Metafiction, also known as romantic irony in the context of Romantic works of literature, uses self-reference to draw attention to itself as a work of art, while exposing the “truth” of a story. “Metafiction” is the literary term describing fictional writing that self-consciously and systematically draws attention to its status as an artifact in posing questions about the relationship between fiction and reality, usually using irony and self-reflection. It can be compared to presentational theatre, which does not let the audience forget it is viewing a play; metafiction does not let the reader forget he or she is viewing a fictional work.

Our eighteenth episode saw Robbie Thompson (writer) and Thomas Wright (director) reunited in what can only be described as the most meta episode of anything I’ve ever seen (okay… maybe Spaceballs still has this beat). This episode dealt with several aspects within the metafiction genre:

A story about a writer creating a story (Metatron writing Supernatural fanfic)

A story about a reader reading a book (or in this case, Cas listening to Metatron tell a story)

A story that features itself (as a narrative or as a physical object) as its own prop (the Supernatural books which are based on “real life” Dean and Sam within the show)

A story containing another work of fiction within itself (see every pop culture reference Supernatural uses)

A story addressing the specific conventions of story, such as title, character conventions, paragraphing or plots (Thompson uses retcon and talks about continuity errors)

A novel where the narrator intentionally exposes him or herself as the author of the story (see our opening teaser)

A story in which the characters are aware that they are in a story (I’m just gonna laugh at this one)

As we can see, Robbie Thompson has single-handedly incorporated nearly every derivative of metafiction (note: this is not the same as “meta” that a fandom writes) in his episode of the same title in a clear nod to the fans that tear Supernatural apart. Never before has an episode demanded me to review it… So let me begin.

Our “THEN” starts us off with the reminder that Sam’s plea for Dean’s help last episode fell on deaf ears, that Dean put the priority of killing Abaddon before him. We get flashes of Abaddon to remind us of what she looks like since Supernatural can’t afford to have her but in a handful of episodes. We are then reminded that Dean took possession of the mark of Cain without knowing its cost, which partly includes shaking from withdrawal (from what is still unknown). Along with the shakes, we see Albert Magnus bite the proverbial dust at Dean’s hand before cutting to remind us that Gadreel is also a big bad that is out there (who is also screen time the show apparently can not afford). We are reminded that Metatron’s goal is to “rebuild Heaven” (yeah right…) and that Gadreel chose to be his second-in-command. We are given a rehash of the people Gadreel killed in order to “prove himself” to Metatron. Next is the declaration from Metatron that he and Gadreel are writing their own epic story here. This is curious as it is declaring that both he AND Gadreel are writing the story, when we know that only Metatron is calling the shots. We see Gadreel being ejected from Sam and returning to his original meatsuit. After that is a reminder that Cas is running on stolen batteries and that he believes that angels fighting other angels is something that has to stop. Our final reminder is that the angels are ready to make choices, via following Cas’ lead and that Cas, in opposition to this, doesn’t want to be a leader.

All that is a hell of a lot to digest, meaning this “A” plot episode will be packed. Metatron’s “goals” are clearly going to be explored again, along with Cas’ reluctance at being a leader. Since this episode features Gadreel and Metatron, we know that the beats of the “B” plot are finally going to move along and it’s honestly about time.

We open to a setup from Masterpiece Theatre with the theme “Fanfare Rondeau” playing on a record. While the song was made popular on the show it is also a favorite from weddings and is often played at receptions, giving the scene a double reading already. We pan along a window ledge to the sound of a typewriter moving along to music. On the shelf is “The American History and Encyclopedia of Music”. This is our first example of how Metatron is destined to fail in all his plans. One does not simply read about music and “learn” it. Understanding music requires someone to feel it, to listen to it and know more than words on a page. The window is framed in rectangles that are “almost” squares, reflecting how Metatron “almost” gets it, but this will not be good enough. We fade into a slow pan of a hearth, our seventh reference this season and also a signature part of Masterpiece Theatre, which often had the host explaining things while sitting on a chair next to a fire. Like with Magnus’ house, this hearth is framed in marble. As we pan slowly over one of the Supernatural books, “A Very Supernatural Christmas” (written by Carver Edlund in show, and our showrunner, then writer, Jeremy Carver extradiegetically), comes into view. There is deliberate association with fireplaces here, with Santa (in the book/episode) encountering an empty hearth in Kripke’s narrative (no romantic long-term love for Dean) as opposed to the one that now burns in Carver’s narrative (a chance at romantic long-term love for Dean). As Metatron types out his story, the words, "with a fire we haven’t seen,“ accompanies this theme for emphasis. Castiel’s name is also clearly seen, but this is an association that isn’t new. It’s been around since 9x10, the linking of light and Castiel.



There is deliberate mirroring in our frame (two statues of lions on the desk and two candelabras in the window), which calls attention to that which is not mirrored. This was a deliberate part of 9x14 as well, imbalance to show emphasis. Jerry Wanek had a hand in both, having directed 9x14. On one side of Metatron is an open book. On the other side is an armillary sphere (used to measure and calculate the movement of celestial bodies), a cannon, and a trophy. Everything around Metatron is antiquated. People now use tablets to read (instead of books), computers to type (instead of typewriters), missiles to fire rounds (instead of cannons), giant telescopes to track the stars (instead of armillary spheres), pens to write (instead of ink and quill), MP3 players to listen to music (instead of record players)… Metatron is characterized by old-fashioned, out-of-date thinking through the things he surrounds himself with. He doesn’t believe in change. And we all know what happens to those who can not change. They get left behind in their bitterness, clinging to the past…

Additionally, there is a subtle Destiel reference among these items, with the arrow of the armillary sphere (which is meant to track celestial bodies) representing the one that subtextually tracked and pierced Cas in 8x23. For extra Wanek trollage this item is placed next to a cannon (which plays on the term "canon”) and a trophy (which indicates a winning “goal”). This reads to be, “Castiel falling in love (with Dean) is a canon goal.” The interpretation is there, regardless of authorial intent, so make of it what you will (like always).

As Metatron reaches the end of his line, he adjusts his paper and catches sight of us. He takes off his glasses and asks the questions that all writers do. "What makes a story work? Is it the plot, the characters, the text?“ He pauses to take a drink and our camera gives us a tighter, close shot for the next pieces of dialogue. "The subtext?” Metatron pauses to contemplate. "And who gives a story meaning? Is it the writer? Or you?“ And isn’t this the grand discussion? Of not just Supernatural, but all literary works? A person’s "decided truth” is where real meaning lies and it is something that can be changed (or stubbornly stuck to) depending on experience, on interpretation… We all live inside our own little worlds with some of us more aware than others. But I don’t have to tell you that. This fandom does that every day. At what point do we disregard “Word of God” (quite literally in this episode) when we have so many writers on Twitter telling us why they did certain things and what they mean? Or in Robbie’s case, that their intent doesn’t matter at all? To many, as soon as a work of art is created it is immediately divorced from its creator. This is both by circumstance and necessity since one can not “force” another to see what they don’t want to “understand” as “truth”, as Metatron (and this fandom) has yet to learn…

Metatron continues to address us, “Tonight, I thought I would tell you a little story and let you decide.” He smiles knowingly as we are blasted with the title card. This is immediately reversed into a new graphic, heavenly music, clouds, sunshine (with subtextual LGBTQA+ rainbow flare), white angel wings and the title, “Metatron”. As funny as this is and as hard as I laughed, it is also very telling. The first title card is a reflection of how many angels (Bartholomew, Malachi…) saw the fall and the latter is a reflection of how Metatron saw the fall. Two interpretations. Two realities. Which is more “true”? And who decides?

Our next shot is of a shower head. This produces more circular imagery as water slowly trickles out of the circles within the circle (calling out “text” within “text”), giving us a visual representation of metafiction as it were. There is clear shadow granulation at work here with the black tile representing a proverbial “point of no return” as it were. This episode will play a lot with shadows (with the best example coming near the end). As Dean starts his shower the shot is centered, his movements are mirrored. Both of his “sides” (metaphorically speaking) are still “balanced”, the mask (the “lie”) and the “truth”. As he runs his hands down his face he doesn’t yet look like his entire world has been unraveled, meaning he still has a ways to fall. He approaches a fogged mirror and must wipe his hand across the mist to see himself. This is symbolic of his wearing a mask and being unable to do the same. The last time Dean looked at himself in a bathroom mirror Cas appeared over his shoulder. Perhaps he is missing Cas now? Still hoping that Cas will show up and provide some much needed emotional support and understanding for him? Dean’s expression is tired with a side of hopeless as he exhales in defeat and looks at the mark on his arm. The last time he stood in front of a mirror and looked at an angel’s brand upon his person he had just clawed his way out of a grave. He had not yet met the person that would turn his world on the head of a pin.

Our next shot is through the railing on the balcony as Sam talks to a hunter. In this one shot, we are hit with absolutely ever piece of geometric symbolism that is predominant in this second half, along with our new light/shadow (warm/cold) theme.



See how Sam and a black pole frame the warm/cold divide?

For now, Dean remains “within the light”, so he emerges from the door bathed in orange. He wipes his eyes, greets Sam and asks about Sam’s progress. Sam explains that there’s about a dozen cases related to demons and people without souls acting out, but no sign of Abaddon *sad laughter*. Dean says that they just need to keep digging and the camera switches to show Sam observing Dean rubbing his arm. He asks the always unnecessary, “You okay?” before we are given the standard Winchester lie of, “Yeah. I’m fine." Right… *eye roll* Dean covers up the mark and announces loudly, "Let’s get to work,” as our scene switches over to Cas.

