#go watch Person of Interest its really good

[essektheylyss]

idk I kind of feel like I'm an idiot bc I actually enjoyed cr 3 from the jump to the end but like the blogs who follow bc I feel they are definitely more articulate and insightful than me are like "the whole thing was meaningless and pointless! matt fumbled everything!" so maybe I'm wrong to have liked it all? I'm not really sure where I'm going with this sorry

I think one thing to keep in mind is that many (and in fact, I would argue, most!) people who are critiquing the story and construction have also generally enjoyed the campaign as a whole! Certainly I don't know anyone who stuck it out through the end who did not overall enjoy watching it, for various reasons; I know there are people who hate watch, which I think is an absurd and honestly really stupid waste of time, but from my experience they are normally making snide and vicious tweet-length posts rather than long considerations of what isn't working for them.

There are also a lot of levels of critique—I've greatly enjoyed a lot of moments in isolation that I simultaneously felt weakened, contradicted, or even actively undermined the structure of the story as a whole, but those moments were still really fun and interesting beats. The Arch Heart's cameo comes to mind, as does, in hindsight, some of the construction of the post-Solstice split, but there are plenty of others of higher or lower impact on the story. In the finale the Raise Dead falls into this place very strongly, so I'm going to talk about it at length for a moment, since it was an absolutely stellar moment for me personally and as such I do think it serves as very illustrative of an example where I simultaneously fucking love a moment while finding it worth significant critique. I think it also touches on the critiques you're referring to, which I would summarize overall as the idea that many of the outcomes feel influenced negatively by pulled punches on the part of the DM rather than a flaw of one player or another. (Also, I want to talk about it cuz I love it. :3) This got very long but I think that to your point, it is worth examining in this amount of depth.

First, the good: it is an absolutely phenomenal culminating point of an arc that was only really concluded in summary; I have, as noted earlier this week, written at length about how Essek is never situated as a protagonist, which is functionally fine and even good. He ends up tied very strongly to Caleb's arc, and moves in the narrative in such a way after 2x97 that allows Caleb to reach a concluding note, and strengthens that narrative. So we only really hear about the outcome of Essek's choices, his inevitable leave from the Dynasty, in the summarization of the campaign 2 epilogue. This is not inherently a problem, because he is not a protagonist. But this moment does functionally create a material representation of that denouement, and in particular the tension between the outcomes of his poor choices and the better—potentially even good!—person he is trying to be as a result of the Nein's influence, which does strengthen his arc in its own right.

This moment also, hilariously, bears out my argument from this post. That the resurrection should only work with this intervention, particularly while the Nein are involved, does follow through on the Nein's general positioning within Exandria. Essek's leave happening without a fight (and, frankly, with only one attempted Counterspell) both makes for a very well-paced moment and also maintains the overall sense of story that the Nein impart when they are on screen; I'm thinking again of how their Ruidus episodes feel, much like their campaign and their post-campaign one-shots, like an intrigue action thriller series, and this fits well in that framing.

So overall, it is a fantastic moment... for the Nein. The Nein are not the protagonists of this story. They exist in the world, and are such active agents that they do continue to develop and exert motion on the narrative into this campaign, and frankly, I think this would have been fine if the party given ownership of this story and campaign did not abdicate their responsibility for it with unfortunate frequency. They do not exert a strong control over their story, which is at odds with the fact that the Nein do, and are present and also involved by the nature of their ending. It completely overshadows Ashton's heroic moment, in that the culminating action beat of this sequence is Essek getting away, which kind of takes the wind out of the sails of the Hells' involvement in the gods' outcome. It doesn't negate it, certainly, but it does refocus the story from them to, for some reason, Essek. So in this sense, it occurs at the expense of the Hells.

I find that while the handwaving of using dunamantic intervention to push Raise Dead beyond its limits (if indeed the reason it didn't originally work was because Ashton's brain was essentially gone) fits fine and even well within the framework of the Nein's story, and an NPC being able to do so without a roll is fine, since NPCs are vehicles the DM uses to guide the story, this is a significant divergence from the overall mechanics of the world at large; even the Nein had to do a full ritual for the resurrection of their tiefling. Matt put those mechanics in place specifically to create narrative meaning behind resurrections, which can feel very unmotivated and like a get out of jail free card in D&D, and while it's been noted that this would've really strained the runtime beyond its existing length, prioritizing it at the cost of, for instance, more truncated end notes for the Nein and Vox would've bolstered the Hells' presence in an ending to their own story that even many of their fans felt was ultimately lacking.

Giving the resurrection full weight would've also given Ashton's sacrifice and the Hells' involvement more narrative weight; the reason the other parties are involved at all is because the Hells were truly running on fumes by that point, but any lack of involvement this created could've been alleviated by having them directly involved through pre-established ritual elements that are not contingent on them having any mechanical offerings. So this moment sits within the context of critique that I agree with: that it felt like a pulled punch that ultimately also served to decenter the Hells within their own narrative, when it could've been used with more deliberate narrative force.

At the same time, I fucking love it, and watched it four times in a row yesterday, because it is so good—and it is, as I described, narratively and thematically coherent in one sense! And I think that is one issue of the campaign: many, many great moments are excellent and coherent in a certain framework but are weaker to varying degrees when considered as one piece of a larger whole. There are so many frameworks at play in this narrative, and not enough direct intervention to manage those as frameworks rather than as a single story, but at the same time, I think those frameworks are far more apparent if you're really looking for them, and that's much more difficult, if not impossible, when you're in the midst of them and telling the story.

I also don't think this means one cannot critique this; in fact, I would say this is more an issue of being a serialized narrative than an improvised one, which is often how critique of it has been pushed back against within the fandom. I was thinking about this as I'm currently in a course on, quite literally, how to critique comics, and we discussed this week how Marjane Satrapi said in an interview after making the film adaptation of Persepolis, which was first a serialized comic, that she ended up preferring the film, and I speculated that was because with a film, one has the ability to make a more cohesive narrative purely by virtue of the fact that with a serialized form, you cannot go back and make retroactive edits when new developments come to light. This is something that long-running comics must constantly navigate (as do many long TV shows), and in extreme circumstances such as decades-old comic franchises, ends up resulting in infinite timelines and hand-waving, which becomes so ridiculous that at this point it's a meme. In that scenario, though, it is not presented as a non-contradictory story, let alone a cohesive one.

Many of the critiques of campaign 3 are operating within the idea that this is presented as one overarching narrative. (And honestly, comics and other narratives that don't utilize that presentation are also still critiqued on that merit by people who greatly enjoy the texts they're critiquing anyway.) Within that context, I feel that the framing of the Raise Dead, as well as much of what would be my critique of the other pieces I referenced (the Arch Heart's cameo and some of the party-split sections) if I was to do the same kind of rundown of those, actively undermine this presentation by introducing and forefronting too many conflicting frameworks that are not interwoven well enough to create a single, cohesive overarching narrative.

This is a very long-winded way to illustrate my point, which is that I would really encourage reading critique not as a lack of enjoyment of the campaign, let alone a suggestion that no one should've enjoyed it (and if you did, then you're not smart enough to know better), but as a way to engage with the text(s) as presented within one framework or another. I think this is sometimes obscured in online fandom spaces, where we're not engaging in critique in as formal of a sense as one would in, say, an academic setting, where the norms generally dictate the framework one is using is explicitly stated if not fully delineated within the critique, but it is, more often than not, still implicitly present within the critique.

And as a final note, I would also really urge everyone reading others' opinions on something they enjoy to resist the urge to elide their own opinions from the conversation, even if you don't feel as articulate or as well-versed in critique. Critique is a trained skill, so it is certainly something one can pick up if they are inclined, and at the same time, someone doing it does not mean they are inherently right—and in fact, with all argumentative writing, it is up to the reader to consider the argument and decide whether or not they agree with it. (You can decide that you disagree with me about the Raise Dead! Just because I wrote a thousand words on it does not inherently make my interpretation truth; it's just an interpretation. You get to say whether or not you think my interpretation makes sense based on the evidence presented.) Even here I'm using the framework of some critique that others have made, but I don't delineate in full myself. In doing do I'm not presuming that you agree, but I am presuming that you've read it and know what I'm referring to. Strictly speaking it's also not even saying that I take that critique as true; it's saying that I feel the conclusions drawn are applicable as a basis for my argument. If you wanted, you could even say that you feel that my argument is irrelevant to you because you don't feel those critiques are true! But you ultimately do have to be the one to decide any of that, which does involve a balance between a confidence in the formation of your own opinions on the text and an openness to entertaining others'.

[coffeegnomee]

There's something to be said about how lifestealers like choose two different opposing personality types and combine them to make themselves. But only really lean into one at a time. And when you just look at one you get a full character and it seems impossible that the other could be true and you just wait in this weird limbo where it's like they could go back to being who they are or they could just exist like this forever, and both are true and yet it's not proven to be true until it happens or its over.

could expand about others probably but im mostly just thinking about Clown being a silly little guy and a murder villain and how he is most certainly both and you can't just say he's one or the other.

but rn on the realm he is just a silly little guy. how could he ever be the villain.

and yet as a creator clown is going down this interesting route of being less murder villain, playing nice with people and not taking their dragon egg (that one video from forever ago when this shift started happening) and he embodies this protector role so much more now, making it look like this is all he is.

and yet you still have that evil within that gets let out only when the situation allows for a little chaos and it's appropriate. like the karl 100 player video. doing some silly little trust building to get people to walk into portals just to die to lava on the other side just for fun. just to see if he can.

