1. “THEN” sequences to these three last episodes
are art in themselves: it must have taken a lot of time to assemble them.
2. Damn it, this Kansas song is honestly gonna play in my
head for a week or so afterwards.
3. Even in this grave, tragic episode the
writers inserted some genuine humour (namely, Chuck’s monologues).
4. The Impala, starting from the flashback to
“her” biography, proved to be a legitimate heroine of this episode. High time
the trusty car was honoured. I wanted an Impala-centered episode since when
“Fallen Idols” aired, so this is as close as it’s going to get to it. And, hey,
don’t say all women on this show are unfairly treated and killed off – here’s
one lady that’s not. And she’s even of colour!
5. Her first owner was a travelling evangelist
Sal Moriarty (a mash-up name of the two protagonists of “On The Road”) who’d
“drive around giving Bibles to the poor”. It’s very logical and poetically just
that the car had initially belonged to, in his way, a “true servant of the
Lord” whose job description also involved “saving people” – after all, that’s
what the Bible is for, right? He even had an angel figurine (halloo, Castiel
The Action Man) in the car.
6. Whoa, this episode is moving on pretty fast –
opening credits are still rolling on, and the boys have already decided on
their future. And the climactic scene is in the middle of the episode rather
than the end.
7. The scene of Sam ensconced on the hood of the
Impala (drape around it, baby), beer
in hand, is so model. I bet the only
reason Dean doesn’t give him a “Get off my car, man” speech is obvious: the guy’s got a few days on
Earth left to live, so he can do whatever pleases him.
8. The scene of Dean letting Sam go on with his
free will mirrors the “Point Of No Return”’s heart-to-heart talk where Sam
gives Dean his unconditional trust.
9. In the
previous episode Sam said he wouldn’t do a “yes” unless they all (four) agreed
on it – what a change from season 4’s finale where he was all, “I know it
better, let me do it myself”, and Dean was all, “I know it better, kid”. And now it’s Dean all, “You decide” while
Sam’s all, “How do you think?”
10. Dean was the last person who (could stop
it!) needed to give his consent to Sam’s plan. Ironically enough, his agreement
turned the scheme somewhat upside down – like it was not their communal
decision but Sam’s exclusive choice.
11. Sam’s “you’re gonna let me say yes?”
little-brotherly obedience is adorable. He’s genuinely amazed at Dean’s sudden
change of moods.
12. “If this is what you want, I’ll back your
play”. Of course Sam doesn’t want it (hence his silence) but that doesn’t
count. It’s funny Dean even asks such a question. Imagine Sam asked him, “Dean,
do you want to go to Hell for me?”
13. When Dean agrees to “back” Sam’s plan, it’s
not him wanting it, it’s Death wanting it and Dean having to obey – of course
it goes against “every fiber [he’s] got”.
14. Dean’s “watching out for you…It’s kinda been
my job. But more that that… It’s kinda who I am” is an amazing confession in
itself. Mind you, Dean here is sacrificing, too. Not his physical life but his
identity. He’s going to be left with a Sam-sized hole in his soul.
15. “Maybe I got to grow up a little, too”. And
why does Dean think his protectiveness is a sign of childishness? This talk of
growing up reminded me of Jo telling her mother, in “Abandon All Hope”, that
letting her sacrifice her life to help the guys was the last chance Ellen could
have of letting the girl grow up. Back in that episode’s review I wondered if
Sam and Dean would be brave enough to have died together. Judging by “Swan
Song”, Dean would easily do that – unless Sam forbade him.
16. By the way, Sam is 27 when he commits his
willing suicide. The legendary lethal age for all those classic rock stars.
Remember how once Dean came and reclaimed his brother back, and the brother
complied but warned him they wouldn’t stay together forever and they didn’t, in the end – but one weekend Sam
had agreed to spend with Dean looking for their father finally turned into five
years. What happens in “Swan Song” is a fantastic full circle moment. It’s brilliant how five years from then, when
we’ve already forgotten about it, this idea of letting go resurfaced and in
what sinister context. And what an eerie light it shed onto the “Pilot”
episode. It’s a circular structure and continuity to end all continuities. Has this also been planned at the outset,
that the last episode should fulfill the promise of the first one? That Dean
would have to let Sam go? Has the grand scheme of the story always been in
this? Was letting go always meant to be the hardest task ever for Dean? Was it
a metaphor of growing up? Devil in the details, Mr. Kripke.
