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Part Two: Meta Fiction As a Funhouse--Seasons Five and Six
ChuckWriting
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First Appeared on The Winchester Family Business August 21, 2011


ConfusedSamandDean

"The Real Ghostbusters," mirrors the first ever direct meta episode, "Hell House," in almost every way. It starts off with a massive prank---on Sam and Dean. They rush to a hotel because Chuck has sent out an SOS message. Upon their arrival, Chuck is surprised. The culprit behind this prank is their super fan, Becky, the quintessential Sam Girl. She used Chuck's phone to lure Sam and Dean to the first ever Supernatural Convention.

Much like "Hell House," at this convention, there is a fake haunting that turns extremely deadly and real. The hotel is haunted by Leticia Gore, who scalped four children in her care when the place was an orphanage. It doesn't come out until after Sam and Dean have salted and burned her bones that the children she "killed" were the real culprits and evil spirits. To everyone around Sam and Dean, this is just part of the "hunt" put on by the convention organizers. Not unlike both "Hell House," and "Ghostfacers," Sam and Dean have to maneuver around people who are ignorant of the real horror in their midst.
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To make matters worse, Ed and Harry have been replaced by Demian and Barnes (their names are a shout out to the fans who write for the Supernatural portion of Television Without Pity), two super fans of the series who proceed to play the roles of Sam and Dean. Ed and Harry were subtle doppelgangers and mirrors to Sam and Dean in earlier episodes; Demien and Barnes openly acknowledge that they ARE Sam and Dean's avatars.  They openly start to reenact both the scenes from "Asylum," and Dean's speech about having to possibly kill Sam---directly in front of Sam and Dean. It is an uncomfortable moment for both brothers, as they not only have to relive their lives in the books, but now through the eyes of uber fans with little acting ability. Much like Demien and Barne's predecessors, Ed and Harry, however, they are just as inept and out of their depths. It is a game to them, a chance to win a $50 gift card to Sizzlers, not real.


Dean takes the convention far more personally than Sam does. He is the one most irate and outraged by the display of their lives for these people's entertainment. He vents to a shocked and surprised Demien and Barnes, after they've decided to accompany the real Sam and Dean unknowingly on a real hunt, "No, I'm not a fan, okay. Not fans. In fact, I think the Dean and Sam story sucks. It is not fun, it's not entertaining. It is a river of crap that would send most people howling to the nuthouse! So you listen to me. Their pain is not for your amusement. I mean, you think they enjoy being treated like-like circus freaks?"

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This is a bit of a diversion away from earlier episodes, when it is Sam who is afraid of being the "freak." Dean has taken this examination of his and Sam's lives to be an insult. It is indicative of his private nature. His strong response makes both Demien and Barnes pull back, stunned. Demien retorts back, "Ahh, I don't think they care. Because they're fictional characters." He has no idea that he has just said this to the real Dean Winchester.

Sam seems to be just as stunned by Dean's obvious upset. He follows Dean to the cemetery and proceeds to help Dean with the routine salt and burn they are about to partake in. Demien and Barnes, however, still feel that it is a game, and look for the plastic bones to win their prize. When Sam pulls a real shovel out and he and Dean start to dig, they realize they've fallen in with even bigger "fans" than they are.

Dean's reactions are also a shout out to the term "srs bzns" often said when a fan in any fandom takes their fandom too seriously. Dean has taken the story extremely seriously, something even Sam points out to Demien and Barnes. It's a total tongue in cheek acknowledgment of the debates that can and do take place on the internet.

Once they burn the bones, after the ghost has attacked Sam, Demien and Barnes, Dean quips, "Real enough for you now?" They might not know that they're addressing the real Brothers Winchester, but they, unlike Ed and Harry, have respect for them from here on out.
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Unfortunately, this does not stop the haunting. It was not Leticia Gore who was committing the murders, but the boys that scalped her own son, after all. She was the only check and balance. Just like in "Ghostfacers," the hotel is placed underneath a supernatural lock down, leaving Sam and Dean largely weaponless. Their guns are in the car. Demien and Barnes, fresh off their first salt and burn, join up with Sam and Dean, offering their own assistance. Sam and Dean seem surprised, but allow it.