Warm and cold colors contrast heavily on a wall of cinder blocks of various sizes as Castiel walks out of the shadows and into the circle of warm light. As he rounds the corner his coat snags on a nail. He examines it briefly and moves to continue following the angelic pulse he hears. Ahead are two bloody handprints on the door with bloody streaks extending a note of hospitality. Castiel opens the door and walks in. He is greeted with the sight of several angels littering the floor, their burnt out wings a sign that Supernatural used some budget on this episode. Over Castiel’s shoulder is a glowing mark (and two golden lights, imagery repeated throughout this arc) as we are given our light/dark divide once more.

He looks towards the glowing mark and we see more angels scattered around the room, dead. They are not wearing the black and white suits of old, but rather the colors of individuality, of choice. The blue glowing mark fades to red (more cold/warm tones) and stops resonating as Cas catches sight of it. As Cas approaches he is shot in an alternating light (this time from within a cage) just like in 9x10. He pauses in front of the red symbol and we are given another light/dark dividing shot, with (again) two golden lights on the brighter side as Cas pulls out his phone to take a picture.

Cas’ knowledgeable use of a cell phone immediately contrasts his use of it in 5x04, showing just how far he’s come in his humanity. The next part is important. Castiel doesn’t just look at the symbol and take a picture… He touches it, experiences it, and it is in there that his “learning” lies… The symbol itself looks like a sun rising over a road or stream. We get similar imagery for Cas at the Gas-n-Sip and also across various paintings in our second half.

Over his shoulder we see that an angel has survived and raises her blade to stab him. Cas twirls and deflects the blow as the girl shrivels and begs not to be hurt. Cas reassures her that he won’t and then kneels down to talk to her on her level. This is something a parent often does to a child in order to seem less intimidating and more understanding (or a counselor does to a victim of abuse), making them “equals” in a way. Cas is being extremely understanding of her mindset here. He is doing his best to get her to a safer place in order to share what happened to her with him. Time and again, the narrative is painting Cas into a position where he’s able to understand and sympathize with those that haven’t experienced his tapestry of failure.

They talk about her experience and the red symbol. One of her eyes is closed, due to trauma, and the other is open. Hannah gives him her name and says that the mark sounded familiar, that it sounded like Heaven. “It’s so strange down here. I, uh, followed the tone and found so many of my brothers and sisters had as well. It felt safe here and then the doors slammed shut and a strange angel arrived. He said he worked for the new God.” She, like Ephraim, finds Earth to be confusing and wishes to return home, one eye shut to the future. The trap that slaughtered the angels was like a siren song, gathering them to their doom. “He made us an offer,” Hannah explains, “join Metatron, fight for him and those that did would one day be allowed to return to Heaven.” So… Metatron wants an army… Why? To take on Hell? For looks? Take your best guess at this point. Cas, meanwhile, is stuck on the part where Metatron’s offer included getting the angels back into Heaven. Hannah chuckles through her pain. “I didn’t believe him either, but he said he would take us home. Some angels joined him. My friend and I refused, and, uh…” She trembles, looking down at herself. “I’m sorry for your loss,” Cas tells her in sympathy, “For all our loss." This is Castiel apologizing for all the killing he’s done against his kind as well. She continues to tremble and sob as Cas extends two healing fingers to her forehead. She looks at him with a smile, both eyes open, both literally and figuratively.



Cas moves to stand and she follows. "You’re Castiel, aren’t you?” Where have you been girl? Castiel confirms this and she speaks again, “You took a stand against Bartholomew. Are you going to help us, lead us against Metatron?” Even though the angels are different, a part of them still wants to be “lead”, to be given “orders”, instead of having to truly choose. Cas shakes his head sadly at her. “I’m no leader,” he tells her. She starts to argue this and he shuts her back down firmly. Cas tells her that despite this he will find Metatron and make him pay. She insists on helping him and he tells her that she’s safer away from him. Cas asks her one more question. “Now, this angel who attacked you, what was his name?”

“Gadreel?” Sam answers the question that we already knew the answer to as we cut to the bunker with Cas on speaker phone talking to the Winchesters. The phone lies among more dark/light imagery, black and white surveillance photos. Surveillance is the monitoring of the behavior, activities, or other changing information, usually of people for the purpose of influencing, managing, directing, or protecting them. This seems more than just set dressing considering what Cas asks of Sam at the end of the episode.

“Gadreel is working for Metatron?” Sam asks, obviously appalled. Dean looks up, a piece of the betrayal puzzle sliding into place. When Sam asks for how long, Cas admits that he doesn’t know. “So, Metatron made Gadreel kill Kevin?” Dean’s wording here seems deliberate. “Made” is used, indicating that Gadreel had no choice in the matter. This emphasizes the mirror Gadreel plays to Dean, who feels no choice but to save Sam whether Sam wants to be saved or not. “It would explain a lot and there have been no new prophets which Metatron could have fixed to his advantage.” Here we have another contrast of cold and warm tones. The bunker is in cold, sterile tones, while Cas’ motel room is warm with harvesting tones.

“And Gadreel said that angels are returning to Heaven? How? I thought that the spell was irreversible.” Oh… but Dean never said this about the spell to Cas did he? Not that we saw anyway… “That’s what Crowley said. Look, let’s just find Gadreel and- and beat some answers out of him.” So suddenly Abaddon is no longer important? Gotta switch gears this fast? Okay then… *sad laughter* “Yeah, here’s something to start with that. Uh… hold on, I’m, uh… sending you a photo of the symbol that drew all the angels in.” So. Has Castiel been aware this whole time that the angel fall event was irreversible? Or not? It’s hard to debate his mindset when certain knowledge is left “open to interpretation” or otherwise extremely vague. Is Castiel only on a revenge mission then? As the text suggests? Is everyone then on a revenge mission?Cas against Metatron, Sam against Gadreel and Dean against Abaddon?This seems a bit overkill and unconnected if you ask me with not a lot of episodes left to tie it all together considering Cas (and likely Metatron) doesn’t come back til 9x21. This is a prime example of how the show’s two lead A/B/C structure works against itself. :(

Cas fumbles with his phone a bit (showing he’s not so suave YET) and sends the Winchesters the picture. His motel room looks well lived in, very human. Like Dean’s current room setup, there are two lamps on each side, only Cas’ bed has two pillows. On Cas’ wall is a tapestry of faces and articles, similar to something a hunter might have. He carries a duffel bag as well. Above his bed is a painting of a lake surrounded by mountains at sunset/sunrise, familiar imagery associated with Cas. And Cas’ chairs, if you’ll notice, are in a similar pattern to Metatron’s wallpaper. Sam announces that he received the photo and Cas explains that it acts as some kind of angel siren and that it must be some kind of spell. He tells Sam that the ingredients used to create it were very odd. “Griffin feathers, bones of a fairy. I’ve never seen it before.” In medieval lore, the griffin is a hybrid creature that represents Christ, a hybrid of humanity and the divine. Fairies in some mythology represent angels that were tossed out in the Judgment, but were not wicked enough for Hell. There’s more, but to talk of this further would be a whole meta unto itself. This talk of ingredients calls to mind other ingredients to another spell that was just mentioned: heart of a nephilim, bow of a cupid, and grace of an angel. These ingredients are not, however, “odd” and are held together by one thing: love.



As Sam tells Cas that he will see what he can find out, Cas catches sight of his room’s mini fridge. “Honor Bar,” he mumbles. An honor bar (before everything went digital and was checked for by housekeeping) is something that provides both alcohol and food on the “honor system” at checkout, meaning that if you take something that you should pay the cost to maintain your “honor” (which recalls the character Honor from 9x08 who wasn’t true to herself). This is short-sighted foreshadowing for what we learn about Cas’ stolen grace later on. “What’s honorable about a miniature bar in a motel room?” Cas asks. Dean answers, “Everything,” and smiles. On the other line, Cas smiles back and asks warmly, “How are you, Dean?” Cas’ lips quirk again as he finishes the question. Dean shuffles and his eyes dart to Sam, making us aware that Dean is accounting for Sam’s presence in their conversation. Dean can not be truthful because he doesn’t want Sam to worry. We get a reaction shot from Sam over Dean’s hesitation to answer as Dean tells Cas, “I’m fine, Cas. How are you?” Cas’ voice is inflected with emotion. “I miss my wings,” he admits (with none of the bitterness of endverse!Cas), “Life on the road… smells.” Both Sam and Dean smile at this, but the camera is focused on Dean. Cas’ comment about life on the road brings to mind the book, “On the Road,” which Supernatural creator Eric Kripke used to craft the characters of Dean and Sam. The book, like the Supernatural books within the show, presents a narrative in which the author is a character (with the author being Sal, whom Sam is crafted after), though unlike Supernatural, it does not fall within the realm of being a piece of metafiction, merely an autobiography.



Sam announces that he found a match to the symbol in police records featuring multiple homicides. His laptop shows several pictures of slaughtered angels as Cas asks about the location of the crime scenes. Sam tells him the locations which are all in Utah. As Cas turns to examine his map we catch sight of a painting of a boat upon the water next to the bathroom. 9x13 had this as well. Cas determines that Gadreel is headed north and gives Sam and Dean two possible towns Gadreel could hit next. Dean tells Cas to take one town and then he and Sam will take the other and that they'll “meet in the middle”. This feels like a meta nod to the theme “meet in the middle” that I noted in 9x14 especially. Dean hangs up and Cas does too. Cas moves to pack his bags. We get a nice shot of his bed with the two lamps as the lighting flickers once he “leaves” Dean. Next is Dean and Sam talking about how they once worked a case in Ogden and how there was a kid in town that helped them (was this 1x18?). “What was his name?” Dean mutters as an old clunker rolls up on a downtown street.



