#that’s EXACTLY what you want to do in storytelling

[firebreathingcatss-blog]

Im seeing people trying to say JEY is the villain in this bloodline story for standing up to Roman. Did everyone just FORGET the last four years?

Also, I don't know why people want everything black and white. The reason the bloodline is as popular as it is, that has made the stars it has is because of storytelling that includes character growth. These characters have gone on a journey. I think Samis words to Jimmy apply to ALL these characters' journeys, that these aren't bad people, they just make bad decisions.

A lot of times, the story tells us exactly WHY these characters are doing these things, even if it's twisted and kind of dumb we know why and not just for the love of a surprise twist. We knew Jey, Sami, and Jimmy were going to turn on Roman because the narrative showed us leading to it. The narrative shows us why Roman does the things he does, not to be a mustache, twirling heel, but a complex fully realized character who is reacting to burdens hes been given, the struggles hes faced and his actions are a product if that.

These characters have depth, who would not be able to pull off the stories stories in the hands of lesser actors. That's why the emotional beats are with each other because a lot of their peers do not have a drop of the authenticity in their characters that they do and it comes off when their in eachothrrs orbit no matter how many eyedrops their coworkers use when they try for a fraction of that emotion.

So to call Roman the Villian, Jey the Villian, Sami the Villian is a disservice to their work and shows the audience inability to see how a character can be Grey. They don't acknowledge that Roman did some really FUCKED up shit to Jey. It also shows they don't realize that narratively it was pretty clear, Jey was Romans favorite, that it was Romans love for him that made Roman believe he was doing the right thing in how he treated Jey. How he treated all of them.

I can acknowledge I can understand the context of the story their telling (so far because this is wrestling and not a literary classic). I still think Roman is about to go on an amazing journey to find himself away from deep buried hurt, but to think Roman is the victim, that everyone is just picking on poor baby Roman is a disservice to the character he created. He has been THE victim in circumstances, but in the case of Jey turning on him? No. Sami turning on him is a little more complex because he wanted in the family especially when they were at their worst and that's why I think they acknowledged that narratively.

So, to call JEY, the villain is just peek delusion, and you just don't want to acknowledge what Roman did. I think Roman needs to apologize to Jey, not just for Jey but for himself, too, because Romans got a lot of healing to do. They all need to acknowledge what they've done to each other. I would also appreciate it if Jimmy could get in on this healing journey too thanks.

[shoulderholsterfreak]

People saying Thrawn is going to be shaking in his baggy jodhpurs “when he encounters Anakin’s children” are uh, clearly unfamiliar with the character’s legacy.

[lynzishell]

By the time Winter came, each day was starting to bleed into the next. As they got closer to the holidays, Dawn was putting together multiple events and working late into the night.

Often, she’d crawl into bed long after Phoenix had fallen asleep.

Due to her late nights, she’d start her mornings later, and Phoenix would be up early, doing his best to get ready quietly so as not to wake her.

For him, work had become so busy that he rarely got a day off.

However, they both finally got a break over Winterfest. It felt like it had been months since getting to spend a day together.

And with no obligations aside from their annual dinner at Julian’s, they spent every possible minute in bed, knowing they'd be back to their busy schedules the next day.

Prev // Next

[holocene-sims]

next // previous

may 10, 2013 6:00 p.m. the entrance to hell

is binn béal ina thost

sweet is the silent mouth

[leotanaka]

jughead almost immediately removing himself from the musical aka the narrative the moment that someone else (kevin & clay) starts writing their own version of it and in turn, his removal from controlling the narrative ends up allowing the characters to take back control of their own narrative because when jughead writes and rewrites the story, it ends up trapping the characters deeper inside the narrative and the cycles they are desperate to escape until they are repeating the same behaviours over and over again but when kevin & clay write and rewrite the story, it ends up giving the characters back their agency because they're trying to help them which then allows them to break free from the narrative and walk away.

