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incarnateirony · 4 years

Text

We’re gonna try this again. “Canon” is accepted additions and editions within a body of work (literary canon, western canon, british canon, romantic canon, eg, books in review for genre study; alternately, supernatural canon like episodes are canon, novels and fanfic aren’t.) Yeah? Yeah.

Text is a lot of things. Some people pretend it’s just spoken dialogue or kissing (not sure why the last counts when other visual language doesn’t, according to fandom) -- and frankly I’m working on that Media Studies A Level course to show how to read media text to understand visual language. Text will always be interpretable.

Subtext is the underlying principle or morals binding the text and adding cohesion based on a series of social codes we understand. And no, for the love of god, I’m not talking about queer coding. Or at least not entirely. I’m talking about cultural and social codes. Did you know it’s actually a social code that letters have meanings and sounds, and that those meanings and sounds build into words? And atop that, a social code that words have meanings, and a social code that when these meanings are combined into sentences or paragraphs, they have collective meanings? Or that in a serialized production (and recognizing what that means is a code) that episodes are connected in a continuous story that makes previous episodes relevant to understand the next?

Yeah, it’s cool stuff, codes. It’s how our universe operates. That’s why it’s called, for example, codes of conduct. Codes! And codes are not irrelevant to a work, or irrelevant in the discussion of canon, unless you also want to pretend you can stare at a book and ignore what letters mean and the meanings they make and then tell people what you think the book says.

Operative codes are how anything, anywhere -- text, TV, life, society, language -- literally anything works. So I’m getting that out of the way before someone decides to try to announce that codes are just subtext and are thus not relevant to talking about canon because like, no, the opposite. Canon can not exist without codes.

Subtext is not the same as interpretation. Subtext is also, very honestly, not all equally valid, in this “all interpretations are equal.” You can and will fail a paper report if you come up with dumbass subtext proposal that doesn’t hold water. Subtext is also not an inferior part of the body of text or canon, but instead, a binding element that makes any form of storytelling work. It’s not a secret handshake. It’s not whatever you want to make it, but rather, whatever stands in the body of text to address how that text functions within its designated codes. It’s not something you really have to chase.

Despite the general absurdity of pretending only spoken dialogue is text in AV Medium or SPN fandom discussion, I’m going to play within this fandom’s sandbox on that weird talking point within this post, and show that even still, the fandom’s use of text and subtext to dismiss or argue content falls flat.

Let’s talk about Colette subtext. After all, Cas was Colette, right? The problem being with this subtext is, while actually valid and able to structurally hold water, it was immersed. This is, at best, the earliest manifestations of something called Subtext By Question. Alone, this subtext does not mean much, and is distant to the eye of a reader. You have to think about it, and the text has to later turn up something that connects these elements. For example, in this instance, the resulting text manifests in following episodes with who Dean almost kills (although that, itself, is a code of understanding, in that the expectation is to subvert the dark destiny projected for him, so he didn’t ACTUALLY have to kill everyone.) If you look backwards for answers, in Subtext By Question, you can find the reverse-people that were killed and allot them relevance in association. But at this point, you’re really having to scrap around, a season back or a season forward, to find a few key elements. The subtext here is valid, but barely able to be argued as structural. It isn’t central, it isn’t focus. It’s passive. The active element here is Dean needing to subvert this dark destiny in mirror of Cain for important people in his life. The less important element is honestly if you’re going to argue circles about what the Colette placement means (and, if not everybody is following social codes, you’ll never reach an understanding!)

(I’ll also add a brief aside that the subtext here tells a lot of things! It’s subtext is first that Cain did the same things he’s listing to Dean, and that subtext straps back to previous text. One can call the who-is-who ‘subtext’, if one doesn’t apply social codes to what the text is saying: Three people dead, now do it backwards. If you don’t know how to count to three or count to three backwards, then yes, we can call the who’s-who subtext. Unfortunately, ARRIVING to this line of text in retrospect requires chasing a long subtextual line a season back.)

