I know a million people have already shared their opinions and thoughts on Jensen’s “brother” comment in regards to the confession, so this may be nothing new; but I can’t stop thinking about it so I wanted to write it down.
One of the main reasons I love (and kept watching) SPN over the years was because of Dean’s character-growth. He is just so human—and that is a testament to both Jensen’s acting, as well as Jensen’s age when he started playing Dean.
For fifteen years, we got to observe all those micro and macro changes within Dean’s character; much like a parent watching their child grow up. We noticed how Dean’s face changed, how his voice and confidence and openness morphed and grew … but we also got to see all the ways he stayed the same. We got to see his habits resurface again and again; and we got to see him make the same mistakes over and over. And even though it was frustrating to watch at times … it was also very, very human. It was natural. It felt real … and I think that was both intentional and unintentional on Jensen’s part.
But just like how our growing child can’t see all these changes within themselves, I don’t think Jensen can see them all within Dean—not like how we can. He’s too close; but that doesn’t mean he hasn’t psychoanalyzed Dean Winchester.
I think it’s become obvious in the last couple of years just how much Jensen has thought about Dean’s thought process, both individually as well as in the SPN canon—and he thinks of Dean as a real person. His answer at VanCon proves that. Like @pray4jensen said: it’s clear that Jensen doesn’t know where he ends and Dean begins. And how could he know? He started playing/shaping Dean in his late twenties; and science has proven that most people’s brains are still malleable at that age. He then went on to grow with that character well into adulthood—through all the formidable and pivotal moments in his own life … marriage, fatherhood, life and death. Dean IS part of him. He wasn’t just an “act” to Jensen. So much of his own development couldn’t help but sneak into Dean’s mannerisms, which made Dean feel very, very real on screen.
Think of it this way … so many of us have had difficult/complicated pasts. We have had to code-switch all our lives. There’s a version of yourself that you have to display in certain company and in certain environments; and sometimes, that version pops up without warning—when triggered by something familiar or traumatic.
Now, I’m not saying that playing Dean was a “trauma” for Jensen (at least—I hope it wasn’t), I’m just saying that we’ve all had experience playing a role in our lives; and even though we know that it’s just a role, we still think of it as a version of ourselves. We still feel like we’re just a moment away from reverting back to that person. But can you define all the qualities of that other version of you? Can you explain—in detail, just how and when and why that version pops up? No.
You can identify some things, sure, but not all. That’s why we seek out therapy. We need an outside perspective to help us find a way to bridge these versions of ourselves and make them whole again.
This is just human nature. It’s human psychology.
Dean Winchester is a version of Jensen. He is a real part of Jensen’s life. So, when Jensen answers on Dean’s behalf, he can’t help but put himself directly into that character’s boots—exactly where they stand, here and now.
And if we flash back to that confession—Jensen knows that Dean Winchester would not have been able to comprehend all the ways Castiel meant “I love you” because Jensen was Dean in that moment. And after Cas was taken, Dean still wouldn’t have been able to understand, because all the love he has ever known in his life—all the true, dependable, reliable love, has come along with the fight. Jensen knows—because he lived it all with Dean, that any love his character felt was a direct result of his battles to save the world. Sam, Benny, Mary, Charlie, Kevin, and on and on … all of them of course cared for Dean—Dean knew that, but since the constant fighting framed every one of those relationships, he couldn’t help but view them all the same way: as soldiers, fighters, products of war. They were family, yes ... but they were all still soldiers. Even those he tried to keep out of the war, Dean still knew the reality was … they had to fight in order to stay alive. That was just the way it was. That was the way of the love Dean felt. Any kind of love beyond that was impossible, because war would inevitably take it away too. That’s why he ended things with Cassie and Lisa. That’s why he only ever pursued shallow flings and one-night stands. And that’s why, when he saw hunters who actually maintained romantic relationships—he always stared at them in wide-eyed-wonder.
Out of all the impossible things Dean had witnessed in his life, that was the one that consistently shocked him.
Hunters … in love and happy.
It felt unreal, even though it was right there in front of his eyes.
He couldn’t understand it. So, even though it apparently was possible for others, he never believed it was possible for him. It had nothing to do with sex … sex wasn’t a part of love for Dean. Sex was just a physical movement, like fighting and eating. It kept his body alive and moving forward. This impossible love he saw others maintaining … it had everything to do with heart; and for nearly fifteen years, Dean believed his heart was worthless.
It wasn’t until an angel stood in front of him on the brink of death and said: Dean, you are not a weapon to be wielded. You are beautiful. You are a man full of love who deserves to be loved, and I love you, that Dean thought any different.
It wasn’t until he heard Castiel say Dean was more than just a soldier, that Dean actually started to believe it. But that realization was still a long way off from what Castiel was actually telling him.