17. Re Dean’s “job”. It’s not the first time he
mentions it but probably the first time he puts it that explicitly. Dean’s
always been more than a brother to Sam. He could be bossy like a father (“I’m
oldest which means I’m always right”) or caring like a mother (in all the
“Sammy, are you okay?”/pour-your-heart-out-to-me moments), or bolstering-up
like a buddy, or hostile like a rival, or even flirtatious like a boyfriend to
him. With their nomadic lifestyle, Dean couldn’t afford long-term and steady
pals or girlfriends, so his brother was a substitute for all of them, to
degrees. Sam was also voicing his subconsciousness (“I know you”). And also was
the most precious thing he’s ever had. Dean usually comes across to other
people as a tough, dashing, charming guy, the Hunter, but at the same time his
brazen brashness slips away when it comes to Sam. That’s a beautiful contrast.
One of the major reasons Dean is and has been a hunter and has had to live this
life of “saving people, hunting things” was because, along with all the other
people he saved, he needed to keep saving Sam, needed to be ready to keep him
safe. So, yeah, there’s never gonna be another job to suit him like this.
18. Oh, how is Sam to drink all this blood? It’s
a lot.
19. “Ain’t he a little angel?” – “Angels don’t
sleep”. Dean is so out of character today, speaking like a 12-year-old fan
girl.
20. By the way, there are two “first ever”
moments here: the first time the angel is shown sleeping and the first time the
three of them are in the same car.
21. While they are driving to the abnormally
freezing Detroit,
Dean is having bad premonitions about the whole thing – even though it’s not
him who’s going to Hell this time round.
22. By the way, it’s good the demons were pretty
much under Lucifer’s strict control this season and couldn’t harm Sam and Dean.
So that this finale, unusually, had zero active demonic presence.
23. “You got to promise me something” – “Okay.
Yeah. Anything” is heart-wrenching. It’s clear Dean had mentally agreed to
Death’s proposal and to Sam’s plan, accepted the fact he would have to let Sam
do an Alice-in-Wonderland,
but he definitely kept one reassuring thought in mind – that he’d drag him back
after it’s over. But Sam robs him off this one last hope. Sam’s wish is the
reverse of Dean in season 3’s finale asking him to “keep fighting” – and look
what happened when Sam had kept that promise.
24. How exactly does Dean think he can search
for Sam and get him back? And, yeah, his “tour” to Hell may seem like “Graceland” to Sam’s excursion. Any tips on survival,
Dean?
25. It’s not death we’re talking about, it’s a
life of suffering that awaits Sam down there. And remember that neither Sam nor
Dean particularly wanted to be saved from the dead personally, but when it
would come to bringing each other
back, it was a priority.
26. Sam actually asks Dean to promise two
things, the second one being “normal” life. And as long as normal life was an
unattainable ideal Dean could strive for but not have, it was great. But when suddenly it became reality and the
only option imposed on him, then Dean
realized it wasn’t such a hot item on his wish list. Oh Dean. You know you
can‘t resist Sam. But he doesn’t say “I promise”, either.
27. Whether they win or lose, Sam will be gone
in any event. He takes over Lucifer – he dies; Lucifer takes over – either
Michael casts him down or he destroys
the human race – no way back home for Sam
anyway.
28. “You fight him tooth and nail… Keep
swingin’”. “Take care of these guys, okay” – “That’s not possible”. Does
Castiel here refer to Sam’s task or to what Sam asks him to do? And Castiel’s
eyes when he looks up at Sam are full of such sympathy. And, yeah, the more
human he becomes, the more sensitive to human habits and traditions he is. I
bet it hurts him especially bad that at this moment there’s nothing he, an
angel of the Lord, can do to help Sam.
29. “You mind not watching this?” It’s
interesting that drinking demon blood has always been (even back in season 4) a
source of shame for Sam, a sick habit he felt he should hide from others (Dean,
in his turn, would think of his torturing souls in Hell as an eternal disgrace
for himself).
30. How is Sam even able to control himself
after such a huge dose of demon blood? It gives him the necessary recklessness,
courage and swagger, though.
31. Oh, a sentimental Dean keeps the Legos in
his car’s vents. I’d like to think the soldier was Dean’s and the Legos
belonged to Sam and they had stuck them into the awkward corners of the Impala
just to play jokes on one another.
32. Lucifer is very cold and cool inside, both
symbolically and physically. He’s drawing the Devil’s Trident on the frosted
window. In May. Evidently, Hell is cold in places, and perhaps his cage is also
like a fridge? Guys, it’s good that you came fully flannelled.
33. “Chock-full of Ovaltine, are we?” Have all
demons, being Lucifer’s creations, also inherited Lucifer’s trademark
snarkspeak? Angels and demons can be easily distinguished by their manner of
speaking. Demons tease, taunt and tempt and angels tend to be serenely cryptic.
However, some angels like Gabriel or Lucifer cross over into the other party’s speech
habits.
34. Lucifer says “we” addressing Sam. (cf.
Michael to Dean in “The Song Remains The Same”). OTP?