[vaguely-concerned]

the way all of anders' battle dialogue in da2 sounds stressed out right to the brink of hysteria is something that can actually be so personal. it's the real healer experience. anders you're herding moths constantly trying to launch themselves at any passing bonfire with your whole chest and your whole heart and you are so valid

[seventh-district]

.

[fiendishartist2]

guys what if i want to make my own apollo justice game.

[monty-glasses-roxy]

One last note before I go to sleep...

Credit where it's due, the pieces of the puzzle are mostly all there in terms of the connection between The Storyteller story and The Mimic. The pieces missing aren't relevant to Mimic at all, and can be gleaned from what makes sense/what's interesting for the characters to do. Things like why the Storyteller lacks stripes and where all of the behaviours the animatronics gain were learned by Mimic before, are things you can piece together by thinking about it for a long enough time...

But the execution of the actual story makes this process incredibly unsatisfying. The pieces were there in a lot of cases, and then everything else flopped. It's amazing just how much I can figure out about Mimic's behaviour from these two stories purely because of how amazingly underwhelming these things are. Like yeah I can piece this stuff together on my own... But the vagueness of it all has impacted the story so much that I almost don't care. I'm literally only doing any of this for AU purposes for my GAME blorbos not the typically horribly made book ones. I literally would not be thinking about this anymore if I wasn't compelled by just how fucking awful it is and my game blorbos.

Like... Come on... There's even gaps in between all of these puzzle pieces too like... It's so unsatisfying to put the pieces together man... Oh yay! I understand why Mimic did that! ... I want to do something else... Let me live please this sucks...

[ilovemylawyer]

finally got around to watching tazza (2006) and it sparked an evilive related inquiry in my mind...

you know in ep3 how ohjae holds his mic in a lil funny upright style?

well peep this gamblingrelated gangster's eerily similar pose in tazza (2006)

so my question is: is ohjae's stance a reference to this? is it a coincidence? is it referencing something even older that i haven't gotten to yet? are these two going up against each other in a 1v1 rap battle?

[metanarrates]

an artist is a director of audience reaction, not its dictator. if you know your craft well, you can make most of your cues hit, but in the end, interpretation of art is up to the viewer. you cannot guarantee that everyone viewing your work will react as you are trying to make them react. a good artist knows that this is what allows works to breathe. by definition, you cannot have art where the viewer brings nothing to the table. you do have to respect both the generative and interpretive ends of the process if you want your art to mean anything.

this is why you have to let go of the urge to plainly state in-text exactly how you think the work should be interpreted. that desire for control conveys disrespect for audience. if you have developed your storytelling skills well enough, the audience will understand what you are trying to communicate without needing you to intercede as authorial voice. sure, some won't get it, but it's better to be misinterpreted sometimes than to talk down to your audience. you won't even gain any control that way; people will still develop their opinions no matter what you do. just find a way to communicate your ideas and hope that it comes across well to your audience at some point

[twilight-skies]

First thoughts as follows:

1. They used the mobs who only attack when you intrude their territory and steal from them to be the invading hordes of villains, when they could’ve used the entire species named “Pillagers”

2. They whitewashed Steve so that he could be played by an actor who doesn’t even look like him in any aspect. Is that a sweater

3. Dumb jumanji plot when they could’ve used minecraft as the setting and worldbuilding and based it on characters who are from that world. (Humans from our world…who meet a native?? Why not either make it about that iconic character, maybe his origin story of his first journey through the game, OR another group of characters who’ve just freshly spawned and Steve leads them along as a veteran mentor??)

4. Several years ago an entire cast of potential characters was introduced into the game. And they didn’t use them

5. I have three novels sitting on my shelf that would’ve made amazing movies if they wanted to put minecraft in theaters. I could write a better story for the essence of minecraft and I have.

6. If you’re gonna make a world out of Minecraft, don’t put the blockiness in the living things—or at least make it subtle. A wolf whose fur has square shapes in it only when you do a closeup? When you squint at a bee, you realize it’s the shape of a rectangle?

