6.18 Frontierland: Maybe You Got To Go Find Him And Make History
To burn the Mother,
Brothers travel to Colt's time
For phoenix ashes.
My most earnest apologies, but – I just flat ran out of time to do my customary detailed episode summary. I'm very sorry to be so late and let you all down. I do promise that I will add the episode summary at a later date. :(
Commentary and Meta Analysis
Please note: this is late getting up, but was written before Mommy Dearest aired. I don't change my writeups after the fact, whether I prove right or wrong!
I had all my usual issues with the use of time travel, but none of them got in the way of my thorough enjoyment of this episode. In this discussion, I'll delve a little further into Castiel's problems in Heaven and on Earth, and speculate a bit on Samuel Colt and the emotional fate of hunters.
Look What You’re Turning Into
I speculated about the nature of Castiel's problems in Heaven in my review of My Heart Will Go On, and I think Rachel's interactions with Castiel here shed a lot more light on them. We didn't see a lot, but some things came through loud and clear, chief among them being that other angels don't share Castiel's feelings for humans, resent every time Castiel puts the Winchesters and their human concerns ahead of his command obligations in Heaven, and find some of Castiel's choices and decisions morally unacceptable.
When Rachel first appeared and asked the hunters what they needed, I think she might genuinely have been willing to help them. She was polite and direct, and things might have gone very differently if Dean had behaved the same way instead of dismissing her as inconsequential and insisting on speaking to Castiel like a rude customer demanding to be waited on by a manager rather than a mere clerk. When she got angry, her disdain for humans getting above themselves – an attitude echoing that of Zachariah and Uriel – immediately became plain, so it's also possible that she might have refused to do what they wanted, but we'll probably never know.
She clearly resented both Castiel's implied reprimand for her critical rant and his choice to abrogate his command responsibilities for a time in order to help the Winchesters. In her mind, the war in Heaven was far more important that anything on Earth could possibly be, so Castiel was betraying his cause and also demeaning his proper station by serving and indulging the Winchesters instead of doing his duty. I do think she had his dignity and authority in mind and didn't like the way the Winchesters simply seemed to summon him whenever they needed something, but she also didn't appreciate him putting his friendship with lesser beings ahead of his responsibility to angels, and presumably God.
When Rachel summoned and confronted Castiel about his “dirty little secret” and countered his insistence that he had to defeat Raphael by saying he shouldn't do it that way, asking him to look at what he was turning into, I think she was referring to what Atropos revealed last episode, about Castiel having artificially manufactured souls for power. I'm betting that's just the latest in a long line of morally murky decisions Castiel has made in Heaven like the ones we've seen him make here on Earth, compromising his conscience in his increasingly desperate attempts to prevent Raphael from winning and reinstating the apocalypse. Castiel hasn't entirely lost his moral compass – witness his clear discomfort with things he's done – but his decisions have become increasingly grey and uncomfortable where they once were resolute black and white, all because he perceives the stakes as being too high for him to take the chance he might lose. When Dean challenged him in disbelief about torturing young Aaron Birch in The Third Man, Castiel responded, I can't care about that, Dean; I don't have the luxury. Rachel's reaction to Castiel here shows that Dean hasn't been the only one wondering about Castiel's slide from grace, and just how far he's gone down the road of doing other similarly uncomfortable things we don't yet know about.
And I have to wonder if one of those “dirty little secret” decisions might relate to Purgatory, and gaining access to the power of souls destined to go there. At the end of Caged Heat, Sam told Castiel he could help by dealing with Crowley's prison-full of monsters, since they couldn't be released. The implication was that Castiel would destroy them, but – what if he did something else? What if they, like the humans the monsters seem to be related to, have souls, and what if Castiel found a way to use them?
For the record, by the way, I think Rachel was wrong about many things. It's true the brothers have only summoned Castiel when they've needed help, but they knew of no way to help him in turn in his war in Heaven; he even told them in Caged Heat there was nothing they could do. I believe the Winchesters and Bobby truly are Castiel's friends and would do whatever they could, but humans are underpowered in comparison to angels – at least unless and until they could access and unleash the power of their souls, which none of us obviously know how to do.
