Metas from the Wishing Well




Honestly the best villain revealing speech ever.

This is my favorite Ruby moment ever. Because you know what? She is awesome. It’s just like she says:

"You don’t even know how hard this was! All the demons out for my head. No one knew. I was the best of those sons of bitches! The most loyal! Not even Alastair knew, only Lilith! Yeah, I’m sure you’re a little angry right now but, I mean, come on, Sam! Even you have to admit: I’m, I’m awesome!”

Seriously, do you know how hard that must’ve been? She basically had all of hell gunning for her for two years. Once the angels got involved, they were after her too. And it wasn’t like she was getting a ton of support from anywhere else, either— Dean was outright hostile to her, Sam kept blowing hot and cold towards her, and Lilith? Well, if she screwed up, it wasn’t as if she could count on Lilith to help her out. Ruby was literally all on her own.

And she did it. She fooled the Winchesters (Dean didn’t trust her, and even Sam was suspicious, yeah, but it still worked). She got around heaven. She survived Alastair and tons of other demons.

And that? That’s something she deserves to brag about. That’s the kind of manuevers you get serious props for.

And at this point, that’s what she’s expecting. Because she’s done it. She’s gotten Lucifer out of the cage. Azazel’s dead, Lilith’s dead, Alastair’s dead, Meg’s been essentially MIA lately, Crowley’s a turncoat— so who’s at the top of the demon hierarchy? Who’s there to greet Lucifer when he gets out of the cage? Who’s the one who got Sam to open it in the first place? Ruby.

So of course she’s ecstatic. She just brought back her god and that alone is worth celebrating. But beyond that, think of what she says to Sam:

"You set him free. And he’s gonna be grateful. He’s gonna repay you in ways that you can’t even imagine." 

Honestly it’s somewhat unlikely that Ruby knows much, if anything, about Sam being Lucifer’s vessel. So any thanks, any repayment she sees Lucifer giving Sam has more to do with Sam opening the cage (and possibly with him being the Boy King) than it does with Sam being his vessel. Which means that those rewards? Ruby’s going to get them too. So not only has Ruby moved up in the demon hierarchy, she’s expecting to be rewarded by Lucifer himself. 

And what’s more, I think, Ruby’s expecting to be right there alongside Sam. She talks about how he’s “angry right now” and how “it’s hard to see it now”; the entire track of her conversation at this point indicates that Sam will, at some point in the future, come to see that what she did was really for the best and that this is how things are supposed to be.

Because Ruby really did care for Sam. She’s trying to get through to him here, because she cares. When Sam calls her a bitch, she looks hurt. When he tries to attack her, and she explains that he used up all his MP on Lilith, there’s concern in her voice. When Dean bursts into the room, she doesn’t attack him, simply stands up (in front of Sam, in a protective position) and tells him “you’re too late.” Why? For the same reason she’s never been as antagonistic as she could’ve been towards Dean— because she cares for Sam and Sam cares for Dean (and, OK, yes, because pissing off Dean too much would alienate Sam and that would cause her plans to backfire but at this point that doesn’t much matter).

At one point, Ruby talks about how she still remembers being human, and that’s why she’s helping Sam. I don’t know how true that is, but I think in some ways she’s the demon (especially in the first five seasons) that is the most human, and that really comes out here.

So, yeah, this is her being revealed as a villain and, in many ways, the villain that’s been more immediately responsible for what’s been going on in S3 and S4 than Lilith. But this is also revealing so much more of her character.

So, yeah, Ruby is the best of those sons of bitches. Ruby is awesome. Props to you, Ruby.

(Source: letmesayiloveyou)

May 9

The Time Is Out of Joint: Something Isn’t Right, Here…


There is something way off in the Samelia flashbacks in “We Need to Talk About Kevin” and “Blood Brother.”  (Yeah, I know, that’s a shocker coming from me.)   The timeline doesn’t seem to make any sense.

We first see Sam extending his stay at the motel “another week.”  He’s been there long enough to get to know Everett and his dad’s situation.  Dog is with him, on a leash, and has a cast on one foreleg, so Sam hasn’t been there very long.  Everett remarks that he’d thought Sam would have left by now, and Sam says that the dog has a follow-up at the vet’s “on Tuesday.”  Everett offers Sam a job.  