A bell rings (last a theme in 9x11) in a thrift shop as a figure hooded in black walks in the door. We see records to the right as the hoodlum spots the clerk. Gadreel greats the shopkeeper (and holy hell is that a lot of bongs on the shelf), “Good Afternoon.” To this the shopkeeper replies, “It’s afternoon?” Clearly there’s been some testing of the product. All in subtext mind you… much like Dean’s drug use has been. This is the show deliberate drawing a parallel to the two. At least it feels that way to me. Of note (I had this in, took it out, and added it back when my beta reader made comments towards it): the shopkeeper somewhat resembles Jesus as he’s frequently depicted. He is also coded as a hippie drug user and Vesta in 9x08 referred to Jesus as the hippie from Bethlehem, so there appears to be some deliberate casting here. Gadreel asks about procuring some Griffin feathers and the shopkeeper finally turns around. “Uh,” he chuckles, “we got some off-the-menu items, but uh, this ain’t Diagon Alley, man.” Diagon Alley is a fictional place in the Harry Potter book series. There, wizards can find most of their wizarding needs including things for spells. Also of note is that with his hood up, Gadreel looks somewhat like Darth Vader. This is funny considering the reference we get later. Gadreel takes off his hood, giving us a nice shot of the window where we see overkill geometric imagery once again. Additionally, his body provides another dividing line of light and darkness, cinematography shared with Cas and Sam.



(X)

After Gadreel mentions the hunters’ signs in the window, the shop owner changes his tune and goes to retrieve the ingredients. “Not exactly looking to trip the light fantastic, are we?” he asks. This is another “open to interpretation” outside of context example as the phrase means either a dance, or a literary cliche. Grammatically, it is a classic example of a constructionally idiosyncratic idiom, in that it is impossible to construct a meaningful literal-scene from the formal structure. As such it should be viewed as a catena. (quoted here: X) In other words, the phrase itself shines a light on structured meaning to determine value. This is like how we are made to look at the narrative structure to determine value. In the case of our shop owner, however, he is merely suggesting that Gadreel may use the ingredients to get high and then dance around I believe. “Humans never cease to amaze me,” Gadreel muses, looking around at all the drug paraphernalia with something akin to fondness in his tone. Next Gadreel asks about fairy bones, telling the clerk that it does not matter what realm they were from. The clerk asks what the hell Gadreel is hunting and he replies, “Family."



Back at his room Cas is packed and ready to go as the lights start to flicker once more. The TV suddenly cuts on with a disclaimer that indicates porn is about to play. Casa Erotica 14 graces the screen as Cas tries to turn the television off. It doesn’t work. In 9x09, the television was used to foreshadow Cas powering back up. Does this instead foreshadow Cas being unable to power back down? We’ll see! The porno starts with a woman blogging about Casa Erotica, complete with hashtag dialogue. This shines a light on bloggers who blog about porn. Which is to say… a lot of our fandom. The scene switches over to "real life” as the woman answers the door. Our next shot then switches right back to Cas, who is viewing the events on the television. We see that Gabriel has answered the door.

“Hello. Remember me, bucko?” “Gabriel.” “I’m gonna take that as a yes.”

He rips off his black mustache (false identity) and snaps his fingers, killing the television. Cas turns around and we see Gabriel standing behind him. “I need your help, brother,” the angel says. Cas puts down his bag. “I thought you were dead,” he confesses.

“Please. You can’t take the trick out of the trickster.” “So, I assume you faked your own death?” “And I assume you weren’t let into Mensa while I was gone.” “Where have you been?” “Ohhh, you know, hither with a side of yon. I was hiding, captain side eyes… in the safest place in the universe- Heaven. But then you and the other two stooges had to go and ruin Christmas, now, didn’t ya?” “Sorry.” “Oh, cry me a river. Look. I dropped, I hid, I finally watched ‘Downton Abbey’, but then your BFF, Metatron sent his minions out looking for me. Apparently, he thinks since I’m an archangel that I have extra juice.”

Right here. This is our first red flag that we are being “played” because “Downton Abbey” is part of “Masterpiece Theatre”, the thing that Metatron is parodying at the beginning of our episode. This is a big nod to the theme, “the story is wrong”. There’s also small details… Gabriel has darker hair, he dresses darker as well. Two more red flags. This Gabriel is the Metatron fanfiction version of the character. His words represent Metatron writing out what he thinks Gabriel would say and do. Notice how the title of archangel is only noted for its grace reserves, not respect. This is how Metatron would like in envision their existence nowadays and perhaps that makes it easier for him. This is similar to how many fanfic authors diminish certain attributes in order to write material that favors their interpretations. The curious divorce of new and original content creators… Castiel and “Gabriel” continue to talk.

“And that you’re a threat?” “Yeah, but I got hurt in the fall too, used most of my juice to get back into porn. That came out wrong. So did that. Uh, the point is, I’ve been on the run. But then, a few weeks ago, somebody started playing my song.” “The angel siren.” “No. The horn of Gabriel- one of dad’s little party favors that I never got around to messing with. Metatron dug it up and started blowing, so I came out of hiding.”

Here are two more red flags that we are being lied to (“the story is wrong”). We saw the siren spell. It was blood, not an object that could be “dug up”. And the bit about “playing my song”? That’s a Crowley line. Cas listens somewhat dubiously, but by all accounts seems to “buy” what Gabriel is selling. Why? Because he wants it to be true…

“Why?” “There’s safety in numbers. But Metatron was using it to trap angels, not unite them.” “It wasn’t Metatron. It was his second in command- Gadreel.” “Gadreel? That old chestnut? Wow!”

Notice how eager Cas is to share his information with Gabriel. He likes strategy, knowing information and coming up with tactics, but he does not enjoy being a leader, making decisions he knows he can’t make for others given where the angels need to go next (and his failure regarding this in the past). The Gadreel nickname “chestnut” is also another flag. It brings to mind “The Christmas Song”, particularly with the opening lyrics:

Chestnuts roasting on an open fire,

Jack Frost nipping at your nose,

Yuletide carols being sung by a choir,

And folks dressed up like Eskimos.

The fire and the Supernatural Christmas book were two things shown to us at the beginning. This means that Metatron must have been just looking around his desk and the room when he came up with the nickname. Cas gets back to business.

“What do you want from me?” “Your help, Columbo. I’m getting the band back together. We’re going on the kill Metatron tour and you’re looking at the new front man.”

This is a meta nod to the show’s own writing as two bands: Fleetwood Mac and Electric Light Orchestra, have each been used for aliases by the Winchesters in our current arc (I note this in my reviews) and each of them involve a band that “broke up” and “got back together”. If this ain’t meta, then I don’t know what is. To top this off we are given another red flag as Castiel is given the nickname, Columbo. Columbo popularized the inverted detective story format known as “the open mystery”. Almost every episode begins by showing the commission of the crime and its perpetrator. The series has no “whodunit” element. The plot revolves mainly around how the perpetrator, whose identity is already known to the audience, will finally be caught and exposed. In the case of this episode, we already know that Metatron is pulling something, we are just waiting for Castiel to catch up.



Meanwhile, the Winchesters just *happen* to come across the store Gadreel visited (or maybe this is the guy that helped them on their case years ago?). What catches Dean’s eye is that the “open” sign is still turned around. The Winchesters make their way inside the store. A new shape is now symbolic shape is now introduced: triangles, as Dean passes by an orange sculpture of one framed to look like the sun is rising behind it.

I want to say this is probably a nod to the Illuminati since this episode is thematically coded in the importance of “hidden truth” and knowledge (which Metatron is big on). Dean makes his way around the counter, noting the scattered feathers while Sam continues to look around. He opens a door and finds our storekeeper nailed/hung on the door, his eyes burnt out. Dean remarks that they need to find Gadreel before he lights up the batsignal (meaning Gadreel calls Metatron).

Next is Cas rolling down the road in his pimp mobile. Again, we are treated with contrasting warm/cool tones in the lighting as Cas calls Dean with the light representing their bond.



As Gabriel wrestles the photo away from Cas our lighting changes:

Gabriel tells Cas to drive safely with both hands on the wheel as he leaves the Winchesters a message instead.

“Hey, what’s up, shorties? Remember me, the guy who died for your sins? No, not the cat with the beard and sandals- the hot one. Hey, thank you so much for the flowers and condolences, really meant a lot to the fam. Any old how, your boy toy and I are rolling our way towards your top-secret domicile. Oh. Call to discuss.”

Here is Metatron comparing his “substitute” to a savior. He also gives Cas the nickname “boy toy” in relation to Dean. This is a prime example of how Metatron’s “interpretation” isn’t supported by canon. A boy toy is someone used just for sex where no greater emotional relationship is present. This is like… the opposite of what Cas is to Dean as things stand (“the story within the wrong story is wrong” as it were). So… characterization strike three for Metatron then. He hands the phone back to Cas.

“So, you’ve been back for months. What have you seen out there?” “After it was raining winged men, hallelujah? Well, you know- total nigh-biblical chaos, Crowrey and Aba-douche duking it out. Good times. And then there’s our peeps, scattered like confetti.”