I’ve Given My Whole Life To This; I’m Done
Something I love about Supernatural is the way it raises new questions every time it supplies answers to old ones, and introducing Samuel Colt did that in spades. We first heard Colt mentioned all the way back in Dead Man's Blood when John recounted the legend of Colt having built his gun that could kill “supernatural anything” back in 1835. Having been born in 1814, Colt would have been only 21 then, and 47 when we met him here. In our real-life history, Colt died just a year later, in 1862.
We still don't know how Colt got into hunting, but the line I used for the start of this section suggests he might have been raised to it like the Winchester brothers or the Campbells, whether of a hunting family or because of a personal encounter very early on in life. We know he'd been in the game for at least 26 years by the time we met him here, since he had to have known about the supernatural in order to have built the gun back in 1835. Colt still having the gun suggests he himself was the hunter he'd built it for; either that, or he got it back when the man he'd built it for died. This episode's continuity with everything else we knew about Colt, having him in the process of building the devil's trap railroad to fence off the devil's gate, delighted me no end, but just makes me want to know more.
The two demons he killed in his cabin said, We know you built that devil's gate, Colt, so you're gonna open it for us. Begs the question: why did Samuel Colt build a gate into Hell? We already knew he'd built the door and the lock that held the gate shut, using the Colt as the key. What we still don't know, however, is whether an opening into Hell already existed in that cemetery and he just built the door and lock to close it, and then made the devil's trap railway to prevent demons from reopening it, or whether he made that actual opening into Hell himself for some reason.
We also don't know how he made the gun and got it to work. The way Ruby managed to help Bobby reactivate the gun in Sin City suggests that either witchcraft or demon power – or a combination of both – may have been necessary. What we learned about all the historical manipulation required on the part of both demons and angels to bring about the apocalypse leads me to hypothesize that Samuel Colt might have been influenced by angels, demons, or both to build both the gate and the gun for the roles they would later play. And who knows: Ruby may even have been his creative enabling muse back then, only to find herself exorcised back to Hell and trapped there again when he shut and locked the gate after using her. That's a story I'd like to see!
Colt reminded me very strongly of Rufus and Bobby. All of them grew tired, old, and jaded beyond their chronological years by their lifetimes of hunting. And all of them serve as bleak predictions of the futures of Sam and Dean.
What makes those predictions seem bleaker now than ever before is the way both brothers have lost any hope for a brighter or different future. Once upon a time, Sam was committed to not walking down that hunting path, instead opening up other doors on a different future with family and hope. That's part of what drove him when we first met him at the beginning of the series. He still believed it in Shadow, when he said he'd go back to school after they killed the demon. It became harder for him as he grew more and more afraid during season two of his powers and the destiny Azazel had planned for him, but escaping it all remained his goal. Finding a way to do that – to be able to stop hunting and live a different way by ending the threat at its source – was what drove him back to working with Ruby to develop his powers at the end of Criss Angel Is A Douchebag. Only after Lucifer rose and Sam understood how he'd been used did Sam lose that hope of being different, of being able to walk away. Now he's the one who told Colt there was no way to retire, that no hunter could ever stop. But although he sees the hunting future as something inevitable and generally pretty bleak, he doesn't seem to despair of it the way he once did. Instead, he seems to see it as a mission, as something that needs doing and is worth doing – a vocation, rather than the doom or prison sentence he viewed it as in the past. But he doesn't seem to hold out any hope of a happy future; just one in which he finds fulfillment in and makes up for past mistakes by saving people.
Dean's journey was different. In the very beginning when we first met him, he seemed – and I think he truly was – relatively happy hunting, provided he didn't think too deeply about it: he was good at it, and he derived a lot of emotional satisfaction from saving people. Along the way, particularly beginning in Skin and Shadow and developing through No Exit, Dream A Little Dream Of Me, Criss Angel, and other episodes, we learned that his dedication to hunting was at least partially a coping mechanism, a way for him to make the best of a situation from which he saw no escape. Dean was very good at making lemonade out of the lemons life handed him.
As the lemons became an unceasing barrage of rotting fruit through seasons four and five, however, I think he lost the knack of finding contentment in the seemingly inevitable. He was overwhelmed by depression and ultimately, with the loss of Sam, by despair. Left to himself, I think he would have died, whether by committing suicide directly or doing it by monster through hunting alone. He went to Lisa and Ben only because he'd made a promise to Sam.