Chuck has spent his time while this is going on holding his panel with the fans. He is in the process of closing when an anxious Sam runs and whispers in to his ear that there is a real haunting. Chuck is panicked, and unsure of what he should do. Sam tells him that he must keep everyone in the room for as long as it takes. Once everyone is walled into the conference room, Sam and Dean, with Barnes and Demien's help salt the doors. They then split up to try and stop the children. Sam and Dean end up fighting them while Damien and Barnes find a way out to the cemetery to salt and burn the bones.
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Unfortunately, the hotel manager who finds the convention to be a waste of time and silly, tries to leave the room. He breaks the salt lines and ends up face to face with a real ghost boy. Chuck, timid and usually cowering, springs into action and slams an iron pedestal through the ghost, demanding that someone salt the doors. This should make Sam feel better because Becky shifts her attention and affection to Chuck, who ironically has spent the entire episode trying to get the girl's attention.

We watch Demien and Barnes struggle with the salt and burn. They grumble that digging graves look so easy in Supernatural and Demien fights with his lighter, frustrated that Dean seems to get it the first try, something he did in the earlier salt and burn.

Afterward, we see Dean thank Demien and Barnes, asking them their names. They provide them and ask Dean his, who says, "Dean. The real Dean." They scoff at him, not realizing that they have met their hero. Dean asks them how they met, and once again the issue of Wincest is thrust into the fabric of the show. Demien and Barnes met in a Supernatural chat room, and they are "together." Dean is shocked and a little uncomfortable. Meanwhile, Becky is breaking up with Sam in favor of Chuck. Sam seems to be relieved but feigns being crushed. He says, "Honestly, I don't know. I'll just have to find a way to keep living, I guess."
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Before Dean can leave and rejoin Sam, Demien steps up as the voice for the fans, stating, "In real life, he sells stereo equipment. I fix copiers. Our lives suck. But Sam and Dean. To wake up every morning and save the world. To have a brother who would die for you. Well, who wouldn't want that?" It's sums up what the majority of fandom's view is of the program and provides what is termed fanservice to the fans in a way that is both endearing and entertaining.
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Sam and Dean drive away with Becky's information about Crowley and the Colt. It is another treat for the fans to have a “fan” tell the boys where to go next in their efforts to try and kill Lucifer.

What's funny about this convention is how far apart and the same it is from real ones. There aren't any "hunts" at the conventions. There are panels with the various actors, from someone who appears in a single episode to both Jared and Jensen themselves---similar to Chuck's with the fans asking questions. There are "games," but only in trivia and there is a brief costume contest. Merchandise is sold at the convention, typically of t-shirts and photos for the actors to sign. The first convention took place in Nashville in 2006. Only 200 fans attended. No actors or writers were present. It wasn't until Asylum 2007 that the actors started to attend. The neat touch about this episode is that it aired the night before Creation Entertainment's Salute to Supernatural in Chicago in 2009.

The ultimate "love letter" from Eric Kripke, to the fans, however doesn't come until we see "Swan Song." It is essentially his "farewell" to the show as show runner, despite returning to pen the season 6 finale "The Man Who Knew Too Much." It is the only direct meta episode to not have a prank element, tying it to the others. Chuck, Kripke's avatar appears here as only a serious character. He introduces us to the Impala upon its birth, starting the story that will end in Stull Cemetery in Lawrence, Kansas. The first owner, Sal, is a reference to the novel On the Road, featuring two characters named Sal Paradise and Dean Moriarty, for whom Sam and Dean were modeled upon. He, ironically, drives the Impala to give out free bibles and speak about judgment day.

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Kripke tells us through Chuck what the whole show has been about all along. It isn't about demons. It's not about angels. It's not about monsters. It's about two brothers who love each other and will do anything for one another---even if it ultimately means letting go. Dean agrees to Sam's plan, saying, "You're not a kid anymore, Sam, and I can't keep treating you like one. Maybe I got to grow up a little, too. I don't know if we got a snowball's chance. But... But I do know that if anybody can do it... It's you." It is probably one of the hardest things Dean will ever do, showing in some ways how far he's come from the Dean we saw break and make the deal in "All Hell Breaks Loose Part I."  It is also a foreshadowing of his leaving a gun next to a comatose Sam in "The Man Who Knew Too Much," firmly establishing their hard won brotherly equality.
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Chuck's voice over continues, between the action that takes place with Sam saying yes, Lucifer acquiring his true vessel and the subsequent apparent defeat of Sam by telling us the viewers why the Impala is so special.  He also foreshadows how each and every memory that it holds is what gives Sam the power to wrestle control back from Lucifer. It might be a car, the "most important object in the universe," but it's not the car that's important. Not really. It's what's attached to it, the life Sam and Dean have shared within its black beauty. It is poignant, beautiful, and makes what happen outside of Chuck's quiet storytelling all the more heartbreaking.