Or playing nice for the mace and murdering players immediately. He is and always will be both sides together.

Or Pangi being the innocent therapist and the passionate fighter.

Or Spoke being a troller and world ender.

Or Mapicc being honorable while also being the first to exploit/cheat/bend the rules.

Or Zam being defender and mass murderer.

Or Rek being wholesome and an instant betrayer because its lifesteal

Or 4c being pure innocence and the mastermind

Or Jumper being the troller and the betrayer

Maybe it's just simply that they're all capable and very forward about their good and innocent and goofy sides.

But that they are equally fully capable of indulging the evil within. And that evil is such a particular thing that is unique to them that will come out at a particular time.

and they choose when to be either. And they back up the villainy with periods of genuine innocence and whimsy to the point where you forget that they have done anything wrong ever. and it becomes easy to defend their wrongs. at it becomes exciting to wait for them to do something crazy. and it's fun to watch them be silly in the meantime.

they keep up this extremely active tension of "when will this all fall apart"; it's fun to keep watching because at any moment they could return to how they have been.

and yet this is also this active tension of growth, "maybe i don't want to be like that anymore". and who they will become is just as interesting as who they have been. (ok maybe just a little less fun. i miss gayjoker)

constantly held in tension. two extremes. today is today and yet tomorrow has all the potential.

[nereidprinc3ss]

I didn’t mean to have so much to say about this but wow do I!!!!

Lots of people say they love domestic spencer reid but I don’t think they love domestic spencer reid like EYEEE love domestic Spencer Reid. Because I love domestic spencer reid where he’s doing nothing. Or he’s being kind of….. not an asshole but…… where it becomes clear that he’s just dealing with his own shit and he’s a flawed person and then I love domestic Spencer Reid where he’s dealing with his own shit and he’s a flawed person but he can still say I’m sorry!!! And they can hug and it’s okay because loving someone requires being close enough to sometimes hurt them!!!! And the realism of this kind of fic just fills me w so much joy like THISSSS is what I want from tumblr dot com I LOVEE the meditative fics where nothing crazy happens and the plot comes from the authors understanding of rich interpersonal relationships!!!! I love!!!!

This was also beautifully beautifully written like a breath of fresh air wow I truly am so lucky to get to read work from such talented people thank you for writing this and thank you for sharing it with us!!

So anyway here are the lines that jumped out at me. There is really no rhyme or reason, I tend to extra love lines that are a little philosophical and ponderous about human connection and boy was this full of that!! I am not a literary critic I am just a girl full of thoughts

You wonder if this moment is real, or if it is something you are inventing to survive.

I just think this is an jarringly astute and concise observation of something we as humans do all the time in relationships and again there is nothing I love more than an observation about human connection that I can point at and go MEEEE I UNDERSTAND THAT I KNOW HOW IT FEELS!!!! It’s very exciting to me!!

Or maybe you are lying to yourself, pretending love is something you can bear no matter how heavy it gets.

This to me was a kind of honesty most fanfic lacks and obviously most fanfic is supposed to be optimistic and perfect and reflect the readers desires back to them but quite frankly to me it hits harder when there is this subtle kind of interpersonal angst and strife that is something we can feel and recognize within ourselves it makes it easier for me to actually connect to the fic. Rather than watching it like a movie I can recognize this kind of sentiment and it’s far more immersive to me and therefore a lot more fulfilling and rewarding and interesting to read

Maybe that’s the point of all of this—not two people standing side by side, but two people learning how to take up the same space, how to move around each other without losing themselves in the process.

YEAH MAYBE THAT IS THE POINT!!! THE POINT OF EVERYTHING!!! THE POINT OF MY ENTIRE LIFE!!! This to me is just beautiful and very succinctly summarizes something I’ve been working on and will probably continue to work on for the rest of my life and I think really the whole point of love and the lesson most people need to learn!!!! Once again I like my fluffy fanfic tempered w this kind of realism!! It adds so much texture

"Oh, lovely. I've got you, it's me. I'm here, I've got you," whispered reassurances pressed into your hair, your ear, your cheek, as he moves.

No yeah actually this IS the sexiest thing a man could possible say or do!! Like care and pay attention and be present and observant!!! I won’t even be talking about this because I love it too much to dissect it

Anyways this is maybe making me look crazy I just haven’t been engaged with fanfic very much recently and I did not go into this with the intention of having anything to say about it afterward but to my own personal deep surprise was so motivated to!! And it was so beautiful and so lovely I had to say something. Pls excuse if I’ve gone overboard!! This is just such a good example of fanfic at its absolute best to me like this is what it’s forrrr this is what I wanttttt!!!! Thank you for writing thank you for posting beautiful

mouthful of sunlight (18+)

Some nights, Spencer can’t sleep. His mind runs too fast, too far, tangled in cases, in horrors he can’t unsee. But in the quiet of morning, wrapped in the hush of young sunlight, he finds solace in you—the warmth of your breath, the slow, steady rhythm of your fingers tracing his skin. The comfort is fleeting; distance is inevitable. His absence lingers in the empty side of the bed, in unfinished cups of coffee, in the soft weight of his sweater draped over your shoulders. But when he returns—exhausted, unraveling—you stitch him back together with soft reassurances, gentle hands, and the familiar ease of laughter. warnings: sexual content (who tf am I), very very wordy, mentions of a cannon-typical case, longing, some angst if you squint, mostly reader and spencer being lovesick fools wc: 7.6k

You wake to the sound of rain, soft against the windowpane. The sheets are warm, tangled around your limbs, heavy with the scent of sleep and him. Faint traces of his cologne linger in the cotton, something clean and quiet, the ghost of him woven into the fabric.

Spencer is still asleep beside you.

You turn your head, slow, deliberate - shifting too fast might startle him awake. And there he is, curled into the pillow, his body half-buried beneath the blankets, face softened by the hush of morning. His breath moves through the space between you in slow, measured exhales, lips parted slightly, lashes resting against his cheekbone.

You could spend lifetimes watching him like this.

The curve of his mouth, the way his curls press against his forehead, the fine lines at the corners of his eyes—the ones you're not sure he knows about yet. You think the mentioning of them would send him into a spiral about aging and lost time but you love their presence. It reminds you of how he's laughed with you in the past, their arrival a notion of his genuine joy. The body keeps score in freckles and scars, and time can be found in the weight of sleepless nights and too many days spent carrying more than he should.

In sleep, he is weightless. The tension he wears so often—creased brows, tight shoulders, fingers restless against his knee—has melted away, leaving only the quiet.

You reach for him before you can think of it, fingers trailing over the ridge of his knuckles where his hand rests on the pillow between you. His skin is warm, his palm lax, open. He doesn't stir so you let yourself press further, sliding your fingertips up the length of his wrist, feeling the slow pulse beneath his skin.

Spencer Reid is always thinking. Always calculating, always predicting, always existing a step ahead, untethered from the present moment.

But, right now, wrapped in the hush of morning, doused in soft rainlight, he belongs here. With you.

The thought is terrifying in its simplicity.

You swallow, pressing your fingers a little firmer against his wrist, grounding yourself in the proof of him. His pulse beats steady against your touch, and you let it lull you, let yourself fall into its rhythm.

Spencer stirs beneath your touch, just the faintest twitch of his fingers against the pillow.

You go still.

A part of you—the part still tangled in hesitation, in old wounds and old fears—worries he’ll wake, that he’ll blink at you with those sharp, knowing eyes and startle away the calm you've fostered. You love Spencer, asleep or awake, but the peacefulness of this moment is something to be cherished. You want to watch him more, to exist in this lulling moment between seconds where life doesn't matter.

He doesn't wake, though, and instead, he shifts closer, instinctive, unconscious. The space between you vanishes, his breath warming your collarbone, his hand brushing against your arm where it lies between you. He is reaching for you without realizing it, drawn in like something inevitable.

And god, that does something to you.

You exhale, slow, careful, and let yourself watch him again, let yourself sink into the quiet reverence of it.

The morning light has stretched further now, slanting through the window, gliding through the messy sprawl of his hair. He is all sleep-heavy limbs, the weight of him pressing into the mattress in a way that drags you forward, leaning against him.

Flesh and bone, heartbeat and heat.

He is here. He is yours.

The way he leans into you even in sleep, the way his fingers twitch like they are searching for yours, even now. The way his body gives him away, whispering the things his lips have not yet said.

You cannot be careless with this. With him. But before the weight of it can settle too deeply into your chest, before you can let yourself spiral, Spencer shifts again—his breath catching, his brow furrowing just slightly, lashes fluttering against his cheeks.

You barely have time to think before his eyes blink open, slow and heavy-lidded, thick with sleep.

It takes a moment, his hazy eyes focusing and unfocusing. Still, he sees you. Not just looks, not just registers your presence; he sees you.