And then something happened that changed things again, and it was precisely what I believe Sam had intended when he sent Dean to the Braedens. Little by little, Dean came back to life. It's a human thing; life goes on, and if we have people around us who care about us and for whom we care, we have to deal with the day-to-day of living with them rather than losing ourselves in the past or in our grief. We get caught up in events and discover things that make us laugh again, and that clearly happened to Dean. He didn't lose his pain, but it dulled enough to let him find a separate peace at least for a while in moments of quiet joy being father to a boy and lover to a woman. We saw some of those moments in the montage in Exile On Main Street, and in the photos of him with Lisa and Ben, and those snippets of happiness were real. He got a glimpse of a different life, and while it wasn't perfect – being without Sam and knowing he was in Hell would always hurt, and working construction definitely didn't have the emotional payback of hunting – it had promise in other ways.
Sam and hunting coming back into the picture threw it all into confusion, especially because Sam, lacking his soul, wasn't the Sam Dean knew. Dean initially assumed his life with Lisa and Ben was over and lost because he brought danger to their door simply because he was a hunter. Lisa's willingness in Two And A Half Men to take the chance and try making it work anyway opened a door he clearly hadn't expected, and created a wild hope he'd never had before of connecting both pieces of his life: hunter and nurturing family man. And it actually seemed to be working for a while, up until the moment in Live Free Or Twi-Hard when he found himself transformed into a monster and made the disastrous decision to try saying goodbye before he died. That experience, and Lisa shutting him out afterward in You Can't Handle The Truth, made him change his view of himself to the bleak image that he's a killer, someone constitutionally incapable and unworthy of being anything but a hunter, someone only another hunter should ever be around because he is as much a danger to them as the monsters he hunted would be.
And here's where things get very interesting to me, because when all this gets put together, it appears the brothers have switched emotional roles again. Dean's view of hunting as a curse and himself as a natural-born killer seems to have become even darker than the negative, depressing images Sam used to have of the family business as something to escape and himself as a freak. Sam's view, on the other hand, seems to have transformed into something more like the acceptance of hunting as a worthy mission Dean had at the very beginning of the series, but flavored with the very conscious belief that he has to hunt not just because knowledge brings duty with it, but because he feels the need to make up for what he did before.
Still, while they're both sadder and wiser now and their overall cumulative view of the world is darker than it was, the brothers being fully together again lightens both their hearts. They've been recovering their ease with each other over the last few episodes, falling back into rhythm, starting to tease each other without the sense of walking on eggshells. I believe that will continue as they stay and continue to grow together, and that gives me hope they'll be able to support each other through whatever else comes. They've given their whole lives to this – but unlike Samuel Colt, they both acknowledge they're still far from done, and that's where hope survives.
Yippie-kye-yay! Okay – just had to get that out of my system. Despite a few issues, I thoroughly enjoyed Supernatural's foray into the Old West, and I do know I will revisit this episode any number of times for all the goodness within it. Samuel Colt, Dean as a sheriff, Sam on a horse – priceless!
As usual, I'll get my criticisms out of the way first, and I definitely have some. All of them go to the script by Andrew Dabb and Daniel Loflin, and to the underlying story by Dabb, Loflin, and a name totally new to me, Jackson Stewart. Almost all of my criticisms are directed to the same thing, which is unfortunately part and parcel of the story: time travel being used as a cheap crutch, and improbable events being tailored simply to fit the immediate need. Admittedly, time travel was the only way we were ever going to see Sam and Dean back in the Old West, and that was a treat I think none of us would have wanted to miss, but it's a seductive and dangerous tool to use, and I'm hoping we've now seen the last of it, at least in terms of seeing contemporary characters journeying into the past. I hope Castiel’s comment at the end – I don’t ever want to do that again – goes not just to directly siphoning off the power of a human soul, but to bending time.
