#Dean analysis

[sweetm0uringlamb]

YO GUYS I JUST MADE A 2 HOUR DEAN ANALYSIS ID LOVE IF YALL WENT TO WATCH

THANK U SM

[the-gayngel]

understanding dean winchester is quite simple once you realize that he does not feel enough for anything or anyone, and he will self sabotage so hard even if someone is being like "hey i really value you being a part of my life and you absolutely changed me for the better. please never change, i want you in my life forever." he will somehow hear that and be like "there's no way they mean that though, they're just trying to make me feel better. eventually they will leave once they see who i truly am - an angry, confused, scared kid in the shape of a middle aged man" and it's just like okay buddy how did you even get from Point A to Point B like that

[intheeyeofthebeheld]

@angelsdean nailed it with these tags:

1.18 SOMETHING WICKED

[greypistacchio]

EPISODE 6.15 "The French Mistake" IS SO VERY DESTIEL CODED

LIKE

it's actually so revealing that Jensen and Jared are staying in-character despite how surreal everything is? this is Dean and Sam in our world, and from the get-go it's pretty obvious that they are confused beyond words. like, Dean's "oh crap, I'm a painted whore" is just?? iconic?? authentic Dean Winchester moment!??? LOOK AT HIS FACE, BABYGIRL IS SO CONFUSED

and this is relevant to my point bECAUSE it's irrefutable proof that this is 100% Dean and Sam from the show, that they are themselves.

sooooooo

can we please talk about Dean eye-fucking Castiel into oblivion (as you do!!) until Misha stops acting the part, and right the hell away Dean figures out that it's not Cas and is just. no longer interested!?? he's like, alright i'm done with whoever this is!??

his face just falls

and he doesn't even look at Misha as he leaves, just like when he met Jimmy Novak and his homoerotic vibe simply vanished - because that's not his autistic soulmate, it's just Some Dude??

mind you, it's quite interesting to notice that Sam doesn't see what Dean means, because "dude, look at him". which is shorthand for, wdym Dean like he's wearing the trenchcoat with the blue tie, he looks like he doesn't know how to spell the word "hairbrush", he's eye-fucked you right in front of my face as he does.

BUT DEAN!! dean is just like, fuck no that ain't cas

not MY cas anyway!!

the destiel of it all, the dESTIEL IS JUST EXQUISITE

also "Hola, Mishamigos" as he tweets with his tie loose has to be peak Misha Collins energy like. that man was being paid to be unhinged onscreen. what a day it must've been for him

[wrenwinchester]

Don’t think about malnourished baby Sammy. Don’t think about little four year old Dean begging his Dad to buy formula instead of ammunition, of four year old Dean burning himself trying to warm up Sammy’s milk. Don’t think about Dean waking up every couple hours after crawling into Sammy’s crib to make sure he was still breathing. Don’t think of little four year old Dean who used to beg to feed his little brother his bottle, now not having another option. Don’t think about baby Sammy getting sick and Dean begging John to make him a doctors appointment to make sure he’s okay. Don’t think of baby Sammy learning to walk with his older brother holding his hands, of baby Sammy crying when he sees John because he doesn’t recognize his own dad. Don’t think of baby Sammy calling Dean dad, or the fact that Sam’s first steps were towards Dean. Don’t think about the fact that the doctors were worried about Sam’s weight at that doctors appointment, and ever since, Dean has made sure that Sammy always had enough to eat, even at the cost to his own health.

Don’t think about twelve year old Dean collapsing on the first night of a hunt because he hadn’t eaten in four or five days, because Sammy needed the food. Don’t think about John yelling at Dean asking what the hell is wrong with him etc. and Dean just shrugs it off. Because he’s fine. And he ignores it. He shoves the aching for food way down and ignores it. So, when they go back into town because they hit a dead end, and get food at a diner, Dean gorges on the food, and eats half of John’s too. Don’t think about John seeing this, having a flash of worry but ignoring it because “it’s Dean he’s always fine.” Don’t think about Dean worrying the first time Sammy called him Dad because “no, no, no, Sammy, I’m your big brother Dean.” Because he’s worried that his Dad is going to freak out if he hears Sammy calling Dean dad.

Don’t think about the fact that Sam probably didn’t learn the word Mom until he was at school because it wasn’t something his dad and Dean said. Don’t think about Sam driving alone for the first time and hitting a dear and calling Dean because he didn’t trust that his dad would answer. Don’t think about Dean, sitting in some motel at 23 years old after a fight with his dad who stormed off debating calling Sam because he’s the only one who would get it.