A world where the trees are made up of block shapes and the land is shaped by straight, sharp lines? That’s an aesthetic. Or, even, something like this, where the land reflects the flat terraced environment. Just…make it subtle. Trees and fence posts and ropes that, in our world, would be round, just happen to have sharp edges forming cubes in this one.

This? Green screen hell nightmare fuel

7. Why not use Minecraft’s own iconic music in the trailer

8. These writers have clearly never taken a single look at the years and years of mcyt storytelling and fandom that displays exactly what we as a player and fanbase would’ve wanted out of this

9. If the movie doesn’t conclude with these guys fighting the dragon then what’s even the point

10. Why have the piglins enslaved the ghasts

11. Why do the protagonist actors need to be the only non animated things in this movie

12. Why didn’t that llama spit at the end

13. THE LANDSCAPE IN THE ABOVE SCREENSHOT DOES NOT EVEN RESEMBLE COMMON MINECRAFT TERRAIN GENERATION

[alicenpai]

princess tutu: die jahreszeiten 🌸

kind of a companion piece to my 2022 ptutu drawing | it's on inprnt

this print was at anime north; next con is otakuthon!

oops so my hand slipped and i made another princess tutu drawing. i admittedly don't watch that much anime so my catalogue of work is gonna be the same 5 animes LMAO. what can i say, i love "dark" fairy tales, and i've been really enjoying the more fine art approach to a lot of my drawings as of late (and the watercolour brush i've been using has been so perfect for that...!)

as my first princess tutu drawing is now 2 years old, there are some areas i've grown to have ... qualms with... although both drawings as a whole are pretty much exactly what i envisioned, and that's always satisfying!

both of these were drawn in roughly a week's time (yes really...) for con crunch period (and i went back to this drawing after the con to touch up some areas that were a bit rough!). i wanted a different approach to this new pt drawing, with the focus on the line work, rather than on colours and lighting in the 2022 drawing.

this drawing had 2 goals: to continue the style i adopted in my witch hat atelier "lantern bearers" drawing (which i promise i'll post in full soon as soon as all of the zine artists get their go-ahead to post their pieces!), and to emulate the art nouveau movement's heavy emphasis on line work, albeit not a 1:1 style replication of course.

the seasons also aren't a 1:1 representation, as i didn't necessarily pick flowers or colours that are most strongly associated with the season (e.g. summer being a dark tone is a bold choice?). but it's kinda whatever, as i said before i drew this in a week, there may be more appropriate flowers with better meanings. i couldn't spend too too much time drafting and researching.

FLOWER SYMBOLISM:

- spring: apple blossoms, tulips - the apple blossom is a quintessential spring flower, and thus symbolize the arrival of spring. spring is a season of change, which ahiru/princess tutu is a force of, instigating change in her friends and unravelling the story around her. the flowers below her are tulips, and there are many meanings to tulips depending on the colour, due to their ubiquitous nature. i narrowed on one, and intended for them to symbolize happiness. princess tutu's pose is one in which that is open, inviting, and warm - reflecting her nurturing nature in the series, and her willingness to help others achieve happiness.

- summer: deadly nightshade flower, yellow rose - i chose for rue/princess kraehe to symbolize a fiery summer's night instead of the typical dazzling heat of a summer's day, a rather bold and unusual choice. the warmth of sunshine didn't quite fit, as the character is quite dramatic and passionate, with her intentions often hidden in shadow. next, the deadly nightshade - atropa belladonna - has a lot of mythological associations, a lot to do with poisoning, as the flower is toxic. the flowers bloom at night (another reason why i picked a nighttime backdrop for "summer") and also outwardly match rue's dark design scheme, as the cherry on top. yellow roses, at the bottom of her frame, are the archetypal flower depicting jealousy (as with many yellow flowers are), and at one point in the story, rue only wished for her own happiness at the misfortune of others.