On the other hand, Dean lies. A lot. It’s like, what he do. When Dean says, “I like to think it’s because of my perky nipples,” if one were to demand the text stand alone, one might actually try to argue that Dean honestly believed it was because of his perky nipples. The subtext, on the other hand, is a form of Privileged Subtext. It’s something we, the consumers, inherently understand that no, Dean does not genuinely believe it is because of his perky nipples. But if we’re only holding flat text as canon, and most explicitly only dialogue as text, then clearly the only authentic way to read this without subtext, which this fandom dismisses as canon, is that Dean thought it was because of his perky nipples, and by this fandom’s standard of how to read and receive bodies of text, that was the canon to draw from the scenario. It’s independent. It doesn’t even need to tie anything. Because this is an element that subconsciously remains in the character, perpetually, that we are privileged to knowing. But applying the logic to this is itself a social code (unless you really want to think -- you know what -- okay.)

Now let’s talk about how text is reliant on its canonicity with genuine subtext (not random interpretation), how they connect, and then one becomes the other.

In 11.4, Sam and Dean ride in a car and Sam textually presents, in full dialogue since people don’t seem to grok visual language as part of textual canon (and why I’ll be releasing the course soon, but this should help frame the TEXTUAL end of things for people) -- the idea of a hunter, or someone in the life. This is full dialogue text. Dean dismantles it due to their history, while Castiel calls in, about a case in their area and life at the moment. The text is that Sam is thinking about this and that Dean doesn’t think it’s possible. The text is also that they do have a very closely tied person in their life. The subtext doesn’t even really need to be phrased, simply a notice, within basic social codes and understanding, that these things connect to each other.

In 11.19 The Hunter Husbands arise, and Dean takes his turn asking about finding someone in the life. Here’s the fun thing. The hunter’s text is, and I quote, “Like an old married couple.” There is no physical affirmation, no “I love you” or, more in this fandom’s situation “I love you like specifically in the romantic and gay way” that everyone seems to want. The text “Like an old married couple” is actually interpretable, as any and all text is. On the blatant reading, it’s that they’re romantically involved. On the surface level, they’re only ~like~ an old married couple, which anyone and anyone could assume was a turn of phrase or generalized comparison (and have used this argument on other statements for other pairings in the show; hell, after all to stay in-subject with this post, what if Castiel was just LIKE a wife to Dean with his Colette placement, because gUyS cAn hAvE StRoNG fRiEndShiPs tOo)

So what makes it obvious? What makes it DUHHH? It’s the subtext. And social codes. Why these same social codes fly out the window when the fandom is talking about Destiel is a whole other damn mystery, but they do. The actual willingness and ability to nail down and commit to “like an old married couple” without spinning around in circles about how people might interpret that line, or even willingness TO spin in those circles, is based on the surrounding subtext -- partially drawn from 11.4, partially drawn from Sam meeting Eileen recently and partially from Dean and Cas -- partially from the way they actually physically engage LIKE one of these pairings -- just from a whole plethora of elements that we understand, based on a basic code of understanding: The text is the text and the “Like” isn’t a turn of phrase or relevant even if someone wanted to be a crackpot and argue it. And what other subtext does that make? They Gay. Or you can take social codes of understanding, and stop calling it subtext, and recognize that if two men are married they are queer, instead of abandoning this social code of understanding to explain around it. Without compulsion to argue with antis that don’t exist for that pairing, tada! Everybody’s acting just fine and normal within basic human social codes to understand the text as framed by the substantiative subtext.

Season 15 these elements return, with Dean remarking about Eileen being someone in the life. This is flat, dialogue, central text. The social code in play, being aware that serialized TV connects a story, reminds us that this has been discussed before, in fact with the same elements surrounding them as during 11.4 and 11.19. Eileen has become the person to fill Sam’s previous wondering. Dean’s wondering of the past and current “in a bad place” becomes Subtext By Question, flowing from the previous and current textual elements, to leave a blank space.

However, that blank space is filled one episode later -- as, in the alternate universe, after the Marriage By Mark, and Cas went Crazy, in full dialogue text, that he had a death wish ever since -- first, that they lost everyone they care about, and then he buried Cas at sea; and, in the same breath, Eileen was the same to Sam. Now, hopefully I don’t have to explain how, if you continue to endorse level and equal social codes (without applying the Super Hard Nightmare Difficulty Goalposts, and changing your codes in application even within a single scene), this pans out in the text. The ironic subtext here is that Eileen is Sam’s Cas. Not the other way around even. It’s the secondary presented element over the primary focus. That’s how it be. But the text is, at this point, that they are literally the partner of each person in regards to an ongoing textual and subtextual story since season 11.