Don’t think about the Winchester brothers as little kids left alone in motel rooms for too long, underfed, and unsure of when their Dad was going to be back.

[chapelh1ll]

Here's my Sam Winchester x Preachers Daughter analysis for those who care!!

@mothercain

[vendettasfanfictioning]

Ok so. "Why does this sound like a goodbye?" Was fucking heartbreaking, right; we have the full-on uninterrupted eye contact, the head tilt, Dean's already open mouth twitching before the scene cuts to Cas' "I love you," like he had more to say, but Cas beats him to the punch. It's great, we love that. But for the dialogue to be sequenced that way, and to have Dean reply with, "don't do this, Cas."

I'm only just realizing how fucking insane it was. And sure, I might just be coping here, at the end of the day who fucking knows, but look at it. Think about it. Now let yourself feel it all over again.

It's Dean's death knocking on the door behind Cas, and it's Cas' death emerging behind Dean. Like this, they're directly facing their own demise—but they're too stuck on each other, in their moment, to give a damn. And then Dean doesn't say, "I love you too." He says, "don't do this."

He isn't disgusted or ashamed or put off in the slightest by Cas' confession, because if he is then why is he on the verge of tears? In what world would it make sense for him to want to cry after his best friend confessed to him, if the confession was something he did not want. He says don't do this here, don't do this to me now.

Even if, and that's the most unlikely if to ever exist, Dean did not reciprocate Cas' feelings—don't do this is still so fucking powerful. Because Dean's connected the dots, happiness [...] is in just saying it, and Cas said it, so where does that lead Dean? That's right, with Cas dead again, trying to save him again.

Don't do this. Don't die for me, don't love me only to die for me, don't love me at all, just stay with me.

Don't let me watch you die again and not even let me follow you—because, at the very least, that was a consolation. She's gonna kill you, which Dean knows that Billie knows will hurt him more than his own death, and then she's gonna kill me.

"Don't do this," was actually so fucking powerful, I don't know how it slipped past me until now...

[gay-mooshrooms]

like...ok I just-

dean and cas are so unbelievably tragic because they have such similar fears and wants but they manifest in two entirely different ways that actively work against each other

cus dean needs someone who will stay without asking, someone who'll stick around without him having to voice it because if he voices it the want becomes real and dean doesn't get what he wants, if he voices it it can be taken away, it can hurt him

and cas wants someone to ask him to stay, someone who'll look him in the eyes and say you, I want you, not because of what you can do, but because you're you, stay, but he never does because he doesn't think he's entitled, that he's allowed to have it, because when has he before?

so dean never asks and cas never stays, and dean thinks cas wants to leave and cas thinks dean wants him gone and when dean finally learns otherwise it is too fucking late and cas is gone for good and dean can't ask him even though he knows the answer now and I just...

god watching s15 is so hard

[ghostcreaturetypething]

Imagine you are a child. A youngest child. Your mum died when you were a baby. Your dad is…grief-stricken, obsessed, more of a drill sergeant than a father. But you aren’t alone. You have this brother. And he’s only four years older than you, but from the moment your mum dies he steps up as your parent, and he does his best but…he has the same parents you do. One dead, one whatever the hell John is. He has very little experience to go off as to what a good parent should be. But he feels like he needs to be one for you, so he tries, and he tries, and he’s your brother and he’s your mum and he’s your dad, and he’s sort of all you have, honestly. And he’s annoying, and over-protective, and however old you get he only ever sees you as his baby brother. Or his kid.

But you can’t complain about your parents to your brother because he is your parents, and your sibling, both. So in that you sort of are alone. But you don’t know any different, so you grow up thinking that that’s what a brother is, and then you grow up a little more and realise no, he was always trying to be more than that, and then suddenly you are both adults and you aren’t the baby hiding under your brother’s wing anymore, but you’re still stuck with him, this brother who insists on putting you first in everything he does, just like a mother would — but he’s not your mother, or your father, he is your brother, and he’s only four years older than you, an age gap that seems to get smaller and smaller the older you both get. And your brother — he’s flawed, and he has daddy issues, and he gets angry too easily and sometimes he hits things, which would all be very well if he was just your brother.

