#this is completely subjective don't come at me

[lurkinglurkerwholurks]

Oh oh I can tell you how I handle this!

First, I must acknowledge that epithets are hard. When writing in a specific character's POV, you have to be careful about describing another character only using descriptors that they would use or it'll feel awkward and weird. (I don't generally think about my sister's height relative to mine and therefore wouldn't refer to her as "the tall one" or even "the taller one", for example, unless it's relevant in the moment. Talking? Not relevant. Her hitting her head on a ledge that I missed? Relevant. That wouldn't be true of someone I just met. If you're tall[er than me] I'm probably noticing it and don't have other ways to differentiate you from other strangers.)

Luckily, I don't usually have to resort to epithets in writing, because readers can generally follow pronouns and support way more proper name uses than you might expect! Pronouns by definition are placeholders for proper names. Where writing gets confusing is when it feels like the pronouns are floating free and unmatched. Reconnecting the proper noun and the pronoun is all you need to reset.

Within a paragraph, use a proper noun enough to be clear. Vague, I know, but it really is an art instead of a science and largely comes down to personal taste. Refining your personal taste can help a ton, and one way to do that is to look at works by people who you feel write these kinds of scenes clearly and cogently. I'm going to use my own writing as an example, just to make it easy for myself.

Structuring your writing so the subject is fairly consistent will help a ton, as will "checking in" with a proper noun when it feels like you've checked in on the other person more recently.

[alt: The muscles in Bruce’s face, Jason realized, were good at going completely still when surprised. That was useful. He had said intervened like Jason had done it on purpose, throwing himself into this nightmare to save Bruce instead of acting like a petulant, stomping child. He had just a moment to wonder if the look from Bruce was meant as gratitude or as an apology when Bruce turned his attention back to the others. “It should reverse in a few days.”]

In the snippet above, because I'm moving tightly between two he/him characters, I use their names just enough to stick into place who's being reference at any given point. If I had wanted to be extra careful, I could have changed "He had just a moment to wonder" to "Jason had just a moment to wonder."

Over multiple paragraphs, when you're sticking with one person, reconnecting (or what I mentally refer to as "checking in") can happen once a paragraph and really shouldn't be needed more than that.

[alt: He really didn’t have much of note to say. Dick narrated his way through the canned goods and the dry goods, making jokes about Wally’s Skittles stash and the cans of Spaghetti-Os Roy demanded be kept on hand but no one else ever touched. He talked about a TV show he had been watching and made a joke that elicited a hrmm from Bruce that would have been a laugh from anyone else. And the more he talked, the more he remembered little stories from his week that he had tucked away with a mental note to tell Bruce.

At last, though, Dick had finished his final story and let the call lapse into a pause that stretched into silence. He bit his bottom lip and fidgeted with the rolls of gauze, stacking them into pyramids outside the gutted medical kit. He could never tell with Bruce whether the silences were contented or an interrogation technique, the patience of an investigator applying pressure to a reluctant witness. In the end, it didn’t much matter.]

But really, truly, the TL;DR of it all is you don't need as many epithets as you think; as long as you don't go crazy with your subject and object switches and check in on your connections regularly, you can lean on pronouns way more than you think; and readers can handle way more uses of names than you might suspect.

Me writing a scene with two or more people of the same gender and trying not to get the readers confused, while also trying not to overuse the characters' names or epithets

[mllekurtz]

Something neat and relatable I noticed about Neve is that she has complete control over the image she projects of herself.

Specifically my radar pinged when I heard some of her banter with Harding. "You're trapped on a deserted island, you can three things!" Harding says, and Neve replies with items that will help her leave the deserted island. Then Harding asks, "Fried fish or coffee, if you had to pick?" to which Neve's first answer is, "Depends", and then: "Why do I have to pick one? Has something happened to the fish? To the coffee?" (the latter in an adorably alarmed tone).

And the thing is, she has to know these are getting-to-know-you questions, that Harding is essentially making small talk; I believe her answers are a kind of "yes, and" and they also lampshade the fact she's a detective ("They want you to choose which one you like better!" / "Who are they? What's their angle?").

(Any time I see a Tumblr poll that asks me to choose between completely arbitrary stuff with zero context, my adult reaction is to tell myself, "This is just for fun, Jess, it's not a real question, you don't have to take it seriously," but I still have to battle the knee-jerk reaction of "WHY are they making me choose? Who are they? What's their angle?" This is the relatable part.)

Neve comes from the poorest district in town, but mingles with high-borns effortlessly. She is a gremlin whose idea of decent coffee is dishwater filtered through a sock, but dresses impeccably. The idea of talking about her feelings almost makes her throw up, but she is one of your most empathetic companions.

There are So Many Filters between her thoughts and her words, between her soft core and her hardened shell, and the thing is: it doesn't make her less genuine! She still goes along with Harding's parlor games. She deliberately presents a competent, approachable image of herself, and at other times she is deliberately playful. Seeing her at her most spontaneous and vulnerable is an almost unbearable privilege afforded to none but the selected few, and it's made even more precious by the fact she usually controls how you see her, not in a manipulative way (hi, Solas), but because keeping her distance is safe for both you AND her.