His lips part slightly, and for a moment, he only stares, like his mind is still catching up, like he’s still tethered somewhere between dreaming and waking. Blinking like he's not sure if you're a dream. Likely, everything is clouded by sleepy eyes and fading memories of dreams.

Then, his voice, quiet, still wrapped in the softness of sleep, “Morning.”

You don’t trust yourself to speak, so you do the only thing you can—you lift your hand, still resting near his wrist, and press your fingers over his pulse once more. A quiet confirmation. A tethering.

Spencer exhales, slow, deliberate, and then he turns his hand, just slightly, just enough, so that his palm meets yours.

His fingers curl between yours, and you feel it—the certainty, the weight of something unspoken settling between your ribs.

There is morning, and then there is night.

There is sunlight spilling over Spencer’s sleeping form, gilding his cheekbones, illuminating the curve of his mouth. And then there is the stark contrast of shadow—of sterile hotel rooms, of the sharp, artificial glow of a bedside lamp casting his face in harsh relief.

His fingers, curled loosely around yours in the golden hush of morning, become hands gripping the edge of a desk, knuckles white, trembling with exhaustion. His voice, soft and thick with sleep, morphs into something raw, something fraying at the edges.

"I don’t know how to turn it off."

It takes you a moment to realize what he means.

He’s still in his suit, the fabric rumpled, the scent of cheap motel soap clinging to his skin. There’s a stack of case files beside him, a half-empty cup of coffee that’s long since gone cold. He doesn’t meet your gaze, just stares down at his hands, fingers twitching like they’re desperate for something to hold onto.

"Spencer."

Your voice is quiet, hesitant, as if anything louder might shatter him completely.

"Come to bed."

He shakes his head, exhales sharply, dragging a hand through his hair.

"I can’t."

A fight, sharp and cutting. His voice raised, your hands clenched into fists at your sides.

"You don’t get it," he snaps, voice raw, eyes burning. "You don’t know what it’s like to have a mind that never fucking stops—"

"I do," you interrupt, and the way he flinches makes your chest ache.

A pause.

Silence stretching between you like a wound torn open, bleeding into the space between your feet.

Spencer exhales, shakily, and when he speaks again, his voice is barely above a whisper.

"Then why do you keep trying to fix me?"

And there it is.

The knife twisting.

You inhale, but the breath never quite fills your lungs.

The thing is—you don’t want to fix him.

You just want him to rest.

To sleep without nightmares. To let you hold him without feeling like he has to apologize for the weight of his existence. To believe, even for a second, that he doesn’t have to earn the space he takes up.

But you don’t know how to say that in a way that won’t turn into another wound, another reason for him to step back, to pull away.

So instead, you say nothing.

"Fuck. I'm sorry." And it's that simple, really.

Sorry, arms finding each other, whispers of "I know" pressed into necks and soft conversations easing racing minds.

Spencer can't stop the relentless chase of the case in his mind. You can't stop the constant overthinking of being enough, of your body, of desires edging into too much.

Morning. Again.

Spencer, golden in the dawn, the soft breath of sleep still heavy in his lungs. Your fingers ghost over the ridges of his knuckles, tracing the delicate architecture of him, the places where bones knit together beneath skin. Flesh and blood. A body, human and whole.

Then, blood, dark and seeping through the gaps in his fingers, staining his cuffs. Not his blood. Someone else’s. A case. A mistake. A man who didn’t survive the night.

His hands shake as he scrubs them raw in the motel sink, crimson swirling down the drain, his breath coming too fast, chest rising and falling like he’s drowning, like he can feel it slipping between his fingers, the weight of every life he couldn’t save.

You touch his shoulder, and he flinches.

Time lurches.

His head on your lap, hours later. His hair damp, fingers curled weakly in the fabric of your shirt, like holding onto you is the only thing tethering him to the present.

"I don’t know how much more of this I can take."

Morning.

Back in your bed, the light different now, stretched across the sheets in delicate bands. You can’t tell if you’re awake or dreaming.

You wonder if this moment is real, or if it is something you are inventing to survive.

Spencer shifts beside you, a quiet sigh escaping him, and you watch, desperate to memorize the shape of him here, untouched by grief, by the heaviness of what he carries.

You want to wake up to this every morning.

But the truth is, you don’t.

You wake up to the version of him that drinks too much coffee, to the one who is always looking at things that aren’t there, playing scenarios in his head like a film reel stuck on loop. You wake up to the version of him that gets lost in thought mid-conversation, who chews at his nails until they bleed, who flinches awake from dreams he won’t tell you about.

And you love him anyway.

Maybe because of it.

Or maybe you are lying to yourself, pretending love is something you can bear no matter how heavy it gets.

Mornings like this, where he sleeps beside you, still and warm and untouched by the weight of the world—stretch, slow and unhurried, slipping into the day like honey dissolving in warm tea.

Spencer moves through your apartment with the careful quiet of someone who knows how to exist in shared spaces—how to make himself at home without ever taking up too much of it. He is measured, gentle, a man who has spent too much of his life folding himself into small places, and yet, with you, he expands.

You watch him from where you stand at the kitchen counter, hands wrapped around a chipped ceramic mug, warmth seeping into your palms. The coffee is slightly too bitter, but you drink it anyway, because Spencer made it. Because he takes his with too much sugar and no milk, and you take yours with just a little, and the contrast is something you love.

The morning light catches in his hair as he moves about the kitchen, curling slightly at the ends where sleep left it unruly. He wears his clothes loose in the morning—his pajama pants low on his hips, his sweater slightly too big, slipping past his wrists when he reaches for things. He is soft here, unguarded in the way that makes your chest ache.

You don’t say anything when he hums under his breath, something classical, a song you don’t recognize but have heard him play before on nights when he lets the record spin long past midnight.

You don’t say anything when he pours his coffee with one hand and flips absentmindedly through the book he left on the counter with the other.

But you do say something when he starts reading aloud.

“You know, according to the Journal of Neuroscience, studies show that sleep inertia—”

“Spencer,” you interrupt, smiling into your mug.

He pauses, blinking at you, book still in hand. “What?”

You shake your head, setting your coffee down, stepping toward him until you can reach for the book, plucking it gently from his fingers. He lets you take it, watching as you slide it onto the counter behind you, clearing the space between you.

“We’re supposed to be waking up,” you murmur. “Not filling our brains with research before we’ve even eaten breakfast.”

Spencer tilts his head, eyes flickering over your face like he’s considering it. Then, his lips curve, slow and warm. “That’s how I do wake up.”

You roll your eyes, but there’s no bite to it. You both know that you love when Spencer rambles, miss it when he's gone, call him craving the sound of his voice when he's away on trips. “Come here.”

You reach for him, and he comes easily, stepping into the space you make for him, folding himself against you like he belongs there.

Maybe that’s the point of all of this—not two people standing side by side, but two people learning how to take up the same space, how to move around each other without losing themselves in the process.

Spencer exhales as you press your cheek to his shoulder, hands slipping around his waist, fingers curling into the soft fabric of his sweater. His arms come around you in return, slow and careful, pressing you against him like he knows exactly how to hold you.

The shape of each other, the cadence of shared breath, the quiet rhythm of a love that is not loud or fast or reckless, but something slow and deliberate.

Spencer is slow to let you go.

Even as you shift, even as you move to pull back, his fingers tighten just slightly at your waist, anchoring you there for a moment longer. You don’t resist. You let yourself be held, let yourself stay.

But then his stomach growls. Loudly.

You grin against his shoulder. “Well, that’s attractive.”

Spencer groans, burying his face in your neck. “I knew I should have eaten before I went to bed.”

You laugh, pressing your hands to his sides. “Come on, genius. Let’s get you some food before you start reading case files on malnutrition.”

He sighs, exaggerated, but finally steps back, rubbing a hand over his face as you turn toward the stove. “I do have a study on nutritional deficiencies and cognitive function bookmarked somewhere.”

You glance at him over your shoulder, raising an eyebrow. “You have studies bookmarked on everything.”

Spencer shrugs, completely unapologetic, and moves to lean against the counter beside you, watching as you pull out a frying pan. He doesn’t help—doesn’t even pretend to help—but he does reach for the bag of coffee grounds again, refilling your mug and his, making himself useful in the way he always does.

“You want eggs?” you ask, already cracking one against the rim of the pan.

He hums, peering into the fridge. “Only if you make them the way I like.”

“You mean, as you proclaimed the first time you stayed over, the right way?”

“Yes,” he says simply.

Neither of you mention how he burned them immediately after, distracted by kissing you in the early light filtering through the curtains of the kitchen window.

You huff, but it’s all affection, and he knows it.

Spencer doesn’t sit while you cook. He doesn’t retreat to the table or get lost in a book. He stays right here, a constant presence at your side, sipping his coffee, occasionally nudging your hip with his when you get too focused.

When you plate the food, he takes his with an approving nod. “See? Perfectly cooked.”

“They;re just scrambled, picky,” you tease, nudging him toward the kitchen table with your hip.

Spencer grins, mouth full of toast. “I have standards.”

You snort, setting your plate down across from him. “Oh, I know. That’s why you’re dating me.”

He swallows, takes a sip of coffee, and then, without missing a beat, says, “No, I’m dating you because I’m in love with you.”

