i watched 8.10 two days ago but i can't stop thinking about it. like breaking the B plot down:
sam meets with amelia for the first time since he left her, and she gives him an ultimatum: you're either in, or you're out. going halfway won't work. sam has to decide whether to return to her after they finish the job (rescuing samandriel)
benny, who previously started his relationship with dean by giving him the same ultimatum (you're either in, or you're out), calls dean in a crisis, struggling with his bloodlust which is by and large framed as an addiction. he asks dean to meet him after they finish the job (rescuing samandriel)
dean and sam discuss this after they finish the job, and dean reiterates the ultimatum: sam has to be either all in, or all out. he can't be a hunter and have relationships outside of them. whatever he decides, it has to be either-or
sam leaves to think it over, and it's revealed that dean was actually talking about himself. he calls benny and says he's out: he chooses sam over benny
sam returns to dean with food, implying that he's chosen dean over amelia, and this is confirmed when amelia shows up at the motel and sam isn't there
it's just insane to me that they paralleled sam breaking up (once and for all) with amelia with dean cutting off contact with benny. the implications of this are insane: benny was dean's "girl" who took sam's place while they were separated. benny and dean were in a relationship similar to the one sam and amelia were in. and sam and dean both "break up" with their previous partners and choose each other.
and then there's the fact that dean and benny both framed their relationship as being familial, as being brothers. and still this was paralleled with the romantic relationship between sam and amelia.
dean having a metaphorically romantic subplot with a guy is one thing. dean having a metaphorically romantic subplot with the guy who's supposed to be a replacement for his brother? sure. okay.
this is just such a deranged subplot to me. who gave the okay on this
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a fictional band from the mid 60s to mid/late 00s called JFKFC (feel free to steal or make something abt them)
NAME
Jhene Francis and The Kilovolt Fracas Commotion (JFKFC)
MEMBERS
Jhene Francis: singer, pianist
Harry Mars: singer, pianist, keyboardist
David Animal: singer, harmonica player
James Elsu: singer, guitarist, keyboardist
Bill Taylor: singer, guitarist, harmonica player, keyboardist
Torao Zion: guitarist, singer
Michael Maa: guitarist
William Hayden: guitarist, singer, sitarist
John Jorgie: bassist, singer guitarist, keyboardist
Robert Temple: bassist, double bassist
James Jean-Berkeley: bassist, keyboardist
Budo Diarmaid: drummer, singer
James Saumalah: drummer
NUMBER OF MEMBERS
1962-1969: 5 (Jhene Francis, Bill Taylor, Torao Zion, Robert Temple, James Saumalah)
1970: 13 (Jhene Francis, Harry Mars, David Animal, James Elsu, Bill Taylor, Torao Zion, Michael Maa, William Hayden, John Jorgie, Robert Temple, James Jean, Budo Diarmaid, James Saumalah)
1971-1979: 12 (Jhene Francis, Harry Mars, David Animal, James Elsu, Bill Taylor, Michael Maa, William Hayden, John Jorgie, Robert Temple, James Jean, Budo Diarmaid, James Saumalah)
1980-1982: 11 (Jhene Francis, Harry Mars, David Animal, Bill Taylor, Michael Maa, William Hayden, John Jorgie, Robert Temple, James Jean, Budo Diarmaid, James Saumalah)
1983-1990: 10 (Jhene Francis, Harry Mars, David Animal, Bill Taylor, Michael Maa, William Hayden, John Jorgie, James Jean, Budo Diarmaid, James Saumalah)
1991-2000: 9 (Jhene Francis, David Animal, Bill Taylor, Michael Maa, William Hayden, John Jorgie, James Jean, Budo Diarmaid, James Saumalah)
2001-2007: 8 (Jhene Francis, David Animal, Bill Taylor, Michael Maa, John Jorgie, James Jean, Budo Diarmaid, James Saumalah)
Genres
beat, blues, classical, electronic, country, experimental, folk, folk rock, funk, gospel, hard rock, heavy metal, indian classical, jazz, pop, psychedelia, R&B, rock, soul, trad pop
