Continuing with my Dean-oriented Supernatural rewatch, the next five episodes in S1 – ‘Bugs’ (E8), ‘Home’ (E9), ‘Asylum’ (E10), ‘Scarecrow’ (E11) and ‘Faith’ (E12) – play an important role in establishing the Winchester family dynamic. Up until this point, we’ve mainly dealt with Sam and Dean operating on their own, the wider arc of their father’s disappearance and their mother’s death taking a back seat to Monster of the Week hunts, the better to introduce us to the premise of the show. Now, though, we start to get a better sense of Sam and Dean as siblings with a complicated history, not just in terms of how they relate to each other, but regarding their very different relationships with John.
In ‘Bugs’, when Sam openly identifies with a teenager, Matt, who doesn’t get along with his father, it results in the following exchange with Dean:
DEAN: Dad never treated us like that.
SAM: Well, Dad never treated you like that. You were perfect. He was all over my case. You don’t remember?
DEAN: Well, maybe he had to raise his voice, but sometimes, you were out of line.
They continue to bicker intermittently about their childhood throughout the episode, until – in the closing scene – they circle back to the topic of John, but from a different angle:
SAM: I wanna find Dad.
DEAN: Yeah, me too.
SAM: Yeah, but I just… I want to apologize to him.
DEAN: For what?
SAM: All the things I said to him. He was just doin’ the best he could.
DEAN: Well, don’t worry, we’ll find him. And then you’ll apologize. And then within five minutes, you guys will be at each other’s throats.
SAM: Yeah, probably.
Later, in ‘Asylum’, Sam angrily questions why they always have to “follow dad’s orders” – a disagreement that reappears at the finale, when Sam, controlled by a malevolent spirit, attacks Dean:
SAM: I am normal. I’m just telling the truth for the first time. I mean, why are we even here? ’Cause you’re following Dad’s orders like a good little solider? Because you always do what he says without question? Are you that desperate for his approval?
DEAN: This isn’t you talking, Sam.
SAM: That’s the difference between you and me. I have a mind of my own. I’m not pathetic, like you.
By the end of the episode, it’s clear that the tension between them has escalated rather than resolved, and in ‘Scarecrow’, the two are divided enough to go their separate ways, albeit temporarily. Prior to this, Sam states that he doesn’t understand the “blind faith” Dean has in their father, and Dean replies that “it’s called being a good son” – a comeback that accepts, rather than disputes, the accusation of blind faith. When they finally reconcile, it’s because Dean apologises:
DEAN: Sam. You were right. You gotta do your own thing. You gotta live your own life.
SAM: Are you serious?
DEAN: You’ve always known what you want. And you go after it. You stand up to Dad. And you always have. Hell, I wish I—anyway….I admire that about you. I’m proud of you, Sammy.
What further contextualises these conversations – and what makes them even more fascinating – are the events of ‘Home’ and ‘Faith’. In ‘Home’, which sees the Winchesters return to their childhood house in Kansas, Dean phones John in secret, crying as he begs his help; but though it’s ultimately revealed that John has been in town the whole time, he never replies or shows himself to his children. This absence is subsequently mirrored in ‘Faith’, when Dean is dying and Sam, again in private, phones their father – but whereas Dean’s call was a request for aid, Sam attempts to reassure John that he doesn’t need any. Again, John neither replies nor appears, and given the line about “blind faith” in the previous episode, it doesn’t seem irrelevant that this episode is not only titled ‘Faith’, but explicitly concerns Dean’s lack of it, religiously speaking. In fact, there’s an argument to be made that their conversation about John in ‘Scarecrow’ throws Dean’s denial of God in ‘Faith’ into an even starker light:
DEAN: You know what I’ve got faith in? Reality. Knowing what’s really going on.
SAM: How can you be a skeptic? With the things we see everyday?
DEAN: Exactly. We see them, we know there real.
SAM: But if you know evil’s out there, how can you not believe good’s out there, too?
DEAN: Because I’ve seen what evil does to good people.
