I've got a baaaaaad feeling about this...
Okay. I've been looking through screencaps of this season, and I noticed something.
In Sam's flashbacks, we see him framed in doorways or standing next to open doors quite a bit, and often in connection with Amelia:
But then he finds out that she's living in the same motel. And his dog slips the leash and dashes into Amelia's room, and, well, one thing leads to another, and hi, Amelia is now a member of the Probably Gonna Die Bloody club!
Given the nature of the women Sam has slept with in the series, if Amelia turns out to be some kind of supernatural something or other, I will have a heart attack from NOT SURPRISE, holy shit. Because, as I said in a comment on
hugemind's post about "A Little Slice of Kevin" here:
I'm extremely leery of Amelia; I don't think it's an accident that BOTH of her names are references to things that happened last season. Amelia, because of Amy Pond, the kitsune that Dean killed--her name was a reference to Dr. Who's Amy. Which was short for...Amelia. And Richardson, because after last season, I do not think anything that can even remotely be connected with "Dick" is a coincidence.
But it's more than just the names. It's that she's shown to be pretty much a female version of Dean, what with all the loss issues and the extreme amount of booze she drinks:
Check out the countertop by the sink, and the windowsill, and the shelf of the island in the right foreground. And there's more booze on the coffee table that's just outside the shot; we see it when Sam comes in and sits on the sofa. She reminds me very strongly of the succubus in "Sex and Violence," who got to Dean by being the ideal version of his brother.
Also? Her husband's name was Don. Show lampshaded that one when she asks Sam, "Do you want to talk about Dean?" and he says, a moment later, "Do you want to talk about Don?" I'm cocking my Skeptical Eyebrow at that, yo.
But what REALLY makes me give her the side-eye is this:
When Sam chases after the dog and into Amelia's motel room, we get this shot:
Notice the divider wall, here. It's between Sam, at the door, and Amelia, whose POV we're seeing. But that divider isn't just shelves. The vertical supports suggest prison bars. Here, Sam is on the outside and Amelia is on the inside.
The next morning, though, we see a different story, again from Amelia's POV:
But that's not all. We get to this shot because the camera, which starts out facing the end of the bed on Sam's side of the divider, pulls back and pans around the divider wall to look back at Sam through the bars as Amelia picks up her keys and gets ready to leave. We literally see the bars close around Sam until he's penned in.
I wondered when I saw this scene why Show made such a point of Amelia picking up her keys from the coffee table. Here's why:
This is Sam's POV, the reverse angle on the previous cap.
Where, before he spent the night in Amelia's bed, we'd seen open doors around Sam, now the door is closed, and it's on the other side of the bars. And not only that, Amelia is standing right in the path Sam would need to use to get out of the room, and she's holding the key to the door.
Now, take another look at one of the open-door shots:
Look there, in the bottom right of the doorway, just underneath the dog's hindquarters. There's the prison bar imagery again, and Sam's on the inside of it. And this is the first time we ever see him with Amelia.
Maybe Amelia's something Sam's subconscious conjured up, or maybe she's one of Crowley's minions, or some supernatural monster; whatever she is--and I absolutely do not for one second think that she's "just a girl"--she is Very Bad News, and MARK MY WORDS, NO GOOD WILL COME OF HER. Because he doesn't know it, but she's had him in some kind of trap from the minute they met, and even if he did abandon her, he's probably not clear of it yet.
Caps from Home of the Nutty.
In Sam's flashbacks, we see him framed in doorways or standing next to open doors quite a bit, and often in connection with Amelia:
But then he finds out that she's living in the same motel. And his dog slips the leash and dashes into Amelia's room, and, well, one thing leads to another, and hi, Amelia is now a member of the Probably Gonna Die Bloody club!
Given the nature of the women Sam has slept with in the series, if Amelia turns out to be some kind of supernatural something or other, I will have a heart attack from NOT SURPRISE, holy shit. Because, as I said in a comment on
hugemind's post about "A Little Slice of Kevin" here:
I'm extremely leery of Amelia; I don't think it's an accident that BOTH of her names are references to things that happened last season. Amelia, because of Amy Pond, the kitsune that Dean killed--her name was a reference to Dr. Who's Amy. Which was short for...Amelia. And Richardson, because after last season, I do not think anything that can even remotely be connected with "Dick" is a coincidence.
But it's more than just the names. It's that she's shown to be pretty much a female version of Dean, what with all the loss issues and the extreme amount of booze she drinks:
Check out the countertop by the sink, and the windowsill, and the shelf of the island in the right foreground. And there's more booze on the coffee table that's just outside the shot; we see it when Sam comes in and sits on the sofa. She reminds me very strongly of the succubus in "Sex and Violence," who got to Dean by being the ideal version of his brother.
Also? Her husband's name was Don. Show lampshaded that one when she asks Sam, "Do you want to talk about Dean?" and he says, a moment later, "Do you want to talk about Don?" I'm cocking my Skeptical Eyebrow at that, yo.
But what REALLY makes me give her the side-eye is this:
When Sam chases after the dog and into Amelia's motel room, we get this shot:
Notice the divider wall, here. It's between Sam, at the door, and Amelia, whose POV we're seeing. But that divider isn't just shelves. The vertical supports suggest prison bars. Here, Sam is on the outside and Amelia is on the inside.
The next morning, though, we see a different story, again from Amelia's POV:
But that's not all. We get to this shot because the camera, which starts out facing the end of the bed on Sam's side of the divider, pulls back and pans around the divider wall to look back at Sam through the bars as Amelia picks up her keys and gets ready to leave. We literally see the bars close around Sam until he's penned in.
I wondered when I saw this scene why Show made such a point of Amelia picking up her keys from the coffee table. Here's why:
This is Sam's POV, the reverse angle on the previous cap.
Where, before he spent the night in Amelia's bed, we'd seen open doors around Sam, now the door is closed, and it's on the other side of the bars. And not only that, Amelia is standing right in the path Sam would need to use to get out of the room, and she's holding the key to the door.
Now, take another look at one of the open-door shots:
Look there, in the bottom right of the doorway, just underneath the dog's hindquarters. There's the prison bar imagery again, and Sam's on the inside of it. And this is the first time we ever see him with Amelia.
Maybe Amelia's something Sam's subconscious conjured up, or maybe she's one of Crowley's minions, or some supernatural monster; whatever she is--and I absolutely do not for one second think that she's "just a girl"--she is Very Bad News, and MARK MY WORDS, NO GOOD WILL COME OF HER. Because he doesn't know it, but she's had him in some kind of trap from the minute they met, and even if he did abandon her, he's probably not clear of it yet.
Caps from Home of the Nutty.