We also get to see a behind the hunts, what happens when Sam and Dean get those few blissful and too far in between breaks. He says, "In between jobs, Sam and Dean would sometimes get a day -- Sometimes a week, if they were lucky. They'd pass the time lining their pockets. Sam used to insist on honest work, But now he hustles pool, like his brother. They could go anywhere and do anything. They drove 1,000 miles for an Ozzy show, Two days for a jayhawks game. And when it was clear, They park her in the middle of nowhere, Sit on the hood, and watch the stars... For hours...Without saying a word. It never occurred to them that, sure, Maybe they never really had a roof and four walls, But they were never, in fact, homeless. That's a good line."

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It is this that tugs on our heart strings more than the agony of watching Sam fall backwards later on, arms outstretched in self sacrifice to his doom in the now open pit. We know how much they have lost, feel the pain, see in these brief flashes what we've only been able to imagine mostly before. These two may hunt, live, and die for one another because they were raised to do so, but the real reason they do it is out of love. It is why Sam and Dean win, countering both Lucifer's quote in "The End," and again in "Swan Song" when he says, "I win... Well, then I win." Regardless of whatever Lucifer's arrogance allowed him to believe, he had lost before the match had even begun. He had lost because the ultimate weapon, love, was not within his understanding or grasp.
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No other example of this love is expressed more than when Dean rushes to the site of the epic showdown between Michael and Lucifer at Stull Cemetery. Lucifer, in an attempt to deceive Michael, tries to convince him that they shouldn't do it. Michael refuses, saying "I am a good son." This echoes Dean's earlier sentiments when arguing with Sam about their father. The difference here is that Dean realizes that sometimes being the good son isn't always the right choice.

What Dean is doing is, as Lucifer wearing Sam's body says, "a whole new mountain of stupid," but he has already gone in knowing he'll probably die. Castiel has warned him emphatically that the only thing that he'll see is Michael killing Lucifer, and Sam with him. Dean responds, heart broken but resolved, "Well, then I ain't gonna let him die alone."

Even though Dean went in to do this alone, for his little brother's sake, he is not alone himself. We see both Castiel and Bobby join in Dean's efforts, standing by the brothers, even if one is now the Devil himself. It evokes such powerful emotional responses in the audience because here is the culmination of the show's catchphrase, coined by Bobby, "Family don't end with  blood, boy."They are all family, and Michael and Lucifer, long held steadfast in their grudge match over which one their Father loved best, they the Angels or the mud monkeys, simply cannot let go and learn. It puzzles both of them that this interference has taken place.

Castiel, hoping to buy Dean time to talk to Sam, trapped inside Lucifer, throws a holy fire bomb. The only flash that reveals that Lucifer may indeed actually feel something other than rage or hatred towards his brother is when he snaps his fingers, reducing Castiel to a pile of blood and shattered bone. He says, his voice cold and hard, "No one dicks with Michael, but me."

This is also the trigger for Lucifer to punish Sam, and Lucifer's undoing. He sets out to kill Dean, pulverizing him by using Sam's own fists. It must be agony for Sam inside his own body, feeling his fist connect viciously with Dean's face. Dean, again, stands his ground, even while enduring the blows. He pleads with Sam, saying "Sam, it's okay. It's okay. I'm here. I'm here. I'm not gonna leave you. I'm not gonna leave you."
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It's the sheer strength of their bond that has brought them to this point, when Lucifer is trapped by the glint of sunlight off of the Impala, that important object, the home of the boys. It crushes him, ending his control over Sam's body. It sums up, so simply and beautifully what Supernatural is all about: two brothers who love each other and are willing to die for one another. Kripke wraps up this beautiful sentiment via Chuck, "So, what's it all add up to? It's hard to say.But me, I'd say this was a test... For Sam and Dean. And I think they did all right. Up against good, evil, Angels, devils, destiny, and god himself, They made their own choice. They chose family. And, well... Isn't that kinda the whole point? No doubt -- endings are hard. But then again... Nothing ever really ends, does it?"