But he’s not just your brother, is he? He’s your parent, he had to parent you, he’s spent his life parenting you, which you never asked for, but he did it anyway because that’s just the kind of person he is, and for most of it he was a child himself and god he did his best and it wasn’t always enough but you are so grateful to him, anyway.

And now you’re both adults, two boys all grown up but he, he is…Not. Actually. It happened so incrementally, just like growing up, that you didn’t really notice until it was too late. But suddenly your strong, capable brother is a child. Which, to be completely honest…you don’t really know how to deal with. And, I mean, it does make sense to you, you suppose, because you’re clever, and you went to school, and you’ve always loved research, so you know how these things work now, a little. Your brother is a child now because, simply, he’s fucked up. From the trauma. The trauma of your childhood, right, but of course it wasn’t trauma when you were living it, it was just your life, and you didn’t know then that your brother was having to be someone so much older than his years because he’d been like that for as long as you could remember, but now he isn’t, and you are left with the child he should have been, who needs taking care of but still insists on taking care of you no matter what, and sometimes he kind of…can’t. Not like he used to. Because while you grew up, your brother grew down, and your brother who is your parent is suddenly somehow a child still — no, not still, he was never a child, but he is now, throwing tantrums and pouting and messing around, ever immature, frozen at the age you never got to see him be because you were a baby and then you weren’t a baby but by that time that person he was for such a short time was gone. Your brother stopped being a child at four years old. And now you’re finally old enough to try and parent him back…and he seems to need it. Your brother who never got to be a child is now very much a child, but he’s also still your parent, this child, and you are in your twenties and you have grown into a clever, sensitive, caring, capable young person and your brother…your brother has grown backwards. And you want to take care of him. But it’s hard, and he doesn’t let you, doesn’t want to let you, and he’s still the only parent you have so sometimes, deep down, you still want him to take care of you, and he does, and he does, and he does.

But the older you get, the less you need him, the younger he gets, the more he needs you — until you do need him of course, and then he is there, always there, reverting back to the person who saved and loved and cared for you as a child. And it’s sort of difficult to reconcile the two versions of him in your head. And you find yourself getting exasperated with his childish antics and then you find yourself smiling at him fondly as a glimpse of a much younger person shows through the shell of the soldier your brother was forced to become and then you find yourself getting angry with the overprotective controlling superior officer he tries to be and then you find yourself deeply grateful for the unshakeable big brother who saves your life over and over and over again.

And it’s disconcerting. And it’s difficult. But you owe him everything and you love him even more and so you just keep living with it. With him. And you don’t mention it. And he doesn’t, because he’s him and he never mentions anything. And you wonder if he even notices that things he used to face without fear, blank as a brick wall, make him flinch now. If he realises the steady, dependable big brother he had to be when he was too young to be depended on is now a mess of turbulent, childish emotion. If he thinks back to his littler self and envies him his competence. You hope not. You hope not. You know now the weight he carried. At least a little. And you think, infuriating as he his…he deserves to be a child at least once in his life dammit, just like everyone else. So eventually, you begin to catch yourself smiling at him more and more often, and you begin to grow desperately fond of the parts of him that are still young, the parts littler you never got to see. And sure, he annoys the hell out of you sometimes. But you are grown now, and you are understanding, and patient, and kind. And you love your brother. So you don’t mention it. And he doesn’t, because he’s him. But you make allowances for him, and you step in front of him now sometimes, and you let him be who he is, as long as he’s not hurting himself. Basically, you step up. Because you can, because you’re older now, and you’ve realised that, in some ways, you are actually more grown up even than your big brother. And so you try your best to look after him. Just like he used to do for you.

[bitchface24-7]

I love the dichotomy between Sam and Dean where they see each other in opposite lights. (lowkey a character analysis below)

We’ve seen how Dean views himself. He thinks he’s worthless, weak, stupid, and unloveable. He “hates what he sees in the mirror.”

Sam thinks Dean is amazing. He’s a phenomenal hunter and an even better brother. He stepped up to take care of him when dad fucked off. Dean took care of Sammy in ways most people would never understand. Dean is strong, kind, funny, witty, and undeniably gorgeous. Sam loves Dean with all his heart. No one will ever replace him. No one. Sam cannot live without Dean. If Dean leaves him, he’ll just be surviving.

Sam on the other hand thinks he’s a weirdo, a freak, an abomination. Something to put out of its misery since how could something so disgusting be alive in this world?