(And it's also, in a way, a measure of politeness and consideration: you don't want to deal with her unfiltered self, believe her. You don't deserve to be subjected to her mess.)

[kameyyy]

PASSION; atsumu miya x reader

subject: i don't fucking know

cw: 17+ to read, not proof read, cursing, mention of a deceased grandparent [please refer to the general tags/warnings on the m.list !]

a/n: the emails yn writes like i mentioned in chapter 1 !! pretty short but it's not supposed to be poetic since yn is just expressing her feelings here.

wc: 336

from: yn073ln279@gmail.com

to: gmn.ln1943@yahoo.com

subject: i don’t fucking know

hi grandma. 

atsumu showed up at my work. after years of nothing, he just walked in on a random day and tried talking to me like it was no big deal. like what happened between us was no big deal. he apologized for what he did, but it was obvious he didn’t mean it. he would’ve reached out sooner if he was sorry. like maybe 3 years ago. but he didn’t, so seeing me only reminded him of my existence. fuck him. ruining my life and then forgetting about me. lol i hate him so much. i don't even know why he bothered apologizing — just to ease his own guilt, i guess. though, he thinks what he did wasn’t completely wrong. pissed me off more than anything. how can you be this deluded. if what he did was good, then i wouldn’t work at a rug shop and do my masters like yukie. but no, i started college a year ago and i’m falling behind.

i’ll find out about my exams soon. i don’t even know how to feel about it. i hope they went well. my major isn’t something i love; it’s just what felt tolerable when i chose it. nothing really interests me. there’s nothing i’m passionate about, nothing that feels worth chasing or devoting the rest of my life to. it’s exhausting seeing everyone else, especially atsumu, seem to have it all figured out. it’s so easy for them. so clear. and i just feel stuck and lost for years already. like i’m on autopilot while everyone else is actually living. i don’t know what i did wrong. what i’m doing wrong. i don’t know. i just want to enjoy life like everyone around me is.

that’s it, i guess.

hope life in heaven is treating you well. or this black abyss. i don’t know what comes after death. i don’t even want to think about it. bye.

- yn

please consider leaving a like, reblog or follow if you enjoyed <3

masterlist ; playlist ; pinterest board

taglist, open (comment here or send an ask);

throne of honor: @solzscribblez @wyrcan @heartmaddie @causenessus @hyunteru

@angeleilee @kawoala @vertejay @vitoshi @kang-ulzzang @hanadulsetaad @nobodybutnnoorr @pookalicious-hq @gigiiiiislife @fridaenpina @sahrii @sakusasbadger @evilari111 @laceythespacey @cookielovesbook-akie @dearru @matchacharm

©kameyyy all rights reserved. please do not repost my work.

[blitzwhore]

Hello! I'd like to ask if you've seen the post with the screenshots that says Stolas inflicts his own torment by going with Stella's whims despite having more power and prestige than her. There is a rebuttal, of course, but someone else also added that the reason people think as the screenshot says is because the writers didn't put enough emphasis and reason on the hold Stella has over Stolas and his fear of her, as well as the fact that her apparent uninvolvement with Octavia makes his reason to stick with her seems very weak. They do put an intriguing essay on how the fear of Stella for Stolas could have stand out more.

Personally I think that he's probably desensitised and numb to her after with Paimon as well and the image of a nuclear family is a must for both society and daughter. Perhaps we'll have more answers in s3. What do you think?

Drink water regularly, may a good week come to you.

Hi! I haven't seen that post, no.

When I see posts arguing about the quality of the show's writing I almost always ignore them, because I'm not interested in discourse and I want my blog to be a place that's fun for me and others to scroll through. I don't want fandom wank and 'criticism of the show' on my blog because I go into fandom spaces to have fun, not to get angry. So if I'd seen that post, I probably would've just sighed really hard and kept scrolling.

That being said, because this ask touches on a subject matter that is extremely personal to me, I'll bite and share my personal opinion, which is that the writing is perfectly executed exactly as it is. Helluva Boss is a show for a mature audience—it says so at the beginning of every episode. That doesn't just mean "hey, there's sex and drugs in these episodes". It also means, "hey, some heavy themes are going to be handled in this show, and we're not going to hold your hand and walk you through them. It's up to you to use your media literacy and critical thinking skills to pick up on the things we're going to show you".

And maybe it's because I'm an abuse survivor myself and I know exactly what it feels like to go through decades of abuse, and maybe other viewers' interpretation of Stolas' character is completely different, but... I personally had zero trouble picking up on Stolas' motivations, fears, and emotions, or on why he made each decision at each turn throughout the show.

I'll put the rest of my answer under a cut, because it's personal and rambly. But in short: yeah, I do agree with what you said at the end of your ask.

1. "He's more powerful and has a higher status than Stella, so he's inflicting his pain on himself by not standing up to her"

So there's this thing called learned helplessness, and, fun fact, it is heavily linked with PTSD and depression.

