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naruhearts · 6 years

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14x10: Dean Free Will Winchester, Destiel, TFW, and the Only Win

Originally posted by michaeldean

*trips over feet*

I still have no proper words re: the seamless interconnections of TFW/Dean/Emotional Arc-centric meta that most of the meta community has already yelled and written extensively about since S12. 14x10 was a META EXPLOSION, my friends. I had complete chills!! Yockey’s magnificent soup lent us years of Dean/TFW-characteristic meta narratively realized like some colourful picnic basket of psychology.

I’m sure I missed some awesome stuff considering I haven’t rewatched it yet, but for now, here’s my semi-coherent first-impression thoughts (some of which I copy-pasted from twitter) under the cut!!

On the other hand, if you don’t want to read this massive post, it can be succinctly summarized in one phrase:

Originally posted by @intelligentshipper

Dean is the cage. Man, yes I know, the NARRATIVE WEIGHT AND SYMBOLISM OF DEAN LOCKING HIMSELF UP; Dean’s possibly in “physically rough shape” (translation: emotionally rough shape) inside the cage he built for himself. As the Master of Repression and Locking Up Emotions, this unhealthy psychological mechanism in this case becomes his controlled strength against the core of his trauma and everything Michael represents *points at Dean meta* therein lies the beautiful paradox of the human condition. Dean Humanity Winchester is the poster boy for it. It’s all led to this! Don’t you love when our characters undergo self-translation from unwanted/coerced destiny to chosen role (after Michael manipulated Dean’s freely given “Yes”. And recall the same key theme with Sam occupying the position of Gatekeeper to Hell re: Lucifer trauma in 14x01)?

14x10 in itself offsets the rest of what we’re gonna see characteristically as per TFW’s individual narrative journeys (and Destiel arc; we’ve observed the continuation of Dean and Cas role reversals as per usual, with Mind!Pamela and Father Figure Michael serving as heavy-hitter Casifer-reminiscent exposition). “Nihilism” and “Damaged Goods” paired through subversion, where Dean going on a ‘suicide’ mission via imprisoning himself with Michael isn’t done out of SOLE low self-worth (don’t get me wrong, he still hasn’t fully emancipated himself yet) but mostly 50% low self-worth and 50% martyrdom for his loved ones. Toxic codependency is no longer the basis of Dean’s self-sacrificial choices, but LOVE AND…LOVE. However, Dean still assumes he deserves to imprison himself. Michael capitalizes on Dean’s depressive trauma and low self-worth in that his conditioning since childhood to internalize self-blame for Sam and Cas’ problems - the world’s problems - works in the Archangel’s favour. He both projects Dean’s fears onto Sam and Cas then breeds their self-doubt by framing them as lacking genuine altruistic value to Dean and hitting TFW where it hurts altogether. A double-double coffee of anguish.

Here we come back to Michael’s overarching role this season as the Harbinger of Truth (as I wrote about when the season first began x x)

Michael!Dean assumes he knows what people want, and yes, maybe in some respects he does in fact know, but I mentioned that he distorts a person’s sense of “worthiness to be saved” (oh, I wonder where I heard that previously) by exploiting their self-hate/respective mental uncertainty of their wants vs needs.

That’s the GOLD about Michael’s role: he’ll be uncovering an entire interpersonal discourse on the characters figuring out (and using their damn communicative skills to accentuate) what they WANT vs. NEED. Again, clarification of truths.

In 14x10, we were largely reminded of Michael and his intrinsic link to S14′s themes and TFW (copy-pasted from my 14x01 review meta; meta builds and builds on itself!):

WHAT DO YOU WANT, A New Beginning (a New World Order, a Better World in Michael’s case reminiscent of S6/7 like I expected. Michael is the absolute antithetical figure to Dean Humanity Winchester, who is blinded by authoritarianism), Love Is Weakness (Love is also STRENGTH, and different kinds of love exist, where we see more singular vs plural dialogue e.g. Cas’ “You have me. You have all of us”) and Family Is Unity.The fact that Michael is the one asking people what they want, specifically directing it to Anael the Destiel/Cas mirror (which she was in 13x13), bodes VERY well for me. He’s going to hold a key overarching position in the clarification of truths and Want Vs Need for TFW with significant flavours of past Eldritch Expositional Big Bads like Amara. Anael is feeling a lack of kinship. She desires belonging. A home. And it’s all very human of her. Because of this emotionality, Anael has FALLEN.