35. Sam lays down his conditions to Lucifer
(Sam. To Lucifer. Aren’t you a little
bit like those silly kids in “Swap Meat”, Sammy?) – “I live, he lives…” Does he
do that to mislead Lucifer and not let the Devil guess he’s lying? Or is he
really serious? Like, serious
serious? But he should know if he gives himself over to Lucifer, the Satan will
destroy all people on Earth anyway apart from the planet itself (if he himself
won’t get beaten by Michael) – then what Dean, him, John and Mary will do alone in the empty world? By the way,
Mary coming back to life in 25 plus years of oblivion – that’s a stuff of a
time travel fanfic.
36. “Can we please drop the telenovela?” Even
the Devil knows Supernatural is a friggin’ melodrama. Except that later in the episode, when he’s
talking to Michael, Lucifer himself shows a telenovela level of emotion.
Hypocrite.
37. Look at that, Lucifer is now even picky, like Brady with his rings. Sam
says he wants the Devil to take him and Lucifer is, like, oh yeah?, and then Sam, basically, illustrates this Supernatural
icon that says “I can kill you with my brain”, snapping two Lucifer’s
underlings off with a mere concentration behind his closed eyes. Sam can pretty
much destroy demons but, alas, not angels.
Hell yes, if your boy can do such things on his own, imagine what he’ll be
capable of with you inside, Lucifer.
38. Lucifer makes a special point of honesty. He
reproaches Sam of lying to him, stating he himself has never lied to him. But
he’s not angry at him, says Lucifer. And he knows everything about the rings
and Cage plan and is even so self-assured as to go for it – “You win, you jump
in the hole. I win… Well, then I win” (cf. “The End”). He “like[s] the idea”.
Pride is really the death of him.
39. Sam’s anger was his biggest problem but in
the end it was a crucial factor in his victory over Lucifer. And Sam has never been proud of himself.
40. Dean’s face when Lucifer tells them he’s
known their plan all along is a study in apprehension. He tries to figure out an
alternative move in the few seconds that remain. Every step and word in the
scrape they’ve got themselves into could be crucial. Sam’s made up his mind
already, but I bet Dean would still be ready to grasp at this opportunity and
not do what they had agreed on.
41. Sam says three “yes” in a row (a folkloric
trope of three?) before Lucifer jumps his bones, but when Lucifer has taunted
them enough, he wastes not a moment and goes in. It’s been over three years
since Sam has been possessed. And now he’s officially schizo, with this split
personality.
42. In “Lucifer
Rising”, when the Cage opens, Dean says “Sammy, let’s go [out]” – now in “Swan
Song” he opens up the Cage and says
“You got to go now [in there]!” Eerie continuity.
43. Dean throws his rings against the wall and
pronounces an incantation and it opens up into a horrible, windy tunnel leading
into the dark nowhere. Sam’s lying unconscious on the floor, and then Dean
picks him up to his feet (Sam’s “Dean! I can feel him!” – the pain he feels in
his head may well be like this of his Season 1’s premonitions, only much more
acute this time) and urges him towards the Hellhole. Sam makes a few steps
towards it (and there’s no way Dean’s
helping him in) and then suddenly something in his face changes and Lucifer’s
arch smile tugs at the corners of his mouth. He turns away and, in a
deceptively calm voice, tells a visibly horrified Dean he’s changed his mind
and then leaves Dean to his lonesome exasperation. Dean’s priceless face is,
again, a study in “what have I done?” despair.
44. Lucifer says he’s been deceiving Dean. A-ha,
Mr. I’ll Never Lie To You. Well, he promised to never lie to Sam, after all. But he broke even this
pledge. From the first moment Lucifer promised Sam a fair battle he was lying – he knew Sam wouldn’t be strong
enough to withstand him, but invited him into the fight anyway, making Sam
think he’s got a chance to win. It’s just like 4.22 where we got to know that
Ruby has been deceiving Sam.
45. I love this noiry conversation between Sam
and Lucifer through the broken looking glass. It’s yet another
quasi-shapeshifter moment for Sam. It’s an excellent device Supernatural used
in only a few episodes where there’d be two Deans (“Skin”, “In My Time Of
Dying”, “Dream A Little Dream Of Me”), usually rivals. In the excellent “The
End” two Deans – the good and the bad – first met Sam-as-Lucifer and fought
each other. This same technique is used in this episode where we’ve got two
Sams – one good, the other Lucifer, fighting. Also, this episode features
probably the second ever scene since “Bloody Mary” where we get to see Sam talk
to himself through the mirror. The difference is, back in season 1, the boy in
the mirror was the dark projection of the good boy in front of the mirror, his
guilt and offence speaking to him. Now, five years on, this dark, shadowy part
of him grew strong enough to break free from the mirror into the real world,
and now it’s the good boy who’s just the vision, and the bad one is controlling
him. Very Oscar Wilde.