This is so meta that I can’t even! The first is a gif edit that went around Tumblr after the season 8 finale aired (someone must have tweeted Robbie it). The second, Crowley’s funny pronunciation, was something on the season 8 gag reel (and another popular Tumblr meme). And the final dialogue recalls Misha’s “Confetti, it’s a parade!” moment from the season 5 gag reel.

“There has been a lot of confusion,” Cas admits. Gabriel looks at him and deadpans, “You think? Most angels aren’t like us, Castiel. They can’t handle this whole free will thing. They’re sheep, drones. But us? We’re different. We’re rebels- one without a cause, one with.”

And… characterization strike four for Metatron! Metatron (through Gabriel) declares that the angels are incapable of learning, changing. This is false (and even Cas is shaking his head at this declaration since he knows, due to the PB&J in 9x11, also written by Thompson, that angels can change). And we’ve already begun to see this change, as reflected in their clothing. His declaration that Gabriel is without a cause is also laughable. Gabriel, at the end, declared himself to be on humanity’s side. This Gabriel doesn’t mention humanity at all, only “the family”. Another “red flag” as it were.

“I’m just a soldier.” “Bitch, please. You’ve been God more often than Dad has.” “Yeah. Look how that worked out.” “Well, go ahead. Be a soldier all you want. I’m gonna need as many as I can find.” “Why are you doing this, Gabriel?” “I always run… From Dad, from family… I don’t want to run anymore. I want to do what I was meant to do- lead.” “Well, we need a leader. And I’m happy it’s gonna be you.”

Nice attempt to play Cas, Metatron, but you fail once again. We see Metatron’s angle, however. He focuses on Cas’ “running away from responsibility” by making it an issue about Gabriel, mirroring Cas’ insecurities onto the archangel. Metatron makes note of Cas being “meant to lead” and uses Gabriel to try to get him to embrace this “cause” and “fight”. There are several Cas reaction shots to emphasize this. When Cas shuts him down, however, he quietly backs off, as the seeds are already planted. We get the impression of this (and another flag that things aren’t right) when Gabriel breaks the fourth wall and looks at the audience (which mirrors Metatron’s opening scene).



And although Cas has not yet figured things out, he is doing his best to figure out Gabriel’s motivation to better understand him. It will do him no good…

This whole sequence, by the way, reads like how earlier seasons would often end, with the brothers discussing their feels and other developments in the Impala. Only this time, the scene is recolored to Gabriel and Cas. Metatron most likely employed “copy and paste” for much of this scene’s structure. This, in turn, calls attention to how Supernatural loves to mirror itself, putting its characters through similar arcs (with Dean recently getting a combo S4!Sam and S6!Cas arc). Funhouse of mirrors, indeed!

We are given another red flag as Gabriel mentions that they are running low on gas without looking at the fuel gauge once (we can even see Cas ducking and weaving to get a view of the gauge for emphasis, though the focus remains on Gabriel). Cas pulls into a Gas-n-Sip (where he last contemplated his “place”, his leadership among the angels), where he and Gabriel enter the store because the plot demands it. Like with Gadreel, bells accompany their entrance. This was last an audio/visual theme in 9x11 (another Thompson episode), though not a significant one. “Ooooh,” Gabriel inhales, “smell that cancer. Delicious!" This is one of our final red flags as Gabriel goes not to the candy aisle, but makes his tobacco comment at the cookies. Twice swings and two misses Metatron (because I’m not even going to mention the fact that there’s no clerk in sight and the store is supposedly "open”).

Through the window, Gabriel sees a truck pull up, loaded down with people. “Uh… Remember the minions of Metatron I mentioned?” He smushes Cas’ face and forces it to look outside. Gabriel then goes and locks the door. To be met with a locked door this season has signified a character’s perceived “lack of choice” in a matter. Gabriel locking the door on him and Cas is Metatron attempting to take choice out of the equation. And we all know that’s not how things work…

As this goes down, Gadreel goes down some stairs in an alleyway. He approaches his car and opens the door, only to catch sight of Sam. He then carefully shuts the door, making a decision. Warm and cold tones again contrast these shots.



Gadreel and Sam stalk each other, hiding in the shadows (with Gadreel doing a much better job… until you realize what is happening). Sam approaches Gadreel’s car and sees that it is empty, then proceeds to call Cas. While Sam’s back is turned, Gadreel emerges from the shadows. Sam is “startled” as Dean calls from above, “Hey, douchebag!” A ring of holy fire engulfs Gadreel and Sam yells, “Remember me?" Our next two shots provide a mirrored inversion to one another. Gadreel looks up, while Dean looks down. Again, we get our dividing bar of morality. They lie on the opposite side from one another. Gadreel’s "morality” is off-centered, but Dean’s is more in the middle. For now…

Back at the convenience store, Gabriel remarks that they’ll never keep the angels out. “So, we fight,” decides Cas. Gabriel tells him, “No. I fight. I lied before. I never watched 'Downton Abbey’. I was just trying to fit in. Oh, and I do have some archangel juice left. I can hold these boneheads off long enough.”

We can see it. Cas is calculating. Risk. Strategy. The potential for loss…

“Long enough for what?” “For you to get out of here.”

There are bars lining the windows in this shot, representative of choice taken away, the “cage” of duty. And on the other side of them? A pink and blue “Open” sign. The combo colors that have come to represent Cas’ love of Dean, a love he must constantly leave behind. 9x06 ended with a similar shot, Cas looking out the window and not choosing Dean.

“No, I’m not leaving you.” “Yes. You are. Those guys will cut you to ribbons. But I can stall them long enough for you to amscray (*scram in pig-latin). And you can take my place.” “What are you talking about?” “The angels need a leader, and it’s got to be somebody like us- somebody different.”

And there we have it. Our final red flag is the second time that Metatron mentions that angels are all the same, that they can never bloom with the flower of free will. But we are being to see… just how very wrong he is.

“No.” “I know you don’t want this burden, Castiel. Neither do I.” “What if I fail again?” “You won’t. You can’t.”

Again, Metatron is trying to trick Castiel into thinking he has no choice but to make the decision to lead the angels, even though he really doesn’t want to do this. The question, “What if I fail again?” represents Castiel’s greatest fear over his “duty”, making Gabriel a manifestation of his insecurities. The two hug and Cas thanks Gabriel. Gabriel tells him to shut up and prepares to fight Metatron’s minions. Cas turns to run, opening his jacket to stow his angel blade when he notices it doesn’t have the tear from before. We get a flash from before, when Cas tore his jacket on the nail as Columbo finally solves the case.

“Haven’t got all day, hotpants.” “Was any of this real?” “What the hell are you talking about? Cas, go!”

Cas doesn’t move. Barbie angel kicks in the glass, making her way in.

“So, what- we both die here?” Gabriel asks. "No. You’re already dead,“ Cas tells him and calmly stabs Gabriel with his angel blade. "Well.” He turns and snaps his fingers and the angels are gone, the door, repaired. “What gave it all away?” Gabriel asks incredulously. Cas opens his jacket. “My coat was torn earlier today.” Gabriel shakes his head, “Ah, crap. I really hate continuity errors.” Cas looks around. “So, none of this is real, and I’m guessing I’m no longer in the motel.”

“Here’s the thing. None of it was real, but all of it was true.” “Whose truth- yours or Metatron’s?” “Just hear him out, would you? He’s trying to help you.” “Really? How?” *growls* “Sorry- didn’t read the whole script, just, uh, skimmed for my parts. Well, it’s good to see you, old bean.” “Wait. Are you dead?”

Gabriel wiggles his eyebrows and snaps his fingers. We are back at Metatron’s study. Music from before is playing, but we are at a different angle, which reveals Cas bound to a chair. Metatron asks him the question from before, “What makes a story work?"

Now here’s where I ask…

There were fourteen red flags, some textual, some subtextual in dialogue, some subtextual in visual cues, and plus we all saw the beginning. Were you fooled at any point? Were you aware of the lie, but just started to ignore what was in your head and go with what you were given? Because it seemed more "real”? I know I did. Until I did this review, I wasn’t even aware of just how many things Metatron got “wrong”, the tapestry of lies that became the “truth”. There was a constant feeling of wrongness as I watched for the first time (particularly with Gabriel’s characterization) and a part in my head was constantly saying, “This isn’t real. It’s all a lie,” but another part was saying, “I kinda want this to happen so I’m going to ignore everything that’s telling me otherwise.” And that, I feel, was the point to it all. That is why Richard (Gabriel) was cast to return in this way. The show used a well-loved actor, a fandom favorite (that many wanted to return), to facilitate this lie and prove its point. Which is… this is the struggle of our characters, particularly Dean Winchester.

Thematically speaking, cold tones = lies (the illusion of no free will), and warm tones = truth (the acceptance that there is always free will).

They each realize the “lie”, but choose to ignore “truth” in favor of what is easier. They each fear the truth, so they take another’s “truth” (which is a “lie” to them) instead. Hence Cas’ question: “Whose truth?” Sam takes Dean’s “I’m fine”, Cas takes Gabriel’s “I will lead instead” and Dean takes his father’s teaching of “Taking care of Sam is all you are”. Because everything else? These things require work, strife. It is much easier to dance the song of someone else’s “truth”, than to face your own. This is our season’s most predominant theme (presenting in the recurring element of “the story is wrong”): the struggle against another’s “truth”.

