#non-shippy

Chuck was writing versions. Each version had a different twist to set them on the path to Chuck's ending.

So what was the twist for this Sam-n-Dean that made them able to defy the narrative? Where was the moment that Chuck "screwed" his story and made actual free will?

I'll tell you what I think.

I think Chuck accidentally made one human with free will.

Only one.

Sam Fucking Winchester.

Sam can see and understand exactly what's going on. AND he is coming to realize that he is outside of Chuck’s control.

He knows Dean is being manipulated. Dean is clearly aware of it too, but he doesn't seem able to stop it. So what's the difference?

Sam told us, he told Dean, he told everyone, throughout the show, for 15 years,

‘It’s not who you are; it’s what you do.’

And because of this understanding, he relies on one particular trait of Dean's.

Dean will do literally anything to protect Sam. It's not always the right thing (he doesn't “always like it”) but in the end Sam knows and has always known the magic spell to trigger this trait in Dean. (call it “puppy dog eyes” if you want, but someone having blind trust in you, no matter what, is a helluva drug. Dean is addicted to it.)

But how come? Where did Chuck make his fatal error? What was the twist this time? The one that broke, not only the plot line Chuck wanted, but the character of Sam, as well. Making Sam incapable of following the narrative laid out before him.

I think the moment where Chuck made his mistake was the moment he had John hand the baby to the four-year-old. There’s a reason that’s the scene that kicks this all off.

A moment of extreme trauma and dire importance, literally burnt into Dean's brain.

Setting up this trait in Dean enabled Sam to truly push through any obstacle Chuck's story presented, because he knew Dean had his back when push came to shove.

Nothing bad was ever going to happen to him as long as Dean was around.

It's the song he grew up listening to.

"But," you say, "Everything that ever happened to Sam was quantifiable as ‘bad’!" (the joke of the only stroke of luck Sam Winchester ever had was that coffee cup landing on its ass is sad, but true)

Yes, and don't you think he has noticed that?

He’s given considerable thought to the fact he has survived this long with that much crap, against all odds, largely because of Dean. Anyone else would have been dead the first time and it would have stuck. Yet here he is. This has only reinforced the fact that Dean will try to do anything to save him. Not only will he try to do, he will succeed.

Without Dean he may have died at six months, or any time between then and now. It’s an important revelation when Dean tells Sam about carrying him out of the fire in season 1, Sam did not know that before then, but it makes Dean’s entire character snap into focus for him.

Sam has seen the pattern, he sees the hand of Chuck in their lives. He tries to break them out of the pattern over and over again.

Even before he fully understood what was happening and that it could be broken out of. Or that this was what he was doing. Before he was consciously breaking free, he still broke out of the plot.

Dean sees it too, he's not dumb.

But Dean's life did not belong to anyone, not the way Sam's has always been his responsibility. He only has Sam to help him break out of the hamster wheel, and I think they are just now seeing that.

I think Sam understands now, that for some reason, he is free and can refuse to do what is laid out before him. And, indeed, that he has been refusing his entire life.

He also understands that Dean can break out of the pattern too, but he needs Sam to help him.

Sam is the snapped fingers in the corner of Dean’s eye.

Sam is the trance breaker for Dean.

Sam is that moment of real panic that flooded his system when the house was burning and Sam’s life was in his hands.

That moment, that plot twist, is what broke Chuck’s story.

I’ve said before that the reason Chuck is afraid of Jack is that Jack was not written by Chuck, Jack is what the characters in the story wrote when Chuck left them alone (to go off and play with Amara), and in Unity Chuck admits there were things he “didn’t write”

So someone else must be writing things. When did that start, though? At what point did Chuck lose control of the authorship and accidentally allow another author into his sandbox?

Maybe when John Winchester handed a baby to a four-year-old. Maybe the reason Sam has free will is because he is also capable of writing in Chuck’s world. Or maybe he is capable of writing in Chuck’s world because he has free will.

What we saw in Unity  was Chuck forcing his will on Dean to get to his poetic, tragic ending. He squeezed all of Dean’s rage up to the surface, and added more, he gave him an order direct to his nerve ending, squeezing his ink through Dean’s veins... “This time, fire that gun, boy!” Daddy’s blunt little instrument fed on rage and frustration and anger at being thwarted and impotence at being led on a string...

And Sam, again, snapped his fingers in the corner of Dean’s rage and broke him out. I think we saw Sam beginning to realize that he has the upper hand here.

And I don’t think Chuck has realized that Sam himself is, in fact, the issue.. yet.

Not the bullet hole, or Sam’s hope, or the demon blood, or the latent powers or missed destiny.

Sam’s existence and being are the issue. What Sam DOES, not who he is or was meant to be. Sam’s actual free will is the problem for Chuck. (and take a moment here to remember that almost every crisis Chuck wrote for Sam involved removing Sam’s agency and autonomy.)