Your breath catches.

He says it so easily.

No hesitation. No grand declaration. Just a fact, spoken between bites of breakfast, like it’s something he’s known for years.

You blink, lips parting slightly, and Spencer—Spencer, who notices everything—tilts his head, eyes softening.

“Hey,” he murmurs, reaching across the table, brushing his fingers against yours. “I didn’t mean to—”

“No,” you say quickly, shaking your head, covering his hand with yours. “No, I—I just—”

You exhale, glancing down at where your hands meet, at the gentle press of his fingers against yours. Then, quieter: “I love you, too.”

The corner of his mouth lifts, slow, small, but full of something deep, something certain.

“I know,” he murmurs, thumb tracing slow circles against your skin. “But I still like hearing it.”

And so you say it again, just for him.

Just because he likes hearing it.

“I love you.” Spencer smiles.

After breakfast, Spencer lingers at the table while you move about the apartment, rinsing dishes, wiping crumbs from the counter. It’s a soft sort of silence. When you pass by him, his hand brushes against your hip, absentminded but full of intent, a touch that says I know you’re here. I know you’re mine.

You catch his wrist, squeezing gently before letting go.

Neither of you speak as you make your way toward the bedroom, but Spencer follows, because of course he does. Because his place is beside you, moving with you, orbiting within the same small universe.

Inside, the morning light has stretched further across the bed, creeping in golden streaks over the fabric. The air is warm with the scent of sleep, of coffee, of him.

Spencer moves first, tugging his sweater over his head and tossing it onto the bed. His hair goes staticky, curls fluffed from the fabric, and you reach out instinctively, smoothing them back into place. He stills beneath your touch, the corners of his lips twitching.

“You’re going to make it worse,” he murmurs.

“Probably.” You grin, carding your fingers through the strands anyway, just for the sake of touching him.

Spencer huffs a laugh, but he doesn’t move away.

You let him slip his fingers beneath the hem of your shirt, lifting it over your head in one fluid motion. Let him reach for the zipper of your trousers, sliding it down with the same care you’d shown him.

There’s nothing rushed about it.

Nothing frantic, nothing heated. Just this. Just hands smoothing over fabric, fingers brushing against skin in passing, the quiet, unspoken promise of I know you. I love you. Let me show you.

Spencer tilts his head, gaze flickering down, not to your lips, but to the hollow of your throat, where your pulse flutters beneath your skin. He watches it like a scholar studying something precious like he’s measuring the exact rhythm of you, the precise way you exist in this moment.

And then, with all the patience in the world, he leans in.

Not rushed. Not desperate. Like he has all the time in the world to memorize you.

His lips brush your jaw first—so soft it could almost be nothing, just a breath, just a thought of touch. Then, lower, trailing warmth along the delicate line of your neck, the curve of your shoulder.

Your fingers find his wrists, not to stop him, but to hold him there, to feel the heat of him seeping into your skin.

You shift—not much, just enough to press closer, enough to let your forehead rest against his, enough to let his breath mingle with yours.

His hands slide higher, fingertips grazing the curve of your ribs, the warmth of his palms bleeding through the fabric like sunlight through frosted glass.

Like he understands, without either of you saying it, that this is the sacred part. Not the wanting, not even the having, but the holding. The staying.

He presses his lips to your temple, soft and sure, and you feel it—the weight of love settling between your ribs, deep and real.

“I want you,” he murmurs, voice low, full of something aching.

You shudder, your fingers tightening around his wrists. “You have me,” you whisper.

Spencer swallows, pressing his forehead against yours again, his hands gripping you just a little tighter as he breathes you in.

You feel his adoration in the way he moves—hesitant, reverent. Like he’s unraveling you thread by thread, pulling you apart just to piece you back together in the way only he knows how.

His fingers ghost over the curve of your waist, not grasping, not pulling, just feeling.

Your breath catches when he finally presses closer, the full weight of him sinking into you, a slow collapse into something inevitable. His body is warm, radiating heat like a fever, like a star burning too close to your skin. You curl your fingers into the fabric of his shirt, twisting it tight in your grip, grounding yourself in the weight of him.

He exhales against your jaw, warm and unsteady.

“Look at me,” he murmurs.

You do.

And god, it’s unbearable—the way his eyes search yours, wide and dark and pleading.

His breath stutters when you reach up, cradling his face in your hands, fingertips skimming the sharp angle of his cheekbone. He leans into your touch like it’s instinct, his lashes fluttering, his lips parting slightly, his chest rising and falling in time with yours.

“Spencer,” you whisper, his name slipping from your lips like a prayer.

He answers you with a kiss.

Not rushed, not desperate. His lips move against yours, unhurried but insistent, a careful exploration, a patient claiming. His nose brushes yours, his breath mingling with yours, the quiet sounds of longing pressing into the spaces between you.

You sigh into his mouth, and he shudders, his fingers tightening against your ribs.

“Again,” he whispers.

So you kiss him again. And again. And again.

Until the space between you is nothing, until your bodies are tangled in sheets and sighs and whispered names, until everything is breath and warmth and wanting.

His hands find yours, fingers threading together, clinging, pressing, grounding. His forehead rests against yours, his breath uneven, his body trembling with the weight of this.

“I want you,” he whispers, voice wrecked, shaking, repeating himself.

You tighten your grip on his hands, pulling him closer. “I know,” you breathe. “I know.”

And when he moves again, when his lips find yours with a new kind of urgency, you know—you feel it in your bones—this isn’t just wanting. It’s everything.

Spencer kisses you like he’s searching for something.

Like the answer to every unsolvable equation is pressed between your lips, tucked beneath your tongue, hidden in the soft give of your sighs.

And you let him.

Because you know this—this rhythm, this language you’ve built together. The slow pull of hands over fabric, the careful way he unravels you. The heat that grows between you, steady and unrelenting, like a pot left to boil over.

Spencer exhales sharply when your fingers find the sharp ridge of his collarbone. You press your lips there, breathing him in, and he shivers.

Spencer is reaching for you again, already fitting his hands to the curve of your back, already tilting his head to press open-mouthed kisses to your shoulder, your throat, the place just beneath your ear that makes you sigh.

“We’re going to be late,” you murmur, though you don’t mean it.

Spencer hums, his lips still pressed against your skin. “I don’t care.”

You laugh—a breathy, delighted sound that he swallows with his next kiss, his hands smoothing over your ribs, pressing warmth into your skin.

His trousers slide lower on his hips, and he makes a sound—low, breathless, almost dazed.

And then—“I’m sorry,” he murmurs suddenly, against the corner of your mouth.

You blink, pulse stuttering. “For what?”

“For all the times I haven’t been here.” His fingers tighten at your waist, like he’s grounding himself in the weight of you, in the proof that you are here. “For leaving. For missing too much. For—”

You don’t let him finish.

You press your lips to his, pouring everything into it—forgiveness, love, understanding.

When you break apart, your voice is quiet but sure. “There’s nothing to be sorry for.”

Spencer exhales, shaky and relieved, and then—

Then he laughs, something soft and breathless, because you’ve pushed his trousers past his hips and now they’re tangled around his ankles, and it’s clumsy, and it’s human, and neither of you can bring yourselves to care.

Your own clothes follow, piece by piece, scattered and forgotten, because this is more important.

Spencer is warm everywhere, all golden skin and careful hands and parted lips. He hovers over you, his breath fanning over your cheek, his fingers tracing slow, reverent paths down your arms, your sides, like he’s still memorizing you.

And when you reach for him, guiding him closer, pulling him in, he exhales a sound—soft, broken, something like ah, like yes, like finally.

You sigh into him, arching, meeting him where he waits, and the warmth between you turns molten, turns necessary.

Spencer presses his forehead to yours, his breath uneven, his fingers twining with yours in the sheets.

“I love you,” he whispers.

And you—You're lost in the heat, the smell of him. The gentle movement as there's nothing left but you and him and him and him.

"Ah, Spencer," you breathe, and he shushes you.

"I know, I know."

It's quiet, it's breathy laughs, it's warmth building building buildig until something cracks - it has to, it's necessary, it's perfect and lovely and hot honey dripping down your thighs to gather into something greater, something perfect, something more.

It should be impossible, the way you fit together.

Like something sculpted by hands that knew what they were doing, shaping flesh and bone with deliberate care, pressing you into each other until there is no separation, no beginning or end. A seamless thing. Thread looping over itself, over and over and over into infinity. Until it cannot be separated from itself, until it is one ball of mass and moving and friction.

Heat and pressure and warmth build into something more, more more. Spencer is calling your name as if you are lost, you're grasping his back to remind him you're right here.

He tumbles and you're stuck on the edge, unable to follow. It's a brilliant thing, watching him. Eyes screwed shut, tightly. Breath coming out in spurts and spasms. Love, love, love. Pouring out of him and into you.

It's warm, so so warm, and nearly enough to send you to the place of glass shattering and pleasure fluttering and complete unity.

It isn't until Spencer's hips are faltering that he notices you there, hanging on the precipice of masterpieces yet unknown.

"Oh, lovely. I've got you, it's me. I'm here, I've got you," whispered reassurances pressed into your hair, your ear, your cheek, as he moves.