Dean leaping to the immediate conclusion that time travel afforded them an easy out – guaranteed access to the known location of the ashes of a phoenix – epitomized the danger that began the moment the show gave angels the ability to travel in time all the way back in In The Beginning. That ability has been the motivator for a number of stories since then. While I have loved them all – I prized seeing Dean meeting Mary, John, and his Campbell grandparents in the first go-around, The End will always be in my top five for the series, I would never want to have missed the interactions with young John and Mary in The Song Remains The Same, and I'm glad to have glimpsed the beauty that was Bobby and Ellen as a married couple in last week's My Heart Will Go On – this episode had the thinnest excuse for a time-jaunt yet. I would have felt better about it if there had been more justification for it; if time travel hadn't been the first choice, but looked to be the only option. Unfortunately, both the characters and the writers have begun to take time travel for granted, and that simply fuels the temptation to use it. If it's going to be used, however, I think it needs to be adequately justified, with the dangers recognized and accounted for – especially since the show laid a foundation in the Titanic episode for journeys to the past now being able to change history and trigger myriad unintended consequences. Admittedly, My Heart Will Go On was shot and originally intended to air after Frontierland, so in the original plan it would have made sense for the Winchesters and Bobby not to have been worried about changing the past since their previous experience indicated that wasn’t possible, but the change in those rules was something Castiel obviously already knew and didn’t see fit to mention.
I will freely admit that Dean's fascination with the old West meant a convenient excuse to visit it would have been almost irresistible to him, but I would have been much happier with the eventual trip if Bobby and Sam had been a lot more hesitant about it and forced more research into other options first. If research eventually turned up a strong indication that phoenixes were extinct, making a journey into the past the only way to get one, daring the danger of the trip would have seemed much more worthwhile. It might also have added dimension to the personal story of Finch, the phoenix, if Dean acknowledged to Finch that he had to kill him not just because he was technically a monster or because the brothers needed to use his ashes as a weapon in the future, but because history already said he died that day. If Finch was also the last recorded phoenix anyone knew of, killing him could have been the phoenix extinction event, adding to his significance. I was disappointed that Dean showed so little reluctance about having to kill Finch even after learning Finch had at least some human justification for his murders; it seemed almost as if Dean had reverted to the simplistic “all monsters are bad” mentality he'd had before he began to question that assumption after meeting Lenore's vampire family in Bloodlust. I'd like to have seen less matter-of-factness and more conscious reflection and regret on his part. As it was, however, the phoenix was created solely to die and be used as a weapon ... and why do I suspect the ashes won’t work quite the way the brothers and Bobby assume they will?
Finally, Dabb and Loflin almost always go a little too far in their scripts on the silly index for my taste, especially concerning Dean. This time, that led to Dean being so caught up in his gunfighter high noon moment that he lost sight of the mission time clock even though he'd been acutely aware of it just moments before while confronting Finch in the jail. Dean standing in the street watching the clock tick to a High Noon shootout and blowing the smoke away from the barrel were classic Western homage, but while they were funny for the viewer, they were foolish amateur hour for experienced hunters knowing time was of the essence, leading the brothers to fail stupidly in the last moment when they'd both been almost brilliant up until then. And all of that was purely to hinge the episode on an homage to yet another movie by having a package shipped by Samuel Colt in 1861 be held by a courier service, however improbably, for delivery to Sam Winchester on a specific day in 2011. Yes, I laughed for the pop culture reference to Back To The Future II, but relying on it to redeem the brothers' failure to stay mission-focused enough to secure the ashes from the past was a bit much. Another scene director Guy Bee mentioned having been cut from the final version evidently had Bobby contemplating using automotive jumper cables to rouse the unconscious Castiel; I think I'm glad that one got cut, because I suspect it would have gone too far chasing the funny for me.
But enough griping. On to the good stuff! And that starts with me saying I really thoroughly enjoyed the essential lightheartedness of this episode, and will watch it again just to laugh some more.
Despite my time travel and story-related issues, I loved the execution of this episode. And the plethora of great lines and moments in the script make up for a lot! I was particularly delighted that the story began with Sam searching for and finding the Campbell family library at the apparently now-abandoned Campbell compound (although we were left to wonder whether he remembered it though a scary partial failure of his memory wall, or deduced it from realizing that Samuel had to have hidden his data stash in proximity to his base of operations), and with the resources of that library yielding hunting treasures unavailable anywhere else, including the reference Bobby found to the ashes of a phoenix burning the Mother and Dean discovering the journal of Samuel Colt. I've mentioned more than once hoping we'd learn more about the Campbells and their informational assets; I can't express how happy I am that Bobby and the Winchesters now have access to a LOT more information than they ever did before. And I suspect most of it had been hidden before Samuel Campbell's death in a long-term stash he accessed again after his return; a stash the distant Campbell cousins probably hadn't even guessed existed. Hey: were I a hunter, I'd have leased a storage facility something like the one John set up, or bought a remote farm-type location such as the Campbell complex, and I'd have arranged a way to pay for it on a long-term basis so payments would continue even after I died. That just makes too much sense for a prudent hunter not to do it. I hope we see even more involving the Campbell family history, because I continue to believe there was a longer term reason for someone having brought Samuel back, and I still believe we haven't learned who did it or why. I've said before that I don't accept Crowley having had the juice to do it, no matter what he claimed and Samuel believed.
