#sprntrl

January 1, 2017- When Selena Gomez snapped this cute picture with a lucky fan on New Years, we caught her wearing a new variation of the super exclusive SPRNTRL Long Sleeve Orange T-shirt. Same brand that she wore over the summer. Unfortunately, this top is not for sale as of yet. If anything changes, I'll be sure to let you know. 

She wore it with Ugg boots

Get the look with these orange T shirts:

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01.10 (Asylum)

ten minutes into this episode and have had largely nothing to say, in great contrast to it taking multiple hours to get through the prior one. dean did just utter the phrase “don’t ask, don’t tell” and the most notable character development stuff occurred in a motel conversation about john’s reticence/absence, dean’s willingness to go on a job they can only assume he’s assigned them, etc. i am surprised that neither of them thought oh, maybe these coordinates are a trap. dean is rattling off pop culture references at what feels like 4x his usual rate. 

“we’ve always gotta follow dad’s orders?” “of course we do” oh lord. every second of every episode i look forward to the deconstruction. or at least the breakdown of the outward-facing obedient son soldier dogma. :)))))))

clever good bar patron / bad bar patron song-and-dance to make the surviving cop trust and talk to sam. this therapist is not fucking around. finger on the pulse of the sore spot (dean) IMMEDIATELY. although sam does a good job of making it seem like his interest in the asylum is a decoy/deflection. fun little scene. 

there’s a shot i found striking on my first watch: sam and dean come through a doorway in the hospital, sam bearing a flashlight and dean a gun, and i don’t think it accurately summarizes their roles, but i think it accurately summarizes a particular depiction of their roles. does that make sense. it’s what they want you to think about them. sam seeks knowledge, truth, a path forward. dean is the hunter. no nuance :) the girl they rescue asks sam if dean is his boss. 

ooooh imposter on the cell phone. certainly casts doubt on the john text that kicks off the episode. also we have another (unfortunate?) case of a fairly direct parallel between a couple (the cop who shoots and kills his partner) and sam (who shoots, with rock salt) dean, both due to influence from ellicott’s spirit. i am simply reporting the facts. they do this in the next episode too i swear. ellicott’s crumbly spirit having a yellow eye is curious but surely coincidental. also idk i think the bar is on the floor but it is kind of refreshing to have the evil asylum spirit be the abusive doctor and not the patients. 

01.09 (Home)

i’m certain this is thoroughly coincidental because i do not have faith that the pre-series timeline was fleshed out this early in season one but i am in the mood to roll around in and over-interpret details so i will mention that the little girl’s shirt that she wears at the beginning of the episode has “73” on it, which is, according to various wikis and blogs (i am in the mood to detail-dive but not verify the timeline of the entire series im sorry), the year that john returned to lawrence from war and mary made the deal with azazel to save him. just making that known given the very literal homecoming (to lawrence!) that happens in this episode. it is not, of course, the year in which the house burned. 

as previously mentioned i do actually love when spn wallops the audience over the head with parallels/foils to the winchesters. this episode directly centers around family, (breaking cycles), and grief as haunting. of course. a single-parent family (dead dad, for variety) and two kids. the older sister (who is still so little) is hypervigilant and losing sleep.

ok how on earth is there a chest of winchester family memorabilia in the basement after that fire. although i feel that perhaps azazel could have selectively protected items from the fire in efforts to trap mary’s spirit in the house. i’m making things up with no textual evidence to back them up. i’m confabulating. but it is kind of mad that there is a photo of john in this family’s basement but of course there is. coming back from later in the episode to clarify that the entire house did not burn down and was remodeled instead of rebuilt entirely. i suppose if an upstairs bedroom burned, the basement may have been the leats affected part of the house (?) also, the sequence of revealed photos is interesting: first john alone, then john and mary, then all four winchesters. “little sammy” but just regular old dean who is four. i think. anyway the sequence of photos feels a little patriarchal a little biblical you know, and again, i doubt this had been fleshed out so early, but perhaps contradicts the actual origin story of the winchesters’ relationship to the supernatural, which started with mary instead. also interesting that there is no john and mary and dean pre-sam. 

the mildly sinister shadows of the tree branches reaching across the house…i love it. did they do that in the pilot too? i did not mean to take months and months to rewatch s1 but alas. so i forgot. back to horrible nightmare vision-having sam! he draws said branches (oooh family tree visual symbol im getting it) on a notepad in their room at “sleep easy motel” well i don’t think they’ll be doing that. they also have a copy of the four of them outside in front of the house?? 