And you fall after him, tumbling down into something safe and known and foreign and unlearnable.

When you clatter back onto Earth, Spencer is warm against you, chest rising and falling in the slow, steady rhythm of shared breath. His fingers—long, elegant, familiar—trace mindless patterns against your arm, mapping you the way he memorizes pages, theories, entire histories. As if you are something to be learned, something to be understood.

As if he hasn’t already written you into the marrow of his bones.

Your limbs are tangled in the sheets, in each other, some quiet aftershock of connection humming between your skin. He shifts, pressing a lazy kiss to your temple, the edge of your jaw, the corner of your lips, his breath still heavy with you.

Whole. Uninterrupted.

Until—

A loud grumble splits the silence, echoing off the walls.

Spencer stills.

You blink.

And then—

Your stomach rumbles again, louder this time, an undignified protest against your distraction.

Spencer bursts into laughter.

It’s warm, breathless, human, cracking through the solemn weight of the moment like lightning through a storm. He drops his head against your shoulder, shaking with it, his entire body vibrating with amusement.

“Oh my God,” you groan, covering your face with your hands.

Spencer’s still laughing when he rolls onto his back, his hand dragging down his face as he tries to compose himself. He fails, utterly, letting out another breathy chuckle before turning his head to look at you.

“I’m sorry,” he says between soft huffs of breath, his eyes bright with mirth. “It was just—so poetic, so profound—and then your stomach actually growled.”

You peek at him between your fingers. “You're going to give me shit when you essentially did the same thing earlier?" You ask, aghast. Spencer nods his head, cheeky smile overtaking his face.

You groan again, but it’s half-hearted, because Spencer is still laughing, and it’s the kind of sound you’d willingly make a fool of yourself for, over and over again, just to hear it.

"Did you not have any of your stellar eggs?" Spencer asks, pulling away from you.

You both wince as connection is lost, resisting the urge to pull him back in again, to be selfish and keep the warmth of him near.

He stretches, arms raised above his head, back cracking. You stay still, stretched across the bed as he moves into your bathroom and wets a washcloth.

"No, I don't really like scrambled."

Spencer hesitates, at the foot of the bed, one knee propped up on the edge. "What?" He asks, frozen, still as a statue.

"I'll eat them but this morning they were too eggy."

"Too eggy," Spencer mutters, voice aghast, cleaning you before pinching your thigh playfully. "Come on, time to get you to work."

The moment lingers, shifting into something softer, something easy.

And then—

You’re standing in the kitchen, hours later, Spencer in his undershirt, stirring a pot of something that smells like warmth, like home.

Your stomach grumbles again.

Spencer smirks, not even turning around. “Should I start reciting poetry, or—”

You throw a dish towel at him.

||||

There is the weight of Spencer pressed against you in the morning, the heat of his breath on your skin, the steady rhythm of his fingers tracing patterns into your ribs. And then there is the cold side of the bed, the imprint of him faded from the sheets, the silence of an empty apartment that settles like dust in your lungs.

He’s gone.

Not forever. Neer forever.

But the difference between knowing something and feeling it is vast, and this morning, you feel it.

The bed is too big. The air is too still. The coffee is too bitter without his absentminded habit of adding too much sugar to the pot when he thinks you aren’t looking.

His absence moves through the space like a ghost, turning everyday things into echoes of him.

A book left open on the table, spine cracked, a scrap of paper sticking out with notes in the margins.

A half-full mug beside the sink. He always assures you he'll finish it later but never does. You don't mind, savoring the reminder of him when he leaves in the middle of the day with little notice.

The sweater he left draped over the back of a chair, smelling like warmth, like him, like something undone.

You exhale, pressing your fingers to the edge of the table as if grounding yourself, as if it might keep you tethered.

You knew this would happen.

It always does—cases that stretch into days, weeks, phone calls that come at odd hours, the sound of his voice wrapped in exhaustion and apologies, the waiting, the not-knowing.

You reach for your own coffee, cradling it between your palms, letting the heat seep into your fingers.

Your phone buzzes. A message. Short, simple.

Spencer: I miss you.

The breath in your chest stutters.

Your fingers hover over the keyboard, a response forming before you can even think about it.

You: I miss you too. It’s too quiet here.

Three dots appear. Pause. Disappear.

You wait, staring at the screen, willing the space between you to close, even just a little.

Spencer: I’ll call you tonight. Stay in my sweater until then.

You let out a breath, something soft, something caught between a laugh and a sigh. You reach for it, slipping it over your shoulders, wrapping yourself in the remnants of warmth.

It’s not the same.

But for now, it will have to be enough.

||||

The door unlocks with a quiet click.

You don’t move right away.

You should—should stand, should cross the room, should meet him in the doorway. But instead, you sit still, curled into the couch, the weight of waiting still heavy in your limbs, pressing you down.

Footsteps. Familiar, careful.

“Hey,” Spencer murmurs, quiet, hesitant, like he isn’t sure if you’re asleep, if he should wake you, if he’s allowed to break the silence.

You inhale sharply, and that’s what does it—what snaps the moment in two. You push up from the couch, feet hitting the floor, your body moving before your mind catches up.

You are in his arms.

He exhales sharply at the impact, his bag slipping from his shoulder, his arms wrapping around you with something desperate, something relieved, like he’s been waiting for this moment just as much as you have.

The scent of him—faint cologne, the sterile bite of too many hotels, the quiet warmth that is Spencer—hits you all at once. You press your face into his shoulder, fingers curling into the fabric of his jacket, holding tight.

“You’re back,” you breathe, and it’s obvious, unnecessary, but you need to say it, need to hear it, need to confirm it.

Spencer laughs—soft, exhausted, fond. “I’m back.”

You feel the words vibrate through him, feel the shape of them beneath your hands, the weight of them settling between your ribs.

“Did you miss me?” You laugh, a quiet, breathy thing, your grip tightening on his jacket.

“Not at all,” you say, pulling back just enough to look at him, to see him. His face is tired, his eyes a little shadowed, but there’s something soft there, something bright just beneath the surface.

His lips twitch. “Liar.”

You hum, tilting your chin up just slightly, brushing your nose against his, letting the warmth between you settle.

“Say it anyway,” he murmurs.

So you do. “I missed you, Spence.”

His breath stumbles and he kisses you.

It’s not rushed. It’s not desperate. It’s homecoming, warmth where there was once cold. It’s touch where there was once absence. It’s the quiet, certain return of something that never really left.

It takes a while for Spencer to let go and, even when he does, he keeps a hand on you. Not even after the kiss fades into breaths, not even after his bag is abandoned by the door, not even after you’ve guided him toward the couch, pressing your hands to his shoulders until he sinks into the cushions with a sigh.

You don’t ask him about the case.

Not yet.

Instead, you move around him, nudging his shoes off with your foot, smoothing his hair back from his face, pressing your fingers into the stiff muscles at the back of his neck. His eyes flutter shut, and he exhales slow, like he’s unspooling one spiraling thread at a time.

“You look exhausted,” you murmur, brushing your knuckles over his cheek.

“I feel worse,” he admits, cracking one eye open to look at you. “I think I might actually be a ghost.”

You hum, tilting your head. Slowly, you press a finger into the center of his chest, thumping it against his sternum twice. “I don’t know, you feel pretty solid to me.”

Spencer lets out a breathy chuckle, shaking his head. “Okay, fine. Maybe I’m only part ghost.” He waves a hand in the air, "I hover between realms, or whatever those silly books you read would say."

“Well,” you say, ignoring the dig at your admittedly less-academic reading preferences, pressing your lips to his temple, lingering, “if you were a ghost, you’d be a talkative one. Following me around, rambling about hauntings and historic criminal cases—”

Spencer scoffs. “I’d be a great ghost.”

“Would you?”

“I’d be an educational ghost.”

You snort, letting your fingers trail down his arm, wrapping your hand around his wrist, pressing against the pulse there. “I think I prefer you educational and alive.”

Spencer smiles, but it’s softer now, more worn, and when he leans into you, it’s not just playful—it’s relief.

You shift, curling into him, letting him fold himself against you like he’s been waiting for it for days. He buries his face against your shoulder, his breath warm against your skin, and you feel the tension still lingering in him, the weight of something else.

Something he’s not saying. So you just hold him.

One hand drifts into his hair, threading through the soft curls, the other smoothing over his back, steady, slow. His fingers flex against your side, gripping, holding, grounding. He sighs, deep, exhausted, pressing closer like he’s trying to escape something.

You kiss the crown of his head. “You don’t have to tell me,” you whisper. “But you can.”

Spencer is quiet for a long moment, his breathing uneven, his fingers still pressed into your skin. “The case was a little boy,” he murmurs, barely above a breath. “He lost his—” His voice wavers, and he swallows hard. “His whole family. We nearly didn't find him in time."

It's the most he can give you, the most that the public has probably heard, too, but it's enough to impress upon you the true horrors he's facing.

You close your eyes, tightening your arms around him. “Spencer.”

He shakes his head, shifting just enough to rest his forehead against your collarbone. “I just—I keep thinking about him. How small he looked. How scared.”