In result, season 10′s Colette drop kind of feels like swished-out toothpaste, doesn’t it (even if it was written by the same author.) Actually funny enough, to get back down to subtext as deep as Colette was originally buried, one could actually reasonably and structurally argue that, both scenarios being bound by the Mark actually elevates Colette to the front again, as in, Dean’s Colette took the Mark for him, just as he almost killed his Colette and his Abel when he had the Mark, and Dean’s Colette’s price was the same. That is to say: this old, buried subtext still remains an old, buried subtext, but attaches to the surface level text that is itself... text. That subtext is relevant again, it didn’t just drop off after a few dart notes on a board. But again this also relies on basic social codes regarding serialized television.

But that’s a whole other aside. The reality here is that these elements are all text. The previous subtext of Castiel being on the phone in 11.4 has become fully dialogue *and* visual narrative text by this point in the story. It isn’t a sidelined or buried element. It’s both central text, what few parts might be called subtext based on AV text confusion are still central text, they are literally the focal point of the story -- the meaning and importance of those characters is there in the present, at the core of the lens, not something you’re burying through rubble and playing connect-the-dots on. Any callbacks are to solid, loud, front line elements of the past that are being repeatedly hammered in at the same textual wavelength. It’s just there.

Heck if you REALLY want to long haul the subtext we can do a full break-out on Sam’s face of it, with Rowena more than once mirroring Cain dialogue to Sam as his mentor, who he killed, as Cain wanted to kill Abaddon, his mistress. And that if Eileen is tangibly Sam’s Cas, then in frame she is his Colette, as Cas is Dean’s Colette. These are the other forms of subtext you’re given to debate in a paper, for example, even if they are not the immediate binding subtext and social codes attaching sentences to each other to form complex ideas in the body of text.

Another fun one I’ve seen is the implication that it’s unfair that Sam and Eileen are banging after a few episodes. But guys-- that’s not in the text. In fact, the only text we have is smarmy tongue in cheek from Dean about a tie (that would be coded text based on social functions) that Sam denied (making the subtext that Dean was wrong about his assumption, and the dialogue is unreliable.) Yes, they have a kiss, that’s fine. But that statement? That they’re banging? That is at best an interpretation, and people would actually struggle to find any substantiative subtext that illustrates this even within operative and level social codes sustained from the previous episodical run. You can’t just flip flop your codes around and say you’re reading it right. That’s how you fail a paper.

So what does this say, then, about people that are objectively refusing the other surrounding text and subtextual elements as textually romantic within the canon? If you can jump there with one, without a basis, why are we bashing down the other one? Ah-hah! You say, but they kissed! Actually, people were submitting this complaint before that, around the time of Interrupting Angel which mirrored Interrupting Moose -- what a wild subtextual connection of old textual elements! (And one the author popped up out of the blue to like my screaming tweet about on twitter, I loves him.)

But back to the question, where does this take us? If people can manufacture interpretations without even subtext much less text to verify and even complain about the sexual engagements of characters on one side, and when quite literally textually speaking, aside from a kiss -- a performative element, which I remind you, is unspoken, and we’ve been banished by Weird Fandom Laws from using anything other than dialogue as “text” despite AV media study codes -- Why are we here, what’s wrong, why the fuck are people arguing about the text still, or calling it subtext, please, fucking enlighten me on any answer that doesn’t involve “Unlevelly applied social codes.”

Because if we want to incorporate that kiss, a non-dialogue element, as text, we’re about to dive helluva far into what constitutes text in AV medium. And this is going to make the opposing argument even worse.

But that, my friends, waits for the full AV lesson when I get to it.

And just because I have to apparently put this disclaimer on every post I make: this in no way indicates you are wrong for wanting more text, or preferred deliveries of text, or even specific non-dialogue enacted events to feel complete on the delivery of the text. It’s silly to think “you’re telling people not to want more text!” when like, we’re still all watching the show and stories unfold, right? So we’re all here waiting for more text. Whether the text you get is the text you want is completely up to you and what you hope to see out of a still developing story and it’s your right to want whatever you want. But that in no way removes all of the above objective sentiments regarding... well, text.

#supernatural #spn #text #subtext #canon #destiel #saileen #meta #my meta #lit crit #av crit #av study

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mittensmorgul · 7 years

Note

Hi! So, does this mean that Sam has completed the first of the Trials for closing the gates of hell? Or does he have to intend to close them?