"(...) Learned helplessness occurs when someone repeatedly faces uncontrollable, stressful situations and does not exercise control when it becomes available. They have ���learned” that they are helpless in that situation and no longer try to change it, even when change is possible." (source)

It's not about the power and capability to control the situation Stolas actually has. It's about the power and control he feels he has—which is none. Zero. He says this to us constantly. "Owl in a cage", "you have no choice", "my entire life's been written in stone, he taught me that I could choose".

He was told since he was a kid that his duties, his marriage, his life trajectory were non-negotiable. He never knew a life outside of his palace—his gilded jail. He doesn't know what we as the audience know—that there's a whole world out there where he can build a better life for himself with people who actually love him—because he's been raised to be a pawn in a game much bigger than himself, and he knows it. I don't need (and don't want) the show to spoonfeed me this fact. It's spelled all over his character if you know how to see it.

2. "Stella's hold of Stolas and his fear of her aren't emphasised enough in the show"

Stella literally tries to hit him at the end of The Circus and looks shocked and taken aback when he grabs her wrist to stop her. I don't need them to show me Stella hitting Stolas 15 times in order to know she's been doing it.

He hugs himself and makes himself small, walking away to remove himself from the situation as quickly and quietly as possible, when Blitz starts yelling at him in The Full Moon. I don't need them to show me Stella yelling at Stolas 20 times to know she's been yelling at him for years. We've seen her yelling at him in Loo Loo Land, in The Circus and in Seeing Stars. We know it happens. We know it always has.

I also don't need them to tell me that repeated physical and verbal abuse causes a victim to become extremely afraid of their abuser and causes them to be triggered by anything and anyone that makes them feel unsafe, because I've lived it in my skin. And I know plenty of people who watch the show who are not abuse survivors, and they're also able to see that Stolas is behaving like any abuse victim exactly with zero support would act.

In the moment, he freezes and flees. He makes himself smaller. He gets away from the situation in any way he can. He "keeps the peace" to keep the abuse to a minimum, doing anything and everything to please the people around him because that's the only way he can feel some semblance of control. ("Yes, if that's what Blitzy wants" / "Do you like it when I talk to you dirty?" / just him sheltering Octavia from his suffering to be the perfect parent for her, and give her everything she could ever want and need, going as far as making promises he couldn't keep).

In the long run, he becomes hopeless and drowns in guilt. He assumes he probably deserves what's happening to him, and thinks it's his own fault that he's so affected by the abuse for being too weak to stand up for himself. He blames himself for not being good enough for the people around him ("I'll believe him, and not the voice that says I'm not enough"), and mentally berates himself for being a coward and a failure, and for not knowing how to put an end to his suffering. He turns to passive (sometimes active) suicidality because that's genuinely the only way he can see of getting back control over his own body and life. ("When I'm gone you'll be okay" / "I'll give my life to clean your slate" / "I don't care what they fucking do, I'm seeing Octavia" / "do it, pussy").

3. Stella's uninvolvement with Octavia makes Stolas' reason to stay with Stella seem very weak

I... Look. I can't be the only one who grew up in a broken family, and surrounded by plenty other broken families. Kids, especially small kids, can't rationalise that family relationships don't always work out and sometimes divorce is the best option for everyone involved. Especially not in this society we live in, where divorce/separation are seen as a failure, and children are (at least passively) taught that divorce is their fault.

Stolas knows all this. He doesn't want Via to feel like she's growing up in a broken house, which is what separating from Stella would accomplish. We also don't know if Stolas would've kept custody of Octavia had he divorced Stella when Via was little. But it's very likely he didn't want to risk leaving Via alone with Stella, even just half the time. Especially not when Octavia has been having nightmares and crying over the mere thought of being abandoned by Stolas. Divorcing Stella would very likely result in Octavia feeling abandoned by him.

I don't know, man. I feel like I don't even have the right words to reply to this point. I still remember being 8 and sensing that something was very wrong with my parents and feeling like it was my responsibility to fix it, or else my world would end. Stolas tried his best to protect Octavia from feeling this way, from feeling responsible for anything that happened between her parents. He just wanted her to be happy. The only way he could do that was by playing 'happy family' in front of her so she could grow up carefree. He tried his best to give her enough love that she wouldn't feel the absence of her mother's love. I really don't know what else to say to this.

If you want media to spoon-feed you its themes and hold your hand as it shows you what each character is going through, then... I don't know, man. Stick to media that does that. There's media out there that genuinely does this really well. Heartstopper, for example. The Hunger Games, in a way. But maybe think twice before diving into adult media meant for mature audiences and criticising it for wanting you to be a mature viewer. Maybe it's just not for you.

Anyway. I'm gonna drink water now, please drink some water too if you're reading this (included, but not limited to, the asker). Hope you all have a nice day ❤️

[lunarriviera]

There's actually a couple more additional aspects that can make a difference, if you're a fiction writer, to help your reader. 1. We all know that the most common narrative tag should be "says" or "said" (depending on what verb tense you're writing in). But given that, it's useful to vary the way that's structured as well, alternating it with the noun/subject:

"Spock, I'm tired of this," Kirk said. "I don't want to go on this way any longer." "I see," said Spock, after a moment. There was a pause. He said, "Would you be willing to explain what is troubling you?"