- autumn: douglas fir needles, orange calla lily - autumn is another season of change - although much more tumultuous, as this season is traditionally taken to prepare for a long winter ahead - fitting for fakir as the role of the storyteller. the douglas fir is not a flower of course, but is a tree - with many different parts of this tree offering many benefits in advance of the winter season. i wanted the versatile nature of the douglas fir to reflect on fakir's dependable personality. next up, the calla lily is a flower with a dual meaning - on one hand you have life, on the other you have death. a storyteller quite literally can grant both at the tip of their fingers.

- winter: birch tree, snowdrop - winter is a rather still and unchanging season, a lull in the passage of time. this symbolizes mytho's passive nature at the start of the series, especially with his doleful pose here, as if almost in hibernation. to contrast, mytho is perched on the branches of a birch tree, which means new beginnings and renewal - as mytho is one of the characters that undergo the most change throughout the series (i'd argue the most?), regaining pieces of his heart. under mytho's frame is the snowdrop flower - and if you've read my witch hat atelier: seasons piece symbolisms, one of the snowdrop's meanings is rebirth, with connotations to the bible, bringing hope, when all had forsaken eve. the snowdrop is one of the first flowers to bloom even when the snow has not yet fully melted, further echoing mytho as an analogy for rebirth.

[bakugoushotwife]

in my opinion, gojo’s storyline has been handled so so poorly i can’t help but think it’s intentional. it is not bad writing to kill a character—even a beloved character. i know most people will dismiss my criticisms because gojo is so beloved to me and so many others. i’ve said before that i don’t mind if he died. does it hurt? of course, and i would still cry and be sad about it. but there is a beautiful way to do it. with respect and honor for his legacy—for what he has done for your manga, the characters in it, and audiences worldwide. but no…gege chose the path of horror and disrespect. at certain points i’d say to myself, well. this is a dark manga. but essentially gojo is the only character that receives this treatment. since the beginning—since suguru left him, he’s been wondering if he mattered because he was a person, or if he only mattered because he was powerful and useable. we certainly fucking answered that question. he is a weapon and nobody ever cared about him at all!!!

and we knew he was being used—he knew he was being used, but he is selfless. so he did it for his kids. for megumi and yuuji and yuuta—he wanted them to be safe. in these flashbacks it’s exceedingly clear that he knew he would die. again—that’s not my issue. gojo dying to sukuna makes plenty of sense and it would hurt to leave it there. but to give us an afterlife scene where he’s presented a choice—north and south—that concept lead nowhere, that’s truly fucked up. to leave all the subtle clues and hints for no reason but to keep people reading and theorizing his return is fucked up. to continue to use his imagery to promote your manga when you know he’s not even honored in your manga is fucked up. we don’t get a funeral or a grave for him. no one’s spoken about him in chapters despite him fighting for hours against sukuna and damaging him so much that yuuji could win, nothing. yuuta wearing him like a costume and no one is horrified about it. i thought his students WERE different. they weren’t jujutsu society yet. that’s why gojo was their teacher—shaping them into better human beings. how am i supposed to trust in their future when it seems they’re just as cold and heartless as everyone before them? no one has honored gojo in any way since the moment he died. and they’ve forgotten about him. he spent his entire life fighting and no one can even say thank you. gege intentionally used gojo to promote the end of his manga because he knows that gojo fans make up at least half of his fanbase so had we stopped reading when he died, he would have lost a lot of traction. he baited us intentionally, cruelly, and something that transcends storytelling. i’ve truly never seen a mangaka have this sort of vitriol for one of their characters and the people that love him.

we spent the entire last chapter talking about some random fucking mission when we have several unanswered questions and concerns. i thought gege said he wanted this ending to be shocking and something you didn’t see in shonen? tying everything up neatly where no one has any trauma or grief for what they’ve experienced, everyone comes back to life except the one character you hate specifically and choso, defying your own power structures and having everyone laughing into the sunset is exactly how shonen ends so what in the fuck is he talking about??

let me disclaim, this is not megumi hate at all. i love him very much and i am so happy he’s back with the group but like. he shouldn’t be able to even walk. he tanked unlimited void for over 6 minutes whenever that length caused irreversible damage to sukuna himself. not to mention the countless black flashes. so what the fuck? he doesn’t mention gojo at all?? the first time he laughs in this manga is after he reads a note written by his dead fucking caretaker about his dead fucking father? like i don’t believe. random open ended kenjaku/suguru mention just to piss me off, an absolutely no mention of gojos sacrifice or how they’ll miss him. i’m sick to my stomach. gege defiled his memory both in the story and outside of it. wow.