So? Which did you pay attention to most?

Was it the plot? The characters? The text? The subtext? Which ultimately ended up being more “important” in Metatron’s story? For me, it was the subtext because it provided that most clues to what I consider the “truth”, which was that everything was a lie (although the text told us as much in the beginning). To ignore subtext, to me, as a meta writer, means to ignore what is actually being said in favor of what the surface, the text, tells us. When you do that, you only get “half the story”, hence this fandom’s frustration over fans that blissfully ignore all subtext in favor of text (from characters that rarely tell the truth). I know this was a big problem for me after 9x07. Watching some people take Dean’s remark that Sonny’s never felt right to him at FACE VALUE was physically painful for me. We were given a whole episode that showed that this wasn’t the truth and people still believed it… because they want to.

So, that scenario is repeated here, again.

Did you want Gabriel back bad enough to ignore all the evidence that this wasn’t happening? And what about 9x07? Did you want Dean to be happy with “just Sammy” bad enough to realize this is not what the writers are writing? In a system based on free will… you get to decide your own “truth” even if it is someone else’s “lie”.

We open inside a warehouse. Dean is circling past Gadreel, bound to a binding circle on the floor and tied to a chair. Gadreel talks to Sam. “If this is like looking into a funhouse mirror for me, I can not imagine what it is like for you.” Glory unto this dialogue! I can now die happy since my phrase was used in a blatant meta episode on Supernatural. Literally. What are the fucking odds? :)

Sam ignores his ramblings.

“How long have you been working for Metatron?” “I will not talk, and you can not make me." "Yeah?” “I have been you, Sam Winchester. Your insides reek of shame and weakness.”

The next sequence goes a lot easier if you just imagine that Sam and Dean are talking to their codependency. Sam punches Gadreel hard, angel blade in hand. Dean stops him and drags him away as Metatron’s voiceover precedes our scene switch.

“Tonight I thought I’d tell you a little story. Let you decide." We see now that at the beginning we, the audience, were Cas, being asked these questions by Metatron. His question to Cas is this: "Who gives this story meaning? Me, or you?" The answer is not "either, or”, but “both”. Metatron, for all his reading, understands so little… He walks over to the record player and takes off the needle. The music stops. “That was my plan anyway,” he tells Cas, pulling off his gag. “I guess that’s where my story failed.” He reaches into Cas’ jacket, revealing the tear, and pulls on the dangling thread. “Yes. This is 'the curious incident’, eh, Inspector Gregory?” Cas looks confused, “Who?” Inspector Gregory is, as Metatron is about to tell Cas, a character from Sherlock Holmes. The “curious incident” Metatron refers to is something that happens in “Silver Blaze”, involving a dog (our narrative equivalent to Dean) guarding a racehorse. Something happens to the horse in the middle of the night and the dog doesn’t bark, which is curious, according to Holmes (meaning the dog knew the culprit), but not to Inspector Gregory, who thinks nothing of it. Metatron is comparing himself to Holmes and Cas to Inspector Gregory here, making himself “smarter” (just as he had Gabriel make the intelligence jab at Cas). Oh, but Metatron doesn’t even realize all the things he “missed” that gave himself away, does he?



Metatron chastises Cas’ lack of pop culture knowledge, asking him what Meg did in 8x17, “Would it have killed you to pick up a book, watch a movie?” Cas looks around, frustrated. “Here,” Metatron tells him, “I know it’s a bit of a retcon, but it’s gonna make this whole conversation a lot easier.” Metatron presses two fingers to his forehead as Cas grunts and screams in obvious pain. “I just gave you every book, movie and TV show I have consumed in the last couple of millennia. Now do you understand that 'the universe is made up of stories, not atoms’?” This is a quote from Muriel Rukeyser’s 1968 poem, “The Speed of Darkness”. It talks a lot about sex and mentions many of our late-season visual cues. It is a curious quote for Metatron to use out of context (to say the least). Notice how Metatron opted for the easy solution though? How he violated Castiel’s mind to do it? These are all themes that are rearing their head from our early season, probably in relation to the presence of Gadreel and what he represents between the Winchesters. Metatron tries to force “understanding” on Cas by giving him knowledge. He sees the two as one and the same (like reading a book on music…).

He is wrong.

When Cas says, “I understand that that’s a- a quote by Muriel Rukeyser,” Metatron is pleased, exclaiming, “Ah! It can be taught!” Boy… I can’t wait to see this guy fail. As Larinah points out, the hourglass behind Metatron (another antiquated object) indicates that he is out of time (in this case quite literally).



“Here are a few more lessons,” Metatron says with an inflated sense of importance, “First rule of writers club- steal from the best.” We can see from Metatron’s desk who he considers “the best” (Larinah talks about them here), for they are the ones he stole from to write his little piece of fanfiction. Metatron continues talking, “Second rule? Every hero needs a villain.” Cas is shaking his head, clearly not following. “What are you talking about?” And cue the villain speech! “Hannah and her sisters- I set all that up, told Gadreel, 'Slaughter all those who will not join my army, but let one live, one… to tell the tale.’” Hannah seems to be based on the character of the same name from “ Hannah and Her Sisters ”. Of note is the fact that Hannah’s ex-husband decided to write a screenplay based on Hannah’s current marriage and this upset Hannah.

Cas struggles against his bonds as Metatron delivers his theatrics. “Let one live to tell the tale” is a antiquated war move, further emphasizing how much Metatron lives in the past. "Is it true?“ Cas asks with a sneer, "Can you bring angels back to Heaven?” Metatron shakes his head and laughs, amused at the question. “Sorry. No spoilers.” This is a popular Robbie Thompson Twitter response to people’s questions, particularly questions involving the potential canonization of Destiel. This is particularly funny here since many have suggested the relationship’s romantic component may be explicitly canonized by way of revealing “in text” the nature of the ingredients that caused the angel fall event, or likewise (as many meta writers have speculated) that the creation of unions of love between angels and humans may reverse the spell. Suddenly, Metatron’s Speed of Darkness quote looks a little less random. Every villain loves to taunt the hero with what he doesn’t know…

Metatron continues.

“And you keep missing the point. You’re supposed to lead the angels.” “I am not a leader, Metatron.” “Apparently. So… I did my homework.”

Hilariously, Metatron picks up, “Supernatural: Tall Tales”, where Gabriel makes his first appearance. This book was referenced through subtextual associations in 9x15, which I made note of in my review (and people say I’m reading too closely *laughs into the void*), through other tall tale figures (Johnny Appleseed and Paul Bunyan). Metatron holds up the book. Take note of the small statue next to Cas. It’s an impala. This is subtext for how Cas is aligned with the Winchesters. Metatron scoffs. “The Winchester Gospels. Pulpy stuff.” He walks over and throws the book into the fire. Book burning is an age-old practice usually emblematic of a harsh and oppressive regime which is seeking to censor or silence an aspect of a nation’s culture. It is also frequently used when one is holding contempt for a book’s author, much as Metatron holds contempt for God (who Chuck, Carver Edlund, is according to “Word of God” by Eric Kripke). This also reads another way in that Metatron (our metafictional stand-in for showrunner Jeremy Carver) doesn’t like Chuck’s (our metafictional stand-in for creator and old showrunner Eric Kripke) “setup” going forward. He is burning the past and making way for a new story.

“Gave me an idea, though. You needed to be taught a lesson, and nobody teaches lessons better than good old Gabriel, A.K.A. 'the trickster’. So… I started typing.” “And you did all this to make me a hero?” *evil nerdy laughter* "Ah, that’s priceless. Um, no. You are not the hero in this mess-terpiece. You’re the villain. I’m the hero.“

Poor Metatron. All that reading and he’s never heard the quote, "Every villain is a hero in his own mind”? I guess not…

Dean’s voice carries us into the next scene. “He’s not gonna crack that fast.” He and Sam are discussing the situation they’ve found themselves in in the dark. “I know,” Sam says shortly, “Maybe you could hack him like you and Crowley hacked me.” Dean corrects him. “No, no, no, no. Crowley’s the only one who can do that and I’m in no mood to call that dickbag. We need Cas.” Sam is visibly trying to calm himself. “Any word from him?” he asks. “No,” Dean admits, “I tried him again. He hasn’t called, he hasn’t texted.” *cue Sam reaction shot* “I turned on the GPS on his phone. He’s still in the same town where we talked to him last.” Sam shakes his head. “What the hell?” Dean tells him, “I don’t know. You got to go find him.” Sam looks confused, “Wait, what?” Dean tells him, “You’re too close to this, man.” Sam fires back, “And, what, you’re not?” Dean looks away. “We’re not at this five minutes you’re already going Liam Neeson on his ass.” This is likely a reference to the movie, “Taken”. In the movie, Liam Neeson (notice how Dean doesn’t use the actor’s character name) plays a father (who’s retired from black ops) whose child was kidnapped. He spends the entire movie hunting down the kidnappers, torturing and killing his way to get to his daughter. Since the Winchesters viewed Kevin as their responsibility, like a child, Dean is comparing the two situations. The only difference? Neeson’s daughter is still alive…

“I got this,” Dean tells Sam and his brother reluctantly hands over an angel blade. Gadreel watches as Sam leaves. Dean walks in front of Gadreel who says to him, “So, he acts tough, and you show kindness. Is that how this works?” Gadreel is referring to the ol’ “good cop, bad cop” routine. Dean turns around. "No,“ he says darkly, "See, I don’t care whether you talk. You’re gonna pay for what you did to him… and Kevin.” Here is Dean not letting Sam face his own proverbial demons. Dean is once again taking away Sam’s choice and chance for development. All because it is his “duty” to protect Sam from such things. “Duty" that will be his undoing…

"Do you know why I didn’t kill you after I stole your grace?” Metatron asks Cas. Because this line follows Dean talking to Gadreel it implies that Dean will not kill Gadreel either. Cas continues to look confused over Metatron’s speeches. “I like you,” says Metatron. “Truly,” he adds for emphasis, gesturing with his hands. "Among all God’s little windup toys you were the only one with any spunk. I left you human because I was hoping you would live happily ever after, but you screwed that up too.“ The whole time Cas is just shaking his head. Listen to how pretentious this old bag of wind is… like he’s not one of "God’s little windup toys” himself. I’ve never wanted a Supernatural villain to get what was coming to him more than this douche.