Dean has faith in reality, and in evil as a truth of reality, but he doesn’t have faith in good. But he does have faith in John Winchester – not because his father is good, but because his father is real, which (under this system) doesn’t preclude him being evil, too. Given this fact and the subsequent revelations of Sam’s demon blood, it’s doubly significant that, in ‘Home’, we’re given the first concrete evidence that, of the brothers, Sam is more similar to John: in rescuing two children from their childhood house, Sam’s instruction to the little girl, Sari, to “take your brother outside as fast as you can, and don’t look back” is, word for word, the same thing John once said to Dean.
In ‘Skin’, the shapeshifter used his access to Dean’s memories to express Dean’s fear that “sooner or later, everybody’s gonna leave me”, stating that both John and Sam have already done exactly that. It’s a fear that harks back to the pilot episode, when Dean explains why he’s come to get Sam in the first place:
DEAN: I can’t do this alone.
SAM: Yes you can.
DEAN: Yeah, well, I don’t want to.
Dean Winchester is afraid, not just of being alone in general, but of being abandoned by his family in particular. He feels that his father and brother are stronger than him, capable of leaving both Dean and each other to live independent lives in a way that he isn’t; he admires Sam’s ability to go off on his own, but not enough to deviate from his own loyalty to their father. Sam and John fight as they do precisely because they’re so similar; yet even then, it’s notable that neither Dean’s obedient faith nor Sam’s capable autonomy is sufficient to call John back to them in their respective moments of distress.
In addition to cementing the Winchester dynamic, these episodes also help to establish a fundamental aspect of Dean’s personality: the ongoing conflict between his more feminine interests and his desire to present as stereotypically masculine. In addition to the more overt jokes and statements made in support of Dean’s broader characterisation, this is also the point at which the narrative begins to subtly feminise him; or at least, to deliberately compare and contrast him with female characters, such as by paralleling his role with Sari’s in ‘Home’. ‘Bugs’ in particular is a great example of this. Early in the episode, Dean mentions having heard about mad cow disease on Oprah, to which Sam, astonished, replies, “You watch Oprah?”. In keeping with his established reluctance to appear feminine in front of his brother, Dean is visibly flustered, and after several awkward seconds, he changes the subject rather than addressing it. This is an overt instance of Dean’s hypermasculine front being challenged; more subtle, however, is the way in which the story compares him to the real estate agent, Lynda. When the Winchesters first arrive at the housing estate, Lynda gives her pitch to Sam, saying, “Who can say ‘no’ to a steam shower? I use mine everyday.” Sam is visibly disinterested, but when the brothers borrow an empty house for the night, Dean not only expresses his enthusiasm to “try the steam shower”, but is seen happily emerging from it the next morning, a towel wrapped around his head.
To be clear: there’s nothing inherently feminine about liking good showers or wrapping a towel around your head. But in the context of ‘Bugs’, Lynda’s praise and Sam’s disinterest in the steam shower situate it as a feminine thing, while visually, the fact that Dean is shown wearing an elaborate towel-wrap – even though his short hair makes such a style both difficult and redundant – is meant to hammer home the comparison. It’s something the audience is meant to notice, even if the brothers don’t, and contributes to the complexity of Dean’s character.
‘Bugs’ also marks the first time – but by no means the last time – that the Winchesters are mistaken for a gay couple. When Larry initially makes the error, a horrified Dean is quick to correct him; but when, minutes later, Lynda makes the same mistake, Dean has a brief moment of awkwardness, then plays along with it, calling Sam “honey” before smacking him on the ass and walking off. The fact that he leaves is crucial to understanding his reaction: as per volunteering Sam to paint the fratboy Murph in ‘Hook Man’, Dean doesn’t correct Lynda because playing along enables him to embarrass his brother; yet at the same time, he still takes steps to absent himself, leaving Sam to cope with the awkward aftermath of his actions alone.