P.S. SUKUNA CARED MORE ABOUT GOJO THAN ANYONE ELSE (SUGURU IS NOT INCLUDED IN THIS I MEAN HIS STUDENTS AND SOCIETY)

[sayuri-of-the-valley]

On how Crowley and Aziraphale felt during the kiss (but mainly Crowley here):

Ok so first, the main idea for this huge meta is that a LOT of us noticed how the music from the kiss scene is similar to the nebula one, right?

Second, a lot of us also correctly noticed the parallels between the kiss and how it was to taste food for the first time for Aziraphale: bc of his reactions, the hand on lips, the similar way MS acted both scenes, the little inhale etc. So how was it for Crowley?

Aziraphale's reaction to the kiss is practically a puzzle to solve on its own, so it's fun to analyse it, but basically, in a few words, Aziraphale kissed Crowley and he discovered he was physically starving for him, longing for him, yearning for him, for his kiss, and he had no idea. Just like with the ox. And now he needs to gorge himself in him but he can't. Great amazing heartbreaking chef's kiss someone give MS an Emmy.

But there's already so much amazing meta out there about Aziraphale x Ox ribs x The Kiss that I want to focus on Crowley here, and on the music.

So back to the music. The song in "Before the Beginning" and the song that plays during The Kiss (I Forgive You + Don't Bother) are so similar. They're not *exactly* the same, but they're totally reminiscent of each other. The viewer is immediately reminded of those chords that played in the opening scene. It's no coincidence that the fandom was talking about this fact only minutes after first watching those final fifteen minutes. This is an obvious intentional choice for storytelling reasons (David Arnold is a genius).

I have no expertise whatsoever when it comes to music, so I asked our friend @otsanda to see if that made sense and not only it does and she explained it, but she also uncovered so much more hidden meaning in all of it (musicians are amazing), so check out her meta about the music that not only serves as evidence to what I'm proposing here but it also has so much more juicy information in it 💖.

Back to the point: WHY thought? Why choose a similar song? Why intentionally COMPOSE a similar song for that moment?

Hear me out. WHAT IF, by reminding the audience of the creation of the nebula, they meant to convey to us that, for Crowley, kissing Aziraphale gave him the same feeling that creating his stars did?

THAT'S what the music is telling us. THAT'S why it makes us remember "Before the Beginning". It may sound cheesy, but Crowley may have literally seen stars when he kissed Aziraphale. He couldn't react accordingly (just like Aziraphale couldn't), bc it was an overwhelming and extremely sad moment (the music is also telling us that) for both of them. They knew it was ending . They were both having a moment of huge revelation that was fated to not come to completion. Crowley was right, it was too late.

It makes sense to show Crowley's feelings through the music, bc he was the one who started the kiss, and also he was wearing sunglasses in that scene, it's different from a character like Aziraphale that has all his million expressions for everyone to see at all times. And they've been doing this ever since s1 with the Queen songs that play in his car or in the background.

So my point is: the same song being used there makes me wonder if kissing Aziraphale finally gave him what he lost. His purpose. What Aziraphale was trying to give back to him by taking him back to heaven. There's no need for Heaven. Just kiss him, Aziraphale, and there he'll find the stars you want to give back to him. There you will one day see that smile on his face you saw Before The Beginning. Neil Gaiman and David Arnold I am in your walls 😭

This is what may lead us to see this happiness in Crowley again (not the action of kissing itself, of course, but what it represents to their relationship, them being together, them being an Us).

As @otsanda said: from the music we can interpret that that moment was a Revelation for them. Almost a religious experience. Crowley found his purpose again. What he'd been missing the whole season (or even his whole life since the Fall, but we've seen him especially depressed this season).

