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Posts Tagged ‘Supernatural’

Dollhouse Essay Contest Tip #2: More Than Just Story

by Leah

It feels weird to be posting this right after the announcement of Dollhouse’s official cancellation. But we’re still planning on doing the book, and so we hope you’re still planning on writing an essay. (A book like this is as fitting a memorial as I can think of for such a weighty, complex show.)

Let me also take a second to remind you, or let you know for the first time, that we’ve added a place on the contest page where you can sign up for updates on the contest and book. We’ll also make sure to remind you when the deadline approaches . . . though if the last episode of Dollhouse airs as hypothesized on January 22, that’ll likely be reminder enough.

As you’re choosing an essay topic, keep in mind: there’s more to talk about than just the story.

A lot of our Smart Pop essays focus on the story of a certain show or book series—they analyze a dramatic arc, or a theme, or how a certain set of characters interact. And that’s fantastic; essays along those lines are some of my very favorites the Smart Pop series has produced. But especially when it comes to television, there’s a whole other category of essay that people tend to forget: essays that focus not on what the story, is, but on how the story is told.

What does that mean, practically?

It means essays like Scott Westerfeld’s “A Slayer Comes to Town” from Seven Seasons of Buffy, that talks about kinds of stories and how Buffy breaks the mold, or Steven Rubio’s “That Was a Ten” from House Unauthorized, that interrogates the show’s structural rhythms, episode to episode.

It means essays like Jennifer Goltz’s “Listening to Firefly” in Finding Serenity, that analyzes the show’s music (or, since the excerpt for that one isn’t up yet, Livejournal user zimshan’s posts on the way Supernatural uses music, episode by episode, to reinforce its themes).

It means essays like Emily Turner’s “Scary Just Got Sexy” from In the Hunt, that talks about one of the ways fans interact with the story in Supernatural.

There are so many things that go into making a television show great other than the story (though, it could be argued, story is what most of them come back to, from the sets to the lighting to the score). And those things can be the inspiration for some unique, brilliant essays.

Apocolypse Nowish*

by Maria Lima

Whether an inspired retcon, or part of an extremely clever plan, this past episode of Supernatural, “Changing Channels” (5-8),not only added to the richness of the mytharc, but shone a very focused light on what I think will evolve in the rest of the season. Using the conceit of being trapped in a series of television episodes, from an over-the-top color-filled generic laugh-track sitcom, to a Japanese game show, a herpes ad, a brilliant parody of Grey’s Anatomy, and finally, an homage to CSI/procedurals, the writers of Supernatural shows us what’s at stake, giving us oh so many clues as to the final denoument of both the Apocalypse and season five.

When I wrote my essay for In the Hunt, I was elated at the use of the Trickster in the show, one of my favorite characters in folklore. He is harbinger and storyteller, bringer of Chaos and here only for one thing: to teach a lesson. It’s a brilliant reveal: the Trickster is in fact the Archangel Gabriel in his own form of holy witness protection (as he states in the episode). I jumped for joy when I realized how well this worked.

In Mystery Spot (3-11), Richard Speight, Jr. as the Trickster explains: “Dean’s your weakness. The bad guys know it, too. It’s going to be the death of you, Sam. Sometimes, you just gotta let people go.” He also explains that: “the way you two keep sacrificing yourselves for each other? Nothing good comes out of it. Just blood, and pain.” Not a very nice message, but a most excellent parallel to the Gabriel of myth.

Gabriel’s role in legend parallels that of the Trickster: he is the Messenger, with a capital “M”, the one who brings the Word, and by doing so, usually ends up causing true Chaos—the upset of the message recipient’s life as he or she knows it. He foretells the births of John the Baptist to the elderly and barren Elizabeth and of Jesus to Mary. He brings the Q’uran to Muhammad, the sacred fire to Zoroaster and generally, is the Holy Al Gore, revealing the News of the World, in all its troubled glory, to us lowly humans.

In his first appearance in the Book of Daniel, Gabriel (in the form of a man) says to Daniel: “And he said, Behold, I will make you know what shall happen in the last end of the indignation. For it is for the time appointed for the end.” (Daniel 8:19). In “Tall Tales” (2-15), “Mystery Spot,” and now in “Changing Channels,” Trickster/Gabriel underlines the lesson for the Winchesters: They are each other’s weakness and that they were “born to this. Destiny. As it is in Heaven, so it must be on earth. One brother has to kill the other. From the moment Dad flipped on the lights around her, we knew it was going to end with you—always.”