From this point of the show onwards, Dean starts to make more jokes about Sam being feminine or girly, expanding his habit of projecting his own insecurities onto his brother. In ‘Asylum’, he pokes fun at Sam’s strange dreams by asking “Who do you think is the hotter psychic – Patricia Arquette, Jennifer Love Hewitt or you?” – a reference which, while ostensibly insulting Sam by feminising him, also demonstrates that Dean is familiar with the shows Medium and Ghost Whisperer, neither of which is exactly stereotypically masculine fare. (Which is, perhaps, why he follows this up with two references to The Shining in quick succession.) Similarly, Dean responds to Sam’s heartfelt words at the end of ‘Scarecrow’ by deadpanning, “Hold me, Sam. That was beautiful,” making the both of them laugh. Yet at the same time, Dean’s habit of affirming his interest in women to Sam is still alive and well, as per his insistence in ‘Faith’ that “I’m not gonna die in a hospital where the nurses aren’t even hot.”
Interestingly, and also in ‘Faith’, we see the first recurrence of Dean’s flirtatious braggadocio since his interaction with Jess in the pilot. When Layla overhears Dean express his lack of faith to Sam, she suggests that “Maybe God works in mysterious ways” – at which point, Dean’s response is to visibly check her out, smiling as he replies with, “Maybe he does. I think you just turned me around on the subject.” They chat briefly, and once she’s gone, he remarks to Sam that “Well, I bet you she can work in some mysterious ways.” What’s significant here – and especially when writing with the benefit of hindsight – is the fact that Dean is dying; and unlike Sam, he doesn’t believe he’s about to get better. It’s a gallows flirtation: Dean is resigned to death, and so sees no point in restraining himself, an attitude that crops up again in Season 3, when Dean refuses to try and change his crossroads deal despite Sam’s determination to save him. But once Dean is healed – once he knows he’s going to live, and that Layla is going to die – his subsequent interactions with her never replicate this initial swagger. Instead, as with Haley in ‘Wendigo’ and Andrea in ‘Dead in the Water’, he connects with her, offering to pray for her at the end of the episode, making their exchanges bittersweet rather than sexual.
That being so, there’s really only a flash of Bi!Dean throughout these episodes; specifically, in ‘Scarecrow’. After Sam’s departure, Dean attempts to track down the missing couple, which endeavour sees him stymied by Scotty, an unhelpful mechanic. Throughout their exchange, Dean tries to be polite despite Scotty’s refusal to talk. Yet there’s also an interesting undercurrent to the conversation: having recognised Dean’s false alias, John Bonham, as a member of Led Zeppelin – “Classic rock fan!” Dean says, approvingly – Scotty finally tells him, with a very small smile, “We don’t get many strangers around here.” Dean’s response is to grin and duck his head, nodding – and then to say, “Scotty, you’ve got a smile that lights up a room, anybody ever tell you that?”
And the thing is, it’s not really sarcasm; or at least, Dean’s smile as he says it is genuine. Seemingly, it’s a remark pitched to be taken one of two ways – as a friendly joke, or as a flirtation. Dean is, after all, trying to get information out of the man, and given that “We don’t get many strangers around here” is a variant on a common pick-up line (other permutations being “I’ve never seen you here before” and “You must be new in town,” both of which are evocative of “Do you come here often?” and “What’s a guy/girl like you doing in a place like this?”), it’s not unreasonable to think that he’s hedging his bets, looking for an inroads into Scotty’s good graces. (And of course, it doesn’t hurt that the guy likes Zeppelin.) But the gambit fails on both counts, and Dean is left hanging awkwardly, muttering, “Never mind. See you around,” before finally walking off.
It was fun to see these episodes again – this is my third watchthrough of the show, and it’s fascinating to see how much there is in Season 1 that’s pivotal later on, or which sets a pattern for subsequent seasons. These episodes in particular are full of firsts: ‘Asylum’ marks the first time the brothers turn on each other due to supernatural meddling, as well as the first time a Winchester ends up in therapy as cover for a hunt, highlighting the fact that it’s something they actually need. ‘Scarecrow’ is both the first time the brothers part ways due to an argument and the first time they kill a god, while ‘Faith’ involves the first of Dean’s many, many deaths. I’m keen to keep up my analysis – and to see what else I might have missed on previous viewings.