46. The “scratching” metaphor (“Sam. Come on. I
can feel you… Scratching away in there”) – cf. how in season 6 Death warns Sam
not to scratch the wall in his head.
47. Lucifer’s serene tranquility is in sharp
contrast to Sam’s nervousness, fear and anger.
48. There was something deeply sensual in their
connection from the first time Lucifer showed up before Sam. Lucifer even talks
to him in lovespeak (“MFEO”).
49. Lucifer successfully attempts to bring Sam’s
vengefulness forth. Obviously, if the Devil and the Vessel are in sync, it’s
much easier to work. And what, Lucifer can’t unleash his full power unless Sam
joins in with his ire?
50. Rachel, Sam’s “prom date” turned out to be
one of Lucifer’s “little devils”. And, Dean, looks like you were banging
monsters way before Sam started doing
this. So what it was in the Wish Verse of “What Is And What Should Never Be”
only!
51. Oh no, now even the angel is depressed and
boozy. There’s nothing we can do (bar going on a bender), and we’re done –
Castiel is just like Dean in “Lucifer Rising”. “Junkless sissy” is a polite understatement.
52. Sam’s face in the mirror after “they” had
wasted the demons from his past is scared and ashamed (he realized he enjoyed
the process) and the triumphant Lucifer’s all, “Are we having fun yet?”
53. It would’ve been good if they showed us more
of Sam battling Lucifer within himself. Not just one episode of it.
54. I bet the guys could find themselves a good
case even at Ozzfest (and seriously? Imagine Sam and Dean banging their heads
to rock rhythms in a crowd of enthusiastic AC/DC fans. I’m sure Sam went to
these gigs just because Dean dragged him
there). Seriously, why didn’t they have an episode involving rock stars and the
supernatural, like “Hollywood Babylon”, only in a rock fest context?
55. The “they’d park her in the middle of
nowhere [so that nobody sees what unmanly things they are indulging in in their
spare time, no doubt], sit on the hood, and watch the stars... For hours... Without
saying a word” is, to me, the best sentimental and funny moment in this
episode. And when the guys act out this scene of looking at the stars, it’s
hilarious: Sam’s diligently staring at the night sky while Dean is looking up,
too, but with a sarcastic, Chuck-made-me-do-it smirk on his pursed lips. Come
on, these “book” scenes – almost like the Supernatural Sitcom from “Changing
Channels” – were supposed to be a bit
self-ironic. Yet the connotations of this scene are ambiguous. Dear writers,
did you mean to put this slashy vibe into Chuck’s writing? How many fanfics
have started where Chuck’s description of Sam and Dean’s holidays left off?
56. If Chuck’s “Supernatural” books feature such
cheesy details then I imagine how all Becky Rosen-type girls came about. More
than that, Chuck’s affair with Becky obviously influenced his writing.
57. “Maybe they never really had a roof and four
walls but they were never, in fact, homeless”. Well, of course – their show has
successfully broken down all the four walls!
58. The car was the only thing that reminded
them of their regular home, hence Dean’s almost religious attitude to it (and
Sam has never shared the same reverence to the Impala as his brother – just
like he hasn’t shared his reverence for the idea of home/family). When the Chevy
was broken to pieces in late season 1, and the accident eventually led to the
loss of their father, it was very much a rendition of their Kansas home burning to embers and taking their
mother’s life away. Only that second time Dean would restore what he could.
59. Why are all these loveable details only
revealed now? There must be something the show’s not telling us that goes into
books by Mr. Edlund. Really, the more we learn about the guys the more we’re
yet to discover.
60. Prophet Chuck writes the Winchester Gospel
while engaged in phone sex – how dirty is this? Could it have put some
inappropriate scenes into his book?
61. And poor, pure, rejected Becky must be
writing some angry Wincest at the moment.
62. And, yeah, Dean is that subtle as to have started
their conversation with this gentle question about Chuck and Becky’s failed
love affair, gossip girl.
63. Stull
Cemetery near Lawrence – it’s full circle, right? Sam’s
birth was the beginning of his troubles, death will, ironically, be his redemption.
64. “I just want you to understand – the only
thing that you're gonna see out there is Michael killing your brother” – “Well,
then I ain't gonna let him die alone”. Does it mean Dean will hold him in his
arms (like 2.21) or is he literally planning to die alongside him? No matter
what Dean has said about Sam having become a grown-up man, all this episode
he’s still not letting him out of his sight and watches over him – till the
end. It’s the kind of devotion even the angel would envy.
65. Adam/Michael (Adamichael?), you’ve wanted to
fight Lucifer, so you get it. And it’s kinda weird that Michael is the older
brother while in reality Adam is Sam’s junior. This family is so screwed
up.