What is your truth? Confront your truth. Accept what you see in the mirror (like I was saying the other day) and glue that broken reflection back together into something empowering. Honest. Genuine. Self-actualizing. And considering Dean is imprisoned within his own body (confinement/imprisonment was again tangible across the episode both plot, visual, and characteristic-wise where TFW, impacted by Dean the Heart Hero’s absence, left a gloomy sense of detachment, helplessness, expendability, and failure internalization) and considering Dean is no doubt hearing Michael reiterate this main thematic question has me buzzing with the joys of self-introspection!!

What do you want, Dean Winchester? What do you want, Cas? What does everyone want?

**Michael additionally gauges the purity of potential recruits for his Supermonster army via hunger. What are you hungry for? What do you crave? Seemingly calls back to S5 Famine and the emptiness derived from losing something alongside experiencing trauma. And when Michael offers you the misleading opportunity, will you take it? Are you worthy? Michael distorts worthiness (Dean’s worthiness; indeed, Dean fills the episode’s negative spaces) by exploiting self-hate. Cas enhances (Dean’s) worthiness by providing freedom.

The “turning point” between Dean and Cas in 12 may actually be Dean saying goodbye (then perhaps finding out about Cas’ deal; we shall see). This could call back to 11x23, where Dean was also surrounded by his family pre-sacrifice. Dean thinking he needs to “die” - to lock himself up - in order for them to win may segue into TFW “wishing” things were different, thus somehow inducing John’s return (and possibly Chuck’s re: Daddy Issues) in 14x13.

Dean wasn’t left alone at the end of the episode. His family - Sam and Cas - were there with him as the wonderful antithesis re: Michael isolating Dean. Separating family ends up unifying family, BUT like I said above, he was still able to hit them where it hurt. Michael the Manipulator used words to twist their thoughts into self-doubt - sow self-discord, yet TFW worked as a unit to strike back. Lessons learned: stronger together, weaker apart.

Sam and Cas occupying the dark Empty-parallel space in Dean’s mind. His MIND was an EXPOSÉ. ALL THE TRAUMA, and it’s incredibly significant that we observed Cas scanning Dean’s traumatic memories (obviously he’s an angel, but the meta undercurrents of this killed me). Cas has now actually seen/felt/heard Dean’s trauma, anguish, and long-running depression instead of Dean using his words to tell him about such trauma; it’s ingenious storytelling, not to mention Sam introspecting over Dean’s own trauma in order to find him was SUPER uplifting and META ironic --> Finding Dean involves happiness. Most importantly, Cas was witness to Dean’s low self-worth, negative self-process, failure internalization, and fear of the future without blinking, yet he also displayed total worry, compassion, and barely concealed panic - as if he couldn’t bear to think about the multilayered traumatic prison that Michael trapped Dean within. Sam said “Dean is strong.” Cas replies that Dean is “more than strong.” To Cas, Dean’s strength of mind, body, and soul shines, and this is why he’s in love with this man - his charge. He loves him in the face of his trauma and past mistakes. Once I have time, I should discuss the memories we heard, but of course they involve his time in Hell (and his S3 mirror telling him he will become a demon. Moc/Demon!Dean callbacks).

CAS: So much. So much trauma in Dean’s mind. There’s so many scars.

SAM: Well yeah. Dean’s been through a lot, but he’s strong.

CAS: Sam...you’ve both been through a lot, and Dean is more than strong [...] Because Michael has Dean trapped away - drowning - I have to wade through Dean’s most terrible memories.

SAM: Would Michael bury Dean in trauma? Michael said it himself. The reason he left Dean in the first place was because Dean was fighting back so hard.

CAS: So if Michael wanted to keep Dean placated--

SAM: Dean thrives on trauma. He’s had to his whole life. It keeps him alert -- keeps him ready. But if I wanted to distract Dean, I’d give him something he’s never had before.

CAS: Contentment.