And Castiel knew that Dean wouldn’t understand—he knew that Dean wouldn’t be able to fully grasp his words and take them to heart; but he hoped that if he at least said them out loud … if he said them to Dean’s face and saved the man’s life, that Dean would go on to live and grow; and then someday, he would see that someone did actually love him once. Cas truly loved him—not because Dean could protect him in a fight. Not because he was a good hunter or the savior of the world, but because Dean was Dean, and that was enough.
And you know, if Dean got to live to 100, he just might’ve realized that; but he didn’t. He died too soon. And so, he never got to truly grasp what his angel was saying, and I feel like that’s what Jensen understands about Dean the most.
He understands that Dean never got the chance to understand love.
Not in that way. Not in the way Castiel meant it.
Dean was still too naive, too broken, too jaded; so, he did what all humans do, he put the complex into terms he could understand, and that was that Castiel loved him the way that Sam loved him. The way that Benny and Charlie and Kevin loved him, the way that all his found-family love him; and after Cas was gone, he buried his face into his hands and wept because once again, he failed to protect his family. And even worse, he failed to at least let Castiel go knowing that Dean loved him too—in the only way he knows how to love, he was too broken to say even that.
He let Castiel down in every way possible, so he curled into himself and sobbed.
He should have said it back.
He should have held the angel close and said it back.
Dean realized it too late, and Jensen knows how much that hurt him.
It wasn’t about sex.
It wasn’t about romance.
It was about love and loss, and Dean was all too familiar with both—but only in the ways he had seen all his life.
The love of family and the loss of family.
He never had the chance for more.
He never got to see what else his own heart was capable of.
That’s what I feel Jensen meant with that answer, and that’s what I think he understands the most about Dean's character. We may be able to see the bigger picture because we're on the outside looking in; but Jensen was in Dean’s boots every day for fifteen years.
All he could ever see was what was right in front of him—and when Castiel made that confession, Jensen could only see it through Dean's eyes. He could only feel what Dean felt. He knows that when Castiel said those words to him, that was his best and truest friend in the world saying goodbye.
Another brother-in-arms was lost to him; but this time, it felt different. It hurt more, and if Dean just had a little more time—he would've been able to understand why.
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Dick gets his drink mixed up with another persons in the library while visiting Barbara.
He was drinking some kale smoothie thing, for health and stuff, and he set it down to grab a book from the shelf. There was another guy next to him, who also had a smoothie in the same kind of shake-n-go bottle.
They swapped by accident.
Dick checked out his book, said goodbye to Barbara, and took a sip of his smoothie.
That's the last thing he remembers.
He wakes up two days later pinned down by a practically feral Jason, who's eyes are glowing a sickly Lazarus green, with Bruce, Tim, Cass, and Duke all showing signs of losing a fight. He's sore everywhere, and Damian is nowhere to be seen.
"Uh...." his voice cracks, and he's suddenly aware of how fucking painful his throat is. "Hi? What's going on?"
"...Is it really you, Dickwing? I swear to God if it isn't and this is another-"
"Jay I really don't know what's going on, man."
Jason doesn't believe him. Dick is cuffed with anti-meta cuffs and escorted to the cave, where Bruce demands test after test and Dick tells them the last thing he remembers.
Apparently, after taking that sip, his eyes had turned to Lazarus green, and he had beelined for the mansion. Along the way there, he had run into the Riddler.
He had broken most of the Riddler's bones.
That was when everyone had been called in to subdue Dick, who for some strange reason kept gunning for Damian. Hence, Damian was upstairs and not allowed down until they were sure Dick was okay again.
It's concluded that Dick drank some alternate form of Lazarus Water, lost his mind, proceeded to take everyone out with enhanced strength and speed except Jason, who had entered a Pit episode just to keep up, and worked through it two days after consumption.
But who the fuck transported a material as dangerous as modified Lazarus Water in a fucking shake-n-go bottle?
Danny, however, is a little sad that his ecto-shake was stolen by some rando at the library.
Their kale smoothie was pretty good though.
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at some point it's just like. do they even fucking like the thing they're asking AI to make? "oh we'll just use AI for all the scripts" "we'll just use AI for art" "no worries AI can write this book" "oh, AI could easily design this"
like... it's so clear they've never stood in the middle of an art museum and felt like crying, looking at a piece that somehow cuts into your marrow even though the artist and you are separated by space and time. they've never looked at a poem - once, twice, three times - just because the words feel like a fired gun, something too-close, clanging behind your eyes. they've never gotten to the end of the movie and had to arrive, blinking, back into their body, laughing a little because they were holding their breath without realizing.
"oh AI can mimic style" "AI can mimic emotion" "AI can mimic you and your job is almost gone, kid."