66. Lucifer tries to charm Michael into not fighting
him. But Michael ain’t no Dean. The human siblings are actually more mature
than you two in Heaven.
67. “Let’s just walk off the chessboard”. Does
the Devil think God manipulates them both? And how does Lucifer expect them to
proceed if they drop the battle? What’s more important for Lucifer – to achieve
his mean goal of human race destruction or to win Michael’s love and trust
back? And if Michael gave him this love, would Lucifer relinquish his vengeful
plan? Who’s Lucifer’s biggest issue – his Dad or his brother? And isn’t he
doing all his harm to attract Michael’s attention? And, Michael, Lucifer may be
evil but he can’t really help it, having been deeply offended by you and your
Dad in the past, but you are being deliberately selfish and unwilling to get over your own sibling issues – while a
little sharing and caring could probably stop your brother from wreaking havoc upon
the world.
68. “I'm a good son, and I have my orders”.
Michael, have you got no soul at all? See, Soulless
Michael.
69. Michael, where’s your politeness? “You are
no longer a part of this story”. How much more John fit you.
70. When Dean addresses Adam, “Adam, if you’re
in there somewhere, I am so sorry” is he being sarcastic or earnest? ‘Cause the
grammar structure he employs (the “so”), in his case, usually equals sarcasm
and irony – yet there’s no such thing in his intonation.
71. “He’ll be back – and upset – but you got
your five minutes”. Remember back in “Lucifer Rising” Dean needed some time to
talk to Sam, but angels wouldn’t let him go and see his brother – and now
Castiel makes up for it. All in all, Castiel has changed a lot in this one
year: from a righteous angels of the Lord into a warrior (cussing alone – like
brothers, like Cas). Note how the proverbial “save him or kill him” rule
applies to Castiel-to-Dean relationship as well – Castiel has always been to
Dean what Dean was to Sam – a protective senior, even though he lacked Dean’s
dashing humour. So it’s natural he’d die
for him, and not once.
72. What Castiel does to Michael is akin to his
drawing the Angel Banishment sign on his own chest – he, like, throws the
angel’s trap of holy oil into Michael like a lasso.
73. First the guys fought against the outward
evil mostly, but then had to fight against the inner evil. It’s when their
external monsters join them from inside that it gets really, end-of-the-world
crazy and scary. Also, by “Swan Song” they had climbed up to the top of the
supernatural creatures’ ladder – only to then jump down.
74. “I tried to be nice… For Sammy’s sake”. Oh,
look, Lucifer actually cared for Sammy ‘Cause if there’s any feeling Lucifer is
able to relate to, it’s this brotherly thing. The only thing that can stir
Lucifer’s genuine emotion is family. Such a pity, Lucifer, your Michael is not
like Sam’s Dean.
75. Does Lucifer take his anger out on Dean
specifically because he represents Michael to him?
76. When Lucifer is methodically punching Dean,
Dean, uncharacteristically, doesn’t do his damnedest to oppose this violence –
he knows any such attempts would only infuriate Lucifer more and knows he could
finish him with a snap of his fingers. Sure, just like Sam in “Point Of No
Return”, he can’t really do anything to counter his rival physically, ‘cause
even a third-rank angel has a body of stone. But, more importantly, he’s
passive because his goal is not to beat Lucifer to the ground but to stay alive
long enough to keep telling his words to Sam to wake him up, to open the closed
door (that’s a recurrent Supernatural symbol) within his mind and let his
brother out of the mental cage Lucifer has forced him into. Remember how in
“Lucifer Rising” Dean also had to bang against the literal closed doors of the
convent and how that barrier proved fatal. But not this time. If Sam is Lucifer’s “destined vessel”, that means he and
Lucifer share a certain similarity, so you can use the same weapons and methods
on both. Now Lucifer has a stupid idea on his mind, and what has always been
the way to battle Sam’s stupid ideas? Not knock them out of his stubborn
brains, but – and Dean knows it like no other and has successfully done it more
than a few times – to actually talk
him out of these ideas. So that’s what Dean is doing, and it works. What Dean keeps saying to Sam
works as some kind of exorcism.
77. Dean ignores Lucifer and calls out for Sam (just like in “Born Under A Bad
Sign”, though he used much stronger terms back then). The words he uses – “Sam,
its’ okay. It’s okay. I’m here. I’m here. I’m not gonna leave you. I’m not
gonna leave you” – are the words that Dean could probably be comforting Sam
with when they were kids. He’s instinctively speaking to him as if Sam were a
child, and these words, I suppose, go straight down to the deepest, root-est parts
of Sam’s soul and trigger the earliest memories just as strongly as the “army
man” toy Sam catches sight of.
