me, with Yellow Eyes. But now you -- you are a grown man, and I am incredibly proud of you. I guess that I had hoped, eventually, you would... get yourself a normal life, a peaceful life, a family.Dean: I have a family.
HE HAS A FAMILY. :’)
It might not be what John ever imagined for him. Or even what Mary wanted for him when she rejected the hunting life the first time around. But it’s the family Dean earned for himself. The one he CHOSE for himself. And he wouldn’t trade it for anything-- not even for the family he was born into, or a white picket fence he used to think he should have.
And then after this… everything changes… again…
14.14, Ouroboros:
Right. That one where everything changed. Where everything from Billie’s Books of Certain Prophecy to Jack’s soul to Dean’s certainty about… pretty much everything… went up in a swirling whirlpool of burning grace.
Yes, the episode where they burned the spiral narrative structure and were clearly beginning the inevitable run toward endgame. I mean it had been hinted at as a possibility before this, and 14.13 was certainly a product of the inevitability of endgame, but this episode sealed the deal.
They could’ve technically still gotten away with 14.13 as a one-off product of “very special 300th episode” and still continued down the narrative spiral that they’ve been circling for years now, but in retrospect from beyond the rest of s14, this was the official burn point.
So the story shifts radically in very fundamental ways from this point on, and reference to the past become… different. But what happens offscreen in the context of these episodes going forward takes on so much more weight as a result. We’re now “living in the present” with these characters.
We have Sam’s relationship with Rowena, which has clearly developed to the point of casual intimacy. Rowena confronts Sam in ways we’ve never seen before, demonstrating a confidence in their interactions DESPITE Billie’s assertion that Sam will be the one to “kill” her. That has strangely given her a sense of… comfort… with Sam, that’s demonstrated in the fact that they work together through this entire case-- paired off much the way Dean and Cas are.
Again, like in 14.06 and 14.13, we’re dropped into the middle of their case, and only informed that they’ve been tracing this monster through numerous other towns in this episode, requiring us to extrapolate out their entire hunt from discovering there might be a case, to the point where they’ve even brought Rowena onboard to help give them an advantage of a monster that had repeatedly eluded them.
The monster itself has an advantage in that it can literally see the future and escape before they catch him, until they discover the huge gaping hole in what it can actually see-- Cas and Jack are literally invisible to it. He can’t see THEM coming, specifically. The importance of actually reading what we DON’T see. Because if the monster hadn’t been so confident in what it COULD see, he would’ve understood that he was missing a critical piece of information-- the door literally shut itself in his vision of the future and he didn’t bother to stop and question WHY. And it was his downfall.
The narrative is telling us that missing this key gap-filling information is effectively our downfall as viewers.
14.15, Peace of Mind:
Hooray, we’re back to simple “missing scene” levels of text to latch on to, and I don’t have to swim through the whole of the narrative structure to make a comment. Wheeee! (sorry it’s been like 14 hours since I started writing this reply and I’ve achieved Peak Mental Exhaustion for it) :P
Let’s reflect on how all of the characters managed to delude themselves in this episode, and simultaneously approach their own personal concerns without actually talking to each other directly… and then instead focus on this exchange:
Dean: Oh. Hey! How was Arkansas?Sam: Arkansas was, uh It was weird.Dean: Heard you wore a cardigan.Castiel: Yeah, I told him about the cardigan.Sam: Great. Thanks.Dean: And the wife. He said you were, uh, really happy.
Yep. Proof again of offscreen communication happening, in a way I can yell and point at without having to write paragraphs to explain and defend. :P Aah, just like the simpler days of our past… which hey, is also a narrative theme of this episode! Nostalgia!
14.16, Don’t Go In The Woods:
Or, that one where we discuss why we don’t share everything with the general public, while Jack… behaves poorly with the general public, and then hides that fact from Sam and Dean. Also, we have this confirmation of offscreen conversation:
SAM: You got it. I'll grab Cas.DEAN: Mm. He actually left.SAM: What?DEAN: Early this morning.SAM: Why?DEAN: I don't know. Something about being cooped up in the bunker for a few weeks. We all need to stretch our legs. I get it.
Dean… had a whole conversation with Cas… and didn’t even mention it until Sam specifically asked about Cas. Stuff happened offscreen… big important stuff… and we’re only getting a peek at it now. Not only that-- because this will be VITAL to remember two episodes down the road-- they have been cooped up in the bunker “for a few weeks.” In 14.15 ONE EPISODE EARLIER, Dean complained to Sam that he’d been driving them literally from case to case without a break:
Sam: (Sam was in the map room flashing back to Maggie and the other hunters dying. He looked sad as he went to the kitchen) Found us a case. Arkansas.Dean: We've just done three back-to-back Hunts. I need some rest. At least a night. We both do.Sam: Yeah, well I'm leaving in ten.Dean: Like I said, not good.Castiel: Maybe I should go with him. And you can stay with Jack.
So the events of 14.16 are clearly after a hiatus of several weeks. Again, things have happened offscreen, and we’re only learning about them in the absolute most casual statement-in-passing sorts of ways, but these tiny references are pretty earth-shattering.
14.17, Game Night:
The timeline isn’t concrete, but I’ve written in several places that I believe 14.16, and 14.17 flow one into the other, just based on these subtextual sorts of cues-- Dean’s statement in 14.16 that Cas had been feeling cooped up after several weeks in the bunker, the fact that Cas had only LEFT the bunker at the beginning of 14.16 and we only see him reach his destination of talking with Anael now in 14.17 (and how long do we REALLY think it took him to find her and convince her to meet with him? Especially when the events of 14.17 take place over about 36 hours before bleeding directly into 14.18…). So this timeline that I’ve understood presupposes the gap of “several weeks” of being cooped up in the bunker to have elapsed between 14.15 and 14.16 as suddenly resolved itself into all of them willing to spend time in the bunker as a family… except for Cas, who’s on an as-yet unspecified mission.