His last line here gives us the evidence, right before what will be known as Soulless Sam stands under the lamp light, that there will be more to the Sam and Dean story. It might be Kripke's "Swan Song," but this tale has more to tell. His vanishing reveals the truth we learned back in "The Monster At the End of this Book." Chuck is God. He's been with them this whole time, hiding in a humble and timid visage---and he's in his own way been on Sam and Dean's side all along, rooting for them to pull out the win.  It might be the only "prank" within the entire episode, tying it to the rest of the meta fictional episodes of the series. It most certainly is the ultimate "gotcha" that Kripke could have come up with, too.
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n the last and perhaps most daring meta episode that Supernatural has undertaken, "The French Mistake," we see the return of the overarching prank element that ties all of them but "Swan Song" together. It goes beyond the subtle breaking of the "fourth wall" that "Hollywood Babylon" achieved and outright smashes it into pieces on the floor at the feet of the viewers---literally and figuratively. It also, by design, reveals the endgame of season 6 while hiding it underneath this bizarre version of the show.

It starts with Sam and Dean alone in Bobby's house, when Balthazar appears, frantically looking for items in Bobby's spell pantry. He babbles about The Godfather endlessly, saying that Raphael is cast in the role of Michael Corleone, ready to eliminate all of his enemies. In reality, it is Castiel that is really Michael Corleone, revealed at the end of "The Man Who Knew Too Much." He hands Sam a key, telling them to guard it and run. He pushes them towards the window he has drawn the sigil on, shoving both Sam and Dean through into the meta verse. This is where the fourth wall shatters both literally and figuratively for the viewers---and for Sam and Dean.

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They emerge on a set, congratulated for the stunt they just performed by the director, crew, and producers. This is where "The French Mistake" mirrors its predecessor "Hollywood Babylon." Instead of watching the actors make the movie, Sam and Dean are the ones acting. This is the ultimate prank played on the brothers. Both are led away, called Jared and Jensen, the real actors names---furthering their confusion.
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For Sam, it is an uncomfortable interview. The interviewer has summed up what has happened to Sam: saying yes to Lucifer, losing his soul, and getting it back. She wonders if Jared can give her insight into what "might be next for Sam Winchester." Sam is baffled and at a loss. He has no idea what to say or do, unlike Jared, he has no script or inkling as to what might happen on the show in a few episodes. He is in the dark, much like the viewer,  and left to wonder.

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Dean, on the other hand, finds out that he has been wearing make up, and bemoans the fact that he has been reduced to a "painted whore." This new reality the brothers find themselves in is not to their liking and they are desperate to find a way back home. They come across the Impala, relief spilling over Dean's features until the trailer moves, revealing that there are multiple Impalas, that including the heap that was left after the car crash in season 1's finale "Devil's Trap." Dean quickly becomes panicked again, leaving Sam to trail after his agitated brother, his own expression wild eyed and shaken. The neat touch about this scene is the crew member slinging mud on the vehicle is none other than the real Clif Kosterman, Jared and Jensen's REAL bodyguard. He is played by another actor in the episode, but makes this quick appearance none the less.

Sam and Dean decide to pray to Castiel, figuring that it is their only shot to figuring out how to get home. They spot who they think is their angel friend, but is really Misha Collins, who reveals the plot of the episode when he says, "To keep you out of Virgil's reach, he's cast you into an alternate reality, a universe similar to ours in most respects yet dramatically different in others.". It isn't until they realize that this is not Castiel, and take the script from him, indignant that they've been pranked. Misha goes on to say, invoking the overarching prank theme,  "You guys! You really punked me! I'm totally gonna tweet this one. (pulls out his phone and starts typing) "Hola, mishamigos. "J-squared... Got me good."
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This also pulls into the myth that Jared and Jensen prank their guest stars, brought up at just about every convention. While there is some truth to this----evidenced by the now famous Words with Friends incident---it is largely exaggerated and overblown. Having Misha think that he's been pranked by Jared and Jensen pulls this in and lets the fans in on the joke, too.