In this example the verb hasn't changed, but the order in which it's deployed has (though tbh if I weren't making that point I probably would have introduced the third utterance with, "before he added").

2. Vis-à-vis the point about paragraph breaks letting the reader know that someone new is speaking, it's really important to keep the utterances of a single character together. Even when the speech acts are broken up by a fair amount of description:

"Fine," says Watson, shortly. He bends down to the dining table then and concentrates on making his sandwich: brown bread, butter, and a thick layer of strawberry jam. Outside their flat, the starlings are deafening, clustering noisily around Mrs. Hudson's bird feeder. "There's just one more thing, Sherlock," he adds, as he slams the two slices of bread together. "Oh? And what's that," asks Sherlock, not looking around his newspaper.

I often see writers tempted to start a new paragraph at any point between Watson's first and second utterances, but please resist that temptation. Otherwise we're going to have to reread it at least twice to figure out what's going on. Always save your white space for a change of character, in dialogue. (And conversely don't add a space when a character simply changes the subject. If it's still the same character, it's still the same utterance/speech act.)

3. In both of the above examples, the narrative tag comes after the utterance, which is typical, but if you do that too repetitively it gets boring like anything else. Start some paragraphs/sentences with description or exposition, then drop in the utterance. It's best if you go back and forth between these. Changing length of speech acts is very good too! People don't speak in complete sentences anyway.

John didn't respond for a moment, but sat motionless, looking out over the water. When he finally spoke his voice was hoarse. "Why? You owe me that much." "Fine! I'll tell you." This was followed by a bewildering silence during which Rodney walked around in a circle waving his hands, and then stood spluttering inarticulately. "Rodney?" John turned around despite himself. McKay kicked a chair before glaring at him. "You have a master's degree! How are you this dense? Were you ever going to— Sheppard narrowed his eyes. "To what?" "Ask me to marry you!"

I threw in a couple other little tricks in here to keep things moving, though it's pretty terrible as far as dialogue goes. What I usually do is write dialogue, then later try to take out approximately half of it. This is an old hack I learned during a playwrighting class in grad school. We actually had the actors fold their sides in half and only read the first halves of the written dialogue. This will never work, we thought, it won't make any sense. IT WAS INCREDIBLE, PLS TRY IT.

(and no I don't know why everyone in the examples is breaking up i'm a angst-loving pantser okay lbr these men aren't always going to get along)

Writing Tips

Punctuating Dialogue

✧

➸ “This is a sentence.”

➸ “This is a sentence with a dialogue tag at the end,” she said.

➸ “This,” he said, “is a sentence split by a dialogue tag.”

➸ “This is a sentence,” she said. “This is a new sentence. New sentences are capitalized.”

➸ “This is a sentence followed by an action.” He stood. “They are separate sentences because he did not speak by standing.”

➸ She said, “Use a comma to introduce dialogue. The quote is capitalized when the dialogue tag is at the beginning.”

➸ “Use a comma when a dialogue tag follows a quote,” he said.

“Unless there is a question mark?” she asked.

“Or an exclamation point!” he answered. “The dialogue tag still remains uncapitalized because it’s not truly the end of the sentence.”

➸ “Periods and commas should be inside closing quotations.”

➸ “Hey!” she shouted, “Sometimes exclamation points are inside quotations.”

However, if it’s not dialogue exclamation points can also be “outside”!

➸ “Does this apply to question marks too?” he asked.

If it’s not dialogue, can question marks be “outside”? (Yes, they can.)

➸ “This applies to dashes too. Inside quotations dashes typically express—“

“Interruption” — but there are situations dashes may be outside.

➸ “You’ll notice that exclamation marks, question marks, and dashes do not have a comma after them. Ellipses don’t have a comma after them either…” she said.

➸ “My teacher said, ‘Use single quotation marks when quoting within dialogue.’”

➸ “Use paragraph breaks to indicate a new speaker,” he said.

“The readers will know it’s someone else speaking.”

➸ “If it’s the same speaker but different paragraph, keep the closing quotation off.

“This shows it’s the same character continuing to speak.”

[coraniaid]

Actually, on reflection, I think I'm persuaded that the "poor Willow is a magical junkie now and it's not her fault :(" subplot in Season 6 is, contrary to what I've said before, actually the worst multi-episode subplot on Buffy.

Say what you like about the other two contenders for that honor: the non-mystery of "is Giles really the First Evil and why hasn't anyone thought to check yet?" or the banality of "shall we engage seriously with the fact Spike has a soul now and how that might change him as a person, or shall we just say that a mean ghost hypnotized him?". But neither of those plots involve a woman telling her significant other (and I am really not paraphrasing much at all here) "I don't like that you used magic to violate my mind and rob me of my ability to consent to our relationship, because it's not good for you".

Moreover:

While the two Season 7 subplots are both pretty bad and boring to watch and are certainly part of why I don't enjoy that season, I don't think removing or somehow rewriting either of them would automatically make the season much better. By contrast, the Willow subplot of Season 6 is the worst thing about that season -- one which I think otherwise had a lot of potential and is arguably the most ambitious season the show ever did -- and fixing it would improve the season as a whole a lot.