You press your lips together, blinking hard, willing yourself to keep it together for him. “I’m sorry,” you whisper, voice thick. “I know that doesn’t help, but I am.”

Spencer exhales shakily, nodding against your skin. “It helps.”

You don’t know if that’s true, but you keep holding him anyway. Keep smoothing your hands down his back, keep whispering his name, keep pressing your lips to his temple, his cheek, the corner of his mouth, like you can will the heaviness away.

“I’ve got you,” you murmur against his skin. “You’re home.”

Spencer lets out a slow, shuddering breath. “Yeah,” he whispers. “I am.”

Spencer doesn't move much, pressed against you, letting himself be held. His breathing steadies, his hands no longer gripping like he’s afraid of being pulled away.

You shift, just slightly, pressing your cheek against the top of his head. “You wanna do something mindless for a bit? Watch bad TV? Read a book with no footnotes? Stare at a wall together?”

Spencer snorts, muffled against your skin. “Tempting.”

“I'm very persuasive when I want to be.”

“That’s one word for it.”

You pull back just enough to look at him, narrowing your eyes. “Excuse me?”

Spencer finally lifts his head, and there’s something lighter in his expression now, the weight of the case still lingering, but no longer pressing quite so hard against the edges of his mind.

He shifts, settling further into the couch, his knee bumping against yours. “You bullied me into watching a terrible documentary about haunted dolls last time I came back from a case.”

Your mouth falls open in offense. “It was informative!”

Spencer levels you with a flat look. “It was ninety minutes of a guy holding up dolls to the camera and whispering ‘Do you hear that?’”

You press your lips together, fighting back a laugh. “Okay, maybe it wasn’t the most scientific—”

“There was a scene transition shaped like a skull.”

“You didn’t have to watch it!”

Spencer gestures at himself dramatically. “I was physically incapacitated by exhaustion!”

You shove at his shoulder, laughing now, and he catches your wrist easily, pressing a quick, warm kiss to the inside of it before letting you go. The gesture is so easy, so thoughtless, that your chest goes tight with it.

Spencer sighs, shifting so he’s half-leaning against you again, pressing his forehead briefly to your shoulder before pulling back. “But,” he admits, softer now, “it was kind of nice. Sitting with you. Not thinking for a bit.”

You hum, tucking your legs beneath you, leaning into his warmth. “I am great at the whole ‘not thinking’ thing.”

Spencer huffs a laugh. “That’s not what I meant.”

“You sure? I distinctly remember you asking me how I manage to not overanalyze things while I was eating a bowl of cereal the other day.”

“That was—” He pauses, brows knitting together. “Okay, yes, but that’s because you were reading the cereal box like it was literature.”

“It was a compelling narrative, Spencer.”

He tilts his head. “The ingredients list?”

“The lucky leprechaun’s backstory,” you clarify.

Spencer just stares at you.

You grin, nudging his knee. “It’s called escapism, genius.”

Spencer shakes his head, exhaling something close to a laugh-sigh, then shifts again, tucking himself more comfortably against your side.

"Unless you're calling me dumb," you muse, not ready to give up teasing him. He takes the bait easily.

"I would never say that-"

"i'm pretty certain that's what I'm hearing."

"Absolutely not." You sit silently, humming dramatically, hoping for a compliment that you're sure is to come. "You're one of the smartest people I've met, actually. That's why your taste in books and documentaries appalls me."

"You're good at groveling, Dr. Reid."

He doesn't answer, chuckling and pressing his lips against your shoulder in response instead.

After a moment, his fingers brush against yours, hesitant for only a second before twining them together. Quiet settles between you again—not heavy this time, not suffocating. Just easy. Just you and him. Spencer squeezes your fingers lightly, voice soft when he speaks again.

“You make coming home easy.”

Your throat goes tight, and you squeeze back. The shift in tone is palpable. You long to linger in the feeling of warmth and safety and the earnest way he mumbles it. “Good,” you murmur, pressing your forehead to his temple. “Because you are home.”

Spencer exhales, slow and steady. “Yeah,” he whispers. “I know.”

You don’t move immediately after Spencer settles against you, letting his weight sink into the couch, his fingers loosely tangled with yours. He’s relaxed now, softer, the weight of the week still lingering in his tired eyes but no longer pressing quite so hard on his shoulders.

It’s the perfect time to strike.

You reach for the remote, flicking through streaming options with intense purpose.

Spencer glances at you, suspicious. “What are you doing?”

“Putting something on to help you unwind.”

His eyes narrow. “What kind of something?”

You hum innocently. “Oh, you’ll see.”

Spencer watches as you select a YouTube documentary—one you know is riddled with inaccuracies, one that will absolutely send him into a spiral.

The second the dramatic narration begins, Spencer physically tenses.

You stifle a smile. You watched it when he was gone, something mind-numbing after a long day at work, and have been waiting to see his reaction to the ridiculous claims of the conspiracies.

The documentary wastes no time getting things wrong.

A sweeping shot of pyramids. An ominous, overly intense musical score. And then, in bold, serious tones:

"The ancient Egyptians, known for their fascination with aliens—"

Spencer inhales sharply, head snapping toward you, eyes wide with horror. “Their fascination with WHAT?”

You shrug, biting your lip. “Aliens, love. Keep up.”

Spencer throws his hands in the air. “Ancient Egyptian society was a highly advanced civilization with remarkable achievements in engineering, mathematics, and medicine—why does everything have to be aliens?”

You pat his knee comfortingly. “Shh. The experts are speaking.”

He turns back to the screen just in time to hear the narrator say:

"Some theorists believe the Sphinx was originally a statue of a dog, not a lion."

Spencer physically jolts, glaring at you again.

“A dog?” he scoffs.

You bite back laughter. “I don’t know, Spence. It kinda looks like a dog if you squint.”

He looks betrayed. “It doesn't. I know you don't think it does.”

You hum thoughtfully, pretending to study the screen. “Maybe, like, a bulldog?”

Spencer presses the heels of his palms into his eyes like he’s in pain. Give me the remote. There's a better, actual documentary, about 1940s Germany that I wanted to show you instead of this-” he gestures toward the screen, "garbage."

You grin, nudging his side. “Oh, you love it.”

“I do not—”

A new segment starts, this one even worse, featuring a so-called “historian” confidently stating that the Romans invented cheese.

Spencer makes a noise nearly resembling a laugh and you know you've got him.

“No they didn't," he says, deadpan, shaking his head and clicking off of the video.

You lose it. You cackle, curling into his side, shaking with laughter as Spencer queues up an actual documentary, switching on subtitles for you.

“I hate you,” he mutters, but his voice is fond, his arm still wrapped tight around you.

“No, you don’t,” you tease, leaning into him.

He sighs dramatically, dropping a kiss to the top of your head.

“No,” he murmurs, softer now. “I really don’t.”

And just like that, the warmth settles back between you, easy and earned.

Even if he’s still muttering about the Sphinx as the documentary starts.

You settle down like that, listening as Spencer adds his own interesting facts to the documentary. This is home, wholly and truly, sitting on this couch next to him.

You're sure to ask questions, keep him talking, until he falls asleep, missing the sound of his voice the second he dozes off.

[randomfoggytiger]

The Truth Is Out There: David Duchovny, Collaborator and Vancouver Captive

1995 David Duchovny was grimly resigned to five unexpected, grueling years in Vancouver. (Thankfully for philes-- and his pocketbook-- he stuck around and contributed heavily to the series, including the idea which connected Mulder's family to the Conspiracy.) He was also very chatty and very complainy; and, even then, tended to gravitate to lower-stakes projects that put little pressure on him (acting is, after all, something he wanted, even then, to remain "fun".)

Previous parts of Brian Lowry's Book 1 here, here, and here. Transcripts below will be fonted in italics.

BITS FROM THE BOOK

Before the [first] season began, Fox officials were clearly more effusive in praising "Brisco County" and its star, Bruce Campbell, than The X-Files. In that regard, when Grushow commented that he’d “eat my desk” if Campbell didn’t become a star, Duchovny’s competitive spirit was piqued, feeling like The X-Files was being dismissed and slighted. Carter remembers Duchovny returning from an event where Grushow made those comments and joking about serving him the condiments for that meal. The attitude, Duchovny says, was that Fox was touting the other show and treating their entry as an afterthought-- as if it were “and oh yeah, there’s this other little show called The X-Files.” 

The net effect, in fact, turned out to benefit the show on virtually every level-- creating, as Duchovny puts it, “a unique mythology for television.” The complex alien abduction/government conspiracy story that was concocted to explain Anderson’s brief hiatus actually solidified the Mulder-Scully bond, striking an extremely responsive chord with the show’s hard-core fans. As Duchovny points out, there were also parallels between Scully’s abduction and that of Mulder’s sister, giving their relationship even more emotional resonance. 

…One of those regularly contributing ideas [to the second season] is Duchovny, who’s become personally close with Carter (the two are occasional squash partners) and has shared story credit with him on certain episodes. 

The producer has no qualms about letting his star in on that process. “He’s got good ideas for the show,” notes Carter. “Why not use them?” As for Duchovny, he says that once it became apparent the show would be around for a while, he had an interest as an actor in making his character as interesting as possible to play. 

