The Place Where Light & Dark Begin to Touch

Summary:  Castiel owns The Garrison, a popular club in a midsized Midwest town. He also has a dark past he can’t quite get away from and a darkness within, a dark, oily sludge, he’s never quite been able to rid himself of.

Dean is in yet another new town, his brother just left for college on the other side of the country and his dad just up and vanished in the middle of the night without warning. He’s alone, angry, and bristling with a recklessness that mimics the untamed inferno raging behind his ribcage, something he’s fought to tame his entire life. Does darkness always equate to evil? Does light always allude to purity? Or do both extremes consume entirely, simply in different ways? Can Castiel and Dean help contain the others demons before they become too much? https://archiveofourown.org/works/31605392/chapters/78205151

That Drink Pour - a Meta Homage to Ben-Hur & Classic Hays Era Queercoding?

This 6x06 scene  - was strange to say the least Long post on the pour under the cut

(Left) Boyd, Mentally playing this as a sex scene                        (Right) Heston, Has no idea what the director told Boyd

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Wait wait I gotchu. Two scenes I can recall, in Rope. The first one ESPECIALLY.

You mean these two straights who wake up every day in the same apartment and their completely platonic eye fucking while one pours the other one a drink?

That’s valid. It’s the glove scene that gets me, one animatedly removing the other’s gloves while the second man is limp and panting,… and then they open the curtains. … @caslighting might be implying that spn was an exercise in the art of getting away with the perfect murder. 

But I’m still stuck on

All three movies have been confirmed to be intentionally gay by their creators 🙃

Eric Charmelo, I just want to talk. 👀

Misha using it in TSA Code Orange, “Relax” prior to a very heterosexual pat down

Charlie, Sam and Dean losing their love interests in 15x18

In retrospect, we got more resolution for Dean and Cas than the other two, which ain’t sayin much.