The Willow subplot also takes up a lot more of the show overall than the two Season 7 subplots do. Giles as the First is a complete waste of everyone's time, but it's also fully resolved in less than half a dozen episodes (we first get the fake out that Giles might be dead in Never Leave Me, the ninth episode of the season, and we see that he isn't in The Killer In Me, the thirteenth episode). The Spike hypnotic trigger lasts a lot longer, but it still over within about half a season. But the Willow subplot dominates most of Season 6 and also continues to have ramifications for WIllow's character development (or lack thereof) for the rest of the show.

It's easy, I think, to understand why the writers resorted to the two Season 7 plots. They needed some excuse for Buffy's friends to not trust Spike, but for various reasons are committed to the idea that having a soul means Spike himself is now inherently Good and Blameless and so the reasons not to trust him can't be related to anything he's ever chosen to do himself, it has to be something done to him against his will. And the writers obviously stopped caring about Giles as a character with any sort of inner life the very minute ASH asked to be partially written out of the show so he could move back to England. I honestly don't believe the writers were capable of writing good subplots for either Giles or Spike by this point, even if they'd tried. But the Willow subplot comes out of nowhere and completely derails what was going to be a really interesting story line about Willow that the show had been patiently building towards since at least Season 3 and arguably even longer.

More broadly, both the Season 7 plots are bad in part because they are attempts to make the First -- previously a forgettable monster of the week whose primary powers included 'making people who have done bad things feel suitably bad' and 'not being able to touch anything'; a plot device which Buffy herself already rightly dismissed as all talk all the way back in Season 3 ("I get it. You're evil. Do we have to chat about it all day?"). Of course they're not successful attempts: there's no way to make the First as menacing and important as the writers wish it was. Being annoyed at the way they fail almost seems like missing the point.

Most importantly, I can more cheerfully ignore the two Season 7 subplots because I don't really care about either Spike or Giles at this point of the show's run. But I like Willow, so it bothers me more that she's subjected to all this dreadfully bad writing and that her character never really quite recovers from it.

[meirimerens]

you know i must have been bone-tired when this part of the herb brides lore didn't come to my mind when i discussed how the Kin fundamentally differs from the cultures it is inspired by um There Is The Human Sacrifice part. like it's an important part of pathologic 2 that you are doing human, or anthropomorphic (if you want to see the Herb Brides as closer to spirits, which comes with its own set of problematics regarding how to approach their oppression) sacrifice. it's an important part of pathologic 2 that you kill a woman, as part of the journey and in direct resonance with you ritualistically killing cattle earlier, and she offers herself to you with cultural and religious significance.

human sacrifices have been done across the globe for millennia, but i cannot, for the life of me, find any source at all that mentions the Buryats (since that was the discussion point) partaking in human sacrifices by the turn of the 19th-early 20th century (or even anything past the 16th). every single source mentioning offerings and sacrifices i've read mentions animals, things such as milk and vodka, and often both at once. would love to read anything about these rituals if papers exist, but i'm personally drawing a blank.

the Kin has Obvious and very Visible influences but it also differs from specific (in this discussion's case, the Buryats) or wider (here, turkic/mongolic as a whole) cultures from the area by so many pieces, big and small, that i wouldn't have enough appendages on my whole body to count them all. and sister. i have plenty of appendages.

[exuberantocean]

I know it's been a while, but the post has come back to me and I don't think I addressed this properly the first time around. Some please forgive me, @kutputli

My mother has, in all likelihood, Borderline Personality Disorder (BPD). A lot of her behaviors where bewildering and confusing and scary growing up. And I saw a lot of her behavior patterns in Nathan Shelley.

BPD and people who suffer from it are often demonized. It's considered one of those "bad" mental health conditions. People often assume people with BPD are abusers, as if it comes with the label. And that they are completely illogical in their anger.

Friends, BPD is extremely related to trauma, especially (but not solely) early trauma.

From early attachment experiences, subjects gain important information about their identity and abilities to regulate inner experiences and behavioral strategies for maintaining proximity to others. Aggression or neglect from caregivers may be experiences contributing to compromise a realistic and balanced view of self and others. So, an insecure model of attachment with caregivers is internalized and could be at the origin of the expectancies for future relationships characterized by abuse or rejection. BPD occurs in a precocious context of intolerance toward the manifestations of private emotions during childhood. So, children exposed to these unfavorable conditions are unable to recognize, regulate, and tolerate emotional responses and they fluctuate between extreme emotional lability and emotional inhibition. In 30% up to 90% of cases BPD is associated with abuse and neglect in childhood....

X

I think it's important that recognize people with BPD have, in all likelihood, suffered great deal of trauma and abuse at an early age. The character of Nathan has also suffered a great deal of trauma and abuse from an early age, both from his own father, but also from the team culture and, as @kutputli rightly pointed out, at least some of it is race based, some of it class based, even if the show itself seems to want to turn a blind eye to that. Just as it downplayed Ted's unintentional microaggressions*.