78. I wonder if Sam used his mojo as well to
overcome Lucifer from within.
79. I get why TWoP’s reviewer of Supernatural
ranted so much about how unconvincing the life-flash-before-his-eyes montage
triggered by the sight of an army man toy Lucifer/Sam’s eyes caught was. We’ve
never heard about this toy stuck in the car until this very episode, and its
sudden appearance may have felt somewhat far-fetched, indeed. If the writers
used some object that has had a long, season 1-onwards story within the show to
trigger Sam’s memories, it could have probably provided more of a continuity.
It’s funny that exactly this season Supernatural got rid of three such objects
– and while Sam’s bracelet and Dean’s beer opener ring went out unnoticed,
Dean’s amulet did so with a showy bang, and has been much missed by fans since.
If anything, in season 5 the amulet has been given a role as crucial as that of
the Colt in seasons 1-2: the “God EMF”. It proved useless in this task and
Castiel blamed Team Free Will’s inability to find God on the innocent object
(and has it ever occurred to him the amulet had nothing to do with their
failure – if God doesn’t want to be found, nothing
can locate him?), prompting Dean to throw it away into a trash can, thus
basically throwing away his childhood memories or even part of his concern over
the boy who’d given the amulet to him back in the ‘90s. Now imagine if Dean had
kept the amulet or if Sam had salvaged it and, I don’t know, had hidden it in
the Impala’s trunk or glove compartment. If Dean were to find the amulet on his
way to Stull Cemetery and had a hunch to put it back on, then when Sam was
beating the crap out of him, he could probably tear Dean’s shirt apart in the
process (exposing Dean’s perfect manly chest on the way, no less), catch a
glimpse of the object and if the sight of it would trigger this wave of
flashbacks, it would be such a continuity. But, no, I enjoy the actual version
of the scene no less.
80. And HUG (and another HUG in slow motion).
YEAH, THEY DID IT, even though they criminally neglected it all season long! I
was even betting they would make up for the lack of hugs in the finale. Hugging
may well be the highest form of sensual, physical expression of mutual
affection these guys have for each other. Like, when they hug they are actually
making out in their mind... okay, in my slashy fan girl mind.
81. By the way, there was more than an average
number of “real”, not flashback, hugs in this episodes: Dean and Bobby, Dean
and Lisa – but they never did, silly
boys. I get it – after all, Sam is about to die but he is not going be brought back this time.
82. This sequence of Sam’s
life-flash-before-my-eyes is a great device reminding fans, just as much as Sam
himself, of the road the guys (and the show’s audience) have covered.
83. There’s no music bar the ill wind blowing
from the Pit soon to be opened during this montage. Very creepy.
84. So, yeah, it was a Sapocalypse in the end.
85. When Sam wakes up from his Luciferocity,
does he see what damage he’s done? He definitely sees what he’s done to Dean.
But they don’t really talk to each other in these last seconds (Dean probably
can’t talk, what with all the crushed bones in his face), Sam only mutters a
few phrases to him and then pulls the key out of his pocket, throws it against
the ground and the Pit opens up (and it’s a pretty wide gash and you even freak
out lest it should spread as wide as to consume not only Sam but Dean and the
car as well) – but Sam faces his brother all the time – he doesn’t look down
the hellhole, he looks at Dean, and they, like, speak in glances. Sam is
visibly scared but then his face turns all martyrously beautiful and
enlightened, he opens up his arms in a characteristical crucifixion gesture and
starts falling into the Pit, and the music goes all epically tragic-beautiful,
and it’s at this instance that Michael reappears to mar the epic moment.
86. Michael is like some piggy in the middle in
this climactic scene: first he’s all, “Dean, you got no right to be here”, then
he’s all, “Sam, step back! It’s my destiny!”, and Dean and Sam are all, “Screw
you, junkless”. To think Michael is the mightiest archangel around. Though,
he’s not in the best vessel and, to top it all, has been severely distressed by
Castiel.
87. Guess Michael’s angelic mojo is pretty
whacked – how else could Sam drag him down? Or is Sam becoming stronger than
anyone at this crucial point, demon blood working together with his own power
of will? Or – the option I like most – Michael is so devoted to his duty and
destiny he’s not going to leave Lucifer even if it means he’ll have to
sacrifice his own life. Michael actually wants to keep Lucifer on Earth so that
they could have the battle yet, but Sam grabs him by the sleeve and… Obviously,
Michael is genuinely taken aback by Sam’s action, so he doesn’t react quickly
enough, and they both fall down. And for some reason it feels quite just. I
don’t really sympathise with Michael – after all that he’s seen and been told,
he’s still none the wiser, prefers to stick to his mantra about “destiny” and
doesn’t seem to get the brotherhood idea. Who’s more self-righteous, in the end
– Lucifer or him? Michael should have learnt the basic rule by now: if you’ve
got a little brother who’s going slightly mad, you should save him, not kill him, so he gets his just desserts for being so
heartless. Shouldn’t have turned yourself into an Anna, man. Come to think of
it, Michael wanted to kill his
brother while the boys were much more humanistic – they only wished to put
Lucifer back into his prison.
