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Supernatural "Don't Call Me Shurley" Review: Reunited and It Feels So Good

Posted by Arni Bergsson on

Supernatural S11E20: "Don't Call Me Shurley"

If I didn’t already know that Supernatural has been renewed for a 12th season, I’d have been concerned with just how many dangling threads “Don’t Call Me Shurley” tied up all neat and pretty this week. Since the word is out though, and we don’t have to worry our little heads about whether the brothers Winchester will be returning to the C-Dubs next fall, let us bask in the glow of ALL THE FEELS and ALL THE AWESOME. 


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Dean and Sam intercepted some of Amara’s crazy weather patterns and recreated the plot of The Mist. Aside from the bromantic moments born out of yet another near-death experience for our dear Sammich, that whole hunt just felt like a way to keep those pesky Winchesters busy while Metatron and God hashed out some details and worked through several millennia worth of abandonment issues. 

It’s official: Chuck, the loser-prophet who penned Supernatural’s super-metaSupernatural series of pulpy novels/holy gospels, is God. Apparently we were supposed to be shocked by this, but c’mon, we’ve all seen “Swan Song.” The only way Chuck’s true identity could have been made more explicit was if he sat down in a bar with a fallen angel scribe and literally wrote it down—oh wait. That’s exactly what happened. 

Highlights from Boogertron and the Big G’s boozy writing session included: 

– Chuck has a “World’s Greatest Dad” mug. 

– This latest apocalypse isn’t the first time Amara smashed God’s toys.

– God has had girlfriends and boyfriends over the centuries, confirming Castiel’s stance that God couldn’t care less about who is mashing bits with whom. 

– Lucifer wasn’t a villain in God’s story and even now, God seems to struggle with the reality of what Luci became. 

– God used to be a total badass but now he’s… well… he’s Chuck. 

Like some kind of omniscient Eric Cartman, God’s answer to the Amara issue was “Screw you guys, I’m going home.” The God who flooded the world but at least had the foresight to cram his favorites on a floating zoo and gave us back-to-back hits with Sodom and Gomorrah has been missing for a long, long time. Chuck Shurley is the kind of sad slob we think about when that Joan Osborne song comes on the radio: burned out, tired, full of regrets that he could probably fix if he tried, but what’s the point of trying when (apparently) all of his creations end up as dysfunctional and sad as humanity has. Chuck even sounded sick of resurrecting Castiel and the Winchesters even though it probably took two nanoseconds out of his infinite existence. 

In the beginning, God was lonely, so he created all of creation and locked Amara up to keep her from smashing his celestial sea monkeys. Supernatural’s God is a hopelessly human God who doesn’t deal with disappointment very well. Lucifer, the Garden of Eden, wars, genocide, the painful imperfections of his most precious creations—Chuck was ready to watch it all burn. Who knew that, of all the angels, demons, and monsters we’ve encountered over the years, at the end of the world it would be FREAKING METATRON advocating for humanity’s continued existence. 

The exchanges between God and Metatron are among some of Supernatural’s most poignant, thoughtful, and creative ideas about the nature of storytelling, the role of the author and his or her characters in the world they mutually inhabit. Of course the creator is the “god” of the universe he created— there’s a whole slew of snooty/awesome literary theories that debate an author’s influence and entitlement to their own universe. The debate has been explored in film à la Stranger than Fiction and has spilled into Amazon.com comment sections when Anne Rice has a bad day. Chuck = Kripke = God is not a new concept to Supernatural, but God’s return to being an active participant in his story takes our beloved meta and turns it into mythology. 

After plodding through weeks of filler, “Don’t Call Me Shurley” was the kind of major turn that Supernatural’s central story needed as we enter Season 11’s final episodes. It gave us the momentum to move forward (finally) while simultaneously grabbing onto the bits and pieces of past that have fallen to the side, been lost in the Impala’s well-worn seats, and forgotten in Sam Winchester’s massive pockets like a certain amulet that’s been missing since that time Dean and Sam died and went to heaven and realized it sucked.  

 


POSTCARDS FROM THE ROAD TO THE APOCALYPSE

– SAMULET! IT’S THE SAMULET! 

– Of course God “deactivated” the Samulet when Castiel tried to use it in Season 5. Duh. 

– Debate time: Did Sam pick the amulet up at the end of “Dark Side of the Moon” or did God just mojo it into his pocket at the end of “Don’t Call Me Shurley?” I like to think he had it the whole time. Chuck did say that Metatron “wouldn’t believe where this thing’s been the whole time.” I believed though. I BELIEVED.

– Dean is immune to Amara’s murder-mist. Sam isn’t. Kinda like a reverse Croatoan and I swear to Chuck if this new parallel to Sam’s demon blood/boy king storyline doesn’t bring an end to evil brother one-upmanship bullshit once and for all I will sacrifice a garden slug or something. 

– LOL @ Chuck started a new series called Revolution since we last saw him at the end of Season 5. It “didn’t really go anywhere.” 

– One day I’m going to make a list of the best Supernatural musical moments and it is going to include Rob Benedict’s “Fare Thee Well/Dink’s Song” cover because FEELINGS.

– Can we go back to talking about God’s complicated Lucifer feels? I think we need to talk about that some more. Just give me a sec to finish blowing snot bubbles and ugly crying. 

– I’m fine. I’M FINE, OKAY?

– Are you okay? Gonna make it to finale-time? I’m already dreading hellatus.


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