Hi there! I’ll start out with a few comments, and then I’ll try to answer this as best I can. First, I am in Downtown Migraineland right now. I apologize in advance for any weird incoherency in this reply…

(note from the future, i.e. nearly 4 hours after I started trying to piece this reply together: My migraine is gone, but this reply went into A LOT OF DETAIL about the parallels not only in this episode, but in all of s12. This ended up being really weird meta on what I think Dabb’s Grand Plan for the entire season is hinging on. IT IS LONG. Just a warning.)

I think a lot of s12 has been paralleling A LOT of the past, turning it inside out, applying it through a different lens or allowing characters to see these things from a different side, and resolving things in a better way.

That said, I think they’ve been referring back to the Demon Tablet Trials and the Angel Fall Spell (because the angel fall spell was a spell, not Trials. Metatron confirmed that). But all the elements of those things are being addressed in different ways, and paralleled to ~similar~ things happening in s12… I’m struggling to try and put this together in a linear narrative that even comes close to connecting all the dots. There’s SO MUCH going on in this episode, I’m not sure that’s really possible, but HECK I WILL TRY.

(second note from the future: this is about 3k long, so it’s going under a cut. THERE IS SO MUCH)

(i am typing this from the floor where I’m curled up around pictures of Andrew Dabb and Davy Perez while weeping gently)

(A/N: cut removed during the tumblr nippocalypse of 2018)

Let’s start our parallel journey with 8.14, Trial and Error. The episode that began with Dean reveling in his new room in the bunker, the fact he’s “nesting” (and one episode after he gloried in the shower room’s water pressure), where he glared daggers at Sam for tossing a gum wrapper on his floor while talking about how wonderful it was to live in a place with no weird stains or odd smells.

That ENTIRE script was flipped in the beginning of 12.15… Dean’s just covered in blood, sits right down on the furniture, drops Lucille (I’m calling it Lucille, but it’s got other relevant parallels I’ll get to in a sec…) on the library table while SAM is the one reacting to the “offense” that Dean’s presenting here– right down to the weird stains and gross smells.

*Necessary Digression #1

(aside to note that bit of siren he picked out of his hair sorta reminded me of Chuck pulling Castiel’s tooth out of his hair in 5.01… But those “back to back to back” hunts that Sam and Dean just got back from– a ghoul, a wraith, and a siren– ALSO HAVE HISTORY that really needs to be mentioned here…)

(see what I mean about this being impossible to address in a linear fashion?)

ghoul: 4.19. (written by Dabb fyi) Family/not family. that whole episode dealt with finding out about a deep family secret (the existence of Adam) that was all wrapped in a deceptive betrayal. Adam was already dead, being impersonated by a ghoul. Sam and Dean had been divided over whether to indoctrinated Adam into the hunting life for his own protection (Sam), or to keep him out of it entirely for his own protection (Dean). But in the end it was already too late. It had been a trap set for John, but Sam and Dean ended up tidying up the ghoul case that had led John to meet Adam’s mother in the first place. John had tried Dean’s approach (keeping Adam in the dark about the monsters for his own sake), and it hadn’t saved him. Frankly, if John HAD told Adam about the monsters, he might’ve been able to save himself.

6.10: Samuel attempts to feed Sam and Dean to a couple of ghouls (aah, the sweet bite of family betrayal)

6.16: Not exactly ghouls, but Bobby mentioned a “ghoul-wraith smorgasbord” as one of the unusual monster activity things that eventually led them to Eve. Also, that whole episode was about the monster inside (literally! Khan worm! possessed by monsters!) and family betrayal.

wraith: 5.11 (also written by Dabb): Sam and Dean get themselves committed to a mental hospital by telling the unvarnished truth about their lives (>.>) in order to help an old hunter friend of John’s. The wraith “poisons” both Sam and Dean, and even though they were perfectly “sane” when they entered the hospital, the wraith’s poison made them crazy.Made them fight against invisible monsters of their own mind’s creation. But Sam and Dean soon realized how they were being affected, fought through the illusions, and save themselves.

6.19: The “Jefferson Starships” that Eve was making (hybrid monsters combined of all sorts of different monster bits) had been part wraith. Dean let Eve DELIBERATELY bite/infect him with this monster mix because he’d already drunk the phoenix ash that would in turn poison HER. She just happened to be wearing Mary Winchester’s face while she did. Family (in a horrifically mutated fashion… basically a lie), monster possession. Dean finally turning the tables and turning HIMSELF into the weapon that killed Eve.

siren: 4.14. aah, the infamous siren episode. Love… and love. Deception, family betrayal, and a monster that feeds on lust. Dean believed (wrongly) that Sam had been infected, but really DEAN had been the one “seduced” by the siren– and his siren had not been a “hot chick.” It took Bobby interfering to slay the thing.