... how do i explain to you - you can make AI that does a perfect job of imitating me. you could disseminate it through the entire world and make so much money, using my works and my ideas and my everything.
and i'd still keep writing.
i don't know there's a word for it. in high school, we become aware that the way we feel about our artform is a cliche - it's like breathing. over and over, artists all feel the same thing. "i write because i need to" and "my music is how i speak" and "i make art because it's either that or i stop existing." it is such a common experience, the violence and immediacy we mean behind it is like breathing to me - comes out like a useless understatement. it's a cliche because we all feel it, not because the experience isn't actually persistent. so many of us have this ... fluttering urgency behind our ribs.
i'm not doing it for the money. for a star on the ground in some city i've never visited. i am doing it because when i was seven i started taking notebooks with me on walks. i am doing it because in second grade i wrote a poem and stood up in front of my whole class to read it out while i shook with nerves. i am doing it because i spent high school scribbling all my feelings down. i am doing it for the 16 year old me and the 18 year old me and the today-me, how we can never put the pen down. you can take me down to a subatomic layer, eviscerate me - and never find the source of it; it is of me. when i was 19 i named this blog inkskinned because i was dramatic and lonely and it felt like the only thing that was actually permanently-true about me was that this is what is inside of me, that the words come up over everything, coat everything, bloom their little twilight arias into every nook and corner and alley
"we're gonna replace you". that is okay. you think that i am writing to fill a space. that someone said JOB OPENING: Writer Needed, and i wrote to answer. you think one raindrop replaces another, and i think they're both just falling. you think art has a place, that is simply arrives on walls when it is needed, that is only ever on demand, perfect, easily requested. you see "audience spending" and "marketability" and "multi-line merch opportunity"
and i see a kid drowning. i am writing to make her a boat. i am writing because what used to be a river raft has long become a fully-rigged ship. i am writing because you can fucking rip this out of my cold dead clammy hands and i will still come back as a ghost and i will still be penning poems about it.
it isn't even love. the word we use the most i think is "passion". devotion, obsession, necessity. my favorite little fact about the magic of artists - "abracadabra" means i create as i speak. we make because it sluices out of us. because we look down and our hands are somehow already busy. because it was the first thing we knew and it is our backbone and heartbreak and everything. because we have given up well-paying jobs and a "real life" and the approval of our parents. we create because - the cliche again. it's like breathing. we create because we must.
you create because you're greedy.
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A Persuasive Argument - dpxdc
"Great!" Danny says, clapping his hands together to get everyone's attention. The dinner table falls silent as everyone looks towards him. It's a full house today and, honestly, Danny's a little nervous. "I'm sure you're all wondering why I gathered you here today."
"It's dinnertime. In our house." Duke mutters, while doing a very bad job of concealing his yawn. He holds his fork poised over the braised beef, but, just like everyone else, still looks towards Danny before tucking in. It's intriguing enough to wait.
"Yeah, no one misses Alfie's dinner." Dick says, with a brilliant smile that Danny can't help but return.
"Precisely! What better time to talk to you all than when you're all actually here!"
"Wait, I thought you came round to work on our English essays?" Tim asks, blinking owlishly.
"I'm afraid I've lured you here under false pretences, Tim."
"This is where I live."
"I would still really appreciate help on that essay though, I mean, what the hell is Hamlet even about? I just don't get that old time-y language, like 'Hark! A ghost hath killed me!' - absolute rubbish, what does that even mean?"
"The ghost never kills anyone in Hamlet, he's there to tell Hamlet that he was murdered. Have you actually read it?"
"No, but it sounds like you have. Tim, I want this guy to help me with my essay instead. I know for a fact that you haven't read Hamlet, either."
"So? We don't need Jason, I've read the Sparknotes."
"Hi Jason, I'm Danny, pleasure to meet you, summarise Hamlet in three sentences or less."
"Am I auditioning to help you write your essays? I can't believe you’ve gone through your whole school life without reading it, it’s good!"
"Hamlet, along with a number of other classics, was banned in our house because it portrayed ghosts as intelligent and sympathetic beings rather than evil, animalistic beasts. I didn’t even get to see The Muppet's Christmas Carol until last year with Tim! It was surprisingly good, and I hate Christmas because everyone always argued and it sucked. But we're getting off topic. I—"
"No, no, please go back to that, because what the fu—"
"Boys, please." Bruce interrupts, looking to the world as if he wants to hang his head in his hands. "Danny, you were about to say something?"
"Oh, yeah, Mr. Wayne! Thanks!"
"Please, call me Bruce."
"Well, that very succinctly brings me to my point, because I'd actually really like to call you dad."
Nobody says a word. Nobody even blinks, all as shocked as the other, watching open-mouthed as Danny pulls his laptop out from beside his chair. Bruce can definitely feel a headache coming on.
"Before you say anything, I've prepared a 69 slide PowerPoint presentation on why you, Bruce Wayne, should adopt me, Danny Last-Name-Pending. Please save your questions, comments, and verdict until the end, thank you."
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