As for Duchovny, the actor had little enthusiasm about doing a television series at the time-- his feature career having taken a promising turn with "Kalifornia", which cast him opposite Brad Pitt. The X-Files turned out to be the only pilot script his manager decided to send him that year. “I read it, and I thought it was a really good story and that UFOs would get boring after three or four episodes,” Duchovny recalls. ‘I thought I could go to Vancouver for a month and get paid, and then go on and do my next movie.” 

“I love it!” Bowman proclaims as the scene ends, watching the shot through a monitor and lauding his star as “One-take Duchovny.” 

…Bowman has to deal with five actors (Anderson, Duchovny, and Gunmen Dean Haglund, Bruce Harwood, and Braidwood) in a relatively confined space, so the staging will be critical. After Bowman aligns them one way, Duchovny suggests an alternative in handling the shot, and various configurations are tried. As they begin rehearsing, everyone still seems a bit punchy, and the mood is light. Haglund keeps wanting to call a Nazi scientist “Kempler” instead of “Klemper”, and Duchovny has a hard time not laughing each time Braidwood (who comes up roughly to the actor’s chin) approaches him, with Frohike supposed to act relieved to see Mulder alive after the events that closed the second season. “Did you ever see the 'Star Trek; where Spock thought that Kirk died?” Duchovny tells him with his trademark deadpan delivery. ‘That’s what you want to be doing.” 

IN HIS OWN WORDS

…By virtue of starring in “The X-Files”, Duchovny also seems destine to have a shot at major feature-film stardom, but again, not via the precise route anyone assumed he’d follow. …Duchovny felt he was on his way and as a result had serious doubts about doing a television series. “It’s like a horse race,” he observes, enjoying a relaxed moment, clad in work shirt, boots, and jeans outside his trailer on “The X-Files” set in Vancouver. “You’ve got fifteen guys who are going to be ‘the next big thing,’ and three of those guys are going to finish.

“I was making a living,” he notes. “It seemed like I would get my shot at some point.”

Duchovny was willing to wait for his chance. He’d done some interesting features, and thanks to the vagaries of Hollywood, he knew a hit movie-- any hit movie-- would move him up to the next echelon of actors. “I always had an abiding belief that things would work out for me,” he says. “I didn’t know how. And then my manager, who was agreeing with me in that I didn’t want to do any television, sent me the script for ‘The X-Files’ because she thought it was a really good script. She read all the pilots, and that was the only one she sent me.” 

Duchovny remembers thinking he could do the pilot-- getting paid to spend a month or so in Vancouver-- and then be off to his next feature. In the midst of another 12- or 14-hour day, he can only shrug at the irony, adding with a sly grin, “It didn’t really work out that way.” 

…Prone to introspection as he is, however, Duchovny feels the weight of the expectations riding on him and wears the mantle of stardom uneasily, having found that sudden celebrity is not without its drawbacks on a personal level. 

…”Year one was just about survival-- am I physically going to survive? It’s what I imagine those triathletes feel: When you first start competing you just want to finish, then eventually you start wanting to get a good time. 

“There were many days the first year when I would just go home and think, ‘I can’t do it. I can’t go back to work anymore.’”

Although that situation didn’t ease much in terms of shooting requirements during the second season-- particularly with costar Gillian Anderson’s pregnancy compelling Duchovny to shoulder more responsibility for a time-- the actor found the show’s creative direction alone lightening the burden. “Last year I just think the work was so much better. That was kind of inspiring,” he says. 

Ever a tough critic, Duchovny felt there were some good episodes the first year and enjoyed doing something that was different from most primetime television shows. As for his contribution, he says he was “occasionally kind of happy with my work.” 

By contrast, in the second season, he believes, “we really became the best show on television,” saying he’s grateful that the series survived so its performers, writers and directors had the opportunity to mature together. The third season will be more of the same, he predicts, with trademark sarcasm, “before we slide back into mediocrity.” 

…Stardom does have some advantages, in that Duchovny has been able to add his stamp to the show creatively, providing story ideas and helping contribute to “The X-Files” mythology….

…Part of Duchovny’s goal has been to flesh out the character of Fox Mulder-- which, he points out, was understandably vague when the show began-- in order to make the part more enticing for him as a performer. “It’s definitely been exciting, just something added to my experience, in terms of being able to guide the destiny of the character,” he explains. “Because the character had no destiny. Like any TV show, you’re forced to eventually create a history for the character that it never had.” 

Once “The X-Files” had survived the initial Nielsen weeding-out process and he and Carter realized the show was going to be around for a while, Duchovny offers, “it became important to me as an actor to make that history as interesting as I could.” 

The second-season finale, entitled “Anasazi,” and revelations about Mulder’s family played out in the two opening episodes of the third season, offer such mythic highlights, exploring Mulder’s character and family history, down to his father’s role in alien experimentation. Those episodes also shed light on the abduction of Mulder’s sister, Samantha, which figured prominently in the character’s motivation….

Those episodes, he maintains, couple with earlier story arcs have “created a unique mythology for television in the character, and I’m really proud of that fact-- that I was conscious enough to say to Chris, ‘Look, I have some ideas, I want to be involved with the creation of this myth.’” 

Duchovny contends that Anderson’s pregnancy and brief absence unwittingly contributed to that emotional resonance. Having Mulder search for her echoed the loss he felt in losing his sister, while Scully’s abduction gave her an experience to draw upon-- all of which, in Duchovny’s eyes, provided “raw material to use in the future.” 

According to the actor, the depth of those episodes stands above “a kind of formula that we were drifting into the middle of last year” with stand-alone installments dealing with whatever monsters and/or paranormal phenomena the writers could dream up….

Now the show can go back and forth, delving into its mythology, then pulling back to do more standard and self-contained episodes. “The intensity’s too much, and it can get melodramatic,” Duchovny says regarding the need to break up the mythology segments, adding that the producers have achieved a “nice balance now” between the two. 

Seemingly as much of a perfectionist as Carter, Duchovny acknowledges that he occasionally bristles when he’s presented with a deluge of gobbledygook dialogue-- those sequences where Mulder launches into remarkably detailed explanations about some event or series of events from the past. “At first it was almost impossible-- it’s kind of a muscular thing,” he says. “You try and make it interesting from an acting point of view…. [But] sometimes it’s just like you memorize… and spit it out.” 

…Duchovny can be equally blunt in elaborating on his views regarding fame…. “Celebrity’s no fun,” he says flatly. 

“There’s really nothing nice about it. Celebrity is being known. It’s no fun to be known. I imagine it’s fun to be known for something good that you did, or for something noteworthy, but unfortunately the kind of celebrity television brings is monochromatic.”

…”I understand that it’s part of the territory,” he allows, “but sometimes it’s hard to be amused when you’re just trying to live your life and you don’t feel like people snickering or pointing. In this culture that we live in, everybody wants celebrity, everybody wants to be famous. If I’m going to be famous, I’d rather be famous ‘for’ something.” With a shrug of resignation, he adds, “I don’t think I have a choice at this point.” 

Duchovny’s comfort level with fame remains low. Asked the worst part about life under the microscope, he simply says, “It doesn’t leave you room to make mistakes, to do something stupid. Everything becomes kind of calculated in the worst way. You’ll have an impulse and you’ll go, ‘Can I do that? Is anybody watching me?’ It’s like being Catholic,” he quips. 

Not that Duchovny would trade in his ‘The X-Files’ experience. Far from it. “This is wonderful, and it affords me economic security” while hopefully creating the opportunity, he says, to do interesting feature-film work either after the series completes its run or during the hiatus period….

The travails of fame notwithstanding, things have certainly worked out, if not perfectly…. After all, how many people get to bring their dog to work with them? Duchovny’s pet, Blue, a well-behaved mutt with some border collie in her, is almost constantly at his side and less apt to complain than her master. “She gets excited to go in the car every morning-- much more excited than I do,” Duchovny says. “This is like her pack.” 

…Born August 7, Duchovny was so quiet growing up in Manhattan that his brother Danny, who is four years his senior, used to enjoy telling his friends David was “retarded….”

Duchovny admits to being shy as a youth, seldom dating during high school. His parents divorced when he was 11, and Duchovny has said in interviews those events may have contributed to both his drive to succeed academically and his personality, which at times can be construed as a bit standoffish…. 

In 1987, just short of gaining his Ph.D. at Yale in English (his dissertation topic was “Magic and Technology in Contemporary Poetry and Prose”), Duchovny began to truly pursue acting….

“It was never really a decision I made,” Duchovny says in hindsight. “I was doing both of them at once”-- teaching while working on his Ph.D. and acting-- “and I guess I just realized that I didn’t want to be a professor.” 

According to Duchovny, “Red Shoe Diaries” proved pivotal, allowing him to exhibit a different side of what he could do. In addition, he began to feel more comfortable as an actor, describing “The Rapture” as “a difficult experience” and “Twin Peaks” as an oddity. After appearing in low-budget films that put little pressure on him, “Red Shoe Diaries” also offered him his first leading role. “To see that I could do that was very important,” he suggests. 

