wibblywobblynerdfighter

[wibblywobblynerdfighter]

this specific I love you hits like a ton of bricks every time. ive been in cas' shoes. and got the dean reaction in return. its because he couldn't say it out loud. for reasons. doesnt make it less real. he'll have his chance to say it someday. why is my heart in my shoes again

how the original scene went according to the not so rogue translator

[wibblywobblynerdfighter]

love will always find you. Both threat AND promise

[wibblywobblynerdfighter]

My own personal Destiel story became canon this month. I hadn't fully realized why I cared so much about their story until after I kissed her and the last two years of painfully unrequited love paid off. Suddenly every little touch, sidelong glance, and lack of ability to maintain personal space makes sense. I knew I was madly in love; discovering that she was too, the entire time, has been both extremely validating and made me feel like maybe I'm not a completely insane person.

The importance of acknowledging the reality of Destiel has never been clearer. I'm here for it, and more than ever I know how much we need to see it on screen.

[wibblywobblynerdfighter]

Let’s grip these shows tight and raise them from perdition. #SaveTheWinchesters #RenewGothamKnights

[wibblywobblynerdfighter]

if we get this show back on the air, i better see those two goddamn men making out on my screen i mean he’d owe it to us. swear to god

[wibblywobblynerdfighter]

Autumn Cosy

Dean and Castiel go all autumn cosy in my second artwork for the Spn Art Show on Twitter, October 3rd 2015.

[wibblywobblynerdfighter]

"People tell stories and have told stories for millennia to one another and it's a way of passing on of values and knowledge from one generation to the next, that's just what it is, that's why we're hard-wired to want to tell stories, that's what film and tv are, it's more of that same in a modern media form. And of course one of the natural elements of that is around story-telling we have community building and that's really at its core, its sociological core, that's what fandom is about, it's about community building around storytelling, it's about shared stories that make us identify with one another, and I think that's a powerful and important thing. It's part of who we are as humans. I think a lot of times we think of that as a frivolous undertaking or something, on the side, or an obsession that people have, but in fact I think it's part of our wiring, and it's nice to be able to nurture that in a happy healthy way, which I like to do."

--Misha Collins about storytelling, social media, and fans [x]

[wibblywobblynerdfighter]

[wibblywobblynerdfighter]

EVERY TOUCH EVER ☞ 5/?

4.22 Lucifer Rising

[wibblywobblynerdfighter]

Okay but Dean arriving in the Empty and bringing this energy:

[wibblywobblynerdfighter]

also only 1 gets to happen so if you choose empty rescue then dean still dies in the barn, blurry wife still happens ect

[wibblywobblynerdfighter]

Worth reblogging just because

Who has that gif of Misha reaching out to stroke Jensen’s face but bashfully retracts?

Good day to bring that back.

And these:

[wibblywobblynerdfighter]

Honestly I’m in love in how Jensen and Dee love each other like I hope to have that one day. But also Dee is very lucky, but Jensen’s also lucky to have Dee and Misha, and Misha is lucky to have Jensen.

literally jensen and danneel are so cute and sweet w/ each other. jensen always looks so soft around her, you can clearly see how much he loves her. and w/ misha he's similarly fond and always so comfortable and relaxed around him. like, i always say, idk what they are to each other ! but i can see there's a lot of love there and mutual respect. and i just love that they have that, whether it's just a very close friendship or more, they clearly love each other and it's so nice to see. and same w/ danneel and misha. there's just a lot of love there w/ all three of them, in whatever way that is, and i'm just happy for them.

[wibblywobblynerdfighter]

Here's Why I Want A Chuck Won Plot For The Sequel

Not to go the off about this on a random Saturday night or anything, but I have not stopped internally vibrating since the SPNWIN finale because the potential for a Chuck Won sequel plot line feels so implied and therefore so close I can taste it. I know that there are several people who don't like it as an explanation for the ending of season 15, and/or several people who don't like the idea of it being used as a sequel plot in the future. So I would just like to talk about why I, personally, am passionate about wanting them to use this particular avenue to move forward.

I'll likely unavoidably repeat some of the things I've said before elsewhere but... fuck it, I'm in my feelings, I want to get this out. Rambling on or whatever.

For the sake of clarity, here's a reminder of the POV I'm writing from: A) that Chuck's victory is canonically what was deliberately written as the plot of season 15, B) that it's meant to be noticeable and pointed out as tragic, and C) that even if you argue about the semantics of the literal order of events in the plot that add up to that result, Chuck's victory in some fashion is still the byproduct of the story's final execution.