He thinks they are all refusing to toe the line, I don’t think he understands that Sam is the one editing his book yet.

And what about Castiel? Well, the moment he shook hands with Sam, he was broken. His chassis may have come off the assembly line cracked, and Naomi may have patched him up time and again, but the second he shook hands with Sam, he was irredeemable for Chuck’s narrative.

Chuck inserts himself in to the story as the prophet, maybe to check in and see what’s going wrong? Figures out that Cass is broken (again?) and takes steps to make an opportunity to “remake” Cass. Then again, once back in Sam’s orbit, Cass is again, broken... there is something that cracks apart for Cass when he interacts with Sam.

This is not a shippy thing, btw. It’s being confronted with a creature that has actual free will... Cass is not equipped to handle that. He left the angel factory without that blind faith setting. He can ‘see’; and he ‘sees’ Sam. Every interaction with Sam shows him what is wrong with the rest of the story.

And again, Chuck rebuilds Cass, and this time traps him in a story where Cass himself is the villain. And Cass was a great villain, that was a good story, no matter how you feel about Cass or Misha, season 6 was a good story.

When Cass returns again, in season 7, hyperbole is gone now, he literally BREAKS himself upon touching Sam. There is no metaphor here, he takes on Sam’s brokenness, with a touch.

(”you’re broken [...]broken toys? You throw them away...”)

The only way Chuck could possibly hope to keep Castiel from being broken is if he can keep him away from Sam.

But Chuck hasn’t realized this yet. He tries to write a narrative that Naomi is “tuning him up as he transgresses” as she has in the past? or as she has in other worlds?

Is Dean what really breaks him free of Naomi?

No, touching the Angel Tablet does it... and again, this is just Chuck, writing his way to his preferred ending. The Narrative Cycle begins again because the Angel Tablet ‘resets’ Cass. This plot point starts us on yet another iteration of the “remove Sam’s agency so one of the brothers sacrifices either himself or the other” cycle.

~~~

Looping back again to the fifth season...

When Chuck says “endings are hard” in Swan Song he’s not talking about writing that ending. That ending was good, it was solid, it closed out the story on a note of melancholy hopefulness, Sam was gone, and the apocalypse averted. It wasn’t happy but it was complete.

That ending wasn’t hard to write.

It was hard for Chuck to read.

Because that wasn’t what he was trying to write, Sam took over his narrative. Sam refused to kill Dean, Sam refused to kill Adam, Sam refused to kill Michael or allow Michael to kill Lucifer, or allow Lucifer to kill either of Sam’s brothers or his own brother.

Sam effectively cock blocked Chuck’s little ‘fratricide 21-ways served in a light creamed-angel sauce with a side order of fried surrogate dad’ all you can eat and there’s dancing after banquet finale.

Cass comes back, almost immediately, because Chuck needs to re-boot the cycle. Because Sam screwed it up for him, again. (Maybe if Chuck takes Sam’s soul out of the equation... he can get some traction on his plan, this time.)

Sam Fucking Winchester is simultaneously Chuck Shurley’s hero, voice, protagonist, and muse.

He’s also Chuck’s biggest problem.

Sam Fucking Winchester is the corner Chuck has written himself into.

~~~

Now this is all just spit balling head-canon, and probably nowhere near where the writers are actually going, but it woke me up early and took over my brain and prevented me from doing my homework (which is also writing, to be honest) until I got it all out of my system.

~~~

——–

If opposites attract, they are not opposites at all. They may look it at first - the proper, reserved way in which Sanzo carries himself, versus Gojyo’s open and downright flirtatious mannerisms give off exactly the mask they want. But it doesn’t take much to see past that. Underneath they’re not that different.

For as stubborn as Gojyo accuses Sanzo of being, he is equally so. For every harsh word one gives, there is one to be had in return. They both carry a passion and a conviction that they are right, and the other is wrong. They are two wayward storm fronts meeting on some unfortunate stretch of coast now forced to ride out their fury.

In the light of day, they’re the same puzzle piece, all jagged lines and harsh edges that refuse to blend. In the light of day all they can do is fight and clash, as they are meant to do. It’s in their natures, like the same sides of a magnet, constantly repelling when forced together.

But they are not so set as an inanimate thing. They change and adapt to their environment, mold with it. In the blazing light of day they are sunlight and fire, burning burning burning until there’s nothing left in their wake.

But the sun sets, and the moon’s time comes. Under that gentle light, things soften, and those inner fires dim just a little. The scent of tobacco and hazy tendrils of smoke blur those lines that used to seem so sharp. The tempest calms with nothing to fuel it, leaving gentle waves in its wake.

Under the moon, they sit back to back, blowing smoke in quiet that speaks more than they ever will. It’s an understanding that comes from being so similar, a connected moment cast in silvery light. Just a sound from either of them can break the spell, so they make sure none escape.