Not, uh, drawl-y sex toy Sam, though I did enjoy that. XD But the fact that contrary to the general consensus of the Internet, it's actually not just like the early-season MotWs, or attempting to play at that. It's inflected with that, for sure, but it's tinged with a life entirely its own as well. Which I think is the first time that's been really true of a late-season MotW. This episode takes up what's been built over the last few years and really just slides all those last bits into place in ways that are really rewarding. And there are just so many little moments in this episode that contribute to that, idek idek.
And I say this as someone who, again, isn't one for the MotWs, is really interested in the present mytharc crap, really wants to know what Cole is up to, and has a vested interested in as many BM moments as is possible to cram into 42 minutes. tl;dr I PROBABLY WASN'T SUPPOSED TO LIKE THIS EPISODE BUT I LOVED IT SO, SO MUCH.
Also, that last scene was delightfully Nabokovian. I'm not sure what the reasoning behind the CGI Impala was--like, was it a music reference? A Clue reference? A whodunit film reference? No idea. But there was something deeply chilling about the consternation with which Sam casts his eyes out the window of the Impala and we pan out to this explicitly fake, explicitly constructed car. Very metatheatrical theatre of the absurd.
I don't mean that in the literal sense where like, in the next episode the Winchesters are going to find out that omg, Metatron is up to no good and their Impala is literally CGI. But it does a lot for me at the level of theme, pushing this sense of unreality, of hidden puppet strings, of metaframes. And, of course, we have Dean's like, sextuple-tap or however many silver bullet shots he took, which plays into that so eerily well.
Also, when Sam first brought up "what was that back there?" when they were in the car, I legitimately was not sure whether he meant the excessive shooting or the excessive denouement speech/manhandling of Dash. XD
Also also, I loved the way narrative omissions worked in this? We still got to have our whodunit confession speech from the daughter, but I thought it was nice and deft the way Sam and Dean mentioned the existence of the silver bullets in the car, and then later on in the episode we have Sam alone with the shifter, and later we're allowed to assume that Dean went off to go get said bullets. And that the butler gave Sam and Dean the key before the actual reading of the will--at least, I assume--to get it off the premises, so that the daughter would stay trapped in the attic. (I mean, besides the fact that the dead lady wanted Bobby to care for her child, whut.)
So, anyway. That last scene. Did it spark vivid pangs of Invitation to a Beheading in anyone else? Or Mary? Or literally any other Nabokov novel?
Though ahaha, between Mary and Invitation to a Beheading, I feel like those titles are basically begging for a Nabokov/SPN fusion, goodness!
Also, I just got an idea for a STUPIDLY over-involved tag combining 10x05/10x06, and now I sort of wish it were Hellatus already because then I might have time to write it. @__@