7.08: when Dean visits Sam and Becky at their apartment after their wedding, Dean accuses Sam of not acting like himself, and Becky gets defensive asking if Dean thinks she’s a witch, or a siren.

12.11: Sam tells Dean who’s lost his memories about some of the things they hunt, and Dean’s fascinated by the fact that sirens aren’t all “hot chicks”

AND I AM REALLY DYING TO KNOW IF THAT BIT OF SIREN IN DEAN’S HAIR WAS A HOT CHICK OR A DARK HAIRED, BLUE EYE’D DUDE.

*/digression #1- back to the point… for now

So here’s a list of the other relevant bits of 8.14 that were addressed in 12.15:

Hellhound glasses: I think we can all agree that we have been waiting years to see these things again.

multiple people attacked by hellhounds. in 8.14 they’d all sold their souls though. in 12.15 NEITHER Gwen nor her dead boyfriend did. That hellhound was deliberately released as a distraction by Crowley’s idiot minions so they could figure out what he was up to (and they found Lucifer chained up in Crowley’s secret room there)

so these people were attacked for NO REASON. They were innocent. They didn’t deserve to be attacked and killed just because they happened to be existing there >.> (sort of like the random monsters the BMoL intend to exterminate don’t deserve to die just for existing… but I digress, and will digress back to this point again in a bit…)

the goal in 8.14 was for Dean to kill the hellhound to start the trials, but SAM was the one who managed it in the end. The goal in 12.15 was for Dean and Crowley to hunt the hellhound while Sam protected Gwen (driving her off to safety in Baby)… but in the end it fell to Sam to kill the beast

the hellhound in 8.14 HAD BEEN CROWLEY’S. It answered to him. Now the hellhound in 12.15 ONLY ANSWERED TO LUCIFER. Basically, the Alpha hellhound. And instead of fighting against Crowley, Dean’s fighting alongside him while they both discuss how much they’ve changed. They’ve both moved a little more toward center– to that grey area where they’re both a little good and both a little bad like Meg and Cas in 8.17, but also Dean and Crowley have “rubbed off all over each other >.>

BUT HERE IS A KEY DIFFERENCE! Yes, Sam killed the hellhound and saved the “girl of the week,” BUT instead of it being the catalyst for him to behind hiding stuff from dean (the damage of the hell trials), it becomes the catalyst for him BEING HONEST with Dean… INVERSION!

Also, thinking back to 12.14 where Sam killed the Alpha Vampire, he’s now also killed the “Alpha Hellhound.”

*Necessary Digression #2:

back to 6.19 for a quick moment. Eve, mother of all the monsters. But apparently God created Hellhounds but considered them a failed experiment that he tried to wipe out, only to have Lucifer keep one for himself and twist it into the entire lineage of hellhounds we know. I’m trying to puzzle through the lot of this, now that Mary is clearly being paralleled to Ramsey the Hellhound, which lizbob and I are discussing in the chattybubbles:

The theme of the season is clearly motherhoodhow does she relate to Mary though :PI mean the whole pregnant thing makes it sound omre like Kelly

mittensmorgulyeah… but Mary “birthed” the entire plot of the series in more than one waythough none of it was actually her fault (like it wasn’t actually ramsey’s fault that she was let out of her cage)she was just doing what hellhounds dowhen they’re masterless

elizabethrobertajonestrueAnd this is the whole attack dog thingmary, Dean AND Cas all get it

mittensmorgulI am having shades of Eve (since she died wearing Mary’s face)

[…] where we talked about God having created the Hellhounds…

then again, he kept trying to create “monsters” to keep the world in balance. Every Apex species needs something to keep it in checkI think “Eve” was his balance there, creating the monsters to balance humanity

elizabethrobertajonesYeahand 12x14 discussed that as wellhow they’d been in balance

And Dean had unknowingly been on Sam’s BMoL leash the entire episode. All those “back to back to back” hunts that Dean came back from covered in blood, wielding “his father’s weapon.”