I'm not even getting into the poetry of how one can interpret the parallel to the angel's reaction to the kiss as carnal, and the demon's as religious; that would be another whole essay but let's just agree that it's incredibly beautiful. (Let me be clear that I mean here Aziraphale's reaction is carnal specifically for Crowley, and Crowley's is religious specifically for Aziraphale, not religious as in "worshipping god")

"Do you ever wonder what's the point?" Crowley asked in s2e1. The point, for him, is Aziraphale (if you've seen The Good Place you know what I mean). I hope he figured this out with that kiss, even as heartbreaking as it was. Even if it was a (temporary) separation kiss. (I hope Aziraphale figures this out with time too, that he's more than enough to make Crowley happy, that Crowley doesn't need Heaven, or stars, that Crowley needs him.)

Maybe that's why Crowley didn't leave and kept waiting outside until the very last moment.

Aziraphale and Crowley both bit the apple at the end of s2. There's no turning back from that Knowledge now.

Edit: I just have to add here this brilliant colour analysis of the nebula scene by @halemerry. And it's pointed out that during the nebula formation there's a moment when it looks like two people embracing. And the fact that a similar song is used in the actual Kiss scene I just... I have no words

[luveline]

WOULD LOOOVE to see badass reader get jealous over someone flirting with spencer

ty for requesting ♡ —spencer reassures you when he catches the eye of a receptionist at the ocean city precinct. fem!reader, 1.3k

Hotch lives on coffee lately. Any type from any source, he doesn't care what it tastes like so long as it keeps him awake. You're similar, in that even if you hated it, you'd keep it to yourself. 

But you're frowning in disgust at your cup. Eyebrows wrinkled, lips in a fierce line. Hotch sighs and puts his hand on the back of your chair. "Are you alright?" he asks. 

You've never told him otherwise. "Fine. Thank you." 

"There's water in my bag," he offers. You won't meet his eyes. You probably have a headache. "And aspirin." 

For as long as he's known you and worked with you, you've been as you are now, quiet, stern, with little sense of humour at work and not much more outside of it. The only evidence of your soft heart is how you work like a dog, and how you treat your coworker, Spencer. He's your achilles heel, your tender spot in all the tough scarring. Hotch knows there's nothing anyone can do to make you feel better if they aren't him. 

Hotch turns on the spot to look for him. The case you're working on here in Maryland has hit a lul, and exhausted faces peek out from behind their desks at Hotch's looking. He searches for the short mop of brown hair that's required and finds it in an unusual place. 

Spencer has been waylaid by a receptionist. Glimmering eyes, shiny silver fingernails that tap the desk in front of her as she speaks, the receptionist clearly has Spencer hanging on. He takes a step back and she doubles down, her storytelling audible from across the room. 

"You'll have to see it for yourself, Dr. Reid, it's a sight!" 

Hotch looks at you from the corner of his eye. "I see." 

"Don't know what you're talking about," you mutter. You stand and tip your coffee into the bin, letting the cup fall in after it morosely. 

"Why don't you go and help Reid?" Hotch asks. 

"Help Reid what?" you ask. Your tone betrays you —jealousy, sure, that slight crisp to your words that must hurt on the way out, but worse is the weakness as your sentence ends. You're jealous, and it's upsetting you. "I don't think I want to help him with that." 

Derek swings into the sequestered space you've been using to operate and beams at you like he knows exactly what you're thinking. 

"Isn't it surprising how quiet he can be? Years of catching bad guys and he can't say no to a pretty woman," Derek says, giving you a knowing look.

You and Derek have a half-hearted rivalry in that he loves to flirt and you disapprove. Your soft spot extends solely to Spencer no matter how hard Derek tries to sway you, though as you and Spencer have gotten closer, you've softened.

Hotch thinks that Derek's teasing might erase any progress that's been made. 

"Morgan," he says reproachfully. 

