SUPERNATURAL – SEASON 10
A year ago or so, on January 14, 2015 precisely,
I wrote what follows for Season 9 of this series.
« It is
hard to go on with this series without being repetitive. I will not say much
about the episodes that are local and small if not limited battles against this
or that monster, vampire or werewolf. These episodes are entertaining but they
do not make the plot move forward – nor backward either, just sideways.
The
main plot is little by little destroying itself into some kind of delirium
tremens caused by self-punishing zeal to go on forever ranting and raving about
angels and demons, about hell and heaven, and all that directly on earth that
becomes slightly crammed if not jammed with extra-realistic beings who want
only one thing: destroy each other, destroy one another, recreate heaven for
the good angels who will be stronger and defeat the others by destroying them,
and reopen hell for all bad demons though some are worse or badder than others
and either they have to be destroyed or they have to destroy those who are not
badder.
I would
say then the novelty can only be in the technical achievement of the director
and editor or special effect technician. But that does not make a good series
even if the pictures are original and good. We can of course search the series
for what has already been seen, exploited and is coming to the worn-out phase,
like Wincest for example. Dean and Sam are not like good cheese or good wine,
they do not improve with age, they just get older and you cannot teach new
tricks to old dogs, or monkeys, or horses. » (http://www.amazon.com/gp/customer-reviews/RV9F7VYN3VZQT/ref=cm_cr_getr_d_rvw_ttl?ie=UTF8&ASIN=B00FEVZDC0)
Apparently I must not have been
the only one to express, word and even utter such a criticism because this
tenth season is definitely an improvement. Very few episodes are only one fable
within the big picture, with one monster or type of monsters. Even these few
chapters though are clearly articulated in the general picture. The well-named
warp of the TV fabric is thus not hijacked by but engrossed with the waft of
side enigmas that reinforce the main discourse.
And clear enough now we are back
on the main line, on the main stake of such a series and this stake is the
impossible deadly conflict between the Cain-mark carrier, the elder brother
Dean, and the younger brother Sam who should be killed by Dean just like Abel
was killed by Cain. If he demonstrates his inability to fulfill his fate, his
mission in fact, then the mark of Cain will have to migrate away from his arm,
away from him.
And that’s where the series
becomes kind of deeply esoteric. This mark is a curse but it originally was a divine
key that Lucifer was entrusted by god with keeping safe, unluckily Lucifer got
bad and was thrown down and he passed the mark to Cain after his awful crime,
or the mark migrated to Cain. That mark was the key that locked the universe in
existence before Genesis, the complete darkness covering the whole watery
universe, out of the “creation” that is stated as being of course in no way the
creation of the universe from nothing but from that very darkness by curbing it
down into what we know today as day and night. Check your Genesis for the
details.
The question is that in the
series the two brothers have different agendas. Dean wants to die but due to
the mark he is immortal. Death suggests that he passes the mark to someone else.
Dean refuses. Then the deal is for Cain-Dean to assume his nature and kill
Abel-Sam. That’s Dean’s agenda. On the other side Sam has a completely
different agenda. He realizes he is nothing without his brother, so he has to
save him by all means and the means are not exactly kosher. Sorcery, witchcraft
with Crowley’s mother, Rowena, the super duper
witch who abandoned Crowley when he was a child
in Scotland.
She is immortal and he is immortal. This witchcraft with a little help from Crowley finding the only person his witchy mother loved tyhree
centuries ago in Poland
who has to be sacrificed for this very black magic to work. And here this Oscar
from Poland has been made immortal by the witchy mother when she loved him and
he is in the neighborhood hiding behind the name of the third son of Adam and
Eve, Seth, and Crowley is able to trace him and bring him to the sacrificing
table: he is in fact his favorite waiter in his favorite bar. Diabolical, isn’t
it?
And all goes wrong. Dean is
unable to kill Sam but he “kills” the fundamental semblance of an essential
force in our human life. The mark though disappears since Oscar-Seth is
generously offering his blood, till death ensues, to the witchy mother and it
works. She is free, Castiel is of course alive and Crowley is of course alive
too and all our immortals are able to be the witnesses of what Dean and
Crowley’s mother have liberated that invades the planet and closes the season
on a phenomenal fade-out to black. Just wait for the next season or you have
already watched the episodes of the 11th season on TV.
Try to grip closely to the cliff
because you may stay hanging there on the rock-face for quite a few months. But
the series has now seriously changed from autonomous episodes strung up on a
televised string week after week from September to June into a dark rewriting
of the brotherly fate of Sam and Dean. It no longer is the war of the two
brothers but the fate of the two brothers who can’t live one without the other
and yet cannot die or kill each other. This modern rewriting is definitely sad.
In the old days it was so simple for one brother to kill another. Now we have
become squirmy about it. And in the old days episodes like pearls on a nylon
thread were good enough for a series. Now producers and authors borrowed from
the miniseries the necessary global architecture that really gives meaning.
This tenth season has seriously
improved but will it manage to land properly from that cliffhanger of an
ending? One thing is obvious though: Wincest is purely and simply made fun of
in one episode from a girlish point of view. We have recaptured what we should
never have lost: the deep commitment to superior and tragic human values and we
have been liberated from the teenage, nearly prepubescent, virginal and naïve
Wincest that irritated so much my assistant because even with a lot of Marshall
McLuhan and the idea that the truth or the lie is in the eyes of the beholder,
it is slightly difficult now, in their nearly old age or at least pre-middle
age, to imagine the two brothers cuddling in their mutual arms for some
apocalyptic riding of each other as if they were horses. And yet that was such
a pleasant hypothesis to read this series as if it were a terrifying rewriting
of Queer As Folk, the American version
of course in Pittsburgh.
Dr Jacques COULARDEAU
# posted by Dr. Jacques COULARDEAU @ 2:26 PM