Then we see Sam working on the ice machine some days later, as indicated by the change of clothing.  Dog is lying beside him, still with a cast but not on a leash, so it’s likely that the Tuesday appointment has already happened, for reason that will become apparent in a minute.  Everett tells him about the sink in Amelia’s room.  When we see Sam working on the sink, he hasn’t changed clothes, so it’s the same day.  And remember, the dog is still in a cast.

The next time we see Dog is when he runs into Amelia’s room.

Let me say that again.  The dog runs into Amelia’s room.  The cast is gone, and the dog is running.  Not flat-out flying, but not just trotting, either. And when Sam comes chasing after him, he’s not carrying a leash.

Now, it generally takes six to eight weeks for a bone to heal.  For at least the first four of those weeks, the dog is to be on restricted movement—only allowed out on a short leash, kept to a walk.  No running allowed.  After that, the dog can be allowed to get up to a trot, but still on a leash and not for long periods.  At six weeks or so, if the bone is healed, the dog may be allowed to work back up to regular activity levels, including running, off the leash.  And Dog had at least two broken bones, per Amelia.

Okay.  So it’s been two months since the accident, the dog’s healed up, everything’s fine.

But when Sam goes into Amelia’s room to get the dog, she asks him if Dog is “taking his antibiotics.”

Now, I am not a doctor, nor do I play one on TV, but I am somewhat familiar with long courses of antibiotics, as I am prone to stubborn sinus infections, and the LONGEST my doctors have been willing to let me take them is three weeks.  The usual course of antibiotics is 5-14 days for humans.  Dogs tend to have longer courses, but I’ve never heard of any that went past three weeks, and I’ve never had to give my dog antibiotics for more than two weeks.

So why is Dog still taking antibiotics after two months?  Certainly there are situations that would warrant that, but unless the dog’s immune system is somehow compromised, or Sam completely failed to take care of him properly, or Amelia is completely incompetent (which is entirely possible, because I don’t know any responsible vet who would pressure someone who’s telling her he’s not in a position to care for an injured dog into doing just that), Dog should not have needed antibiotics by the time the bone was healed enough to run on.

So either something is very wrong with Dog, or something is very wrong with the timeline. Occam’s Razor would suggest that the problem lies with the dog.


In “We Need to Talk About Kevin,” Dean reconstitutes Benny in Louisiana at the same time as Sam leaves Amelia’s house in Texas.  They both head to Whitefish, Montana, Sam in the Impala and Dean apparently hitchhiking.

GoogleMaps tells me that Clayton, LA and Kermit, TX are 761 miles apart, about 11 hours of driving.  Kermit is about 1,600 miles and 25 hours driving time from Whitefish.  Clayton is about 2,100 miles and 32 hours driving time from Whitefish, a difference of about 500 miles and seven hours, assuming normal speeds on interstate highways.

So how did Dean, who was hitchhiking, get there before Sam, who was driving the Impala and had 500 miles less to go?  And not only get there before Sam, but enough ahead of him to have gone shopping for groceries and beer.  Especially when you consider that Dean had to find rides in rural BFE Louisiana. 

Dean’s scene with Benny is happening at approximately the same time Sam is sneaking out of Amelia’s house—Show has already alerted us to a four-day time skip between Dean arriving in Maine and when he got to Benny’s burial site in Louisiana.  We hardly ever see time skips of more than a few hours in the progress of an episode, and we almost always see a daytime scene between things that happen on two different nights.  There wasn’t a daylight scene in between Dean in Louisiana and Sam in Texas, so they were, if not simultaneous, at least sequential on the same day.

Clayton, Louisiana is in a rural area, about sixty miles from an interstate highway:


And one of those interstates is in Mississippi.  Even if Dean lucked out and caught a semi hauling straight from Clayton to Whitefish, which I find highly unlikely because BFE Louisana at night, it would have had to stop for refueling and rest; federal law limits drivers to 11 continuous hours of driving in a 14 hour work day, with a mandatory rest period of 10 hours.  Even if a driver pushes way past 11 hours, he’d be a damned fool to drive for 32 hours straight.

It took Dean four days to get from Maine to Louisiana, about 1600 miles, and it’s almost half again as long as that from Louisiana to Montana. If he hitched instead of stealing a car (because I doubt he had enough cash to rent one and his credit cards would have been blocked for non-payment after a year) it would have taken nearly a week.  If he stole a car and drove, he was still at least seven hours and probably more behind Sam.  Sam would have to drive significantly fewer hours per day than Dean in order for Dean to beat him to the cabin, and Dean, in a stolen car, would have to stick closer to the speed limits than Sam, unless he took back roads, and that would have made his trip still longer.