Derek makes a who, me? face but quickly gives in. "Why don't you go save him?" he asks you. 

"He doesn't need saving. Spencer is a grown man who can make his own choices," you say quietly. 

Hotch bites his tongue. Thankfully, Derek speaks up, without any teasing. "Spencer's been expected to  know how to do things without any help since he was a kid. I really think he just doesn't know how to walk away." 

You look down at your hands. Hotch has been doing his job for a long time, and he can guess what you're thinking from a misaligned finger. You don't feel like you measure up to the woman at reception. You're insecure about Spencer's affection for you, because you can't understand why he likes you so much to begin with. Hotch has thought it about Haley, Derek of Savannah. It's a very human doubt.

"Spencer tends to stand straight," Hotch says, bringing the lip of his paper cup up. "Right now, he's leaning away." 

It's in as simple terms as he can put it without outright telling you that he really, truly believes that Spencer wouldn't bother with anyone who isn't you. That Spencer loves you in the young, all encompassing way, even though neither of you seems to have realised the depth of it yet. 

Confident, no air of the girl frowning down at her hands, you leave the nook to approach Spencer from behind. 

"Hi," Hotch hears you say, "you okay?" 

Spencer visibly relaxes. "Hey, I'm fine. Uh, Y/N, this is Anabelle. Annabelle, this is my partner, Y/N." 

"Partner?" Derek asks. 

It's news to Hotch. Perhaps news to you, if the way you take his hand is any hint. It's like you've never held it before, and Hotch knows you have, he's seen you linking pinkies under tables. 

You strangle his fingers with yours. Spencer doesn't move an inch.

"She was just telling me about the sightseeing you can do here. Have you ever seen the world's longest worm on a string?" he asks you. 

"Hi, Annabelle," you say, turning to Spencer with poorly masked whiplash. "We're gonna try narrowing the search radius." 

"Oh, right." Spencer lets go of your hand in favour of putting a hand behind your shoulder, saying his thank yous and goodbyes to Annabelle before guiding you back to the makeshift BAU base camp. "What took you so long?" 

"What took me so long?" you ask.

"I thought you liked me!" Spencer says, teasing, his voice pitching higher. "I didn't know how to tell her I've already read the pamphlet she was quoting. She seemed nice though, right?" 

"She seemed nice, Spence," you agree, a little wobbly still but a thousand times less sullen than before. "I– of course I like you, you know I like you. Right?" 

Hotch is proud of Spencer for how remarkably he responds. Spencer puts his body between you and Hotch and Derek where they're standing to offer you the privacy you prefer, dropping his voice to match your tentativeness. "Yeah, I know. I was kidding. I think they'd have to reassess my position on this team if I didn't know that." He grabs your arm, thumb pressing into the crook of your elbow. "Are you okay?"

"I thought maybe she was flirting with you." 

Spencer shrugs uneasily. "Maybe. It wouldn't make a difference to me. Do you know that?" 

Your head dips down. Hotch can't hear what you say, honestly, he doesn't want to know. Eavesdropping on the people he cares about in their unhappy moments isn't something he makes a habit of, but it's hard not to hear Spencer's response. "Don't say that," he murmurs. "That's not true… We'll talk about it later, okay?"

You clear your throat. "Yeah. Whatever you want."

Derek doesn't hide that he's been listening very well, pulling a crime scene document up to his eye line as you and Spencer pull apart. Your eyebrows furrow into a glare, but it's Spencer who says, "What?" 

Hotch bites back a smile. Derek grins and holds his hands up in surrender. 

"Just nice to see you taking care of my favourite girl," he smarms.

"Stop. You're extremely unprofessional," Spencer says, helping you into your seat unnecessarily.

"And you're not?" Derek asks, gesturing to his hand where it lingers behind your shoulders. 

You finally chip in, apparently back to your regular self. "Only one of us was responsible for a unit wide HR mandate about inappropriate behaviour." 

"You cannot keep bringing that up." 

"Why not?" 

Hotch takes a sip of his tepid coffee. He'd rather not get involved.