One of the things that helped me understand my mother better, via working with a therapist, is how sometimes my mother is not reacting emotionally to what is currently happening in her life, but rather what has happened in her life at a time and point that she was powerless. All those feelings don't disappear and you aren't safe enough to work through them at the time. For my mom, and for many with BPD, those feelings are still their and can get triggered. Maybe the situation is completely different, the people are completely different but the right word, the right action and it all comes flooding back, all those feelings.

I think, to my mind, it makes perfect sense that the ongoing abuse and injustice that Nathan experienced both with the team and with his own father would be the cause of Nathan's BPD. Nathan's anger comes from years of not being able to defend himself and not being able to find safety or acceptance.

I do not see Nathan as having BPD so he's just crazy lol. I see Nathan's BPD as an additional clear sign of the abuse that he has endured for a long time, which is often not treated properly by the show itself.

I do think that the show failed in some aspects. This post was made originally before s3 aired and one of the biggest letdowns I had was how poorly s3 handled abuse, particularly how poorly it handled Nathan's storyline**. IT failed to:

Show use Nathan learning how to stand up for himself via not showing us the scene where he stands up to Rupert.

Have proper acknowledgement and address the abuse that Nathan suffered via the team (including the microaggressions after things got "better."

Papered over the entire situation with Nathan's father

But, in short, the way I interpret things is that Nathan having BPD is a result of the kind of abuse rightfully pointed out. The show did poor job of showing that (if that was even the attempt) which is very much part of my list of reasons why they needed a therapist in the writers' room.

*I think Ted's unintentional microaggressions should have been explored more. It's possibly to be an ally, or strive to be an ally, and still fuck up and do harm. I don't think that makes you a bad person, but the responsibility still lies on you, the ally, to do better.

**Jamie Tartt is not my favorite character by far, but I had a fit over how they ended things with his father as well.

Nathan Shelley and Borderline Personality Disorder

We spend a lot of time on Ted Lasso talking about Ted’s mental health issues, and for good reason.  It’s a central arc to the show.  I’ve also seen a number of interesting discussions on Rebecca, Jamie, and Roy’s mental health issues, which are also important conversations to have and I hope they continue.

What I have seen very little of, is discussion of Nathan Shelley’s mental health issues.  Which clearly he has.  More specifically, I think he has a lot of symptoms of Borderline Personality Disorder, or BPD for short.

What is BPD?

People with borderline personality disorder may experience intense mood swings and feel uncertainty about how they see themselves. Their feelings for others can change quickly, and swing from extreme closeness to extreme dislike. These changing feelings can lead to unstable relationships and emotional pain.  

X

I think it’s worth discussing Nathan’s behavior outside of the matrix of whether it’s “good” or “evil” for a minute and instead, whether it’s a sign of a serious mental illness.  One that should be treated with compassion because he’s suffering.

People with BPD have a number of symptoms that Nate displays throughout the series.  For example, when you consider that people with BPD have unstable self image, Nate’s tendency to obsessively search for himself in twitter makes sense: he’s looking to an external source to tell him who/what he is (and oh boy, Nate, that’s like the worst source).

People with BPD also experience (keep in mind not everyone will experience all of these or at the same degree):

An intense fear of abandonment, even going to extreme measures to avoid real or imagined separation or rejection – His relationship with Ted

A pattern of unstable intense relationships, such as idealizing someone one moment and then suddenly believing the person doesn’t care enough or is cruel – His relationship with Ted and the others

Rapid changes in self-identity and self-image that include shifting goals and values, and seeing yourself as bad or as if you don’t exist at all – I think we see this thought s1-3

Periods of stress-related paranoia and loss of contact with reality, lasting from a few minutes to a few hours –somewhat in how he seemed to think Roy would replace him/his talk about Ted taking the credit/blaming him

Impulsive and risky behavior, such as gambling, reckless driving, unsafe sex, spending sprees, binge eating or drug abuse, or sabotaging success by suddenly quitting a good job or ending a positive relationship – Kissing Keeley? 

Wide mood swings lasting from a few hours to a few days, which can include intense happiness, irritability, shame or anxiety – I think we get this to a degree

Ongoing feelings of emptiness – I’d argue he has this but it’s admittedly hard to be certain unless Nate confesses to feeling this way

Inappropriate, intense anger, such as frequently losing your temper, being sarcastic or bitter, or having physical fights –YES.  Nate does have some inappropriate, intense anger, directed at others: Will, Colin, and Ted.

Like all mental illnesses, BPD can be caused by multiple factors but trauma and abuse during childhood is frequently a factor.  We know that Nate has an abusive father, a mother who treats him like a child even though he’s in his 30s, and he’s experienced years of abuse at Richmond.

While it is important to acknowledge that he’s hurt people and should be accountable to that, it should also be acknowledged that he too is suffering from mental illness and deserves treatment and compassion for it.

It’s also worth noting that while we are, as a society, getting better at how we think and talk about mental illness, some mental illnesses like BPD, schizophrenia and others, are still far too stigmatized, making it harder to get help and harder to be treated with compassion. 