88. Uncompromising goodwill can be worse than
honest evilness; and you can’t (and maybe even shouldn’t) kill evilness – is
this what the show wants to say, when they just cage Lucifer back in, not kill him?
89. Sam actually does a favour to Lucifer:
leaves him alive and even provides him with a companion – he is surely not
going to let Michael stay where Dean (and the rest of the world) is. Michael
may want to take his fierceness out on Dean, or, worse than that, do whatever
it takes to lift Lucifer back. Also, maybe it’s Sam’s idea that if the two want
to have this battle so much, then let them fight – only not on our planet, let
it be in a safe and enclosed place (I imagine the Cage resembles the Beautiful
Room). And maybe when the two find themselves in one big scrape, they’ll
finally drop their battle altogether and just sit down and talk things out yet.
Have their own Impala-style sharing. When Lucifer is not alone in his cage but
with Michael to look out for him, it’s safer for everyone. The two might figure
out a way to get out of the Cage, though, but the benefit is definitely worth a
risk.
90. Lucifer and Michael are like Alternate Sam
and Dean – who our guys could end up being by 2010 if they were obedient to
destiny.
91. This ending is reminiscent of the “Star Wars
VII” finale. The Evil goes down, literally, and bare faith and trust prove to
be the strongest weapon.
92. All in all, in “The End” Zachariah
stage-designed a pretty accurate future: Dean came close to the ruthless heartlessness of his 2014 projection
(in “Point Of No Return”), Castiel lost his angelic mojo and boozed heavily,
Sam said “yes” to Lucifer in Detroit – the only difference being that the “I
win – so I win” part failed.
93. And when it’s all over, a battered Dean is
down on his knees, head bent low, mourning over the now useless keys – the only
thing left that reminds of the gaping hole that’s healed by now. The way he
twists them in his hand – I’d bet the thought of using them to open up the Pit
anew is crossing his mind this instant.
94. Castiel appears like a literal angel on
(actually, behind) his shoulder, and
heals his wounds, and revives Mr. Singer, and slightly nods in answer to
Bobby’s silent question – like, yeah, the kid’s done it.
95. “Cas, are you God?” is such a great
precursor of season 6 finale, by the way. And what, God cares for Cas but not
Michael and Lucifer? He approves of the idea of his two sons stuck in the Cage?
96. Looks like Castiel is the employee of the
month. Or even year. He’s “the new
sheriff in town”. Castiel’s been on a downer (and wouldn’t mind going on a
bender again) all through the episode but when he’s coming back over Dean’s
shoulder after Lucifer has been defeated, he’s considerably more cheerful and
does not seem to notice Dean’s grief – his enthusiasm for his new-found home
and role overcomes his concern for his friend. He has got all reasons to be happy. First, God brought him back to
life again – and that proves that
God, however disconnected he is, still follows his angel’s adventures and is
always quick to interfere when, you know, push shoves. Second, for whatever
reasons – probably for his invaluable assistance to archangels’ Vessels last
year – God granted Castiel back his healing powers and access to Heaven (or
maybe since most of the archangels have left home there’s simply no one to
restrict Castiel’s entry anymore?). Third, as if these gifts were not enough,
God also gave his rebellious son some new skills – now Castiel can even
resurrect people in a flick of his magic fingers. Could it be that God sent him
on Earth to go through his own test or trial, in the first place, and that
Castiel was learning just as much as Sam and Dean were?
97. I get it Castiel’s utterly happy that he can
finally go back to his sweet home, now that his mission on Earth is more or
less complete, and the world is saved from harm – but still, Cas, how could you
be so indifferent to Dean’s pain? The man has just lost his brother and you act
like it’s of no import to you? And, Cas, are you, are you leaving? So that Dean
and Lisa could go and live some apple pie life? No hugging, no parting shots?
How dare you quit him in such a moment? I know he was rough to you at times and
never showed open affection that much, but… He actually thinks you’re leaving
him forever – just when he badly needs some support. You’re the only close
friend he’s got left, dammit. I bet that moment had quite a few of slash girls
sigh at what perfect opportunity to start the relationship with the man of his
life, now that Sam’s not standing between them, Castiel has passed. Or was the
fandom exaggerating this love all the way? The angel chose career over our
silly, sentimental human practices.
98. “[God] helped. Maybe even more than we
realize” – does Castiel hint at Sam’s resurrection? And does he know about this
already, just won’t tell Dean directly?
