Thinking about Dean's happy mind place in 14x10 Nihilism.
Specifically talking about this conversation he has with his own subconscious:
Dean's flirting with women is purely habit at this point, something he likes to do for fun. His whole ladies man persona had been a schtict for years at this point and I love that it's being called out.
His subconscious knows he wants someone else, but he's pushing it down. Thinks he can't have it anyways. But that's okay, he's content with flirting and having a friend. And that's the word they use: contentment. It's not bliss, but it's enough.
I find it especially interesting that he sees Pamela in his mind. She's "neutral" in that she was not someone he considered family (i.e. Charlie) but she was also never a love interest, and she also isn't really someone Dean holds regrets about.
His contentment is a platonic female friend, a business of his own, and knowing that Sam and Cas will be home soon.
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You ever think about how gargantuan Supernatural is that there are AUs and widespread inside jokes about episodes? That there are enough people here to find something special in some episodes to build mini communities?
Even from a non-heller perspective; if I said oh 1x13 was batshit insane but it added so much depth to the sweet old romantic side of Dean that he desperately denies existing—more than a handful of people would know that I'm talking about Route 666. The batshit insanity of the racist truck ghost murderer, not outweighing the fact that Dean loved Cassie so much, he told her the big family secret, the no. 1 rule John Winchester has drilled since they were children, and ended up splitting with her anyways.
4x17 and 5x04 in particular took up the fandom by a storm for a while, because Supernatural created AUs within the actual text all for the sake of filling in the most important arc (at the time): the Michael vs Lucifer, Heaven vs Hell Apocalypse. I still sometimes remember It's a Terrible Life's reference to Dean and Sam being Smith and Wesson and feel absolutely sick to my stomach. And The End? That's one of my comfort watches right there. The fact that these two episodes alone gave us such a different characterization of the cast and brought a new setting to mind is absolutely mind boggling, and since there's just so many fans here means those tropes and side quests still live.
Does all this make sense? idk like I get that the show doesn't have the best reputation (as it should, honestly, I wouldn't wish this curse upon my worst enemy) but there's something so beautiful about being alive and within a community that really lives and breathes, y'know? I find it all such a touching aspect to humanity.
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Pamela is not just a complex stand-in for Dean's desires in 14x10, she sometimes speaks for him. AS HIM.
When Sam & Cas get into the Michael illusions, Dean immediately handles the, uh. IPA beer.
Ahem.
He looks strangely shy here, busying his hands, having something to do, eyes downcast. He flicks his eyes up lightning-quick towards Cas, but only for a second.
///
He's acting a little...weird. Fidgety. Looking away-ey. Keeping busy-ey.
Enter Pamela, animated, coming right up to them.
At the beginning of the episode perhaps she represented the stand-in for Dean's not!partner, but now she's a stand-in for Dean's words and his emotions:
PAMELA: "Cas! Sam!"
TO SAM: I'm glad you're back safe. S'startin' to worry. (snap) Don't tell Dean.
TURNING, more flirtatiously towards Cas and with the SAME Dean-air of weird bashfulness:
PAMELA (becoming more breathless, more bashful and strange): He'll...(odd pause, steps closer)...(shakes her head weird) use it against me (giggling, touching Cas's left shoulder).
Dean is oddly unanimated in the BG, 'cause Pamela is moving in his stead.
What's she saying though? What's the coded message?
"Don't TELL (HIM). HE'LL USE IT AGAINST ME."
This is Dean, trying desperately to keep a wall of what he loves away from Michael. Dean's mind is steely, locked down, but he's fighting hard to keep his true feelings as locked down and he can make them.
(Perhaps he's even been successful hiding some of his feelings from Michael?)
NOTE: Pamela and Dean both have dishrags. Pamela: animated, Dean: unanimated. They're one-to-one here.
Next:
DEAN: Hey, what're you guys waitin' for?
Now that Pamela's "gone more neutral," Dean's the one who's animated. (And they'll trade back and forth for the rest of the scene.)
SAM: (frustrated) None of this is real. This bar, Pamela--
PAMELA: Scuse me? You've never met someone more real than me, Sam Winchester.
Dean going silent, pointing at her like it's her cue to talk.
CAS: You're just a complex manifestation of Dan's memories designed to distract him.
Pamela turns to DEAN, not reacting to Cas, but ...almost like she's...waiting on words. And Dean almost like he's...thinking of words to say for both of them.
The whole thing is easily interpreted as Dean simply considering Cas's words. But a more fun interpretation? Pamela talking FOR Dean.
His eyebrows do the jumpy thing they do when he thinks of something flirty and "wowza" to say, he opens his mouth and--
PAMELA (looking Cas up and down): You really know how to talk to a lady, dontcha?
Cas seems a little taken aback.
///
Why Pamela? There's been so much made of Pamela.
Dean picks Pamela for his illusion because she's a psychic; that's comfortable to him
She's tied up with his first meeting of Cas and angels
Also: He's literally being possessed and suffering the effects of angelic possession. He's probably feeling guilty about Castiel's part in the whole system of possession and angel kills, making his brain reassess everything he know about Castiel.
//
Communicating with Pamela:
He doesn't have to tell her things.
She can read his mind and talk for him. She's a lampshade; she's even visualized near lampshades.
Her dialogue is contrived and odd because they're often Dean's words and emotions and worries, cloaked in the manner and style he remembers of Pamela.
Not only is Pamela safe/psychic/all-knowing, her manner of speaking is outlandish and "free," allowing Dean to direct that energy at...Cas.
///
And there are some other oddities in the scene I really like, too.
When they kill the vampires, Pamela is shooting the "drunk one" in the heart, where Dean had just been standing.
Then Dean beheads "raincoat vampire (name per script)," splattering both Sam's and Cas's necks with blood, as if they've been beheaded, too.
There's some hidden aggression here, I think, especially when paired with Michael's taunts, because although negative feelings don't paint a full picture, they're fleeting...and often a little bit true.
Sam is a burden, as children are, and they leave you. Cas is obligation and he does make mistakes, as spouses are and do.
Dean's understandably a little bitter about it all. He takes the bad with the good, sure. We all do. But AU Michael paints in black-and-white without nuance or 3D shape.
Pamela shooting the drunk vampire in the heart is a nod to that sometimes Dean's feelings go unverbalized as he sacrifices on behalf of others.
That's partially, I think, why his happy place isn't the kitchen or a library or whatever. It's not family or home-grown labor. (He loves laboring for his family, it’s a love language of his fire sure, but this isn't about that. It's about escape.)
This is a small business that he owns and runs; he's sitting at a desk with paperwork!
He's a caretaker finally getting their own thing, even if it's floundering.
///
Pamela turns flirty again, behind the counter with Dean. "You guys got real messy on that ghoul hunt, huh?" And Cas tries to set the records straight. It's not from a hunt. It's from the illustory loop.
Pamela and Dean get silly and ignore Cas and Sam.
SAM: Man, we were there together when she was blinded!
(angel noises)
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