*Necessary Digression #3– and yes I’m aware we’re still mid-digression #2… bear with me here:

Dean apparently clobbered those three monsters mentioned above with a barbed-wire wrapped baseball bat that he said “Dad loved this thing” or whatever. Yes, haha, a reference to Negan. But that blunt, bloody instrument was also a major parallel to early s8– when Dean came back from Purgatory (that he referred to as “pure”) COVERED in the blood of all sorts of monsters, while Sam remained “clean.” That baseball bat made a nice stand-in for Dean’s purgatory weapon, no?

Dean telling Sam about his time in Purgatory, describing it as 360 degree combat, cutting a bloody swath through every monster in the place…

And Sam hit a dog.

THIS IS EXACTLY WHERE WE ARE IN 12.14!!!

Sam is taking Dean out on all these bloody hunts and hiding stuff about the source here. Meanwhile Sam’s hanging out with a veterinarian (student… close enough), but instead of hitting the dog, THE DOG HIT HIM. Literally, jumped all over Baby.

So going right back to the beginning of s8, i.e. the part of the story where Sam and Dean began to think that they could change the entire world to make it “safer,” to stop the supernatural from even existing on Earth (by slamming the gates of hell, altering the entire balance of nature).

BUT THIS TIME IT’S HAPPENING IN A DIFFERENT WAY.

The BMoL are trying the same sort of cosmic adjustment, committing monster genocide in the name of “the greater good” that got Sam and Dean wrapped up in four years of “cosmic consequences” that they’re only NOW beginning to recover from.

Sam nearly dying, the angel fall, Cas losing his grace, shoving Gadreel down Sam’s gullet, Metatron destroying heaven, Dean taking on the Mark… right down the line to releasing the Darkness and then reconciling Amara and Chuck to balance and save the universe.

I mean, Dabb is just killing me with what he’s doing here. I’ve now been working on this reply for the last 3 hours…

mittensmorgulI am STILL working on my first ask message, where I’m tryin gto sort through ALL the pies he[’s got his fingers in…

elizabethrobertajonessort of belatedly realisinghe’s genuinely got a finger in ever freakin’ pie in the show

elizabethrobertajonesDabb JUST tying up his OWN loose endsis actually tidying up the ENTIRE show

mittensmorgulthis is a turducken wrapped in a piecaken wrapped in a croissookie

elizabethrobertajonesDabb era is season 4 - presenthahahahahais that your new Dabb era tag

mittensmorgulshould beto think i had reduced it to just a linzer torteit’s everything

elizabethrobertajonesyeah

mittensmorgulJust as I typed that, Rowena on screen said “It’s MEGA.”

*/digression #3

*back to digression #2

*actually, let’s end digression #2 here as well…

Imma try to stay on point from here on out. Let’s see how well I do…

This isn’t about restarting the trials. This isn’t about recreating the angel fall spell. This is all about going back to revisit these things that ended up being Cosmic Consequences™ level MISTAKES. Giving everyone a chance to face these things again, in a different way, and make better choices. They’re in the process of finding another way.

The last little bit of my chat with lizbob might give you an idea of where I think this season is headed, and it all boils down to love… and love. (edited a bit because REALLY LONG and rambly, and there was a lot of “yeah” and “huh” sorts of comments through here…):

elizabethrobertajones: Joshua seems nice and all but God related to him as a gardner just as he related to Metatron as a writer

mittensmorgul: after he locked up the darkness, he was trying to create that balance on his own, but he really lacked the finesse to do it properly

elizabethrobertajones: Hm. and the writing is controlling the narrative on a BIG scale

elizabethrobertajones: gardening, if you were controlling the world, would be clipping it into shape. like just tidying it up taking out some weeds. like say… eliminating all monsters

mittensmorgul: but if we’re about balance and finding better ways, and Chuck’s still talking to Joshua… now that he’s reunited with Amara maybe things CAN be better now?hopefully?

mittensmorgul: BUT CHUCK SAID THAT DEAN WAS THE ONE CARRYING THE STORY NOW

elizabethrobertajones: don’t know if Joshua is still talking to God :Pyeah

mittensmorgul: he put the earth in DEAN’S hands

elizabethrobertajones: Dean gets to decide what happens and he doesn’t approve >.>

mittensmorgul: Dean’s the gardener now. I think he likes the weeds

elizabethrobertajones: And he tends to the garden in the traditional ways which WORK and keep a good sort of peacehe relates to the weedsknows some dandelions can be pretty