Metatron smiles and considers how clever he is. I can smell the manipulation through my fucking screen. “And now… Uh, you leave me no choice. I mean, if you want to get back on board, fine, but you’re gonna have to follow my script." What actual show is this dickbag watching? Cas lays it out for him. That was more game imagery by the way. "Well, based on your assessment, that doesn’t sound like me.” Metatron tries a new tactic and it is laughable. “Lead the dumb, disenfranchised, rebellious angels against me, Castiel. They will follow you. And they’ll all die, but I’m gonna save a nice, warm seat up top for you. You will be saved.” And for the third time, our magic storytelling number, Metatron mentions how the angels are “dumb”, incapable of change, of being like Castiel. If there is one mindset this episode really wanted to get across about this character, then this was it.

“No,” Castiel tells him firmly and Metatron smiles, rolling his head. “Mmm. You’re gonna make me do the hard pitch, aren’t you?” To “pitch” something is to try to sell someone an idea (like a script to producer as my beta reader adds). It is also a baseball term, making this another gaming reference. For some reason, Metatron needs for Cas to decide on his own to fight him. Brainwashing isn’t an option? If all he’s wanting is “the ultimate showdown” with the “loyal” angels versus the “rebellious” angels, then why not? Who would know? Dude is clearly wanting to do “The Judgment” 2.0. I’m guessing to make himself feel more like God? To have Gadreel (Michael 2.0) cast out Cas (Lucifer 2.0) in a holy reenactment only meant to give himself a proverbial boner? I still can’t get a good feel of this guy. Is he hoping that his actions will force God to show his face? Is this instead just a straight up effort to replace God? Is the plan to kill God once he shows his face? What? All that we can tell clearly is that Metatron *really* wants this reenactment to take place.

When manipulation and reasoning fails, Metatron goes for advanced manipulation tactic number one. “How’s that, um, stolen grace inside you working out?” Cas looks away from him and is quiet for a moment. “It’s fine,” he says quietly. “No. It’s not. It’s burning out. It’s gonna burn you out. But I will give you and endless suppy of rechargeable batteries. Deal?” Okay. Clearly this guy is tapping into something to be able to make that statement. The solution can’t be as simple as simply “plugging him back into Heaven” either. The damage to all the angels’ wings prevents that. Is Metatron simply talking about giving Cas replaceable graces that he’s cannibalized? Like maybe Abner’s? That there was speculation that Gadreel stole? It’s all very vague. A door opens and an angel clad in black and white (windup toy wear) walks in. Apparently Metatron has issued a new dress code among the female angels as this one is wearing a skirt. Typical. She informs Metatron that Gadreel has been captured.

Back at the warehouse, Dean is carving into Gadreel like he’s trying out to be a contestant on “Hell’s Kitchen” (yeah, I went there). Gadreel screams as his grace shines beneath the surface. “Word around the campfire is that you let the snake into the Garden, ruined it for all humanity.” Gadreel exhales and looks at Dean.

“I set them free! I loved humanity!” “Well, you sure got a funny way of showing it, asshat. Now look. You tell me about this 'getting back into Heaven’ crap and I’ll end this quick. Otherwise, you can sit here and rot in those chains forever. Up to you…” “All your talk, all your bluster- you think you are invincible. The two of you against the world, right?” “Damn straight.”

A couple of things to point out. This is the third time Gadreel has changed his story. At first he claims he was tricked into letting the serpent into the Garden, then he said it was simply “not his doing”, and now he admits he did it and that he did it because he loved humanity. We see very clearly the progression of ownership over his actions. This is meant to reflect how Dean is currently taking ownership of his actions as well, even if he is denying it, because look at Dean… We know that Sam doesn’t want to see things as him and Dean against the world anymore, yet Dean declares, “Damn straight,” to the idea. He’d rather hang onto the “lie” (like we would with Gabriel) than face the “truth” (that Gabriel is gone). This is expressed through the cold saturation of the scene, the absence of “truth” (warm light). Within the “lie” half of Dean’s face is cloaked in darkness. The “lies” within the “lie” as it were.



Gadreel asks him, “You really think Sam would do anything for you?” Dean turns and faces him. "Oh, I know he would.“ See what I mean? "I have been in your brother’s body, Dean. He would not trade his life for yours." Admist the truth, we see that Gadreel is now attempting to manipulate Dean. Not trading your life for another’s is not the same as not doing whatever you can to save someone. Sam admits to the latter, trying to break through to Dean’s lack of sense of self, "Well, thanks for the rerun, pal,” Dean tells Gadreel. “Sam’s already told me all that crap. Hell, he’s told me worse.” The next thing out of Gadreel’s mouth is inflected more like a question. “He’s told you he’s always felt that way, that he thinks you are just a scared little boy who’s afraid to be on his own because daddy never loved him enough?” Now, notice how the scene warms up as Gadreel hits the truth nail on the head.

The manifestation of his codependency and conditioning continues talking. "And he is right, isn’t he? Right to think you are a coward, a sad, clingy, needy-“ And… Dean finally stops smiling, trying to play off Gadreel’s words, and throws a punch. "Keep it up!” Dean tells him in an almost demanding tone (as opposed to a warning tone) as he circles back and forth along the outline of the angel trap (half of which lies in darkness). So Gadreel does… “Pathetic bottom-feeder who can not even take care of himself, who would rather drag everyone through the mud than be alone!” At this, Dean finally turns around, his expression grave and menacing. Gadreel continues his verbal assault. “Who would let everyone around him die!” Gadreel closes his eyes and bows his head as Dean rears back the angel blade, intent on stabbing him. His hand shakes and he stops just as Gadreel exhales and opens his eyes. Dean looks at the blade in disbelief and then at Gadreel. “No. Do it,” Gadreel tells him desperately, "Do it! Kill me!!“ Is this punishment for Gadreel’s sins? Or a wish to not be imprisoned any longer? Either by chains or "no choice”? Is this why he let the serpent into the Garden? To give humanity choice? Where he felt none previously existed?

“Oh, you’d like that, wouldn’t you? That’s what that whole speech was about? You’re not afraid to die, are you? You’re afraid to be left in these chains forever." This is Dean’s "decided truth”. This is what he needs Gadreel’s mindset to be, for it is his as well. Dean fears he will be chained by his father’s “decided truth” forever… because he’s just as trapped within a circle as Gadreel is. We saw it earlier, didn’t we? It was as water ran down from a showerhead… the binding circle of Dean Winchester…

“Well,” Dean tells him, “you can sit here and rot, you son of a bitch.” Dean walks off as the camera zooms out, giving us a good view of the trap that lies around Gadreel chair. Several towns over, Sam has tracked Cas’ GPS to his motel. The camera zooms in for several seconds on a white door labeled, “7”. Here are all the significance for the number. Most notable in our current narrative is that those who would dare kill Cain will suffer vengeance seven times over. What is unclear in our narrative is whether this refers to the one who bears the mark of Cain, or simply Cain himself. And we all know that Cain has requested that Dean kill him. Sam looks around as he gets out of the Impala. The next shot is the one that I’ve scratched my head over the most. Sam gets out and then the camera focuses on the fact that no one is in the drivers seat, that the car is now empty. Framed to the bottom left hand corner, is the Impala’s sideview mirror (that we can only view from the back). Is this meant to signify Dean’s “emptiness” following Gadreel’s words? This doesn’t seem right and I can’t think of anything more fitting.

Outside of Cas’ room is a vending machine, which our narrative associates with chosen humanity. Once again that theme (humanity and choice) is associated with Cas. Sam approaches Cas’ room and opens the door. As he does this our scene switches over to Dean, effectively tying the themes of the two scenes together. Sam’s scene is cast in cold tones, while Dean’s is in warm ones. Dean checks his phone (for Cas? Or for Sam?) and puts the angel blade into an old sink. As he does this, Sam enters Cas’ motel room, gun at the ready. He looks around at the room, observing Cas’ hunter’s wall and his cell phone, left discarded facedown on the bed. No Cas. Following this is a shot of Dean placing his cell phone on a soap dish. In a mirror of our earlier scene (no pun intended), Dean looks at his reflection yet again. He wipes his hand across the thin layer of grim and looks sadly at himself in the mirror, desperate to see himself. Another discarded cell phone and no Cas again…

Dean turns on the water and splashes his face. He slowly rises from his hunched position over the basin. As he straightens a shadow falls over his eyes, giving him the illusion of demonic eyes.