99. Cas, like, advises Dean to count his
blessings (“You got what you asked for”) – but, really, nothing can console the
man.
100. “What would you rather have? Peace or
freedom?” Such a deep question Dean can’t find an answer to too fast. Well,
he’d choose freedom even now, but his promise binds him, so turns out he has to
choose peace.
101. “Dean didn't want Cas to save him. Every
part of him, every fiber he's got, wants to die, or find a way to bring Sam
back. But he isn't gonna do either. Because he made a promise”. And if Dean
were to go and knock on Heaven’s door, I believe nobody would grant him death
at this moment. Michael may be in the Cage but Castiel would definitely send
him back. And as for the second option – if he weren’t bound by this promise
(the rare one he’s determined to keep) he would
find these ways. If it required going back to Hell to retrieve Sam, he wouldn’t
hesitate.
102. Come to think of it, many people asked Dean
to promise them something. Father. Brother now. And, also, the “save him or
kill him” – Dean did not keep this promise, he neither saved nor killed Sam.
Sam did both to himself. When he is
killing himself he’s also saving himself – and the world.
103. When in the early season 1 Sam warned Dean
he’d have to let him go when it was over, he never knew where he’d finally have to go. When Sam asked Dean to let him go,
he had something to come back to – his studies, his girlfriend – and possibly
his own family in prospect, a steady job ahead, his home in California. But the more hunts they’ve left
behind, the fewer ties, reasons and chances of returning were left, so that
pretty soon – by early season 2, Sam had nothing
to return to and no more question of a way back. And he had less and less to
lose, and in the end he only had his brother and himself to care for – but Sam
never treasured his own life and, therefore, was not afraid to lose it. What he
told Dean – go and get a normal life – was asking Dean to fulfill his own
lifelong dream of happy home and family, to live it instead of him. They grew
so inseparable that what Dean did would automatically qualify as Sam’s own
doing. Complying with Sam’s plea was the least Dean could do to keep this last
wish, the only favour he could return his brother. And, unlike Sam, who only
lost, Dean, at least, had found his
long-lost girlfriend in the course of their hunts. Maybe Dean didn’t even want
the “apple pie life” in the first place, maybe all he ever wanted was
retribution – but there was, literally, nobody to seek revenge on, was there?
Yeah, one Winchester
is enough, only in his letter Dean
didn’t specify which.
104. This promise Sam has dragged out of him is
very clever. Sam obviously guessed Dean should have another job that involved
looking out for somebody he loves. Otherwise he may just plunge headfirst into
the bottle, so Sam headed him towards the woman and the kid as a substitute.
105. When Dean appears on Lisa’s porch and
doesn’t even have to beg her, elegantly making his way into her house and life
again, he’s still wearing the I’m OK face but it’s when Lisa, with her motherly
clairvoyance, hugs him and, like, lulls him, he literally cries on her shoulder
and that’s a pretty touching moment indeed – how has he even been saving those
tears to himself for so long? The man’s just got back from a superhuman task
he’s accomplished, with his heart scarred and in shreds. Them standing in an
embrace is a very epic, painting-like moment.
106. It’s also a MIRROR device: When Dean had
been in Hell for 4 months, Sam could only find consolation in the demon girl’s
company. Now when Sam is away in Hell, Dean drains his grief in the company of,
predictably, a woman. That makes her something of a reluctant femme fatale.
It’s a hilarious parallel.
107. Chuck is wearing white – and what, he’s
finishing the last page of his new book, why can’t he dress up? When he’s typed
“THE END”, he vanishes into the air – and I don’t think it necessarily
signifies he’s a God per se. Chuck IS a god in his writing, in his
“Supernatural” books – and he’s just completed one of his creations, and can
now leave it to the readers to deal with (just like Castiel’s God left the
world to his children to manage). Then again, Chuck is no ordinary writer –
he’s a prophet, and what, if angels can teleport, why can’t prophets do the
same? Or maybe it’s just a metaphor of how a writer only lives while he’s
writing, and has to phoenix himself back with every new work.
108. “This was a test… They chose family”. Hell
yes, but whose family? They had no choice, really. And if they were to
choose, they’d choose each other, I guess.
109. In the last
frames we get a glimpse of Dean, still shell-shocked, ensconced in his newly
found domestic environment, and then behold, the light suddenly flickers and
the spotlight outside their house goes out and you freak out lest some demons
come to break their idyll, but the camera quickly slides down and focuses on
Sam (is he real? a vision? a metaphor like Chuck? came here to watch and guard
the peace?) and we go into the final credits wondering what had happened to him
if he can now manipulate spotlights, like a demon? And there was no sadness or
happiness in his face, for that matter, just some gleeful smirk. What a
Cliffhanger.
