#sam and the yed

[pentacentric]

S2 E21 | All Hell Breaks Loose: Part I

[seasononesam]

[creatureesque]

im started replaying death stranding because of the trailer god help me

[morokollisyo]

Link to fic in AO3 Sammichgirl's @sammichgirl story inspired me to experiment with a technique: I have done quite a few monoprints with acrylic, and then continued to work with watercolours and watercolour paste. I'm also clearly inspired by the heads.

The theme of the story is light: that's why I put a lot of flashes of light in the pictures. I also played with colours to some extent: when Sam is in hell, he is blue (Lucifer's cold). In the cover art, Sam is surrounded by a yellow halo: the halo reflects the colours of the YED and Sam's abilities.

There is also variation in paper, colour and quality. Even if the paper is otherwise unsuitable for watercolour, acrylic changes the situation.

[incorrect-hs-quotes]

Feferi: Can you explain this gup in your blog fishtory?

Sollux: ii wa2 employed

[dyed-red]

one thing that always makes me ???? about the pilot is john's motel room.

he left his photo of him and the boys, he left his journal which the cops got, he left his freaking jacket. literally did not take the clothes jacket off his back. which is.... ????

if the demons (i.e., azazel and co) were literally on his ass to the extent that he had to drop everything, like everything, and run, wouldn't he have maybe given a heads up to sam and dean that Danger Was Imminent? or was he so entirely confident that they wouldn't be targeted and that only he himself was in danger, so he actually did drop everything and run but felt fine not even leaving a voicemail?

(if he thought that, uhhhh, just looking at jess, over here, and not saying anything).

like i get the narrative reason and function, but with all that in mind, the in-universe explanation that i land on is pretty much that john deliberately made it look like he had to drop everything and run. that he was in imminent, immediately, life-threatening danger, and this charade was mostly for dean. the logic of which is just... wild.

[mlobsters]

supernatural s1e16 shadow (w. eric kripke)

Dad's vulnerable when he's with us. He's stronger without us around.

[boundsoffateandfamily]

Supernatural (s1-5) & The Sandman by E. T. A. Hoffmann

[shinelikethunder]

did i ever post about the bizarre canon divergence AU living rent-free in my head where fbi agent victor henriksen's interstate fraud + misc other crimes suspect suddenly turns up dead after 1x22 devil's trap, and henriksen somehow catches the murder case and has to follow dean winchester's trail through small-town america trying to piece together wtf was going on here through the people whose lives he touched in passing, all while trying to make sense of the mounting paranormal spookiness in the vicinity of the investigation and also having unsettlingly vivid dreams about meeting dean and/or his equally dead doppelgänger in the black lodge

[lovetransaction]

"he's gonna tear you apart he's gonna taste the iron in your blood" is a fuckin BANGER of a sentiment but for me it's not that John necessarily wanted that. It's close enough to the truth of the carnivorous way that John thinks about Dean but if it was really what John wanted, I'm pretty sure Dean would already know it by that point.

From all of Azazel's other behaviour the demon liked it better to torment the Campbells/Winchesters and dick them around and play the long game and get at them psychologically so Azazel choosing to say that, and ascribe it to John with the 'he' and everything, was more like ... okay. What Dean's intimately familiar with is his body being used as bait and all the violations that come with that. And it's Dean, so he thinks that any sacrifice he makes isn't only allowable, it's correct. But if dad-god is brought as low as Dean is, and made to feel the way Dean feels, that's the worst thing. Dean would feel agony over John being violated way way more than he'd ever feel it about himself.

(There's a whole other thing here about the horror of Dad being forced to brutalize Dean and there being no rationale/justification behind it, where normally there is some reason for why Dean should bleed for the cause, but I haven't had coffee yet)

but yeah so like. Azazel's trying to get at Dean not with the actual threat itself but the psychological anguish (and guilt bc once again, it's Dean) of knowing that his dad's trapped in there and not actually wanting to tear him apart and taste the iron in his blood. (another thing there about iron and its effect on monsters and what this says about their monstrousness but that's an aside) And Dean's response isn't to protest on his own behalf but to demand that Azazel let John go!!! I mean!!!

The line that really gets ME is when Dean goes, "Dad, don’t you let it kill me" because FUCK. That's a direct appeal to John himself without whatever Azazel thinks might be the worst thing to happen to them because Dean knows their own gospel which is: things happen to Dean because John lets them happen to Dean. If dad-god so decrees it, then Azazel can't kill Dean. He has perfect faith in that over all else. The whole scene is about how Azazel, even after years of studying this family, can't quite manage to fool Dean when it comes to John. Because nobody living or dead or lieutenant of hell knows John Winchester and all the good and bad he's capable of better than Dean does.

[winchesterian]

samuel is very odd about mary's relationships with men outside the family (everything with john, the bitter and completely unwarranted "you'd rather be waving pom poms at a bunch of dumb jocks?"). when azazel violently interrupts her date and kills john while possessing his body, its pretty obvious that mary still thinks its her dad doing all of that until explicitly shown otherwise. basically its incestuous fathers all the way down in this show.....

[locke-esque-monster]

What exactly were Meg's orders or her plan in Scarecrow?

Was she told to go to Indiana, knowing she'd meet Sam there or was it a chance meeting? Narratively, it makes more sense she was there on purpose. But she also didn't question the orders until the end of the episode after she met Sam, so either she was reiterating the argument, or this was her first shot to question orders.