(Gif by crossroadscastiel)

And while I’m very certain that this is foreshadowing (literally in this case as shadows fall on Dean’s fore) for Dean turning completely dark, it’s hard to tell what the catalyst for the “transformation” will be. Dean isn’t currently wielding the First Blade. He’s dealing with his psychological issues, his fear of being alone, of being left with himself and not being able to see his “true” reflection in the mirror for all the fog and grim. It’s a tough call, because usually the “A” plot plot-device (in this case the mark of Cain) facilitates the beats to the “B” plot (Dean’s “issues” labeling Sam properly).

Miles away, Sam picks up Cas’ cell phone. It reveals that Dean has called Cas a total of 6 times, one time less than the number that marks the door. Cas’ background is (perhaps hilariously) golden light streaming through some clouds, a visual of Heaven. Sam throws down the phone, frowning. Startled, he raises his gun and the shot changes to reveal Metatron. He greets Sam like Dean did in the pilot (perhaps in a mockery of the Winchester Gospels), and tells him that he’s here for a trade. “You have something of mine, and I have something of yours.” This precedes a cut back to Dean, who glances down at the mark of Cain after brooding in the mirror some more. And just like *that* we are back in Cas’ empty motel room (which suddenly calls to mind “This House is a Hotel” from 9x15, which has a lot of visuals to this episode now that I think about it). Metatron tells Sam to meet him back here with Gadreel tomorrow around 6ish (adding “ish” indicates a lack of exact plans, giving things a “buffer”). “If not, Castiel dies. No comebacks this time.” Metatron tells Sam flatly. Sam looks nervous. Is he thinking about how Dean so easily tortures people? How lately he’s been stepping closer and closer to the edge? A dead human in a warehouse? A decapitated man in an invisible house? Is he thinking about what Cas’ death on Dean’s hands would do to him mentally? If he is already too late…

Look at the lighting on Sam’s face. It reflects balanced morality across a shadowy divide. Simply beautiful. "An even trade?“ Sam confirms. "I’m an entity of my word,” Metatron replies. Fucking cute, man. “Entity”, not “angel”, because your label has changed, right dickface? He vanishes and Sam quickly looks around as the scene switches back to Dean. He is still looking desperately at himself in the mirror as we are finally given the stakes of this episode, unbeknownst to him. If Dean gives into his outward appearance he will kill Cas. How utterly fitting…

Dean clinches his jaw and grabs the angel blade, flipping it like Cas and stalking out of the room. On the soap dish in the dirty bathroom, Sam’s call to Dean goes unanswered. We see the outside of the warehouse, various degrees of rust coat various bars on the building’s outside (which is ironic since the inside of the factory makes a rust solvant). THE OUTSIDE DOESN’T REFLECT THE INSIDE. This is the same with Dean. The altered outside (killer) doesn’t match the inside (lover).

The Impala pulls up and Sam makes his way inside the building. As he climbs the stairs we catch sight of angel warding on a “This many days without incident” sign. The days are blurred, making the last accident day “open to interpretation” (with the suggestion that Dean may have made a mistake). Sam comes upon Gadreel’s empty chair and looks around. He is framed next to a tank of phosphoric acid (the rust inhibitor), a corrosive substance meant to destroy water/air “damage” to metal (rust). Is Dean too rusting on the outside? Under the water of his shower? Kinda like the Tinman? Given sufficient time, oxygen, and water, any iron mass will eventually convert entirely to rust and disintegrate. Dorothy’s words, “The Tinman didn’t make it,” seem to echo.

Sam calls out to Dean and begins looking around. He catches sight of him hunched over against a wall and runs over. Dean is breathing heavily and his knuckles are bloody. “Are you okay?” Dean blinks and rolls his head, “Yeah, you got to stop asking me that.” Sam ignores the request. “I’ve been calling you. I mean, w-why didn’t you, uh-” Dean interrupts him loudly and the camera pans to Gadreel bloody and beaten on the floor. “He won’t talk.” Sam replies, “I figured.” Dean looks somewhat dazed and confused and every bit tired. “He wanted to die, and I was gonna kill him. I was. But then I stopped 'cause I know we need him to talk.” Dean sounds bitter and we know that he doesn’t actually give a damn whether Gadreel talks or not. So why then did Dean actually spare him? After beating him twice? And while wearing a mark that sings, “Just one more”? Sam tells his brother, “Listen, Dean… Metatron has Cas.” This turns Dean’s head as Sam continues. “He’s offering up a trade.” Dean glances quickly at Gadreel and says, “We can’t trust Metaton.” Sam replies, “I- I know that. Obviously. But look, this is the first time we’re gonna know for sure where Metatron is. Let’s take Gadreel to the meet-up, make the exchange, and then trap Metatron.” Dean doesn’t reply but looks troubled and our next shot is the Impala speeding down the highway in the daylight.

At Cas’ motel, the Winchesters wait by the Impala. The room beside Cas’ still has its Christmas lights up. (Since this episode has so many Jesus references I thought I’d point this out.) They, like Metatron, are past their time limit. “He’s late,” complains Sam. “Or he’s not gonna show,” Dean adds. Metatron suddenly appears behind them. “Of course I’m going to show,” the little fucker says, “I was just waiting for you two to finish setting up your little trap for me.” He looks at the ground, hands in his pockets. He walks up a couple of paces (pulling up his pants quite unnecessarily) and asks, “Am I hitting my mark?” This is a break in the fourth wall (if there’s anything at all left), industry jargon for an actor being in the right place for a scene. That little piece of black beside Metatron’s foot? That was actually probably Curtis’ mark for this scene. XD Sam and Dean exchange looks. “Well, come on. Let’s go. I’m waiting.” Sam gives Dean his “hurry up and light that shit” look and Dean flicks his lighter.

Metatron looks fake terrified as Dean throws the lighter on the ground, setting the holy oil around Metatron on fire. Metatron starts shaking, flinching like he is affected by the flames. He is pretending like he’s dying as the Winchesters watch confused. Metatron cracks one eye at Dean and Sam. Dean’s confusion fades as Metatron starts to cackle at his little joke.

Dick.

He starts warming his hands by the fire, asking the Winchesters if they brought s'mores, telling them that holy fire always gives them a delightful minty aftertaste. “Make a wish, boys,” he says with a cheeky smile and blows out the holy fire, giving us another shot involving half-circle imagery.



The Winchesters don’t allow themselves to be impressed for too long as they both draw angel blades and move to stab him. “No, thanks!” he shouts, flinging their blades out of their hands and slamming them against the Impala. “Oh, fuck” is written all over both their faces as Metatron spots a car pulling up and moves to the Impala’s trunk. He opens it with a snap and bids the binding circle goodbye. Another flick uncuffs Gadreel as Metatron’s angels deliver Cas to the scene. Gadreel and Sam exchange a long look as Dean turns his attention to Cas. Metatron turns him over to the Winchesters, announcing, “Well, a deal is a deal.” Dean questions him.

“Why are you doing this?” “Because I can. Because you and your little brother and your fine, feathered friend and all those secrets you’ve got locked away in your bunker can’t stop me. But I am gonna enjoy watching you try. It’s gonna be a hell of a show. I’ll see you around, Castiel. Never forget I gave you a chance.”

I’m not saying that Metatron is probably gonna be killed by the Spear of Destiny, but… Metatron is gonna be killed by the Spear of Destiny. And the “hell of a show” bit? If my pre-season speculation that says Abaddon breaks into Heaven comes true I’ll be laughing all summer.

We pan down from the motel sign, “Cedar Lodge”. Trees have been featured several times in the past couple of episodes, mainly 9x12 (Twin Pines) and 9x15 (with Paul Bunyan and Johnny Appleseed). The scene is bathed in cool light, our coding for “the lie”. Apparently Sam, Dean and Cas have just been standing around until the sun goes down as Dean finally asks a relevant question: “Somebody want to tell me what the hell’s going on here?” Cas answers him, “Metatron is trying to play God.” Sam snaps his head at Cas, “Play God?” he asks incredulously. “Cas, he erased angel warding. He friggin’ blew out holy fire. He is God. He’s powering up with the angel tablet. How the hell are we supposed to stop this guy?” And… Sam would know this how? Is that some info he gleamed out of being possessed by Gadreel? One can only assume…

“How the hell are we supposed to stop this guy?” Sam asks. Dean answers, “All right, so what if there is a stairway to Heaven? We find it and get a drop on the guy.” And again… Who suggested this? Dean is maybe thinking back to the crossroads demon who told him that reapers have secret ways through the Veil? Again, one can only assume…

“You want to sneak onto the Death Star? Take out the Emperor?” Sam is talking about the plot line of “Return of the Jedi”, Act 3 of the first Star Wars trilogy. Since we are in Act 2 I’m not sure we’re going to get something similar to this just yet, even though Carver’s 3 Act structure remarkably resembles this film trilogy in many respects (so far). Perhaps that is why Sam says this is a joking tone?

“Okay, I- I’m not sure what a fictional battle station in space has to do with this, but if taking out the emperor means taking out Metatron, I’m on board.” Cas tells them as the Winchesters look confused at one another. Cas knows the structure of the pop culture, but he doesn’t understand the meaning. Knowledge is not wisdom. “Wait,” Dean tells him, “did you just understand a Death Star reference?” Dean looks dumbfounded, like he can’t believe the turn of events his life just took (bless, he used to love teasing Cas for this). “Yeah, I think so… but I don’t understand what that has to do with Heaven.” Dean’s mouth gapes and then he forces it shut, looking at Sam. “It’s halfway I guess,” Sam muses. He understands what Metatron does not. Cas “gets” the reference, but he doesn’t get “the point of it”. Where Metatron proclaims him “taught”, Sam proclaims he’s “halfway there”.