(**Sam’s right, but he’s also wrong. Dean “thrived” on trauma because he had to as the consequence of a misguided John-imbued childhood, where he mostly skipped over the innocent era of being a healthily developing child and became an adult overnight: father, mother, and brother rolled into one. A good little soldier, and he created various masks of performativity in response to trauma. Multiple tiny seeds of self-doubt grew into worthless that then bred emotional misarticulation, repression, and psychological instability. x)

14x10 majorly ties into SPN’s season-long storytelling commentary on TFW’s perception of Happiness and the overarching themes of Happiness vs Sadness. Cas stated to Jack how The Life™ rarely gives oneself happiness last episode. Ultimately, can you believe Dean’s accrued trauma has been textualized like this?!

Michael knows that Dean has never been happy.

Dean never lets himself have what he wants to have nor be who he wants to be. He is entrapped by fearing real happiness, and his trauma holds him back from achieving what he wants - continues to make him believe that he doesn’t deserve to be content.

And Dean certainly wants Cas. He is fully cognizant and self-aware of this fact. Narratively reconsolidated in musical exposition by the Marshall Tucker Band’s “Searchin’ for a Rainbow”, Dean searches for the rainbow endlessly, but he’s uncertain…afraid of the wind’s flow (and his internalization of low self-worth remains –> he believes “all good things come to an end”. Temporary contentment, where he’s undeserving of such good things as epitomized by real estate woman who wants to infringe on Dean’s property/dream; ‘sell it out’ literally and figuratively).

Either Dean will find his pot of gold waiting for him, or he won’t, and this is the underlying star-crossed literary beauty of the D/C narrative.

Dean’s sick of pretending. He WANTS the wind to show him the way, but we must remember that, in an episode rich with the concept of authorial authority - writing your own fate and ever-glaring Free Will - he NEEDS to blow the wind himself. If he just allows himself to believe that he can have true happiness, then he will.

*I SCREAM, YOU SCREAM, WE ALL SCREAM FOR META-INTROSPECTION!*

Michael’s “I Am You” —> Dean knows he is Michael - the reflection who embodies all the dark parts of himself, just like Dark!Kaia underlined - but he also knows he isn’t Michael, and Dean will use it to his advantage. Dean has what Michael lacks: FAMILY. x

“EVEN GOD CAN DIE.” This cracks open so many parental absenteeism eggs. Cas’ conversation with Michael over Chuck, the ultimate deadbeat absent father figure, was simply an outlet for Michael to attribute his self-righteously immoral actions to his fatherly abandonment. Bitterness. And Cas, more humanized than ever, is aware of Michael’s shortcoming: “confusing loyalty and compassion with weakness”, thus these perceived “weaknesses” are foils to Michael’s preference for isolation, solitude, mercilessness, betrayal, and hatred.

MICHAEL: Playing nursemaid to a nephilim. Nothing like the Castiel I knew. He would’ve never been so...anemic.

Loyalty and compassion are human traits - despised by most angels such as Naomi and Ishim; belittled by Michael - that Cas recognizes and practices. *human!Cas feelings* He has evolved, and as I said in my 14x01 Cas meta:

Earth [is] the true home of Cas the Fish, which bridges his intrinsically human emotionality/disposition as an ex-Angel of The Lord to his sense of belonging. Growing legs to replace fins. Evolution of character. And Dean Winchester, right from their point of contact in Perdition, was the driving spark for his evolution.

“It’s all you,” Dean says to his reflection in the mirror, a repeated mantra, as Michael tries to break out of Dean’s mind, bringing my pre-14x01 meta of MIRRORS to light!! Dean confronted the reflection of himself that he has always hated, where the deep-seated worthlessness that he must eliminate is buried with Michael -- the narrative embodiment of Dean’s toxic shackles: predeterminism, Brodependency, parental absenteeism, repression, toxic misemotionality, and blunt tool expendability as his father’s hammer and society’s hammer. I adore Dean’s consistent self-awareness over the seasons as he learns to differentiate what he can and cannot control. And Michael is jailed inside a FRIDGE *light bulb explodes* It’s time to achieve self-actualization. Sure progress.

DEAN’S “ROCKY’S BAR” EASTER EGGS, MIND!PAMELA BARNES AND DESTIEL

Rocky’s Bar (Rocky & Bullwinkle & Friends!!) was an EASTER EGG meta dream set by Wanek, with thematic colours of blue (depression, loneliness, and isolation -- blue is immediately evoked as soon as Dean starts gaining self-awareness of his past trauma-laden life and remembers the real Pamela), dim reds and somber yellows. GOOD STUFF!!