Let's assume she's there on purpose. Did she get her full orders prior to meeting Sam and playing aloof at first was either her specific instructions or her personal choice on how to enact her orders? Was the aloof thing to hook Sam in or was she just supposed to get a glimpse of him and report back?

I ask report back because she described the van driver as a creep - did she kill him too to use his blood for follow up orders? Seems likely based on her being at the bus station - I can't imagine with Meg's personality she'd be eager to leave him alive.

But following that, was Meg supposed to convince Sam to come with her to CA? Because presumably old Yellow Eyes is also there with John tracking him. Was Meg supposed to plausibly break the brothers apart and get him to the YED, or just to test the waters to see how easy it would be?

I'm wondering if all this is because I'm curious if Meg was supposed to be a prototype for Ruby. With what we know about the other special kids getting seduced to the dark side, was Azazel trying to see how easy it would be to get Sam? And when that failed, Lilith was put in charge of that task and tried a different more subtle tactic? Aka by Lilith using a tactic that used Sam's love for Dean turned into revenge, versus his love of freedom from his family expectations (a little more of a classic Lucifer move - as presumed possible by Azazel when trying to recruit the Lucifer sword).

And is there an entire alternative plot line where Sam follows Meg and the pieces of the puzzle of the apocalypse fall into place differently? Dean still sells his soul (maybe for John instead) and Sam opens the door for Lucifer, maybe a little more willingly?

Structurally it's likely this all wasn't planned out yet, but the implications of the Sam-goes-off-Meg and that version of the apocalypse starts are fascinating.

[sweetpapercroissant]

the thing about john winchester is he’s fucked either way. if he trains his boys to hunt and protect themselves from the thing(s) in the dark then it inevitably creates this deeply fucked up abusive situation that only a monster would put his kids through right? but if he hadn’t they would’ve either been killed or not been able to stop the apocalypse.

[novmbr2nd]

liq/uid smooth is so sam in s4/5 coded. no i wont explain.

[neocatharsis]

241014 NCTsmtown Twitter Update

"🧢sam⚾️yed #JENO"

[sensitivehandsomeactionman]

Rewatched 1x02 Wendigo

It's an easy-to-follow adventure, and as the second episode, has a feeling of confirming story style and motifs. They repeat the use of fake IDs. There's a cheeky wink to the audience about how implausible they are when they're imposters along with reassurance that as the heroes they have plot armor. The ep revisits blood dripping mysteriously from above, leading to a jumpscare horror. And revisits Dean ending up a total, muddy mess. There's detective-like interviewing and exposition, reminiscent of The X-Files, as well as the tell-tale woodsy wetness of filming in Vancouver, and a ritual explanation as to why they're taking a break from hunting for Dad.

A week has passed, and they found no clues in Jessica's death. Sam is understandably having nightmares and is withdrawn and somber and on edge. I do love that on rewatch the audience knows that Sam is hiding a secret and a guilty conscience. Dean sends many concerned glances Sam's way. The dynamic I see is Dean trying to direct their energies towards something more positive, which is solving Haley's case; the job John sent them to. I think it's a consistent strategy for Dean throughout the series to seek a hunting "win" as an emotional reset. And by the end of the hunt, we see it does revitalize Sam.

Dean says the iconic "saving people, hunting things, the family business" line. It's framed as "saving people, hunting things" = "the family business," and that works for the Kripke years. Now, having been through the whole series, I hear it as three separate things. The business (or workings) of family really is its own theme as the show goes on, and sometimes it doesn't have to do with the other two.

DEAN: Do you want to tell me what's going on in that freaky head of yours?  SAM: Dean... DEAN: No, you're not fine. you're like a powder keg, man. It's not like you. I'm supposed to be the belligerent one, remember?

I do find it strange to hear Dean say, "I'm supposed to be the belligerent one," except maybe it's said jokingly to get a reaction from Sam. So far Dean's been quite stoic when challenged, and likely to respond to hostility with smirky humor. Sam's more direct and quicker to be confrontational. Nice bit of foreshadowing with reference to Sam as "freaky" and about to blow up with anger, since the appearance of YED will expand on that later.

A few things that I especially enjoyed in this ep -- Dean's charm and chutzpah. The way he improvises on the fly. He's flirty but in a surprisingly sweet way. Sam's earnestness, knowledge, and fearlessness. His exhilaration when they finish the hunt. I'm also amused that starting here, bears come up as a civilian explanation for monster stuff.

It's hard not to take it for granted now, their chemistry as brothers. They especially feel like they're in their own world separate from the normal one, and we're privileged to peek into their experience. We're also privileged to enjoy their beautiful faces in cinematic closeups.

There's smarmy low-brow humor that seems characteristic of Kripke. I feel like he enjoys making the audience squirm a bit over it, just as he does with the horror gore. This isn't a show for nice bougie people, he seems to want to say, we like 'em rough around the edges. It's a bit of a caricature, but it's different, and feels harmless.

Harmless, like Dean's flirting. We can see through the artifice; we're in on the joke. Part of that joke is a show that's sometimes rough around the edges. Like the ep's final scenes making a big deal of Sam taking the keys to drive the Impala, followed by a long shot of them in Baby, with Sam on the passenger side. Oops! 😂