So while it is theoretically possible for Dean to have beaten Sam to Whitefish, it doesn’t seem very probable.  Especially if the Impala can do that magic thing where she can drive across the country in twelve hours.

Or, I could just be trying to make sense of the writers saying, “Fuck logic, this is what the story needs.”  In which case I will be mightily disappointed.

May 7

No One Has a Problem with James Bond: a Two-part Commentary on Fandom Criticism and the Art of Minimizing Female Characters (Part I)


The debate on the Mary Sue-ness of Charlie Bradbury has been populating my dashboard for a while now and I’m afraid I’m about to butt in.

I have some serious issues with the fact that Charlie Bradbury is -once again- being described as a Mary Sue character. 

First and foremost, I don’t think there’s a real understanding of the term actually means or what having a Mary Sue entails for the viewer/reader and for the narrative itself*. Still, from what I can tell, it seems fandom has agreed that a Mary Sue character is a one that allows its author a measure of wish fulfillment so great that the character itself stretches –and breaks- credibility. A Mary Sue a caricature, an over-simplification of what real characters ought to be.   

There are two parts to this wish-fulfillment model that I’d like to address: number one is the wish part itself (where it stems from) and number two is the fandom perception of what constitutes authorial wish-fulfillment when it comes to the writers of our little show.

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INT. ASPIRING SCREENWRITER'S MIND: "Game Over" - Will Sam Still Choose To Close the Gates of Hell or Will He Simply Put Down the Controller?



This meta would be best read if you read “How Far Are You Willing To Go To Get Revenge” - The Nature of the Trials Against the Nature of the Hunters first. In the aforementioned meta I speculated about the requirement of a certain “mindset” from Sam to successfully complete…

I’ve switched back and forth over this question for weeks: “Will they close the gates?” I’m thinking the only way to do it is to decide it is morally wrong and that in that realization the trial will allow it to happen? Hence all my “mindset” speculation. It definitely seems to require something more than just Sam’s thoughts/actions when we consider the opening statement of the 8x23 synopsis:


I’m also very interested in the whole “With Crowley poised to undo all the good they’ve ever done as hunters” 8x23 spoiler line. It suggests the boys having to sacrifice the lives they saved during their 8 year travels in order to close the gates. Something I really don’t think the Winchesters would do… Plus it affects too much “time travel” wise?? I’m just really ready to see what Carver throws in their paths. It can’t be as simple as costing any of the Winchesters their own lives, that has quite lost its appeal with knowing they’ll just be back with more emotional baggage at “the beginning of the level”. Just this once I want Supernatural to surprise me, plot wise.


So after watching the Supernatural episode with Henry Winchester the Men of Letters symbol stuck out in my mind. This thing, for visual minds like me.


I was sitting in Barnes and Noble, minding my own buisness and reading random books when I happened upon a book called The Element Encyclopedia of Secret Signs and Symbols. Out of curiosity I started flipping through the pages and came up on something called the Unicursal Hexagram. The one in the book looks like this.

I was reading and apparently it was created by a guy named Aleister Crowley and has similar protection functions like the Pentagram Star. With the rose in the center it is the symbol of an organization called the Divine Feminine. Its thought to allow one “to face the darkness in order to understand it.”

I just thought it was interesting and was thinking about possible connections and future things that could spring from the symbol. Fun facts for the masses whoooo.



out there in the real world, you’re dying. and i might be too. we gotta find a way to break this loop.”

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An Argument in Tropes - A Destiel Meta


In which I talk a bit about Dean and Cas and the specific tropes their dynamic has been touching on this season.

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It’s about light and time.


blueshift is any decrease in wavelength (increase in frequency); the opposite effect is referred to as redshift. In visible light, this shifts the color from the red end of the spectrum to the blue end. The term also applies when photons outside the visible spectrum (e.g. x-rays and radio waves) are shifted toward shorter wavelengths, as well as to shifts in the de Broglie wavelength of particles. Blueshift is most commonly caused by relative motion toward the observer, described by the Doppler effect. An observer in a gravity well will also see infalling radiation gravitationally blueshifted, described byGeneral Relativity in the same way as gravitational redshift. In a contracting universe, cosmological blueshift would be observed; the expanding universe gives a cosmological redshift, and the expansion is observed to be accelerating. (x)

Angels are beings of light. They are literaly multidimentional wavelenghs. They are made of photons and moved by celestial intent.