The thing that I feel can and does get lost in a lot of fandom discussions about this concept is... D) the fact that Chuck winning is an allegory for and commentary on censorship.

I will go back to that. Follow me here.

With SPNWIN as a whole and especially the season one finale, we have already gotten step one of something incredibly subversive: it culminated very loudly in making it clearly canonical that Dean is some semblance of trapped. He is not happy, he is not at peace, he is not done. These are things that many of us in fandom who have brains all already kind of knew and took for granted, because we understand this story and this character and so we understand that 15x20 was not a good ending. But when you step back, what SPNWIN just established is actually a Big Deal in comparison to the fake veneer of happiness that 15x20 was (supposedly) trying to sell to us–and that it did indeed effectively sell to a large number of casual viewers.

Now, here we have canon openly demonstrating that Dean's ending was not okay, in general or to him. Objectively that wasn’t necessarily the case previously with 15x20 alone, but now it is the case.

That is a how-the-turntables level of redefinition of 15x20 in canon. Those crazy bastards fucking did it. They gave Dean Winchester back his agency and had him tell us for 13 episodes that the finale was inarguably Bad, and then they showed his sad grieving self still pining for his happy ending and his angel. That's fucking wild!!! Oh my God!!!

Whew. Okay, anyway:

So SPNWIN has made it clear that The Finale Was Bad, that Dean still needs and wants his happy ending, and that he knows what that happy ending should look like–as demonstrated in this whole hall of mirrors show, through the healing/romance/hope/future we witness the cast of The Winchesters getting to have.

If they stick with that vibe moving forward (which they may not. Continuity could get tossed), to me it then wouldn't make sense if they tried to move forward with any kind of sequel plot or angle that tries to say "okay, now Dean really will Find Peace And Be Done In Heaven." Because they seem to have made it clear that Dean doesn't want that. He wants out! He is fucking around and finding out!

To me, the next logical question to tackle in the plot as part of getting Dean back in the game would be this:

Why did those bad things happen to Dean in the finale?

Look, they don't have to answer that question with a plot-driven reason, obviously. They can go with the (boring) angle of nihilism that's basically like "Yeah Dean died and it sucked, but shit happens and that’s part of free will. It was an unlucky situation :/ he should get another chance at life though!" Or they can absolutely do something totally wacky and out of left field to explain lmfao. (I mean, hell, the Akrida were out of left field and that was only lessened when they tied them back to Chuck.)

Orrrrr.

They could go with a plot that's SOMETHING along the lines of explaining how Dean’s death and the fracturing of their family feels like an injustice to him because it is, and that shit did not just Happen, and that it wasn’t just arbitrary bad luck but rather he didn’t get his happy ending because Something Else was going on pulling the strings at least a little bit.

In that sense, Chuck- / Jack-related fuckery feels like the next natural through-line to me. I'm aware I'm heavily biased, but I want them to go all in on that angle so badly, and the point of this post (yes, there is a point!) is that I want to tell you why I want that.

The strength in the potential of an explicit Chuck won storyline in a continuation–other than the fact that it would be damn good television–is that, if done correctly, it would explain why the ending of season 15 sucked in the first place. And it would explain it not only in-narrative but also out-of-narrative.

Chuck exists to act as allegory, and that's what has always made this concept so significant, subversive, and compelling. Chuck's function and purpose is to be an allegory for producers and/or network executives, and thus the function and purpose behind a Chuck won storyline is to reveal the controlling forces of those figures. And because Chuck is the personification of the Original Creator's intentions that the characters are trying to supersede and defy, the fact that at the end of season 15 they do not get to grow beyond those intentions–aka the fact that Chuck wins and they don't get their full freedom–is indicative of the fact that the characters were not "free" or allowed to defy the Original Creator's real-world intentions either.

The idea that Chuck won is not simply a fun view on why the finale sucks or a fun plot idea for the future. It's because Supernatural is a censored queer text and higher forces won largely because Destiel was not allowed to be explicitly reciprocal. A pillar of the argument is that there could be no happy ending without Destiel; reciprocal Destiel was not allowed, and so the characters had to lose.

That is still the state of canon right now. Chuck's victory is amongst the many threads season 15 left dangling to potentially pick up and play with moving forward, and they don't HAVE to pick that thread up and make it into a central plot for a continuation. But if they do... Man. If they do, it would open the ending of season 15 to further examination for anyone who cares enough to pay attention to it, and that would also open up commentary on the censorship that caused it in the first place.

Here's what I mean:

SPNWIN has left us in a place consistent with 15x19, seemingly further highlighting that something is wrong with Jack. That's huge. Whether that "something" is Chuck possessing him or–potentially more likely–that the God power Jack absorbed has corrupted him, the point is that Jack needs to be freed because Chuck's influence endures.

