Yo so remember before Fan Fiction aired we were like, “All I want in the world is for the Dean and Cas actresses to be off-stage girlfriends.”

And then we caught ourselves like, “No, we must not dare to dream so greatly, It’s too fanfictiony to be allowed.”

And then they were queer girlfriends anyway and we all collectively shed a tear because of how much Robbie Thompson gets this fandom?

Claire is in a hospital in Angel Heart, which was written by Robbie Thompson, and I am DARING TO DREAM of awkward pretend Destiel Dads as a cover.


Don’t let me down, Robbie.

So in the same episode where the spirit of a woman recalled her love of a man who couldn’t love her back completely because he was so bound to his work that he was unwilling to settle down, we also get Dean confessing to wanting to experience certain people and things differently than he ever has, that he wants more than he’s ever allowed himself, that he wants to fall in love.

He can’t quite comprehend living one life and then giving it all up for another, but being bound by this duty, by this life, is what has always held Dean back from truly experiencing a life of his own. It’s why he was more in love with the idea of Lisa than he was with her, because that entire year he was with her, he never completely let go.

And this duty is what holds Dean back from love. Just as the artist was bound to his work, Dean is bound to being a hunter, to living by the blade and dying by it. He says he always believed that’s how he would go out, at the end of a blade or the barrel of a gun, but death is licking at his heels now and there is so very much he still has left to do. So much he has left to feel.

If it is duty, a mission, a life of dedication to one thing and one thing alone that prevents Dean from loving, from feeling love, just as it did the artist, I wonder how Dean would react were a certain someone to confess their love to him after all this time. Would he finally see that he is permitted to break the chains of his life, to return that love, to know what it means to feel something other than hopelessness and fear?

I would try and wrap this up with something articulate and profound, but I’m still trying to fully process that we got a straight up canon confession from Dean that he has people in his life he wants to experience differently. Dean Winchester is bisexual as hell and I’ll give you exactly one guess as to who that person could possibly be bye.

See now I am just thinking that there’s this whole messed up thing that this show has inadvertently exposed: the rule that stuff only happens when stuff is on screen. 

All that driving literally does not matter to the plot because it can’t because if it did, every episode would be Baby, but as soon as we actually HAVE the episode where we see all the driving, then it turns out that stuff is happening because stuff is on screen, which is great in the short term of this one episode (I’m not taking a break to stop myself from crying why are you looking at me like I am?) - now it’s just as bad as any time they tell us that they’re characters in a book or that there’s an AU where they’re their actual actors or whatever… Now we know that driving time is important, and that stuff happens when the camera turns its way, we all have to go back into a state of wilful, forced ignorance that nothing happened when the camera wasn’t on them. It’s making us aware of the camera’s gaze and how that creates plot stuff on screen.

Any time they skip ahead a mile (like in the opening of 11x01 for a recent example) before continuing a conversation that lead on directly from a comment from in their time an hour before, they’re not just letting it fade from place to place as an artifice of the camera to move them around and we let it pass as a tool of storytelling… (honestly despite my whining about car continuity in the moment of watching I never notice or care about this stuff unless it’s TOO ridiculous - 10x22 is the only one that tripped me up mid-episode rather than in hindsight)

Now we know that the gaps between stuff are important or that stuff could have happened, and if they don’t have earth-shattering conversations in these gaps then now we know that they’re perfectly capable of doing it…

I mean this entire show is built around 2 guys who roadtrip extensively and only have important conversations at the most dire moments when the plot forces it - either for plot or emotional significance - we know that if they have not communicated X Y or Z to each other on screen, then they absolutely have not ever mentioned it or any of this stupid emotional twaddle about what they dream about on any of their 3 day road trips between every friggin episode to get to the monster of the week.

As someone who spends a lot of time side-eyeing the car continuity this is making me cry.

I’m not crying.


From Entertainment Weekly (with Cumberbatch on the cover), scan from @zoshjo on twitter: 

From the moment John le Carre’s The Night Manager was published in 1993, producers have tried to bring the spy master’s tale about arms dealing to the big screen. But a film never materialized, and for good reason: time constraints. “This is a fabulous book,” says le Carre’s son, Night Manager exec producer Simon Cornwell. “It’s got a vast scope to it. It just doesn’t fit into two hours.” The story is finally getting what it deserves as a six-episode miniseries, starring Tom Hiddleston as MI-6 field agent Jonathan Pine and Hugh Laurie as Richard Roper, a morally ambiguous weapons dealer whom Pine is tasked with bringing down.

“The best way I can describe the story is the thriller equivalent of a bromance.” says exec producer Stephen Garrett. That isn’t to say that The Night Manager is female-free - updating the story for 2016, the producers gender-flipped the role of Pine’s MI-6 handler, Leonard Burr, into Angela Burr (Olivia Colman). Fittingly, Hiddleston and Laurie formed a bromance of their own during the project’s development and over the course of the intensive 76-day shoot, which took them to Morocco, Majorca, Switzerland, and London. “[Laurie] can’t address me by my real name,” Hiddleston says, “I sign off emails to him as ‘Pine’, and he addresses me as 'Pine’. I don’t know why, but it makes us laugh.”

Airs April on AMC, February on BBC1.

Splatoon amiibo challenge report! We’ve just confirmed that completing enough challenges will unlock a special challenge, and if you beat it, the amiibo will reward you with some exclusive in-game gear! Sounds like you can earn different weapons, headgear, and clothing from each Inkling amiibo. Brb gotta go take some deep breaths, this is way too exciting!