In his customary manner, Duchovny would probably be the first to say the schedule associated with producing “The X-Files” is grueling and at times frustrating, but his faith in and commitment to the series’s quality pushes him along, much as he might like to grumble about the tongue-twisting dialogue and exhausting pace. As he puts it, in characteristically understated fashion, “It’s hard work to make a bad show, too.”

TRIVIA

[Duchovny meeting his girlfriend]: He was shopping for a suit (his first in many years), and asked Perrey Reeves, who had come in to shop for lingerie, which suit he should choose-- the gray one or the blue one? She told him to buy both. 

“Ice”: The Arctic-bound entry featuring a gruesome space-worm, which Duchovny has dubbed “the first really rocking episode.” David Duchovny’s own border collie, Blue, is the daughter of the dog featured in this episode. 

“The Jersey Devil”: The X-Files is filmed in Vancouver, so Mulder was not really in Atlantic City casinos. Instead, Duchovny was filmed in front of a blue-screen and stock casino footage was matted in later-- considerably cheaper than a location shoot in New Jersey would have cost. 

“Fire”: The famous “black silk boxer shorts” scene was originally a “Jockey underwear” scene….

“Genderbender”: During filming of the crime scene at the beginning of Act One, Mitch Kosterman (Det. Horton) flubbed his lines and said “chum chippy” instead of “some chippy.” For the rest of the shoot, David Duchovny joshed him about that line.  

“Miracle Man”: In an interview David Duchovny once said that he would consider Mulder Jewish until told otherwise.

“Darkness Falls”: Shooting in the forest near Vancouver, production was delayed frequently and made more difficult by heavy rains. “It was miserable,” Carter recalls, noting that the actors were soaking wet much of the time…. One saving grace was the casting of Jason Beghe…. A childhood friend of David Duchovny’s, Beghe had prodded him to pursue acting…. Having him on hand (at Duchovny’s suggestion) helped lighten the mood around the set, making the shoot something of a reunion and thus less of an ordeal for the cast. 

“One Breath”: The episode also lightly pokes fun at the show’s fans on the Internet, with one of the Lone Gunmen telling Mulder he should join them Friday in “hopping on the Internet to nitpick the scientific inaccuracies of Earth 2.” 

“Firewalker”: Gordon saw Trepkos’s obsession and the toll it exacted upon him in terms of losing someone he loved as a means of exploring the darker side of Mulder’s commitment to his search. “The natural endpoint of this quest for the truth is madness,” he notes, suggesting that Mulder’s decision to let Trepkos go at the end represents the bond in that respect between Mulder and Trepkos-- their shared ‘Heart of Darkness’. 

“Paper Clip”: …[Carter] also points to the mythic elements in Mulder being told that he has in a sense become his father-- one reason Duchovny has likened the narrative course of these three episodes to another trilogy, “Star Wars”, with a touch of “Sophie’s Choice”, perhaps, thrown in for good measure. 

BONUS

An excerpt from Brian Lowry’s second book “Trust No One: The Official Third Season Guide to The X-Files": 

Never one to settle for success, Duchovny-- who continues to play an active role in the series’s creative direction, working in concert with Carter and co-executive producer Howard Gordon on certain episodes-- is pleased with the third season but looks forward to expanding the show’s emotional range even further. Referring to one of the early second-season episodes, he notes, “I think when we did ‘Duane Barry’ the show became a really great show, and we maintained that level for a while, but we haven’t gone beyond it. I’m waiting to go beyond it. We won’t go beyond it technically, but we will go beyond it in terms of character, introducing a personal life of some kind. I think it’s inevitable. You have to do it.”

When it’s pointed out that the show’s most fervent loyalists, as well as Carter himself, have been especially vocal about not wanting to see Mulder and Scully romantically involved with anyone but each other, Duchovny simply shrugs and says the nuances he refers to don’t necessarily have to involved ‘romance’. “Give Mulder a friend. Give him a squash partner,” he suggests. “It’s got to happen. I really don’t care what anybody thinks we should or shouldn’t do.” Anderson remains more sanguine regarding such matters, though she indicates some interest as well in stretching the characters while understanding that such an evolution must occur within the show’s parameters. 

CONCLUSION

It's darkly comedic that Mr. Duchovny signed onto a (wildly successful) show thinking it would fail, only to be effectively held hostage for ten months out of twelve, 12- to 14-hours a day in a place that was completely opposite to the Cali weather he wished to sun bake in.

Also: props to him for contributing to the "domestication" of the show (more on that in future parts.) It's mind boggling just how much he contributed to The X-Files (and how much effort he put into later seasons together, despite his absence-- post here.)

Thanks for reading~

Enjoy!

[dragonjesterwrites]

I know this is so very much not Sun and Moon or even FNAF related but- has anyone that follows me watched Person of Interest 👀

[poorly-drawn-mdzs]

you are so whimsical i qant to check out this mdzs (..??) because of your whimsical nature thank you sorry im very high and your art moved me emotionally

This is simultaneously the sweetest and funniest thing someone has sent me, thank you.

[hermitcraftx]

The problem with a lot of traffic life interpretations in my opinion is they don't understand character foils or don't employ them in their writing. Grian-Martyn and Scar-Ren are genuinely pretty good character foils for a series that is not really scripted or planned out like a book is. I could go on and on about how they parallel each other and the similarities between them. Even the smaller details between the four usually match up

leaving the rant in the tags so I don't have a huge block of text again ueueue

[jackass-jones]

To also go off of the point about cop!akihiko being annoying to me I gotta say that Akihiko as a character is very hit or miss with me because of how different adaptations of p3 will subtly alter his character. I felt like in portable with the femc route he comes off best, he’s a bit of a hothead with an obsession with fighting, but he’s overcompensating his strength so he doesn’t feel as weak and helpless as he’s been in many situations. He defines strength in a very literal sense, being physically strong and using that to protect others, but he’s lacking in emotional strength as a result. And in particular in this version I think he’s portrayed as a bit more goofy and sweet in a sense. He cares deeply for you as a friend and leader but he struggles with finding the words to describe how he feels. Hes kinda naive and gullible and has trouble noticing his surroundings. He has no clue what he’s doing but his heart is in the right place. I think he just comes off much more human and he has flaws, many many flaws, and that makes him all the more lovable

But then in other adaptations and spinoffs it’s like. They look at him through some hetero male bullshit filter and seem to view him as a lot more admirable and cool. Like in p3 dancing, theres literally an event where he’s talking with Junpei and Minato and they’re gushing about how perfect Akihiko is and how he doesn’t seem to have ANY flaws at all. And it becomes clear his inability to flirt with women just gets added as a way to make sure you, the Straight Male Player, don’t get insecure being next to such Perfection because at the end of the day, you’re still more charming and sexy than he will ever be because you’re better. It’s a “flaw” that’s only there to shield a sensitive male ego. And then in arena I mean, come on. He’s overly beefy and is a damn cop and travels the world and loves Protein™️ it’s his whole personality and he’s so clearly meant to be seen as hot but like, he’s just some shitty hetero male fantasy. Hes what the writers deem to be a Perfect Man that every guy wishes he could be, but don’t worry he’s still bad with women so you don’t gotta worry about him stealing your property- I mean, girlfriend!

And though I’ve not played reload and don’t really plan to anytime soon, judging from his social episodes they seem to have a similar problem. Akihiko comes off as a lot less approachable, like the year age gap is just too much of a barrier to get to know him properly. And he doesn’t have that dorky sweetness he has in portable, he’s just that perfect hetero male fantasy guy and don’t you fucking worry- he still has his protein powder with him

[halfdent]

them them them !

[antirepurp]

oh dear jojo ova discussion is threatening to give me grade A stardust crusaders brainrot again. but like i already did a whole-ass rewrite on part3 that incorporates themes from the ova so what the fuck am i even going to do with this ??

[6mayhem]

anyway i need to hang out with my brother again he is the one person who i am pretty sure knows literally everything about me so he's the only person i trust that i can absolutely not disappoint. nothing i can do could be worse than the sum of everything i've been doing to that poor man (and him to me) the past 19 years

[dracula-enthusiast]

really trying not to post too much abt it bc it only came out days ago but man. saw x was such a love letter to the franchise. you can feel the care for the overarching story and for the characters that went into it and it really really pays off and its really healing to see a Good saw movie, especially after the three titles before it. i will def be seeing it a third time before it leaves theaters

[infizero]

every time i so much as think about that scene where light looks at porn magazines while scowling i go into hysterics its genuinely the funniest thing i've ever seen

[everthefractal]

Its just wild to me how people will make posts like "Stede is a bad person" "Stede is terrible!!" "He's selfish and toxic!" And it's always framed like a callout post? Like it's somehow a secret? Like they want you to stop liking him?

I watched the show too, you know.

[waywardsalt]

mmmgh

[icewindandboringhorror]

I still very loathe the Media Trope of ‘’cold genius man doesn’t feel emotions and never has relationships... UNTIL.. one random relatively bland Preddy Woman comes along and warps his entire personality and ability to think, his heart has grown and his seeming asexuality has evaporated, he is now Normal :)” or whatever like... AS a walking generic hermit archetype myself.. we would NOT act like that .... just let people be detached weirdos in peace, you cowards .. OR, don’t bother to write one in the first place if you find us too boring to exist realistically in our natural state lol.. pathetic