Other story and script features I definitely appreciated included the phoenix turning out to be not simply a cookie-cutter monster, but a likeable, essentially honorable man with issues the Winchesters could have understood. I positively LOVED all the internal consistency in the script with the show’s canon history, including Samuel Colt being in the process of building the hundred square mile railroad-and-chapel devil’s trap we learned about in All Hell Breaks Loose Part 2 to contain his devil’s gate, the sly hint that Elkins the bartender may have picked up the Colt after Dean dropped it and eventually passed it down to a descendant – the hunter Daniel Elkins we met in Dead Man’s Blood, and the treasure Dean had recovered and gloated over in Like A Virgin being the way the brothers financed their mission in the past. I laughed for Dean's childlike delight at the very idea of being in the old West, and thoroughly enjoyed the restored ease between the brothers that made Sam teasing him about it both funny and utterly without malice. And I loved that – despite his classic “bitchface” responses in the present day – Sam's reaction to Dean's growing disillusionment with the real conditions of the West was gently sympathetic rather than gloating – at least apart from the one moment of getting his own back when the sarsaparilla turned out to be a lot more palatable than the local rotgut whiskey! I can't help but think (and hope!) that a “bitch/jerk” moment will appear before the season ends, for the first time in literal years.
I thoroughly enjoyed Guy Bee's direction. With his choice of camera placement and moves – specifically including such shots as the high crane overview of the gunfight with the noose in frame, the close-ups on the gunfighters' boots, eyes, and hands, the shots of the ticking clock, and the gorgeous silhouette stock shot of Sam's galloping horse – he hit every Western trope and cliché while still making all of this decidedly Supernatural. His use of handheld cameras on location outdoors, while probably largely dictated by the conditions of shooting in muddy Bordertown (which we also saw most memorably as Cold Oak in All Hell Breaks Loose), gave the events and action an immediacy that more standard camerawork generally lacks.
I learned from the podcast he did on Winchester Brothers Radio that some of the wonderful moments in the episode weren't dictated by the script, but came from a combination of actor and director choices. For example, Jensen using the silly falsetto voice on the Candygram for Mongo line happened because Guy, having a little extra time available, suggested the silliness as an alternate take from the straight one they'd shot first. The final shot didn't specify Dean putting on the cowboy hat; that was Jensen's choice, and punctuated the scene perfectly. Go take a listen to the podcast, because the insights are wonderful! Also very funny …
The crew get major props from me for all their lovely work on this one. Something Guy mentioned in the podcast was the particular challenge this episode presented for the costumers. He noted they always need to have multiple copies of the principal characters’ outfits to ensure consistency from day to day and to equip stunt performers as well as main actors, but said dealing with all the extras who populate the background of contemporary scenes usually isn’t very taxing because most of them can simply wear their own clothes. For a period piece like this episode, however, he noted the costume department needed to come up with complete, authentic outfits for everyone who appeared onscreen, meaning they had a lot more work than usual.
Serge Ladouceur's lighting and cinematography are always wonderful, but there were aspects of this episode that were simply glorious, especially the scene in the cemetery with the fog simply glowing in the sky.
I have to call out the sound effects folks for all their delightfully iconic Western touches, including the spurs on his boots ringing with every one of Dean’s steps, the swoosh of dusters being swept back and knuckles cracking as Dean and Finch flexed fingers in preparation for the gunfight, and the ticking and chiming of the clock. One sound cue thoroughly amused me; we heard a thunderstorm, complete with rain falling, at the beginning of the scene in the jail when Dean learned the truth about why Finch had killed the men. The rain sounds stopped before Dean jumped through the window to escape Finch shooting at him … but wonderfully explained why the street was wet and muddy when he jumped and when he confronted Finch for the gunfight. Nice job, there! The crowning glory was having one more ringing spur be the very last sound at the end of the episode, just after the screen went to black. The underscore by Jay Gruska paid homage to almost every spaghetti Western ever made, with special reference to Ennio Morricone’s unmistakable theme music from The Good, The Bad, And The Ugly. And having grown up on Bonanza, I really laughed at his version of an opening title theme, Western Supernatural style!