@intelligentshipper wrote/gathered superb colour meta on this consistent palette of Self + Depression this season - RED || BLUE & YELLOW || I’ve also briefly touched upon the recurring hues that we saw in another hardcore meta episode: Scoobynatural 13x16.

Hello bisexual colours (pink, purple, blue in this setting; observe the metaphor of this very moment - Repressive Toxic Past/Paternal Figure Michael wrestling for dominance over Dean. We live in a meta world.)

Without sounding redundant, here’s the list of Easter Eggs by sasquatchandleatherjackets/mittensmorgul. 14x10 bursts with so much symbolism that it warrants >2 rewatches!

SEARCHIN’ FOR A RAINBOW by the Marshall Tucker Band playing in Dean’s bar (see above):

I rode into town today In my mind, I said 'Lord I'd like to stay' Something in me said boy, move on Don't know what it is the good lord bred it in my bones

And I'm searchin for a rainbow, and if the wind ever shows me where to go, you'd be waiting at the end and I know, I'd see the hill with that pot of gold.

This old mount I'm ridin', she's gettin' kinda' tired But in my heart she knows there's this one desire She's gonna' take me to the end of our road

One of my favourites: the Daphne Loves Fred carved on the bar counter!! Fred, who represented Dean’s healthy masculinity -- was loved by Daphne, the dual counterpart of Dean’s non-repression: the side of him that adores wearing pink nightgown dresses, pink satin panties, vegetable water, romcoms and romance novels...the side of him that adores and embodies everything defined as “feminine” within a heternormative patriarchy. Reiterating past meta, Daphne also symbolized the traditional poster woman he should be attracted to, but never truly obtains for himself. Why? Because his true desires break tradition, and Dean’s subconscious knows this. They break his harrowing past of repression and psychological toxicity. They throw away what John Winchester wanted for him. x

And in this--

FB = Winchester “Family Business” = Jensen’s Family Business Beer Co, with FOX RYE and (phallic-shaped) COSMIC COWBOY as FBBC drinks (and the latter evoking 13x06 Space Cowboy and Cowboy!Cas. This episode, guys. WOW.)

Moving onto Michael’s subtextually telling construct of Pamela Barnes --

Mind!Pamela, well, she blew MY mind! @thetwistedwillow already describes amazing crucial points here. And let me provide commentary on the riveting and pertinent subtextual D/C double whammy of their office scene together:

DEAN: How come you always have a boyfriend?

PAMELA: How come you only want what you can’t have? You don’t want me -- you just like to flirt. Besides, I’m a psychic, so I kinda know.

DEAN: All right.

Mind!Pamela asking Dean why he only wants what he can’t have, linked to Pamela having a boyfriend, establishes romantic connotations. Pamela was D/C exposition.

There’s truth in jokes. Pamela's lines to Dean could be construed as genuine interest, but Yockey actually shot that down via Pamela confirming that the flirting is just for fun, with Dean not actually wanting her, and it nudges at the Destiel context. To me, if you move this outside the D/C context, it would make no sense, because the real Pamela did kiss Dean. They had a passing attraction to each other. Why not have them kiss again, then? Well, Pamela encapsulated both Dean’s subconscious psyche and Michael’s mouthpiece. And by Freudian design, both Dean and Michael know who he truly wants.

Cas is once again ensconced in the negative spaces.

Keeping in mind that Michael has seen Dean’s memories and feelings via possessing him, Michael’s construct of Pamela in the bar setting was, in certain respects, his unsaid Empty-parallel statement: “I know who you love - what you fear.”

Dean wants what he can’t have. He still thinks he doesn’t deserve Cas, and indeed, in his heart of hearts - in the deepest crevices of his being - Michael knows (like most Expositional Eldritch Villains do e.g. S11 Amara) who he loves and what he fears (manipulating Dean’s fears into snake-tongued attacks on Sam and Cas; those statements aren’t true, but human beings are contradictory, and Dean thinking such things about them long ago can still plant self-doubt today, but TFW are strong, and it’s all about conquering negative self-process to come out on the other side unscathed. I mean oh boy, we thought Lucifer was the prime expert on manipulation. Michael’s just as bad as his brother, if not worse.)