Light takes different colours for us, depending on its souce, its distance, by what it goes through, the eye of the observer etc.

Now what if Heaven or God himself is the source ? What if that source went supernova ? And what if someone tries to change the course, or the frequency or any other “parameter” of an angel ? And then what if an other celestial object enter that light’s course ?

And what if the observer is the one who gets closer ?

Now I wonder if this was just some fun things about angels, or if they really are intending to use this later.

And in any case I’d love to hear thoughts on this if anyone has some idea ;)

Apr 7



Yeah, no problem!  I talked a little bit about it here (you can also listen to the theme), but I’ll expand a little bit okay sorry I expanded a lot, I get too excited about music.

Like I said before, music is important: it does more (imo) to dictate the tone of a scene than pretty much anything else put into it.  If you don’t believe me, try watching an action movie on mute and you’ll see what I mean.

The score in Supernatural is generally mood-driven, meaning that the music is usually tonal rather than melodic (ie it creates a mood but isn’t necessarily immediately recognizable even if you’re paying attention).  Of course, since Supernatural is a tv show and not a film, a lot of times the score is repeated for various situations- certain portions of the score are for action sequences, for comedy sequences, etc.  There are also a few instances where the music is arranged into very identifiable themes.  These themes carry their own emotional weight not just through the atmosphere they create, but because they immediately recall the scenes where they appeared previously.  The most prominent and recognizable musical theme in spn is the one that played last night, which I’ve been calling the Winchester Family Theme (on the soundtrack it’s called Americana, but only as part of a longer piece that was featured in Swan Song).

The Winchester Family Theme first showed up all the way back in season 1, in the later half of the season.  It was used to highlight the emotional weight of a conversation between Dean, Sam, and John, and has since been used to similar effect throughout the series.  It always accompanies a scene that focuses on the importance of family, on the bond between Sam and Dean, or between the boys and John (it’s possible that Bobby was included in that, although I know the scene where they burned the flash wasn’t accompanied by the Winchester Family Theme).  The composers use it pretty sparingly, meaning that it packs a punch when it actually is used.  Off the top of my head, I think it’s only been used one other time this season, and that’s in As Time Goes By, in relation to Henry.  The theme is about family, and a very limited version of that word, the version that’s about the tight nuclear family that for better or for worse the boys grew up with.  Henry’s inclusion was a nice touch, which made Henry almost a stand-in for John (Dean certainly used him that way), and it made sense, because Henry was a Winchester, and the boys eventually welcomed him into their little family.

So the use of the Winchester Family Theme during last night’s prayer scene is absolutely monumental.  I suppose you could make the argument that the theme was played because Dean was praying for Sam, just as you could complain that the prayer was about Sam and not about Cas, but if you did you’d be missing the point of the prayer: it’s not just “Watch out for my little brother” (which by itself, holy shit, Dean is trusting Cas to do the job that has always been his), it’s also “Where the hell are you, man?”.  That prayer is just as much about Cas and Dean missing Cas as it is about Dean trying to take care of Sam.  Meaning that the Winchester Family Theme is playing not just for Dean taking care of Sam, it’s also playing for Cas.  Cas has been included in the most emotional, weighted, and important musical theme that the show has. Cas has been included in the Winchester family, not because Dean belatedly told him that he’s like a brother, not because Dean mourned him or looked for him in Purgatory- it’s much more subtle than all that. That music tells a story that runs deeper than words, a story where Cas is a part of their family, a part of Dean, for better or for worse, in sickness and in health, controlled by heaven or not.

And that’s pretty much everything I’ve wanted since season 6.

The Meta Monster Master Post


Heaven, Hell and Purgatory or:

The Afterlife Totally Screws Up the Morals and Philosophies of the Living in Supernatural

Putting all the pieces together

and reposting for a shameless midnight self-promotion when more people are likely to see my post.

I like Supernatural. A lot. It’s got great characters, a good, driving story, high emotional stakes and pretty deep questions. That being said, I posit in these posts, that how Supernatural treats Heaven, Hell and Purgatory actually diminishes their own sacred values of free will and choice, and at times, outright demolishes them!

So come with me, on a journey where I overthink a show starring two underwear models and their bitchin ride as they chop off heads and listen to hair metal.

I. Introduction

II. Heaven is Predetermined

III. Being Good Means Nothing in the Supernatural Universe

IV. Supernatural’s Purgatory Denies Free Will and Moral Justice

Addendum: In Conclusion