Speaking of Bonanza brings me to Ivan Hayden’s brilliant visual effects crew and the special title card they devised for this episode, with the Wyoming map burning away in the style of the map of the Ponderosa. As if that whole effect wasn’t funny enough on its own, I laughed hysterically to realize the flames burned out a shape remarkably like the outline of the state of Texas! I also appreciated the phoenix immolation effect we saw when Finch burned the same way he had killed others; this effects team definitely has a way with fire. And while we'd seen Castiel delve for souls before in The Third Man, Family Matters, and Like A Virgin, the visual effects this time around distinguished those touches from this one, when Castiel actually siphoned off power from a soul to fuel himself; we saw the energy pass into Castiel and burst in light from his eyes. That was a “wow!” moment.
I also can't say enough about what Jerry Wanek's and John Marcynuk's design and art crew pulled off in this episode. The specifics of the set-dressing art were flawless, especially including not just the wonderful joke of the “Western Courier” office on the Sunrise, WY street in the past being echoed by the livery worn by the delivery man at the end in the present (not to mention that the office in the past was adorned with advertisements for riders that echoed the Pony Express recruitment notices of true history, down to the “Orphans Preferred” wording!), but by every single detail in Samuel Colt's journal, from the hand-tooled leather book cover being emblazoned by the same “non timebo mala” slogan used on the barrel of the Colt to the journal entry for April 6, 1860 – one of the entries Dean read in the Campbell basement – specifically talking about Elkins and suggesting he knew about the supernatural. (Did you miss that? The entry – as much as I could make out, anyway – read: April 6th 1860 Elkins has sought me out on two occasions. I gave no mind to his requests. Only a fool would stick his nose into matters such as he … evidence of that. He's se ... preternatural at work … be a sobering sign … time. I may well … ). Details matter, and this crew knows that better than any other!
The whole cast was wonderful. Sam Hennings made the perfect world-weary, war-weary Samuel Colt, who'd seen so much that nothing fazed him. I appreciated the fun touch of Colt being a left-handed writer, but pulling a fast one on the demons by drawing and shooting the gun right-handed; there's a consummate professional hunter for you! I really liked Matthew John Armstrong as Finch, the phoenix; he made me feel for the plight of a non-human who nonetheless loved a human and reacted accordingly. Gordon Michael Woolvett, whom I remembered from Andromeda (don't judge me; it was a guilty pleasure, however silly!), did a very nice turn as the deputy. And I laughed for April Telek's blowsy bar girl; takes guts for an actress to willingly make herself that unattractive, and then have the fun of intimidating Dean! Sonya Salomaa wasn't onscreen long as Rachel, but it was interesting to see her convey that not even other angels technically on Castiel's side feel remotely about humans the way Castiel does.
All our principals obviously had fun with this episode, but none more than Jensen Ackles. We know Dean believes he's funny, but I don't think we've ever seen him crack himself up with a joke before, the way he did with the whole “posse magnet” thing. That was hilarious! I'm wondering if Jensen couldn't keep a straight face himself on that one, and passed the weakness on to Dean. I loved the range of Jared Padalecki's Sam, from his transparent eagerness at the discovery of Colt's journal through his utter distaste for the time travel experience to his martyred tolerance of Dean's enthusiasms and the absolute, earnest conviction he used to sell Samuel Colt. Sweet! Misha Collins gave us an exhausted, overwhelmed Castiel torn between conflicting duties, obligations, and desires, out of resources and out of options. I really hope we're going to get a lot more insight into his experiences in the war for Heaven soon; it's obviously been Hell on him. Jim Beaver simply delivered the real Bobby Singer, a man utterly devoted to his adopted family and willing to do whatever it took to keep them safe. He also got two of the best lines of the night in his I only watched Deep Space Nine shout-out to his wife, Cecily Adams, and the reference to not stranding the idjits in Deadwood, the series for which he is best known.
This lighthearted romp was something I think we all needed, and I'm grateful for it. I suspect it's the last fun fling we'll have this season as the dark tide rises ...
The icon on this post is by kelleigh . Thank you!