Dean is in love with the angel “who gripped you tight and raised you from perdition” (spot-on impersonation by Jensen) and Michael knowing the exact words then punches me in the feels because it’s a profound line...the iconic line verbalized by Cas to Dean in 4x10 Lazarus Rising that offset their love story later on. It’s the prime beginning.

To me, Michael hereby implies that he saw Dean’s memory of the first time he set his eyes upon Cas, and that it’s a highly valued memory which caused Michael to taunt it in the first place.

Like others have already pointed out as well, Dean’s memory of Pamela shows True!Form Cas blinding her in 4x01, and that certain memory, on an intriguing note, successfully breaks Dean out of the dream construct.

Since I don’t want to subject my readers to longer rambling, more of my meta on Pamela Barnes, Destiel, and the 13x06 Tombstone M/F Destiel-coded cowboy cutouts in Dean’s Mind Bar can be found here (with some repeated points that you’ve read throughout this post): http://naruhearts.tumblr.com/post/182144879031/14x10-destiel-cowboys-and-pamela-barnes

- - - -

TL;DR sign me up for the necessary pain!! All the TFW storytelling threads of the last few seasons consistently pushing SPN’s primary themes of Family, Unity, Love and…Love, New Beginnings, Self-Actualization and, of course, mental/emotional CATHARSIS from the old toxic past, will come together.

On another Destiel-adjacent note: Dean and Cas, their narratives running parallel to each other like they always have (especially since S12), are making the toughest, selfless, and sacrificial choices to save their loved ones (via Michael and Empty) and achieve the greatest win of all: living, hoping, and trusting interdependently.

And then Sam -- additionally making an impossible non-toxic codependent decision that I definitely believe is him giving Dean the go-ahead for self-imprisonment -- will encounter John in Endverse-adjacent AU!AU. *rubs hands together* CHARACTER DEVELOPMENT AHEAD.

DEAN’S CAGE/SARCOPHAGUS, 14x11 PROMO, AND FREE WILL

(Screenshot by me from my TV lol)

Obviously we saw very little of 14x11. But I saw enough to flail over it!!

Dean built a coffin - a sarcophagus for himself. A Pandora’s Box, as coined by @thetwistedwillow who also screamed with me in terms of the heartbreaking circular narrative of Dean’s S14 ‘burial’: simultaneously punishing himself and protecting the world from his failures --> the dual subtext of Dean’s return to ashes that naturally leads to resurrection. Lazarus Rising to Lazarus Dying.

Aka Dean imprisoning himself via isolation on his own free will and ultimately subverting Michael’s efforts to imprison Dean via coercion and possession.

I can’t even believe the sheer metaphorical symbolism of this!! CLOSET!BOX. Seriously. Again, years of Dean meta (and queer Dean meta) roped together in an angsty paradoxical basket by Yockey and co.

For Dean to emancipate himself—and save his loved ones + the world—he’s gotta imprison himself with the current source of his trauma (Michael) as well as deconstruct and deal with all the other remaining trauma he bottled up. Lazarus will rise again.

As Billie says, every single one of Dean’s endgame deaths were rewritten (this textualized TFW as the harbingers of their own destiny, where Dean himself “broke enough rules” to get his endgames rewritten!! I can’t tell you enough how gorgeous that is.), and they all end the same way, with Michael breaking free and using Dean to burn the world to the ground...EXCEPT FOR ONE.

(I had to) x

Guys, I’m burning with curiosity!! What endgame did Dean see? Utter shock was written across his face -- an intense disbelief and surprised demeanor, topped off with what seemed like tears in his eyes -- that gave me pause.

DEAN: What am I supposed to do with this?

BILLIE: That’s up to you.

That’s up to you --> Anubis said: Death, the reapers, and even God have no say. All the rules? All the cosmic constraints? They’re just useless in itself. They pass away. There are no rules. TFW “broke the rules” over and over and over again because they can.

A person’s choices in life dictate their fate.

“It’s about the journey, not the destination.”