This episode reinforces those missing scenes, through showing us the very different mission Cas is on, finally addressing the seriousness of Jack’s condition, but also paralleled through Mary’s growing suspicions of Jack that she’ll be unable to ignore by the end of the episode…
Jack even addresses this “but in that scene you didn’t see play out, this important thing happened!” IN TEXT, TO MARY:
Mary: If Sam and Dean saw what you did, they would be as worried as I am.Jack: Are you gonna tell them?Mary: You need help, we'll help you. We're your family.Jack: You can't.Mary: We care about you, Jack.
And now the things that happen offscreen have been lampshaded as being CRITICAL to understanding the whole of the story. And the divide between the two can be fatal...
14.18, Absence.
Literally, the title itself is telling us to be aware of what’s missing.
But we finally get the payoff on the “missing information” about those several weeks spent cooped up in the bunker-- Sam was literally not there. It was Dean and Cas, alone with Jack.
Sam: You know, after Maggie and the other hunters died... I just left. Just dumped Jack on Cas and left.
That happened in 14.14. The other hunters dying. But we KNOW that Sam had not left on his own at that time. He’d dragged Dean and Cas and Jack on three consecutive hunts in the aftermath of that to avoid going back to the bunker, in the run up to 14.15. THIS was the payoff of that “cooped up for weeks” comment in 14.16… because SAM hadn’t been cooped up with them. He’d dumped Jack on everyone and run off on his own after 14.15…
But this episode doesn’t stop there. It takes each character individually and pushes them through memories of the past, of Mary specifically, but those memories do so much narrative heavy lifting I can’t even begin to yell about them here. I’ll just link a post:
Wait, I found that post while looking for the one I’d set to to find, but it’s in my Narrative Negative Space tag, so yay? Bonus. This is the one I’d meant to find:
There. My best thing from s14. And I’ll leave this episode at that.
Oh, and with the reminder that if Dean and Cas had truly still been at odds over Mary’s death, then Dean would not have brought Cas to Mary’s funeral pyre. Period.
14.19, Jack in the Box.
Aka that one we’d all figured out what the big plot thing was just by the on-the-nose nature of the title, months before it aired.
At least the drama coffin got blowed up good?
14.20, Moriah:
The most meta meta to have ever meta’d. There’s not much happening offscreen in this one aside from the entire setup and premise of the episode as a whole. Again, we’re dropped into a hunt and expected to understand the setup, the legwork that’s already been done. We learn that Dean has been in touch with Cas, but they’re investigating different avenues. We see Chuck FINALLY answer Cas’s prayer for help from 14.17, but Chuck’s idea of “help” isn’t helpful in the least.
We understand the fundamental nature of the extent of the personal little lies Sam and Dean tell each other (Thanks for that one, Jack!), and therefore are being asked to reassess which comments from their past were the full, honest truth, and which were the comfortable performance they put on to maintain their own projected self-identities.
And whoa.
It’s now 3 am, and I’ve been working on this post on and off for the last 16 hours. And I am tired, and officially out of mental steam to keep thinking about it. So I’m gonna post it. All 7700 words of it. I hope this helps... :P
A comment on the Samwitch thing. I think part of it being a surprise or something folks dont see, is that it's been a rather subtle journey. I hadn't heard much about the ship, if anything, until 14x14, which coincidently is the moment I finally went "OH!", as they pretending to be a couple in the vets office. Until then I hadn't even noticed how their relationship was evolving, though looking back, I can see it more. 1/2
2/2 But looking more closely at how their relationship has evolved, while there are romantic parallels and tropes there, they are very much less obvious, at least till maybe late s13, and it definitely wasnt a very obvious turning from just friends to potential lovers until s14 (at least to me. I am hedging thia comment as well with a note that my current rewatch is only in s12 atm, so I'm likely missing a few things that I have forgotten or hadn't noticed the last time)The reason I personally love Samwitch? So much work has gone into this relationship over the years, and they have such an understanding and bond between them, partially because of their shared traumas, but also because of how they have chosen to live their lives now, and both are learning to accept parts of themselves they once actively tried to deny. (Sam with hunting, Rowena with love). Similiar journeys often bring folks together like this irl, and it always makes me happy to see it in media.
Hi hi! I’m gonna start this reply by linking my Sam/Rowena tag. The first posts in there were from 13.19, in April 2018. So this is definitely something folks have been noticing for a while. :D
But yeah, per your first observation, maybe it’s a factor of how much I rewatch the show that I’ve watched s13 again in its entirety twice since s14 finished airing. Sometimes it’s only in rewatching with an awareness of everything that will happen afterward does it really begin to stand out. Little things in the past gain a lot more significance now.
And yeah, I’m eager to hear your perspective again after rewatching s13 again!
And I am VERY interested in Rowena and Cas working together in early s15 (as we have had BTS spoilers for), considering they’re the two “effectively immortal beings with magical powers” in the core group here. I really hope they begin to gain some insight into themselves by working with each other, you know? I’m also really excited to see how they continue to progress Rowena through s15 on her own, and in relation to Sam.
Happy birthday!! I only just turned 29 so whats your worst-best advice that got you through the last year?
thanks! honestly? honestly honestly?? invest in a weighted heating pad. that’s literally the best thing to happen to me this year. i’m using it right now. i use it every day. middle of summer? doesn’t matter. it soothes.
