There's the original home in Kansas, where the story opens. There's the Impala, the most potent combination of home and travel, encompassing the makeshift discomfort of the waking up in the car opening to "Jump the Shark" and the pivotal imagery of "Swan Song." There's Bobby's place, which combines a familial mentor, a salvage yard for car repair, a library, and the recurring confinement of the panic room. Dean works construction, building houses during the year he leads a stable life with Lisa. Sam, for all the weight he puts on having a place in Kermit, Texas with Amelia, seems to have inhabited that house only briefly -- much of their relationship plays out in the motel that's "not part of anywhere" ["Blood Brother"] where he works maintenance. And that brings up the endless succession of temporary lodgings Sam and Dean pass through: check out
ash48's awesome researches on how carefully these sets are developed and used. And now there's the Bat Cave.So, how does Spn balance home and road? How are Sam and Dean different and similar in their responses to the idea of home? What other spaces have I forgotten to mention above? Do we think Rufus's cabin's nose is out of joint now it's been spectacularly upstaged? Where do we speculate Sam and Dean may go from here in their negotiation of roots and rootlessness?
As always, enjoy the discussion, meet and greet one another, go off on tangents, just remember to be courteous and have fun.