Dean thinks Sammy is brilliant. A keen eye and a knack for researching into unknown lore the brothers didn’t even know existed. He’s snarky, snooty, sarcastic, and sweet. Sammy knows the power of both his bitch stare and puppy-dog eyes. Sammy must know he has Dean wrapped around his pinky finger? There isn’t a goddamn thing in this world that tops Sam in Dean’s eyes. Sam is perfect. He’s both beautiful on the inside and out. Sammy is Dean’s priority, his main focus, his baby brother. Eventually it just switches to “mine. mine. mine.” in Deans head. Dean cannot live without Sammy, he’ll k*ll himself before he lives in a world without his baby brother.

Like??? HELLO?!?! I love them so much it isn’t even funny

[all-american-corpse]

So if I wrote the essay about how wincest (especially in seasons 1-3) actually perfectly aligns with the true nature of gothic literature and even drew actual evidence backed parallels to other works of gothic literature would anyone care orrrrrr

[intheeyeofthebeheld]

I Love every ounce of this.

Key to understanding the fun little outfits post are that it includes things that...

Dean does not wear in his day to day when he isn't hunting

Are not a specific profession's uniform

Nobody else made him wear (and that arguably he shouldn't wear if he's trying to be inconspicuous)

As others have pointed out, the Michael outfits don't get included because those were not Dean's choice.

The cardigan sweaters and fancy tailored grey suit DO get included because while he was ostensibly wearing them for undercover work, in reality nobody made him wear that specific item and arguably, he would be more believable in the undercover role if he didn't.

FBI agents are government employees that make, on average, a pretty middle class salary. They don't go around wearing tailored suits with color-coordinated silk ties to everyday cases. And as @ilarual pointed out, insurance adjusters often don't even wear suits.

Something I've also noticed moving and traveling around the U.S. is that different areas have very different standards for what is considered professional, what is considered casual day wear, etc. in general. In large cities like Boston and New York, for example, it isn't out of the ordinary to see people in suit pants and button-ups on the daily.

But in somewhere like the small towns Sam and Dean frequent, that would be very unusual for most people regardless of profession. I don't think I saw anyone wear a suit outside of church and prom the entire 22 years I lived in a small town. Most people had jobs that required a uniform for safety or brand cohesion. Even people with office jobs that didn't require an explicit uniform wore khakis or chinos with polos or button-ups. Sometimes even jeans with a t-shirt tucked in.

I'm sure Sam and Dean don suits as often as they do because most people assume that's what fancy government or corporate types always wear, and it lends them an air of authority. But beyond that, Dean goes ham on the colors, customization, and details because he wants to. Because he just likes it!

[destiel-wings]

Dean Winchester & hug dynamic analysis

I was thinking about how whenever Dean hugs someone he's almost always the one hugging the other and how this links to his psychological trauma of always being the caretaker of people, making himself bigger to protect them.

Because that's how Dean sees himself, as a shield for others, and then I thought about how Cas actually is the shield, and he's HIS SHIELD, specifically, the only one who's really there to protect HIM, which is why it hits so much when we see this:

The way Cas wraps his arms around him, trying to protect him with his whole body--that he'd use as a shield and give up in a second if he could spare him from any pain and save him.

(for context: Dean was about to go use the soul bomb on Amara there, it was a suicide mission)

Bobby is another one that hits, he hugs him as the big hugger because he's his father, he loves him and he's actually here to protect him (and Dean LETS him -barely, but he lets him *and Cas* - in a way that he doesn't let Sam)

I watched a compilation of Sam & Dean hugs to check if i was right about it, but it's almost always Dean the big hugger with Sam, except when he's about to die or Sam sees him alive again after losing him.

Even then, Dean mostly tries to hug Sam as the big hugger anyway, with at least one arm, like a way to comfort him, making him feel protected, like his body language is saying "I'm here, I'm okay, I'm still strong, i can still protect you" (because their real father failed and Dean thinks it's his job).

He rarely lets himself be the little one hugged with Sam, unless he's barely conscious. Which is why it kills me so much more now that in this moment (s14, when Dean was going to lock himself in the Ma'lak box cause he was possessed by Michael) and Sam has a desperate breakdown and punches him (to stop him) he forcefully hugs him as the little hugger, the way Dean always kept him, like a way of saying "I still need you to protect me, please don't do this to yourself".