mittensmorgul: he thinks he’s one of the weeds

elizabethrobertajones: no need to rip them ALL upyeah >.>poor Dean

mittensmorgul: heck, most of the “weeds” are food for the beesbalance

elizabethrobertajones: CAS SAW IT ALLback in 7x21the whole planit was perfect

mittensmorgul: yepAnd Chuck CONVENIENTLY left Cas out of his description to Dean about the world being left in his hands (and Sam’s)BUT CAS HADN’T FIGURED OUT HIS PLACE YETHe’s still struggling to figure it outBUT WE ALL KNOW HIS PLACE IS WITH THE WINCHESTERS

elizabethrobertajones: yeah

mittensmorgul: He’s the third piece of the triptych here

elizabethrobertajones: he loves themdone dealwell he needs a sense of HOMEand he’s already done the whole I love you thinglike

mittensmorgul: Dean’s the firewall, sam and cas are the two sides

elizabethrobertajones: what else needs to happen

mittensmorgul: love… and love

elizabethrobertajones: (marriage propsal)

mittensmorgul: yep

elizabethrobertajones: like the next big step :Phe’s already platonically embedded in the familywhat’s the next motivation to live with them and call them home if the question is STILL OPENAFTEr that

mittensmorgul: he’s still trying to figure out what family and FAMILY mean to himhence his trip back to heaven

So onward to Sam’s battle with the TRUTH, and how it relates to veterinarians and dogs he’s hit (or who have hit him).

Well, this time around, the dog hit HIM. The veterinarian knows part of the story. She knows the monsters are out there, but she very specifically does not know certain things… like… she thinks Crowley seemed “nice.” Pffft

BUT SHE ALSO STEPPED UP AND SAVED SAM in more ways than one. First her speech about honesty, and how it was her deception (that she loved her boyfriend) that had gotten him killed. If she’d only told him the truth, they wouldn’t have been out there camping together where the monster found them. Instead of just breaking his heart, she now feels like she has his blood on her hands, which is a far worse sort of guilt.

When she finally confessed the truth to Sam, she was able to take back her agency. She saved Sam, whacking the hellhound with the green cooler.

*gives props to the props* the green cooler saves the day! :P

Sam lost his glasses in this fight, too. He was fighting blind, against an invisible enemy he could only really see by following its tracks in the dust.

And the episode ends in a tidy inversion of how it began. (pffft, tidy…)

SAM is now covered in blood, and Dean is clean.

Now Sam has his chance to “come clean” with Dean.

Sure, Dean doesn’t know everything yet, but the image is coming more into focus. Sam and Dean are getting closer to being on the same page here.

(also, Mick is in Sam’s phone as Frodo, while Mary had the MoL in hers as “hobbits.” I’m sensing a theme here)

Sam had been lying to Dean about where all their hunts were coming from, essentially leaving Dean in the “hellhound on a leash” role. But now that Sam has told him the truth, Dean can cut that leash. He’s not just the attack dog anymore.

There may still be truths that need to come out, but at least Sam and Dean are nearly back to a level playing field here:

Dean: What do you want me say? Do I like it? No. Do I trust them? Hell no. But you’re right. We work with people we don’t trust all the time. Hell, I just Liam Neeson’d it up with Crowley. So, if you wanna give this a shot, then fine. But the minute, and I mean the second, something feels off, we bail.

Kinda makes me wonder what Dean might feel was “off” enough to follow through…

Finding out Ketch killed Magda? Finding out the truth about the Colt? Learning about the Monster Genocide Agenda? Or maybe just seeing behind the curtain that Sam saw through about just how incompetent the MoL’s intel really is…

Dean’s already seen their “attack dog” in action (Ketch), and he was not impressed. Now that Dean’s been let off his leash and been given part of the truth like a PERSON with AGENCY, and is able to make his own choices based on the fact that their info is coming from the MoL, I wonder if he’ll start piecing all of those sketchy details together for himself.

I have a feeling he’s gonna have a BAD feeling right quick…

#anonymous #spn s12 spoilers #spn 12.15 #spn s12 speculation #this is an andrew dabb appreciation blog (except when it comes to car stuff)#davy perez appreciation tag #revenge of the subtext #s12 as s6 redux #but really this is s12 as everydamnthing redux #here have my belated thoughts on the whole love... and love #grand unification via love theory #using your words #subversion and inversion #the scheherazade of supernatural #men of letters vs hunters #i mean really every. damn. thing.#spn 5.11 #dabb vs cars #it's spirals all the way down

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