It’s also worth discussing the intersectionality of mental illness and people of color.  I do understand that one factor that makes it easier to be compassionate to Ted then Nate is because we see Ted striving to help people, but I can’t help but think that another to factor is because Ted’s a white man with the “right” kind of mental illness.

[myrfing]

(wakes up) also to be clear I don't think eden had to at all have commentary on gender or sexuality on a deeper level. this game isn't about that, they were willing to beat around the bush for yotsuyu even, the bar's low as helllll. but i guess I was at least hoping for a dedication to each character's personal meaning irrespective of what the fanbase wants after the fact. but instead of doing that they seem to pivot hugely toward making whatever will make a brief buzz with the fandom for coming off as progressive or confirming a popular headcanon or whatever & in doing so they go past just making meaningless References and shallow aesthetic renditions of potentially poignant concepts and dynamics and making what feels like deliberately sanitized kidzbop versions that are directly antithetical to the point of the things they seem to nod and wink at. and it's especially frustrating when they come CLOSE to fixing their feet on the ground and telling a good story but they bungle it because they seem to be afraid to say anything without seeing what the fanbase says first & then we end up with a whole lot of runaround nothing in our hands

[wizardsix]

it's fun to look through datamined stuff but I need some of you to stop getting mad at larian for scrapping ideas you thought were cool. cool doesn't mean it'll make sense in the overarching story, and maybe larian likes this version better, or sometimes ideas just didn't work well with what they had in mind. I know this first hand from writing stories, I'll have cool ideas but realize later it doesn't fit the original tone of the story. it's okay to scrap stuff, but you can always use it for something else.

also, like it or not, it's larians game first, their story, their characters (I know.), it doesn't matter if we think something is cool, the reality is that not everything works in the end. and that's fine. that's how all art is, it's alive and ever-shifting, it'll go through many, many, versions, to the point where you might get sick of chewing on the same plot, and in the end the final version might not be as good as you thought when you look back in a few months or years. and that's ok. art isn't supposed to be perfect.

everything is subjective and I think fandoms would be a more intellectual place if people learned to critique art for what it is not what it isn't.

[cherrymoonvol6]

.

[aktinopterygia]

.

[cosmic-kinglet]

I need to be stopped. I've written an entire page and a half more in my notes app from what I posted here last night. Thoughts just keep appearing, and I don't think they'll stop until I've written out all of these ideas. Like, I'm about to write Eclipse returning to consciousness and wondering what the hell happened. I want to write Ruin Eclipse accidentally triggering the effects while Eclipse is in his normal state, leading to both of them being equally confused and freaked out. I want to write Ruin Eclipse taking control again while Ruin has the protocol active, leading him to call Moon for help because 'why is he just standing there?? Why does he not seem like he wants to cause pain?? Why is he not saying anything??' Moon would then connect some dots and eventually request that Ruin Eclipse try to give some sort of command. To which Ruin Eclipse would give the order to take a step to the right and then to the left, leaving Moon to use every bit of his willpower to not scream, "Take it back now y'all! One hop this time!" Moon would realize what must have happened, and would use his earlier temptation and record Eclipse following along with Ruin Eclipse's orders, which Moon ensures are the exact movements for the Cha Cha Slide. He would use it for his own amusement and to utterly humiliate Eclipse once they got him functioning again.

Yeah, welcome to a small fraction of what goes on in my brain. I had to force myself to stop thinking about that last thing so I wouldn't just start laughing uncontrollably in public.

[gothhabiba]

🍉🇵🇸 eSims for Gaza masterpost 🇵🇸🍉

Which eSims are currently being called for?

Connecting Humanity is calling for:

Nomad (“regional Middle East” plan): code NOMADCNG

Simly (“Palestine” plan)

Gaza Online is calling for:

Holafly (“Israel” and “Egypt” plans): code HOLACNG

Nomad (“regional Middle East” plan): code NOMADCNG (can now be used multiple times from the same email)

Airalo (“Middle East and North Africa” plan)

Sparks (“Israel” plan)

Numero (“Egypt” plan)

For Connecting Humanity: if you sent an eSim more than two weeks ago and it is still valid and not yet activated, reply to the email in which you originally sent the eSim. To determine whether the eSim is still valid, scan the QR code with a smartphone; tap the yellow button that reads “Cellular plan”; when a screen comes up reading “Activate eSIM,” click the button that says “Continue.” If a message comes up reading “eSIM Cannot Be Added: This code is no longer valid. Contact your carrier for more information,” the eSim is activated, expired, or had an error in installation, and should not be sent. It is very important not to re-send invalid eSims, since people may walk several kilometers to access wifi to connect their eSims only to find out that they cannot be activated.

If a screen appears reading “Activate eSIM: An eSIM is ready to be activated” with a button asking you to “Continue,” do not click “Continue” to activate the eSim on your phone; exit out of the screen and reply to the email containing that QR code.

Be sure you're looking at the original post, as this will be continually updated. Any new instructions about replying to emails for specific types of unactivated plans will also appear here.

Check the notes of blackpearlblasts's eSim post, as well as fairuzfan's 'esim' tag, for referral and discount codes.

How do I purchase an eSim?