In 4x03 In The Beginning (this title, y’all - authors and stories!!), no matter what Dean did to try and kill Azazel so that the subsequent murders of Mary’s parents, John, and the penultimate deal to resurrect John at poor Sammy’s expense are avoided, Dean realized that he could not alter Mary’s choices. Azazel still ended up poisoning Sam with demon blood. He couldn't influence her endgame because she wrote it herself in conjunction with external parties Cupid and Heaven (huh, forced free will paradox). At the same time, Mary’s journey invokes the key subverted difference of the Dean/Cas vs Mary/John parallel narrative which is fundamentally important to remember -- Free Will vs Destiny. Chosen Love vs Fated Love. Mary freely operated on fate’s influence, while Dean and Cas’ first meeting proliferated into a love story no one has ever foreseen, where they both defied subservient expectations and destiny fulfillment.

From the first point of contact, Dean and Cas seared their influence upon the other in the form of a profound brand.

Dean and Cas can make their own choices -- and have done so -- outside of predetermined plans for them. Dean and Cas’ love in itself blossomed out of free choice. Through rough seas, high tides, bright beaches, and hellfire, their love proved impervious. It was impervious to Heaven, Hell, reapers, and any supernatural force we’ve observed that tried to split them apart over the course of the show.

Attempting to constrain (Love and...) love, the greatest and most powerful force in the universe, is impossible.

The Second Law of Thermodynamics: chaos in the universe, which is the ultimate isolated system, only increases and never decreases.

Cosmic constraints all boil down to, well, nothing. We write our own fates. Michael failed to understand this concept. Destiel/TFW weren’t “defying” rules but acting as human beings with inherent agency the whole time. They are the authors and actors of their lives. Heaven/Hell despised humanity’s free will, when God’s miracle was truly his “mistake”: his draft worlds and giving humans free will. The flawed drafts = the universe becoming increasingly more chaotic.

It’s futile to enforce constraints, labels, and norms. Dean is absolutely narratively framed as the prime Death. The death one encounters depends on one’s choices.

In sum, Dean must LET IT GO. Do what you want to do, not what you need to do, though they go hand-in-hand. Drawing upon the last few seasons pertaining to baptism of the Self and interpersonal relationships, this includes communication, transparency, and quality time together.

As I’ve said here regarding 14x07 and Jack’s mirror role:

We had these wonderfully poignant moments pushing back Dean’s performance: exposing the core of his heart wrapped up in the walls of trauma, guilt, and crippled self-process. Dean sees his Free Self, who is waiting…encouraging him to let go and live life to the fullest.

His Free Self is starting to break the water’s surface — has been doing so this entire cathartic S14 narrative of looking in the mirror (actively hammered down in 14x04/5/6).

Dean’s realizing that yes, life may not be all these big, amazing moments. There’s numerous valleys of pain, horror and death. But there’s also numerous rivers of optimism and joy (hello to the river they visited in this episode. It pretty much re-consolidated SPN’s Rebirth/New Beginning themes carrying over from S12: a baptism of the self and interpersonal relations). Family and friendship. Faith and love. He simply needs to cast his line, catch the fish Cas, and pull it out of water for good aka make the dreams, wants, and desires reality.

As @thetwistedwillow pointed out, Dean’s initial offer to head out to a potential hookup bar was a foil for Jack the Non-Performative mirror of Dean: the wingman move winking at the old (DYING) remnants of his John-polished performativity and calling back to Dean bringing newly minted Cas to the brothel in Free to Be You and Me, in that the night took an unexpectedly not-salacious but sentimental turn. That night, Dean hasn’t laughed so hard in years, even with his own brother.

8 years later, Jack knew what Dean’s heart truly wanted. He felt it. Jack rejected the hookup offer precisely because — just last episode — he perceived Dean’s natural tune. It was casual sex, shacking up, and adios (yes postmodernmulticolouredcloak) no longer. It was romance and courting before dating, which involved emotional exploration and ding ding ding, spending time together (also both on the familial and romantic levels -> BEING THERE with Dean: the key gesture conveying that he deeply matters to you, and you matter to him). Jack wanted the same thing, too.

It all comes full circle. Free to be you and me indeed, since Dean’s almost free of John’s ghost, as a father, brother, and husband. We’ll be here to witness his complete emancipation.

