Recap: Supernatural, Episode 6.15 – The French Mistake

Meanwhile, Virgil makes poor Misha pull over into some alley and forces him out of the car and down the alley. Misha is totally crying and Virgil roughly shoves him up against the wall, lamenting that there’s no magic in this world and Misha should thank him for what he’s about to do. A homeless man sees this and stands up from his little alley alcove.

Just when I was all they wouldn’t…they totally did. Virgil cuts Misha’s throat and calls for Raphael’s help on a blood phone. So that’s why they showed us Meg at the beginning. Huh. Gotta say—didn’t see that coming.

Back at ginormous casa de Jared, the boys are figuring they’ll just put out an APB on Virgil since he’s normal like they are and Gen comes out, bawling—mascara running down her face, the works. She cries out that Misha’s been stabbed to death.

In unison, the boys ask, “Where?”

Incredulous, Gen replies, “Where?!”

Y’know, it’s funny, but it’s not. It was hard to say if this world meant so little to them—because it was totally not real as they define reality and therefore the people here were not any more real to them than the people in the djinn-induced reality were—or if death has come to mean so little to them after all they’ve been through. I have to think the former because the death of either one of them now would pretty much destroy the other.

Apparently she tells them where Misha was killed, because they show up at the crime scene—I’m guessing Clif is driving them around everywhere?—and walk past the body covered up by a sheet to spy the homeless man telling the cops that the killer called out to Raphael, “…like the Ninja Turtle.” Oh boy.

The homeless man hesitantly (because it sounds flippin’ crazy to anyone else but our boys) tells them that he heard a voice that said for Virgil to go back to the place he jumped through and Raphael would reach through the window and pull him and the key home. Dean gives the homeless man some money—Canadian.

Sam: If Virgil gets back with the key, Cas is dead and our world is toast.

Dean: Then we stop him. How bad can an angel with no wings be?

Oh, Dean! Don’t say that! Have you learned nothing?! Asking how bad it could be is like saying, “we have all the time in the world.” Famous last words…..

So, we see Virgil in a gun store buying a handgun and asking for a pump action all Terminator-style. He tells the sales man that he’s the keeper of Heaven’s weapons right before he cracks him in the face with the butt of the shotgun, then shoots the next customer coming through the door. Yikes.

The boys are waiting at fake Bobby’s. At first I couldn’t figure out why they were there, but then I realized they didn’t know that Virgil came in a different way from them, so they were waiting for him to return. Dean is pacing, Sam leaning against a doorframe. Both seem lost in their own thoughts until Dean speaks up, warning Sam that if they drop Virgil and get the key, they could be stuck here. He’s wondering if Sam might be okay with that.

Dean: No Hell below us, above us only sky….

Sam: Our friends are back there.

Dean: Yeah, but here you’ve got a good life. Back there, the hits have been coming since you were six months old.

*rubs heart*

Aw, Dean. Of course you’d look at it that way—it’s what you do. Put him first. His well-being, his happiness. But the last twenty-six (or so) years haven’t exactly been a cake-walk for you, either, buddy.

Dean: Here you’re a bazillionaire, married to Ruby, the whole package. It’s no contest.

As Dean’s talking, Sam’s lips do that fold down, you’ve got a point frown. But then he just shakes his head.

Sam: You know you were right. We just don’t mean the same thing here. We’re not even brothers here, man.

And that’s enough. And that’s what matters. And that’s what I think we’re supposed to walk away from this with—aside from a good laugh at ourselves and some (minor) forward movement with the Civil War. Dean will put Sam first because that’s what Dean does, and he’s okay with that and it’s how he feels it’s supposed to be. That, and they’re brothers, and that’s the main thing that matters to them, the one thing that will keep them swinging, keep them coming back, make them remember that they matter.

Doesn’t mean that there won’t be something else outside of the Winchester Code for each of them—a new destiny, a new story, a path to take. But this is what I think they were telling us, ultimately, with this story. Sam’s soul is back, and Dean said a (temporary, hopefully) good bye to his surrogate family, and now they face what comes next (whatever it is, because they haven’t really given us a lot of solid clues) together.

Dean: Let’s get our crazy show back home.

That says it all, doesn’t it? Any way you want to interpret it.


Gaelicspirit is a storyteller. She is a recent addition to Whedonverse Network, but has been writing and posting recap/reviews of Supernatural on LiveJournal since 2007. She works as a freelance writer and consultant in the real world, and is ever-connected to the six-degrees of Joss Whedon.


Gaelicspirit is a storyteller. She is a recent addition to Whedonverse Network, but has been writing and posting recap/reviews of Supernatural on LiveJournal since 2007. She works as a freelance writer and consultant in the real world, and is ever-connected to the six-degrees of Joss Whedon.


  1. Now this was a rollicking, super-meta episode. I mean, how many shows would have the brass to write in their creator and producers as characters, and then kill them off? More Ben Edlund wackiness, please.

    By the way, any clue on what The French Mistake means? (totally trying to Google that.)

  2. I know it’s a number from the Mel Brooks comedy, “Blazing Saddles.”

    That film parodies itself when the camera pulls back to show that the film is being shot on a present-day Hollywood set in the middle of Los Angeles.

    I think it’s that, and not the Urban Dictionary definition, that this title was referring to. And if you google it, you’ll know what I mean about the Urban Dictionary definition.

    Mel Brooks was playing on “The French Connection” and I think SPN was playing on Mel Brooks. *grins*

    My interpretation anyway.

    Ben Edlund is amazing. No question about it.

  3. Ok, found the origin of the title: from the song in Mel Brook’s Blazing Saddles — which is only sorta as Sara Gamble in TV Guide claims “about breaking the fourth wall.”

    While the scene plays for laughs, “The French Mistake” is about, ahem, slashy-gayness– not that there’s anything wrong with that, as Jerry & George might say.

    check it out on YouTube (caution, NSFW)

    edit: just saw your reply, GS — looks like you beat me to the Googling

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