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brainrotmeta · 3 years

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(jokes aside, i hope misha says something about the ending with jack and reforming heaven. THAT'S what i want to hear about. not the million and three things he's pretending dean and cas are doing in heaven when we know dean's spending quality we time cradling sam's face.)

Okay and this ask is where I'm going to be really grouchy about Despair. My opinion on it is generally: fantastic television. Peak comedy. I have not laughed so much in years. Possibly the best time I've ever had in SPN fandom. I could watch and laugh at the confession forever. The terrible acting on Misha's part. Jensen's low key horror at being in this situation. The editing. The music. I THINK IT'S POSSIBLE THAT THEY DIDN'T EVEN FILM THE GOD DAMN THING TOGETHER.

But in context of the narrative, I'm kinda of pissed. Castiel, why are you telling the man who has been low key/high key trying to kill your son for three years he's the most selfless and loving man in the world? No. Erase that.

Here's a big reason why Destiel became dull as dirt: after some point, they never did anyfuckthing with the tension between them. Cas does something, Dean calls him a baby, they have maybe an awkward moment of making up that does little, if anything, to address the underlining issues that put them at odds.

Meanwhile, Sam and Dean's different relationships with Jack affected Dean and Sam's relationship with one another. They fought about him. Dean's speech that Sam was going to be so damn sincere when he helped trick Jack into the box was horrifying. I actually think Dean should have killed Jack as opposed to Chuck, but I can appreciate that SPN doesn't wan to be as dark as I do (season four, my beloved).

And I think here's the big old reason why they couldn't have Dean and Castiel fight over Cas. There's a scene in season 15, where Dean asks Castiel, who is grieving the loss of Jack, how he's doing. He doesn't let Cas say a word before he's off to check up on Sam. Dean and Cas can't have a knock down, knuckle dragging, ugly nasty fight where Cas is furious that Dean's been so horrible to Jack and Dean is furious that Castiel doesn't see the same red flags as him where the lack of trust between them is brought to a boiling point because.

Dean. Doesn't. Care. Enough.

Look, he loves Castiel. But Dean shot Sam's friend (Amy) in cold blood right in front of her son because Dean fundamentally believes that monsters should be killed. He'll make an exception if he builds a relationship with the non human/magical person (Cas and Benny) or if he'd known them as human (Garth) or if Sam can convince him to stand down (Lenore, Rowena, Ruby to an extent) or if they're useful (Crowley) or if BuckLeming is writing (Oh Emma the Amazon).

Push comes to shove, he's going to either dump Castiel or pretend the issue isn't there. And if Castiel pushes, the extent of how one sided their relationship is, is laid bare. Castiel will move the earth for Dean, Dean might remember how he likes his tea.

Dean warms up to Jack because Jack saves Sam and because Sammy loves him.

Want to know why Twist and Shout is the most popular Destiel fic on ao3? It's a basic any two characters ship. The characters have nothing to do with Cas or Dean as they are in canon. Wincest most popular fic is harder to pin down because so much of was on LJ and the engagement has been lost to LJ purges, but a quick scan of ao3 shows leonidaslion has the most hits in Wincest. Now I do not like their fics. I'd actually rather read Twist and Shout than Bright Lights of Disturbia. But the former is based on a version of Sam and Dean that, while I think is a fundamental misreading of Sam, it's at least using canon as a jumping off point. Sam going darkside and his anger issues were there.

And if I didn't love Jack, I would just roll my eyes and move on like Cas, Dean, and Claire fanon fluff not really based on canon. But because I love Jack and his character and his relationships it's pretty jarring to see fans pretend that Dean is his dad and Sam's his neat uncle, when Sam and Jack's father/son relationship is such an important part of Jack's character (and a key part of later seasons Sam's character).

In conclusion, as much as I love laughing at Castiel's confession, I would delete it in an instant if Castiel's ending was centered on Jack. Or, at least if Cas' love confession stayed based on their canonical history (Dean changed everything for Cas) instead of nothing (Dean taught Cas how to love because he's the kindest most loving person on the planet).

#anti destiel #castiel #jack kline #asks

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marvelousmatt · 6 years

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How Matt Berry not so quietly became everyone’s favourite comedy actor

Armed with a voice somewhere between Brigadier General, operatic tenor and London jazz club owner from the 1940s, actor Matt Berry probably has the most distinctive vocal chords in the British comedy business.