Years active
1965-2007
Inspirations of members
Jhene Francis: Aretha Franklin
Harry Mars: Freddie Mercury
David Animal: Robert Plant
James Elsu: John Lennon
Bill Taylor: Bob Dylan
Torao Zion: Jimi Hendrix
Michael Maa: Jimmy Page
William Hayden: George Harrison
John Jorgie: Paul McCartney
Robert Temple: James Jamerson
James Jean-Berkeley: John Paul-Jones
Budo Diarmaid: Ringo Starr
James Saumalah: John Bonham
Year of birth-year of death
Jhene Francis: 1942-2018 (when died was 76) (when band formed was 23)
Freddie Mercury: 1946-1991 (when died was 45) (when band formed was 19)
David Animal: 1948-present (75) (when band formed was 17)
James Elsu: 1940-1980 (when died was 40) (when band formed was 25)
Bill Taylor: 1941-present (82) (when band formed was 24)
Torao Zion: 1942-1970 (when died was 27) (when band formed was 23)
Michael Maa: 1944-present (79) (when band formed was 21)
William Hayden: 1943-2001 (when died was 58) (when band formed was 22)
John Jorgie: 1942-present (81) (when band formed was 23)
Robert Temple: 1936-1983 (when died was 47)(when band formed was 29)
James Jean-Berkeley: 1946-present (77) (when band formed was 19)
Budo Diarmaid: 1940-present (83) (when band formed was 25)
James Saumalah: 1948-1980 (when died was 32) (when band formed was 14)
Where from
Jhene Francis: Memphis, Tennessee, USA
Harry Mars: Stone Town, Sultanate Of Zanzibar
David Animal: West Bromwich, Staffordshire, England
James Elsu: Liverpool, England
Bill Taylor: Duluth, Minnesota, USA
Torao Zion: Seattle, Washington, USA
Michael Maa: Hounslow, London, England
William Hayden: Liverpool, England
John Jorgie: Liverpool, England
Robert Temple: Edisto Island, South Carolina, USA
James Jean-Berkeley: Sidcup, Kent, England
Budo Diarmaid: Liverpool, England
James Saumalah: Redditch, Worcestershire, England
Favourite instruments
Jhene Francis: Yamaha C7 concert piano
Harry Mars: Yamaha baby grand piano
David Animal: n/a
James Elsu: Gibson J-160E de 1964
Bill Taylor: Gibson Nick Lucas Special
Torao Zion: 1968 Fender Stratocaster
Michael Maa: Gibson EDS-1275
William Hayden: 1957 Gibson Les Paul
John Jorgie: Hofner 500/1, 1964 Fender Esquire
Robert Temple: Fender Precision Bass
James Jean-Berkeley: 1962 Fender Jazz bass
Budo Diarmaid: 1964 Ludwig Super Classic
James Saumalah: Ludwig Vistalite drum kit
PRIME MEMBERS
Jhene Francis
Billy Taylor
Torao Zion
Robert Temple
James Saumalah
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@minas-diary // continued from here.
Mina’s gaze flickered over the walls of the asylum. In a way, she understood Renfield’s emotions as well. A prisoner, and not even of their own fruition. It’d been but a month since her friend, yet, simultaneously— more than a mere friend, Lucy had died. Then faced a prompt second death.
Letter delivered late by an hour and unread by the innocent and well intentioned ingenue.
It hurt, of course it hurt, more than any average wound. Sure, people twist joints all the time. Go into London and one could very well face Jack the Ripper, or worse. But, what troubled Mina more was the force they faced. Still, she kept her kind words and school mistress— manners always. She only wished she had more kind words for herself.
If she knew of Renfield’s jealousy over her situation. She certainly did not show it, it wasn’t the time, nor place. Still, in her night clothes she stood there— opening and closing her bronze— coppery coloured lips a moment, her inky dark black hair in a simple braid.Jonathan, her husband and a greatest love of her life. Had insisted she stay here, that she let the men hunt the hungry beast. Now, Mina isn’t so sure and though she feared asking or intruding the ‘mad mans’ privacy, she supposed, there was far more at stake here.
Were she less soft spoken, and were Jonathan any less in love with her, given her modernity, she likewise could be carted off to an asylum for — hysteria, at a moments notice. It’s a small thing, but, it is certainly worth trying.