i do not remember sam confessing to dean about his prophetic nightmares directly in relation to jess’s murder so early on but i suppose he had to here. dean swore to himself he’d never go home. pilot constance welch YOU CAN NEVER GO HOME!!! dean introduces himself to the woman living in the house (im sorry woman and daughter the show has not given you names yet. jenny and sari! well i would not have come up with either) as a federal investigator (? sam cuts him off) but sam cuts right to the truth and tells her their names and that they used to live in the house. i don’t think he has conscious memories of the house (i don’t think that is developmentally possible save for some demonic interference). he did used to live there. wait this is so genesis 3:23 by the mountain goats. i used to live here!! 

the unlocked fridge….the monkey toy…oh lord. i do not want to watch the upcoming garbage disposal scene. at the gas station, dean tells sam that he carried him out of the burning house; this is news to sam. dean calls john asking for help (alone, under the guise of going to the bathroom); despite frequently appealing to john’s authority in conversation with sam, dean clearly feels vulnerable asking for help, especially given the circumstances. the subsequent phone call is reminiscent of prayer. there are stacks of tires in the scene…things are, after weeks? months? on the road, stagnant. John’s grief is holding them in place. the voicemail tells the caller to ask dean for help if they can’t reach john. this is diabolical given that john is literally in town. i think it’s much too on the nose to be overtly true but i checked the silhouette of the faceless mechanic (in the scene when they’re talking to john’s old business partner) to see if the person looked like john. who knows. the framing of the scene certainly makes it look like the brothers are being watched, though, which is more important that the literal details. 

in the same scene, we learn a bit more about john before and directly after mary’s death: he was stubborn, competitive, loving, and after the fire, appeared paranoid to his friend when he started theorizing and researching the occult, etc. this is not necessarily news and is certainly not shocking, but it does underscore how much perception of john changed from the vantage point of a stand-in for the lawrence community. this, of course, is explained fully by the trauma of the fire/mary’s death alone, but also correlates with changes to soldiers’ psychological states upon coming home from war (even if this doesn’t line up with john’s actual timeline, the allegory is prominent. the marines are mentioned in this patch of dialogue, even.). we also get a sense of how abrupt/unexplained their exodus from lawrence was. 

not to discredit missouri’s perception and knowledge, but her detailed understanding of their current situation is only because she’s been in contact with john, no? sam is delighted at missouri coming for dean’s dignity over and over lol. “something’s starting” ronan i hear your voice everywhere.  there is such a nice conveniently child-sized space on the refrigerator shelf. and the irony of the safety lock on the fridge… even relates a bit to the general horror themes re: fears of letting things in vs. out. internal vs. external threats… dean really does not like having his intelligence insulted.

at some point in the episode i noticed the complete lack of rock music/recognizable non-series-specific soundtrack. i like this choice. it’s a strip-things-down-to-the-heart episode. it’s a return to the time before they were driving frantically all over the continental us with music blaring in the car. i love when the sonic landscape gets to be melancholy and understated. 

 the reconstructed home as an infected grief-wound drawing in more pain…i love this episode. i think the dual haunting is also a nice parallel to the dual quest of the first season…finding john and also finding what killed mary and jess. two distinct heads of the same snake. the poltergeist in this episode is not inherently connected to the winchesters aside from the house drawing in its malicious energy/pain, but the overlapping mysteries of sinister forces and unreachable loved ones is overtly relevant.

Missouri, Sam, and Dean each take a floor of the house when expelling the poltergeist. Missouri goes to the basement (foundations, secrets, burial, preservation?), Dean works on the ground level and is shown in the kitchen (interesting that he takes the most visually domestic part of the house because the return to Lawrence is most vulnerable for him specifically), and Sam goes upstairs and gets strangled by a serpentine electrical cord, ostensibly in an office/study room, though I could not tell definitely. For upstairs I think of dreams, proximity to the sky; it’s also the floor where his nursery was and where the bedrooms still are. I also have not really commented on a key fact of the episode: Sam is actively forming his only conscious memories of this house/home. Dean is reliving the turning point of their childhood, and Sam is experiencing glimpses of it in situ for the first time. I don’t know why I’m capitalizing things now. I took a shower and exposed clarity and formality….I don’t know. Sorry for the inconsistency. 

The episode concludes with parallelpalooza. Sam insists on lingering after they ostensibly defeat the poltergeist the first time, thereby allowing the brothers to save Jenny and the kids (pilot: Dean lingers after bringing Sam back to Stanford, thereby allowing Dean to save Sam from his burning room). Dean escorts Jenny out of the house; Jenny is blonde and Mary-ish; Dean could not lead his mother out of the house the first time this happened, obviously. Sam carries the kids out of the house until he has to confront the poltergeist and tells Sari to take her brother out as fast as she can (which, obviously, is what John tells Dean in the pilot). Sam notably leaps from oblivious infant (that sounds uncharitable but I mean it simply) to delegating adult; he is never Dean, carrying someone else over the threshold. This disparity marks a gap in understanding between them.