The parallels delight me. In the Bible, to Elizabeth and Mary, the birth of sons—both sacred vessels, both of whom met dire ends. To Dean and Sam, the knowledge that they are the sacred vessels and that their destiny was planned from on High . . . and that one of them must die to make the suffering of the world end (or in this case, the family squabble that is Armageddon). In my humble opinion, Kripke’s got us (his audience) exactly where he wants us: enraptured.

One of my online blog friends stated that the only way this would totally parallel Gabriel’s Biblical messages is if Jeffrey Dean Morgan comes back as God. I think she’s exactly right. The show even has Gabriel telling the boys: “Why do you think you are the vessels? Michael is the big brother, loyal to an absent father. Lucifer is the little brother, rebellious of Daddy’s plan.” It’s been this way all along. From the early canon of the show where Sam leaves his family (Lucifer falls); Dean’s blind dedication to his father (Michael as the left hand of God), to now, when their destiny means that the fate of the World and of its people is in their hands. How much more Biblical can you get? Only this time, in a typical Kripke twist, unlike Biblical Mary, Mary Winchester also gave birth to Lucifer’s vessel, not just God’s.

So how is the season going to end? Kripke, I’m sure knows, but me, I’ve got a glimmer of an idea. At the end of this episode, after Gabriel makes his pronouncement that it’s been like this, always, Dean, in typical fashion just looks at him and says, “No. That’s not going to happen.” There is no arguing, no pleading. Just “no.” Dean will not continue to bend and play this game to its supposed destined end, just as he fought playing his role in the game shows. Dean—unlike Sammy, who endured nothing but humiliation in his TV show roles—has learned his lesson. He admits that his parents would still be alive if Sam had not been born, he sees past the disguise of Dr. Sexy, he is the one who just says “no.” 

In the Japanese game show, Dean is champion. Does this mean that he will be Champion in the Apocalypse? I think yes; it will come down to Sammy finally casting off his pride, humbling himself and learning his lesson. Led by Dean, who has learned to stand up even against his own brother, the two brothers will find the key to stopping Armageddon—and that key will most likely be their own cadre of Angels, ready to stand up and say “no,” just as calmly and definitely as Dean has throughout the season. 

Castiel and Anna already cast their vote with humanity. Will Gabriel do so as well? Dean pokes Gabriel right where it hurts, pointing out that this (the Apocalypse) is about him (Gabriel) being too afraid to stand up to family, a lesson Dean has already learned in spades. With that comment, and Dean’s parting shot as he turns on the sprinklers that extinguish the fire, “Don’t say I never did anything for you,” I’ve got a hunch that we’re in for another one of Kripke’s amazing season enders.

* With apologies to Joss Whedon for borrowing his most excellent title

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See more about Maria Lima and what she’s written for the Smart Pop series here.

William Bell = Yellow-Eyed Demon?

by Leah

You may have noticed: there’s a lot of television on Thursday nights.  My DVR tapes while I watch, and I still have to visit Hulu if I want to be caught up.

That, I suspect, is why no one’s yet realized: Fringe and Supernatural? Secretly the same show!

Consider the evidence:

Each show has an almost preternaturally earnest main character (Olivia and Sam).

Each show co-stars a Dawson’s Creek alum whose first name begins with the letter J (Joshua Jackson and Jensen Ackles).

And the kicker? William Bell is clearly science fiction’s answer to Supernatural’s Yellow-Eyed Demon.

Both prepared children for a war. Both seem to feel a vaguely creepy attachment for their biggest success. And as it turns out, conducting drug trials on young children, just like feeding a baby demon blood, is “better than Ovaltine . . . it makes you big and strong” (Supernatural, “In the Beginning”).

Yellow-Eyed Demon: I’m looking for the best and brightest of your generation. . . . That’s why I’m here, Sam. . . . You’re tough. You’re smart. You’re well-trained, thanks to your daddy. Sam—Sammy—you’re my favorite. . . . (Supernatural, “All Hell Breaks Loose, Part One”)

William Bell: A storm is coming, perhaps the last and worst storm of all. . . . You are the one, Olivia. Of all the children that Walter and I prepared, you were the strongest. You were always the strongest. (Fringe, “Momentum Deferred”)

Find any other eerie parallels between Supernatural and Fringe? Share in the comments!

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