In the scene below he gives Sam his blessing to do a dangerous (possibly suicidal) mission, and one of his arms is down, but the other one tries to stay up--he's forcing himself to do it and he struggles because he still wants to protect him, but (as the seasons progress) he slowly becomes more prone to let go.

So in this view the hug dynamic becomes an indicator of how Dean sees Sam (and himself) and his protector role, how adult and self sufficient he considers Sam, and how much he lets people around him take care of him, lowering his walls and letting himself be hugged.

This is also why i think hugs from characters like Garth or Charlie are so special, because they're just like us: they see Dean and they just know that he needs to be hugged a lot, and that he's not used to it, so they just go for it-- and it's so normal and kind and spontaneous that Dean's just not used to it-- he doesn't know how to respond (especially with Garth, at the beginning, but as the seasons progress, he learns to, and he even initiates the hug eventually).

I love the hugs where they're 50/50 (one arm up, one arm down both), feels like they're equals, both taking care of each other. I feel like with Sam and Dean, this indicates a healthier dynamic, because Dean lets go a little of the role that was imposed to him and manages to see Sam as the strong individual that he is. But the same applies to 50/50 hugs with other characters, like with Cas, where I feel like it testifies how equals they feel in terms of being fighters, there's a show of respect of each other's strength that transpires by the gesture (which is even more astounding considering that Cas is literally a powerful angel).

And just to end on a destiel note, I'd like to note the possessiveness and protectiveness of Dean (rightfully so) whenever he finds Cas after he thought he had lost him, and how that translates into his body/hug language:

[kingofthewilderwest]

We need to start questioning the conflation of "maturity" with "increased stakes."

It's not to say higher stakes is always a bad choice. The first half of the How to Train Your Dragon book series has an endearingly whimsical, child-like feel. Hiccup's issues in the first half of book one are an obnoxious, cat-sized Toothless pooping in his helmet. The movie adaptation might have made the book and its counterpart distant cousins, but it was a thoughtful move to alter concepts to the appropriately theatrical: books and movies aren't the same medium. Hiccup riding alone on Toothless, exchanging fire blasts with a mountain-sized dragon, and losing his leg came off as well-done storytelling.

Hiccup staring at a prosthetic never happened in the book. He didn't lose his leg in his encounter with the Green Death. It was, as the creative powers behind the movie said, a result of the increased stakes. They didn't do this just to be more dramatic; they did it because it seemed that, based on how their narrative was going, this made sense. And this was a soft, quiet, shocking, breath-taking scene that instilled how good the movie handled its stakes. It gave us a reflective reaction to consequences that audiences might not have expected. This movie understood timing, pauses, quietness, narrative arc, poignance, reflection, emotion, love, and heart.

We know about the conflation of live action as "more mature" than animation. But a medium doesn't change maturity levels. We all know that's bogus, and many analyses have been given on that. Disney live actions add extraneous gunk, down to Gaston having a past relationship with war (so I've heard, from the people who actually watched the movie), and Disney giving us the sad scoop on why Belle's mom isn't around. Furthermore, lots of times, when I see the conversion of animation to live action, I notice creators feel a need to "raise the stakes" -- in line with the erroneous view of "giving maturity."

But "higher stakes" often means inserting action in place of mindful interaction. I feel today's Hollywood movies, in their treatment of "action," don't let movies pause and breathe anymore - ergo, they don't let us think. Isn't it more juvenile to actively avoid thought in favor of "hey look I made the building go boom"? There may be less "stakes" in introspection and mindful dialogue, but that's what gives it its maturity. That's how we went from Iron Man 1, with its grounded treatment of war and abuse, to the mindless high spectacle MCU is today.

Snappy one-liners or moments that clap at contemporary issues don't substitute for maturity. What can make a story mature is characters grappling with issues in a natural narrative through-line. A snappy one-liner is its own form of speedy spectacle.

We know about the conflation of "gore and sex" with "mature audiences." I believe they're right that graphic sex and gore is designed for adults. But that doesn't make it mature, and that doesn't make it the only way to target a medium for adults.

"Realisticness" isn't maturity. Per above regarding animation: realistic visuals are nothing. And if you think that putting more Debbie Downer material into your adaptation makes it more adult, you have to ask yourself why the themes that spoke to people's souls got muddled in its midst. We weren't mature enough to interact with the most subtle, nuanced, and impacting voice of the story. But hey! Look! There's more corpses, I guess!