So... Mina hesitantly asked, “I dare not name God, or the Gods, or the devil, for fear of giving them cause or summons, but, good sir, what shadow?”
Good sir! Behind his hands his features twisted in a grimace. It was almost torture how perfectly gentle and genteel she behaved toward him. Even the state of undress could not impinge upon her conduct. Maybe there had been a flicker of doubt, for just a moment, that coming to him like this had been a snub — a clear message that he was beneath her, not worth dressing for, not man enough to worry about his seeing her — for surely it would have been scandalous, if anyone who mattered were to know. But her demeanor was far too respectful, too considerate, too obviously somber to be playing such a joke on him.
"You've come for answers, good. You must keep looking, never mind that they all leave you in the dark while they play at heroes. You must find your answers. ... But I cannot give them," he said, his face turning up to hers again, and in the low light of the lamp, his countenance was grim, but insistent, beseeching that mind of hers to pull together the truth herself from the evasions he was forced to make. (How he knew that Mrs. Harker had been shut out from the men's council was curious indeed, thought he offered her no explanation of this curiosity.) "You know that I cannot, don't you? And that if I could, I would, for your sake."
A flicker of fear came over him, as in one who senses he is overheard in secret matters. Strange then, that the suspicious glance he cast was not to the door, beyond which men could spy in on him, but to the window...
After a still moment, his eyes found her again with a burning behind them. "You must forgive my obscurity. I should oblige you in anything if the choice were mine to make, but there is someone else in it." He inhaled, long and shivering. "Soon you won't need me to say it. It will be as if you and I are of one mind, one will. You will see Him so clearly, if you stay in this house. So leave. I beg you to reconsider and to leave."
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i like how dean's impatience to get through these trials mirrors both kevin's situation and his own inner desires. kevin really is, in a way, a manifestation of dean's current state: he's a guy forced into a life he doesn't want and who wants to get it over with so he can move on (to what? who knows).
the bunker was introduced at probably the perfect point then, because it represents a kind of stability dean has never had, and so it only serves to make him crave that alternate life more desperately. it feeds into his impatience and fucks him over in the end.
and on the other end of this is sam, who, like he says at the beginning of episode 8.14, is treating this life as a marathon, not a sprint. there's a marked difference between how sam is using the bunker and how dean is: for dean it's stability and home, an ideal he's never really had. sam, on the other hand, is largely indifferent to this idea of stability, represented in his indifference to maintaining his space (i.e. not caring that he misses the trash can when he throws out his wrapper) and his irreverence toward dean's lifestyle changes (i.e. mocking dean for "nesting" and cooking and generally becoming something of a homemaker). this is a running theme throughout supernatural... over and over sam completely abandons the idea of a normative life, even when he claims to want "out" so badly. he's more willing to give everything up, to avoid forming attachments, to simply not care about what he could have instead.
it's expounded on again and again throughout the show that dean and sam are opposites in this regard. dean has resigned himself to the hunter life, but he secretly craves normalcy. sam tries to get out of the hunter life, but he is more willing than even dean to commit himself fully to it.
and so the fact that this culminates in sam undertaking the trials is delightfully poetic. dean wants out, and so even though he wants to protect sam and take the trials on himself, he fails to rise to the occasion: his own impatience to leave this world behind, his desire to get out, becomes his undoing. sam, committed to this life for the long haul and fully resigning himself to everything that means, is the one left.
so in the end, dean fails to protect sam because of his own inability to give everything up. it's just another reason to hate himself. and how fucked up is it that despite dean going on and on about how attachments are liabilities, it's those very attachments, those deep-seated desires, that backfire on him thoroughly. he can't even live up to his own ideologies. in this way, sam and john are far more similar; dean is the black sheep of the family.
benny and the bunker both are great ways to set up this plot line and symbolize dean's inner psychology. it provides great setup and tension that's been building across the season, so that when the final hour approaches and dean fails spectacularly to protect the one person he's devoted his whole life to, there is a whole list of everywhere dean went wrong to look back on and regret. it's a perfect tragedy because it's entirely preventable, and yet doomed from the start—because how can you really blame someone simply for wanting something he can call home?
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