Fittingly perhaps for a man whose timbre seems to hail from another era, it has just been announced that Berry will star in a new Channel 4 comedy called Year of the Rabbit, set in Victorian London.

It sounds like his kind of role too.

As Detective Inspector Rabbit, he’s a “hardened booze-hound who’s seen it all”, teaming up with a “hapless” partner and the police chief’s daughter to fight crime “while rubbing shoulders with street gangs, crooked politicians, Bulgarian princes, spiritualists, music hall stars and the Elephant Man”. Suitably understated then.

Entering the Darkplace

The BAFTA-winner’s self-parodying charisma and distinctive diction have seen him become a familiar face in some of the most acclaimed and original sitcoms of the last 15 years.

Many will have first encountered Berry as unflappable action sidekick Dr Lucien Sanchez in beloved cult spoof series Garth Marenghi’s Darkplace.

He was absolutely perfect for the role. Those rich, over-the-top tones perfectly matched the cheesy, awkwardly-edited low budget horror feel they were going for. It was startling the first time you realised it wasn’t a dubbed actor: that really is Berry’s own vocal performance. He’s like a ventriloquist who’s learned to project the voice of a very suave God.

And then, of course, there was that 80s music video.

https://youtu.be/OO-ZGP68-3w Ever since, Berry has become something of a trump card for comedy series in need of an eccentric, outrageous presence.

Replacing Chris Morris on The IT Crowd was always going to be tricky. But what better way to do it than with Berry crashing into a church booming “speak priest!” – and bellowing “fatheeerrrrrr!” at the top of his lungs?

The surreal cad specialist

Douglas Reynholm in Graham Linehan’s off-the-wall sitcom is almost a template for the kind of brash, larger-than-life roles Berry has become renowned for. An arrogant cad, vain, egotistical and utterly (over)confident, who is as sexually immature as he is sexually forward (even having to use electric shocks to curtail his ‘urges’).

There’s a neat dual-aspect to the way Berry plays that self-aggrandising trope too – channeling energetic certainty one moment, and deadpan bemusement at other people’s horrified reactions the next. The collision of earnestness and ridiculousness is inspired.

His persona has typically been at home in surreal and offbeat shows. From pompous, adventuring zoo owner Dixon Bainbridge in The Mighty Boosh (“the wolf attacked me, but fortunately I had a pistol hidden in my moustache”), to swaggering, flamboyant braggart ‘Beef’ in Reeves and Mortimer’s anarchic House of Fools – via a bizarrely brilliant series of ‘Matt Berry Does…’ comedy shorts for the BBC iPlayer.

https://youtu.be/QgjKKUvXcdw Those catchy entrance songs quickly became a hallmark of House of Fools. Anyone who can go toe-to-toe with those two comics in the absurdist stakes and frequently make them corpse has to be doing something right.

After years of playing supporting comic characters of the outrageous variety, however, Berry finally got to take centre-stage with his very own series Toast of London in 2012.

From struggling actor to Netflix hit

Perhaps more understated than his previous work (although that wouldn’t be difficult), Toast is a brilliantly observed portrait of the struggling actor as a middle-aged man.

Written with Linehan’s Father Ted co-conspirator Arthur Mathews, the Channel 4 show is the definition of a sleeper hit, improving its ratings from one series to the next despite its late night slots, until its addition to Netflix saw it win a global fanbase – much like The End of the F***ing World.

Like much of Berry’s CV, there’s a wilfully archaic, farcical-yet-charming quality to the humour, harking back to the glory days of the sitcom.

The character of Steven Toast is glorious in his own right, but with regular cast members like Doon Mackichan and Robert Bathurst, and guest stars like Brian Blessed, Paul Whitehouse and Jon Hamm, fans haven’t lost hope for one more curtain call for the much-loved thesp, even if it has been three years since the last series.

A ‘site-specific extrovert’

In real life, of course, Berry is quite different from his extravagant, grandiose lothario characters. He studied contemporary art at Nottingham University and was working at the London Dungeon before Darkplace came calling.

Speaking to the i last year, he described himself as a “private person” who is a “site-specific extrovert”.

He also rarely watches comedy himself, instead preferring to indulge his love of music; which probably explains how frequently that voice of his is put to good singing use in many of his TV appearances.

Even when simply speaking, that voice is his trademark. But Berry’s infectious energy, straight-faced approach to the surreal and underratedly expressive eyebrows also play their part.

From the sounds of it, Year of the Rabbit could be another ideal platform for his talents.

#matt berry #toast of london #year of the rabbit

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