They end up in Jensen's trailer, complete with a TV running in the background, running the season 4 gag reel. This selection is perfect, because both the real Jared and Jensen wink at the audience from it, letting them know that they are in on the joke being played. It goes by while Sam and Dean are trying to piece together just who Jensen Ackles is, and for the first time, we see Jensen's prior roles being brought front and center---particularly a clip from his stint on Days of Our Lives. This is bothersome to Dean, and much the same way he slams the lap top shut in "The Monster at the End of this Book" in disgust, he does so here as well. This is everything Dean is not, after all.
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Dean also reveals his intelligence by saying, "If we can reverse Balthazar's spell...I watched every move. We just, uh, get the ingredients, right, get back to that same window, and...There's no place like home." It might not end up working in the end, but it's nice to see the intelligence in this character come to the forefront, the same character that invented the salt rounds for the salt gun. Unfortunately, neither Sam or Dean realize that the set is really a set, looking for their ingredients amongst the props, ironically revealing that perhaps the show they've landed in is doing a similar style episode, furthering the circle. They also mistake one of the Impalas for a driveable vehicle, only to realize that they are trapped on set.
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Sam and Dean get into an SUV driven by Jared and Jensen's body guard, Clif.  As they pull away, a sentimental and sweet touch in remembrance of the late Kim Manners is revealed: the studio is named KM in his honor. Throughout the episode, it has been mentioned that Jared and Jensen are not talking as of late, so Clif is surprised when Dean says that he would like to go home with Sam. This is another inside joke wrapped up in the episode's gag. Jensen, at one point, did live with Jared during the filming of season 4. It isn't until they arrive home that things get even crazier for both brothers, however.

Walking into Jared's house, Dean quips, "Nice digs, Jay-Z." It is a garish, over the top, and ornate house. It also makes Jared seem like an egomaniac, considering all of the pictures of him on display throughout. It's another joke, the only actual photo from Jared's real life is that of his wedding photo with Gen. Seeing Gen makes both brothers freeze, as to Sam and Dean she is Ruby---someone who is dead, killed by Dean. Dean is stunned and calls her "Ruby," to which Gen complains that "'Ruby.' right. That one never gets old." The joke here is about Dean and Ruby's animosity towards one another.
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Later, Sam's curiosity gets the best of him, and he has to ask Gen if the Apocalypse happened in this universe without outright asking it. He asks if she remembers all of the disasters from the year prior, the earthquakes and tsunamis”-to which Gen replies, "Yeah, on your show." It gives Sam a clue about where he and Dean find themselves---this place never had the Apocalypse, so therefore there might not be Angels or Hell as they know it.

When they get their package of a bone of a lesser saint, everyone starts to speculate what is going on between the two. Sam and Dean's behavior is in character for them, as they're used to doing illegal things to reach their goals---in this case to go home. For the cast and crew, they're pleased to see Jared and Jensen talking and working together, even early on set, but they don't understand what they're really up to. Misha is disturbed when he asks Sam what's in the box and Sam replies, calmly, "I bought part of a dead person." Sam's patience seems to be wearing thin with being "something called a Jared Padalecki."
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Sam and Dean are out of their element. They, without realizing it, have become Ed and Harry or Demian and Barnes. They are inept and do not fit in. None of their skill sets seem to apply here, and when they do try to employ them, they are accused of being "on an acid trip."When it comes time for them to act, neither knows what to do or how to handle it. Dean is frozen in place, staring straight ahead, petrified, while Sam constantly fidgets and babbles, "If there's a key, then there has to be a lock. And when we find the lock we can get the weapons. And then we can have the weapons. And the lock, we'll also have the lock, I imagine, because we opened it and of course the initial key that opened-"

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The producers, including Bob Singer, are stunned by this ineptitude. They have no idea what is going on or why Jared and Jensen are struggling so much with this. They decide to move on, rather than endure another attempt by the brothers at acting this scene out again. They in turn also call the new show runner, Sera Gamble, who replaced Eric Kripke at the end of season 5. They tell her that she shouldn't fly in, that perhaps they had get a hold of Kripke to convince Jared and Jensen to return to normal. She is irate at this, but has no choice. Considering that Kripke is the creator of the show, and that Chuck was his representative as God, it seems to fit. It also gives us the tie in to "Hollywood Babylon," one writer taking over another writer's project.

Unfortunately for the brothers, the spell fails, proving that Sam was right to think something was different about this universe. It doesn't have any magic. They probably can't go home. In fact they might be stuck here. Before they can really do anything about this, Virgil, a very real threat has emerged from their universe into this one. He brings back the Godfather element, dressed much like a mobster, ready to execute Sam and Dean. This no magic problem comes in handy for the brothers, and they set out to beat Virgil to death, stunning everyone around them. This is not acceptable behavior for this universe, and they don't realize they've signed their own death warrants by stopping Sam and Dean from finishing the job.

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Confronted by Bob Singer later on, Sam and Dean find out that their surrogate father, Bobby Singer, was named for this producer. Dean is irate, and retorts, "What kind of douchebag names a character after himself?"Even Sam agrees, saying "Oh, that's not right." The story behind the name is that Kripke named Bobby for Robert Singer. It's a nice touch to the show, showing thanks on Kripke's part, but made humorous here, pointing out more to the fact that everyone in this universe is rather egotistical, unlike their real counterparts.