It's not the visuals, it's not the events. It's not the "things." It's not the basic insertion of the external. Get past the superficial, get past the top layer of presentation. It's the mind. It's the ability to think. It's the ability to be still. It's the ability to be interested and attentive when something is slow or quotidian, because we can understand why that is important for narrative growth or arcs or themes or commentary on the human condition. It's the ability to know when and when not to include something. It's the ability to make resonant impact. It's the ability to be deep with your emotions or your themes. It's the ability to take what you have and grow it in a way by which we can derive something deeper.

Maturity is critical thought and well-conducted, appropriate responses to content of any kind.

As DeBlois tells Empire, the move to live-action brings a different emphasis to How To Train Your Dragon; a new heft, both physically and emotionally. “It’s so dialed-up in terms of stakes — having a fully credible, photo-real dragon stomping around trying to kill him,” the director says.

And maybe that DeBlois quote is taken out of context. Maybe there's more going on than that one sentence conveys. Maybe Empire is making their own erroneous assumptions. But "so dialed-up in terms of stakes," isn't, on its own, a good appeal. The animated movie already dialed things up - and knew when to include or not include something. A live-action that imitates the visuals of the animated movie exactly, as if no independent thought has been done to its unique adaptation, to the pros and cons of the medium, to what a independently-presented story needs and doesn't need... It has to make you wonder: how many conflations of "maturity" are going on?

How long are we going to keep making our own conflations?

[creatorofarcadia]

It's been a while since I watched Supernatural, so don't take my opinions as gospel or anything. But I think Dean is self-hating to the point of narcissism in some ways. Don't get me wrong, I empathise with Dean and understand why fans largely do too. But his self-loathing warps his perception and becomes the centre of EVERYTHING and at times that really has ripple effects on those around him - particularly Sam.

Take their childhood, Sam has a right to mourn the fact that he didn't get a normal childhood. He's allowed to be angry that he didn't get a home, a present father, a stable community, and consistent education. But whenever Sam attempts to express his complicated feelings about his childhood, Dean immediately interprets it as ' oh I was supposed to look out for you. Are you saying I failed? Are you confirming I'm worthless?' which grinds the conversation to a complete halt. Because of Dean's intense self-criticism, Sam can never really be 100% honest with him or ask for support with his own issues, especially regarding their childhood. As anything outside of 100% gratitude just becomes another stick for Dean to beat himself with, and the conversation is immediately derailed.

Not only does Deans self-hatred mean that Sam's expression of his own experiences are pretty consistently shut down. In some ways, I think Dean strips Sam of his autonomy - he's so self-loathing, he sees every decision Sam makes as being about/a reaction to him. A good example of this is Stanford. Rather than understanding Stanford for what it was, an attempt by Sam to carve out a better life from himself and escape hunting. Dean views it as betrayal or abandonment, some re-affirmation of his own belief that he's not worth caring about. Rather than understanding it's a rejection of hunting, he sees it as Sam rejecting him. To Dean, Sam isn't attempting to find a better life, he's punishing the family.

Overall, it's interesting that people largely and rightfully sympathise with Dean due to his self-hatred. However, I don't see as much discussion about how his self-hatred doesn't just hurt him, it hurts those he's close to, as it colours his interpretation of their every action. Dean's self-loathing is always the biggest thing in the room and that has consequences.

[roeiswriting]

Roman Reigns has never truly let go of his past.

The pain of losing that brotherhood has never left him, no matter if there were half hearted reunions, moments of hope, or even if time saw them standing together once again. That moment in 2014 time stopped, a chair to the back, and a bond lost. To him, the Seth he knew was gone.

A broken, beaten down Rollins who puts his heart and soul into every detail when he steps in that ring adorns the shield gear once again, steel chair in hand, a reminder of the moment that has stuck with Roman despite everything.

To Seth it doesn’t matter if he’s hurt, that he’s lost the championship which he has carried so dearly, because he knows that putting Roman right back into that moment has the opportunity to change history.

To give Cody that moment he needs to finally finish the story in the midst of this chaos.

For Seth and Roman their story is far from over, it’s a series of novels in a library built for three, an echo of their fellow shield brother in arms, it’s a string of fate that ties them together in ways we could never comprehend, a story of soulmates in the wrestling sense which never truly ends.

For Roman, living in his past caused the downfall of his present