Making the Akrida into a Chuck fail safe has already leaned into that idea, in a way. Even if Chuck is "gone," his influence wasn't gone entirely. The characters were not fully and entirely free from Chuck's lasting effects on the universe that they inhabit.

But now with the destruction of the Akrida, those effects are supposedly gone. But what if they actually aren't gone completely? What if something is wrong with Jack? What could that mean for Dean's story specifically and the happy ending he still wants and needs?

Apply that to the allegory: if Chuck's power has possessed or corrupted Jack, then Chuck's enduring influence that the characters still have to wrestle with becomes about the enduring influence of industry censorship.

It's then about the insidiousness of the forces that make it difficult for writers to let their stories and characters grow out of what was originally meant for them, especially when those stories are not meant to be queer narratives and yet are molded to have queerness centralized. It's about saying... you (the writers + characters) thought you'd be able to get free but you couldn't; you thought you could write the happy ending but you still haven't gotten to. How have higher forces twisted and shaped things into something unrecognizable? How do you make it back from that and rid the story of that negative influence once and for all?

Hypothetically, examining what Chuck's enduring influence fucked up in the story would then have to examine what censorship fucked up in real life. If they have to break out and return to reality, what does that look like? What is revealed? Dean and Cas could not reunite because their love was real and threatened Chuck's enforced unreality. Dean died and Sam got an apple pie life because that was always part of the ending Chuck wanted to see. Jack was taken over and/or corrupted by God power as part of Chuck's plan because he was powerful enough to help unite them all as a family, which threatened the classic "brothers only" focus of Chuck's story. Chuck's power was still personified in Jack and influencing the outcomes and that's why all of this tragedy occurred. They have to reunite, break the cycle, heal their family, and save Jack while getting rid of that personified God power once and for all, releasing it back into their universe so that power is now in everyone/everything rather than concentrated in overseeing forces threatening their freedom.

And when Chuck is an allegory for the censoring forces in real life... for anyone who cares to engage their brain cells, this could then make it abundantly clear(er) that the end of season 15 was not simply ~bad writing~ or ~cowardice~. It would retroactively redeem, explain, and redefine Supernatural's original "ending" as a backed-into-a-corner narrative gamble embedded with the ability to shine light on the source of its problems, the hope that in the future the story could be continued, and the keys to give the characters justice especially in regards to the queer narrative.

You can look me in the eyes and tell me you don't think that would absolutely rock, but then I will have to simply agree to disagree with you.

Because I would very much like to fucking see it.

It is literally ALL RIGHT THERE. It's THERE, it's so close, and this story could reach its highest potential and make several lasting, impressive points in the cultural realm for anyone who gets their heads out of their ass and stops ridiculing it or stops layering their interest in it under 1000 levels of irony long enough to look at how special it is!!!

[shakes the table with my hands]

AAAAAAAA

Okay, sorry, I'm devolving. But in conclusion: I want this. And though the prequel seems to be hinting towards it (QUITE LOUDLY), there is of course absolutely zero guarantee that any mysterious future sequel would go in that direction for several reasons, let alone the fact that it's objectively a ballsy as hell approach to take.

I still want to write a very long meta about The Winchesters' overall themes and its Chuck won propaganda (lol), so uhhh I reserve the right to plagiarize myself in the future from this post for that purpose. But I had to get this specific thought out sooner rather than later because, to be honest, I am simply going bananas.

JENSEN ACKLES, GIVE ME ONE PHONE CALL WITH YOU LOCKED UNDER AN NDA. PLEASE. PERCEIVE THE VISION.

[wibblywobblynerdfighter]

Omg omg omg 😎

Best birthday weekend ever.

Meeting Jensen and Danneel Ackles dressed as Cas.

In the panel yesterday Danneel said she wanted to be in a 20 season series with Misha married to him with Jensen directing. So I had to propose to her in the photo op.

[wibblywobblynerdfighter]

This moment is Pure Gold. Eyes closed, not giving a fuck. Jensen just wanted to make Mish happy. 🥺

[wibblywobblynerdfighter]

Here's the bottom line: Sam's ending felt like AN END. It wasn't the end I would have chosen for him, but it was AN END.

Dean's ending felt like an injustice, and an injustice feels like a beginning, because now it has to be put right. An injustice is the start of a journey.

The Winchesters took Dean's ignominious and downright unjust death, and made it the beginning of DEAN'S story. That's why Sam isn't there, and doesn't need to be.