One is right and one is wrong.

Knowing that the last time Castiel “got” a reference was when he had been lying to Dean and working behind their backs with Crowley, Dean asks him, “You sure you’re all right?” His tone is not accusatory, it is begging for connection. “Yes,” Cas answers, squinting his eyes at Dean. “Are you? There’s something different about you.” Again, Dean glances at Sam, aware of his presence, so he doesn’t tell Cas the truth. The standard lie, “I’m fine,” is told instead as Dean pats Cas on the shoulder and turns to leave.

Cas grabs his wrist, not taking his eyes off him. Dean makes no move to stop Cas. A part of him, I think, wanted this to happen, needed Cas to know. The face Dean wears is the tired one in the mirror, the one that didn’t have his best friend looking out for him over his shoulder, the one he can’t stop and talk to because they both have bigger problems. Cas grips Dean’s hand and rips up his sleeve with the other hand, revealing the mark of Cain. Dean closes his eyes, then looks at Cas with the same tired expression as before. “What have you done?” Cas asks gravely and Dean snatches away his hand. Sam watches their exchange, stealing glances at Dean, hoping to get a beat on what’s really going on beneath, “I’m fine."

"It’s a means to an end,” Dean tells him and Cas replies, “Dammit Dean.” With this dialogue, Dean is effectively in season 6 Cas’ spot. For Dean, the ends justifies the means right now. Something that we know Cas no longer does (as he verbalized in 9x11). When Dean was in the right in season 6 he replied, “Dammit Cas,” to Cas’ means to an end choices:

DEAN: “No, you had a choice. You just made the wrong one.” CASTIEL: “You don’t understand. It’s complicated.” DEAN: “No, actually, it’s not, and you know that. Why else would you keep this whole thing a secret, huh, unless you knew that it was wrong? When crap like this comes around, we deal with it… Like we always have. What we don’t do is we don’t go out and make another deal with the Devil!” CASTIEL: “It sounds so simple when you say it like that. Where were you when I needed to hear it?” DEAN: “I was there. Where were you? You should’ve come to us for help, Cas.” CASTIEL: “Maybe. It’s too late now. I can’t turn back now. I can’t.” DEAN: “It’s not too late. Dammit, Cas! We can fix this!”

So we have:

Plotting with Crowley (a deal with the Devil)

Not going to the other to help with a bad situation

Planning to use a power with unknown costs because the end justifies the means

Yelling “Dammit” and their name when the other fails to see where they are going wrong

Season 6, as we saw, ended in tragedy because Dean had not been in Cas’ spot, was judging him from a point of ignorance. Now, as the situation is reversed, the same can not be said for Cas. Cas very much understands what Dean is going through (as does Sam). How will this difference affect Dean’s arc’s resolution? I’m afraid it’s just too early to tell.

Sam nervously steals a glance at Dean, swallowing hard at Cas’ concern. If Cas is concerned, then it’s bad. Dean’s been getting a lot of angel/devil on the shoulder shots like this for the latter half. Now they are giving Sam one. The devil is always in red and the angel is in white, as reflected in the lights on his shoulders. This is symbolic of Sam needing to listen to Cas right now since the same hue light has been shining in the corner of Cas’ frame for this entire scene.



Dean looks at his brother, then tells Cas, “Look, you find Heaven, you drop a dime. Meantime, I got a knight to kill.” Dean regards them both coldly, as if he’s mad that they don’t see he has to do this. The shot is framed with “OD” next to Dean’s head. This is more demon!Dean foreshadowing as it suggests that he is going to “OD” on the First Blade (which our narrative compares to drugs and addiction). Dean storms off to the driver’s side of the Impala. Sam turns to Cas. “Be safe out there,” he tells him with an arm pat. “You too,” Cas says. “Hey, Sam. You keep an eye on him.” This reads as both a warning and worry. The unspoken, “Since I can’t right now,” seems to linger. Sam nods and gets into the Impala. Cas is left behind as the car flares to life (double lights) and drives off.

Back at Metatron’s evil lair, one of his angels opens both doors, announcing Gadreel’s return. He looks less than thrilled to be back and the angel shuts both doors behind him. Metatron gets down to business.

“Is the door secure?” “Yes. The way home is safe.” “Thank you, Gadreel.” “How did your play turn out?” “Didn’t quite turn out as I’d planned, but that is why we rewrite. That was God’s problem, you know- he published the first draft. You got to keep at it til you get all your ducks in a row.”

And… Gadreel looks bored to tears. The phrase “ducks in a row” refers to how ducklings follow their mother in a row. This concept is used in many shooting ranges as well, requiring one to shoot all the ducks in a row for the highest score. Metatron is trying to make sure all his ducklings follow him. Duck imagery is something we got inexplicably in 9x15 and I don’t even remember if I pointed it out in my review. There was a duck between the cabinets of the kitchen then. This suggests that Dean, who was framed with the duck (and not Sam IIRC) is one of the ducklings that Metatron must make sure is “in a row”.

Gadreel starts to walk off and asks, “Was the Winchesters grabbing me part of your plan?” Metatron is quiet for a moment and then says with a smile, “That was a surprise. But, hey, what writer doesn’t love a good twist?” Gadreel’s face says “I don’t fucking believe you for a second” as Metatron continues to prove just how much he loves to hear himself talk. Clearly, Metatron doesn’t understand foreshadowing. Because really? There are no “twists”. There are always hints before the thing becomes the thing. Metatron, still stuck in the past, couldn’t “foresee” that free will is blossoming among the angels. Free will, which allowed Gadreel to choose to pursue Sam (which resulted in him getting captured), is the one thing that Metatron couldn’t account for. It’s the “twist” that he didn’t see coming. Perhaps if Metatron better understood visual subtext (with the angels’ clothing), or could better interpret the look on Gadreel’s face, he could foresee what is most undoubtedly coming…

“My job is to set up interesting characters and see where they lead me. The by-product of having well-drawn characters is… they may surprise you. But I know something they don’t know- the ending. How I get there doesn’t matter as long as everybody plays their part.”

Gadreel inhales and nods. Metatron just told him all he needed to know about how valuable he is to him. How valuable humanity is to him… Metatron has zero fucks to give and is only concerned with himself. The Death Star reference we got before? I don’t think it was a coincidence. In “Star Wars: Return of the Jedi” it was the Emperor’s second in command, Darth Vader (who Gadreel was made to somewhat resemble earlier with his hood up), who kills the Emperor. I’m not saying foreshadowing but… foreshadowing.

As Gadreel leaves and closes the door behind him. Metatron grabs a record and puts it on the turntable. The song, “The Sun Ain’t Gonna Shine Anymore”, by The Walker Brothers fills the room. It is a song about how lonely a guy is without the girl he loves, complete with, “I need you. I can’t go on,” at the end. The guy compares his loneliness to the sun (guiding light) and moon (another guiding light) going down and not returning. Guiding light has been something coded to Dean and Cas since 9x10 and this episode lays that symbolism on THICK. This song reads like Dean’s desperate cry for help honestly, yet the focus is on Cas and what he is doing. It is this song that Metatron uses as a backdrop to his writing, the song he feels will most provide inspiration for this scene. Cas being lonely without love…



We see Sam eyeing Dean with worry. Warm light splashes his face and the car is saturated in cold. Warm light falls on Dean’s face as well, resembling a fading sunset. The light then “sets” completely, leaving Dean eclipsed in total darkness.



In a motel a little whiles away, Cas enters the cold room and cuts on the light, bathing the room and himself in a warm glow. Our song lyrics start as we get a shot of Cas in his coat next to the painting of mountains:

Loneliness is a coat you wear

The dark shade of blue is always there

Cas’ loneliness is a shade of blue (Dean’s “lie”). Cas tears down his hunter’s wall and throws his coat on the bed. He pulls up his sleeves and turns as Metatron smiles down at his typewriter, transcribing the scene.

The sun ain’t gonna shine anymore

The moon ain’t gonna rise in the sky

Cas is going to work, painting the wall in his blood. Miles away, the Impala speeds down the road. It passes by a lake with the sun rising among the mountains. This is imagery we’ve been getting since 9x11 in many paintings, imagery associated with Cas. As the scene switches back over to Cas, his face comes into view over the sun, a guiding light. It’s just hella romantic, okay?

The tears are always clouding your eyes

When you’re without love….

Baby

Metatron smiles and continues to type, writing about how Cas is about to join his flock. As the angelic siren symbol glows on his left shoulder Cas opens the door to his room. Many angels are waiting on him outside.

Sun ain’t gonna shine anymore

Moon ain’t gonna rise in the sky

Tears are always clouding your eyes

Cas walks down the stairs looking dubious. He smiles softly at Hannah and nods as she smiles from her place in front of Cas’ new garrison. They are dressed all in color, not a trace of black and white thinking left. The hope of humanity’s future, the answer to “the problem with angels”…

Sun ain’t gonna shine anymore

When you’re without love

Metatron continues to look pleased and types: “God watched over them. Smiling at His good works. TO BE CONTINUED…”

Sun ain’t gonna shine anymore

Not anymore

Sun ain’t gonna shine anymore

–

Since I commented and speculated on almost everything I can think of already, there’s not a whole lot I can summarize for the end. See you next review!