Dean speaks for the fans, all while thumbing his nose at them, in one fell swoop when he states, "You heard my brother. That's right,I said "brother." 'cause you know what, Bob? We're not actors. We're hunters. We're the Winchesters. Always have been, and always will be. And where we're from, people don't know who we are. But you know what? We mattered in that world. In fact, we even saved the son of a bitch once or twice. And yeah, okay, here, maybe there's some -- some fans who give a crap about this nonsense."

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Meanwhile, Misha has been caught by Virgil, who realizes that this is not Castiel, but can be useful. He pulls out a chalice, much like the one Meg used back in season 1 to talk to Azazel. He promptly kills Misha, indicative of what might come at the end of season 6, but is more or less a red herring. He gets the way home from Raphael, told to go to the place he crossed, where Raphael will pull him through. The brothers find out from a frantic and upset Gen, complete with overacting and running mascara. Sam and Dean rush off to the scene, questioning the witness as they have countless times in the show's history, bringing them closer to their element and strengths as characters.

Dean is starting to question if they should return home, saying, "Yeah, but here, you got a pretty good life. I mean, back home, the hits have been coming since you were 6 months old. You got to admit, being a-a bazillionare, married to Ruby, the whole package. It's no contest."

Sam, this time, speaks for the fans, in his reply, "No, you know, you were right. We just don't mean the same thing here. I mean, we're not even brothers here, man."

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When Eric Kripke arrives, he and Bob Singer discuss the tragedy of Misha's murder. They are far more interested in the fact that it got them the front page of Variety than that an actor on their show was murdered. Kripke is also expressing his enthusiasm for his current project, â"Octocobra," a shout out to the SyFy monster mishmashes. When Virgil arrives to blast them away, ala Godfather, we don't feel sorry for them as the action slows down and they are blown away to lie bleeding on the pavement. They've all come off as egotistical bastards, so it adds to the humor. It also harkens back to Dixon's death in "Hollywood Babylon," considering in this universe Kripke created the one that Sam and Dean are from.

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Once Sam and Dean are returned to their world, they realize that they've been duped. This has been one huge practical joke played on them. It's also being played on Balthazar, although he doesn't know it. This is a red flag, one that Dean will ignore until it is far too late in "The Man Who Would Be King." He is watching Castiel turn into something far worse than Lucifer, it's happening right before him, and  yet he doesn't stop him or acknowledge this truth. Much like the way Michael Corelone becomes the Devil essentially at the end of the Godfather by becoming the new Don, Castiel has taken the decided path to become the new God possibly here. In the Godfather, after all, Michael starts off not wanting to be in the business, wanting to take it over initially to stop the bloodshed, only to end up executing all of his enemies and becoming the devil figure of the story. Castiel is following this path, and "The French Mistake," while providing humor and delight at a behind the scenes look at Supernatural laid all of the season's cards on the table for the viewer---subtly enough that these sign posts weren't clear enough until after the end.

The meta fictional elements of Supernatural run even deeper than this analysis can provide. It has many threads, both direct and indirect, but looking at these direct meta episodes reveals a lot not just about the show, its cast and crew, and its genre, but about story telling itself. It's also something not seen often in television because it is risky, something again Supernatural has never shied away from. It's certainly one of the more creative endeavors on television, stripping away the curtain to reveal the machinations beneath the surface. Rather it is a serious or comical look behind the curtain, it provides us insight into why it is we tell stories, how we tell stories, and what those stories ultimately mean. For anyone who is interested in how to approach writing, this is a good place to look.

It's hard to imagine them having the capacity to top the over the top nature of "The French Mistake," but I think I have just the idea. Send Bizarro Jared and Jensen into Sam and Dean's universe and see what happens. They shouldn't be talking to one another, just as they were reputed to be. Let Bizarro Jared and Jensen be as egotistical as possible, but force them to find a way to survive by relying on one another. Sam and Dean being there to help keep them alive is optional, but do give them Bobby Singer, who will whip them into shape right quick---and besides, they're used to answering to a Bob Singer anyways. This gets the real Jared and Jensen out of having to play themselves "straight," and keeps with the pranking and tongue in cheek nature of all the direct meta episodes of the series. When they finally find their way home (if they don't get themselves killed) make everyone around them stunned at their newly found friendship and new attitudes---all because they have new understanding into thee fictional characters they portray on TV.

Who knows what direct meta treat awaits us in season 7?

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