14x10 textualized Free Will and the neverending stories of neverending stories of neverending stories: we can do what we want by formulating our own rules, and each individual has a moral compass influenced by their differing experiences.

Whatever Dean’s seen -- we don’t know what he saw, and we may not EVER know, and it’s literally pure conjecture at this point, but for the sake of meta speculation...legitimate HAPPINESS? His dream bar epitomized in real life but even better, where the realism of it involves not having to sell out ANYTHING nor sell out HIMSELF? Retirement? Dying from old age? Marrying Cas? The ACTUAL beach, toes in the sand, umbrella drinks, with matching Hawaiian shirts? General BAD things leading to good things? Yes, this is Supernatural, and as Cas put it in 14x09: no one can experience permanent happiness in The Life™ , but recall subversion. Death preceding Life - the natural cycle - persists. Dabb & Co have created an SPN narrative plethora of New Beginning cyclism for a while now, so of course I have no doubt that a positive endgame is in the cards -- whatever Dean’s read has stimulated Dean’s motives to build his sarcophagus. He thinks he has an idea of what to do to get to this endgame or (what I expect/hope is) Happy Death?

Heck, in the 14x10 context of Author God, writing drafts, and reaper books -- what if his ending is:

TA-DA!

It’s up to Dean to write his own ending. He has a blank slate as Author of his life.

The possibility of this blank slate ending as a win at first glance seems to entail the worst kind of choice -- since we all know repressing your trauma and emotions aka locking yourself up breeds maladaptive unhealthiness in the long run -- but it’s an absolutely necessary choice. The final countdown before self-actualization.

I kept saying it last season and I’ll say it again --

Dean Depressed Winchester must “die” so that Dean Self-Actualized Winchester can live. Dean building Pandora’s Box - CLOSET!BOX - for himself is LITERALLY an amalgamation of ‘Deal with your Trauma & Self’.

He should open the closet of happiness, embody self-acceptance, and go after what makes him happy -- what makes him psychologically wholesome, for Cas himself, Dean’s narrative half, tells the truth of his root fears:

Dean does deserve to be saved. He deserves happiness in all of its variant forms -- the eclectic rainbow of beach vacations, retirement, Rocky’s Bar, finding romantic love -- and he must try to believe it himself. His closet!box is the catalytic literal/metaphorical object for this chief realization.

And to emphasize how important the burial is regarding Dean’s psychological progression, ta-da, my 13x20 Dean meta still applies today, primary themes carried over into S14 by Dabb & Co:

And what are Dean’s WINS (plural) by dying? Saving people instead of losing people–saving Mary, Jack, Sam, and Cas. Saving the world. Reuniting his family unit. Interacting instead of performing. OUTING INSTEAD OF HIDING. HIGH DEPRESSIONLESS SELF-WORTH INSTEAD OF LOW DEPRESSIVE SELF-WORTH.

Better yet, Dean will undergo character development in relation to his loved ones (and Cas). With high self-worth, Dean’s capable of learning how to value HIMSELF independently. In turn, without personal obstacles he’ll learn how to sustain HEALTHY interdependent relationships and COMMUNICATION as well as learn how to WHOLLY GIVE HIMSELF to others (Cas).

Tell Cas he’s not expendable, Dean. Disclose the real reason YOU “needed him back”. Expose your feelings, choose Want over Need, and push away your rejection fears! Cas loves you dearly—let him know that his love for you is reciprocated. Nothing but good things ahead!!

And that’s the mystery of life: to live is to die. To die is to live. By “dying”, Dean saves his loved ones. He saves the world. He saves Cas, his romance-coded (sub)textual lover, Jack his son, and Sam his brother -- his family.

He saves himself.

His mind, his rules.

And Dean doesn’t know FOR SURE if this burial choice will lead to a win -- neither do we know if he’ll go through with it until 14x11 airs -- but that’s AGENCY, my friends. It’s the meat of particular Time Travel Is Bad tropes: if we know our ending, life loses meaning. The choices we make to get there loses value. Humanity loses unpredictability. Ergo the journey through life - the POINT of living - is about executing choices and taking chances.

"If nothing we do matters, then all that matters is what we do." - Camus, Absurdism

The biggest reminder governing my SPN viewing as it had last season:

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