If you cannot download an app or manage an eSim yourself, send funds to Crips for eSims for Gaza (Visa; Mastercard; Paypal; AmEx; Canadian e-transfer), or to me (venmo @gothhabiba; paypal.me/Najia; cash app $NajiaK, with note “esims” or similar; check the notes of this post for updates on what I've purchased.)

You can purchase an eSim yourself using a mobile phone app, or on a desktop computer (with the exception of Simly, which does not have a desktop site). See this screenreader-accessible guide to purchasing an eSim through each of the five services that the Connecting Humanity team is calling for (Simly, Nomad, Mogo, Holafly, and Airalo).

Send a screenshot of the plan's QR code to gazaesims@gmail.com. Be sure to include the app used, the word "esim," the type of plan (when an app has more than one, aka "regional Middle East" versus "Palestine"), and the amount of data or time on the plan, in the subject line or body of your email.

Message me if you have any questions or if you need help purchasing an eSim through one of these apps.

If you’re going to be purchasing many eSims at once, see Jane Shi’s list of tips.

Which app should I use?

Try to buy an eSim from one of the apps that the team is currently calling for (see above).

If the team is calling for multiple apps:

Nomad is best in terms of data price, app navigability, and ability to top up when they are near expiry; but eSims must be stayed on top of, as you cannot top them up once the data has completely run out. Go into the app settings and make sure your "data usage" notifcations are turned on.

Simly Middle East plans cannot be topped up; Simly Palestine ones can. Unlike with Nomad, data can be topped up once it has completely run out.

Holafly has the most expensive data, and top-ups don't seem to work.

Mogo has the worst user interface in my opinion. It is difficult or impossible to see plan activation and usage.

How much data should I purchase?

Mirna el-Helbawi has been told that large families may all rely on the same plan for data (by setting up a hotspot). Some recipients of eSim plans may also be using them to upload video.

For those reasons I would recommend getting the largest plan you can afford for plans which cannot be topped up: namely, Simly "Middle East" plans, and Holafly plans (they say you can top them up, but I haven't heard of anyone who has gotten it to work yet).

For all other plans, get a relatively small amount of data (1-3 GB, a 3-day plan, etc.), and top up the plan with more data once it is activated. Go into the app’s settings and make sure low-data notifications are on, because a 1-GB eSIM can expire very quickly.

Is there anything else I need to do?

Check back regularly to see if the plan has been activated. Once it's been activated, check once a day to see if data is still being used, and how close the eSim is to running out of data or to expiring; make sure your notifications are on.

If the eSim hasn't been activated after three weeks or so, reply to the original email that you sent to Gaza eSims containing the QR code for that plan.

If you purchased the eSim through an app which has a policy of starting the countdown to auto-expiry a certain amount of time after the purchase of the eSim, rather than only upon activation (Nomad does this), then also reply to your original e-mail once you're within a few days of this date. If you're within 12 hours of that date, contact customer service and ask for a credit (not a refund) and use it to purchase and send another eSim.

How can I tell if my plan has been activated? How do I top up a plan?

The Connecting Humanity team recommends keeping your eSims topped up once they have been activated.

See this guide on how to tell if your plan has been activated, how to top up plans, and (for Nomad) how to tell when the auto-expiry will start. Keep topping up the eSim for as long as the data usage keeps ticking up. This keeps a person or family connected for longer, without the Connecting Humanity team having to go through another process of installing a new eSim.

If the data usage hasn't changed in a week or so, allow the plan to expire and purchase another one.

What if I can't afford a larger plan, or don't have time or money to keep topping up an eSim?

I have set up a pool of funds out of which to buy and top up eSims, which you can contribute to by sending funds to my venmo (@gothhabiba), PayPal (paypal.me/Najia), or cash app ($NajiaK) (with note “esims” or similar). Check the notes of this post for updates on what I've purchased, which plans are active, and how much data they've used.

Crips for eSims for Gaza also has a donation pool to purchase eSims and top them up.

Gaza Online (run by alumni of Gaza Sky Geeks) accepts monetary donations to purchase eSims as needed.

What if my eSim has not been activated, even after I replied to my email?

Make sure that the QR code you sent was a clear screenshot, and not a photo of a screen; and that you didn’t install the eSim on your own phone by scanning the QR code or clicking “install automatically."

Possible reasons for an eSim not having been activated include: it was given to a journalist as a back-up in case the plan they had activated expired or ran out of data; there was an error during installation or activation and the eSim could no longer be used; the eSim was installed, but not activated, and then Israeli bombings destroyed the phone, or forced someone to leave it behind.

An eSim that was sent but couldn’t be used is still part of an important effort and learning curve. Errors in installation, for example, are happening less often than they were in the beginning of the project.

Why should I purchase an eSim? Is there any proof that they work?

Israel is imposing near-constant communications blackouts on Gaza. The majority of the news that you are seeing come from Gaza is coming from people who are connected via eSim.

eSims also connect people to news. People are able to videochat with their family for the first time in months, to learn that their family members are still alive, to see their newborn children for the first time, and more, thanks to eSims.

Some of this sharing of news saves lives, as people have been able to flee or avoid areas under bombardment, or learn that they are on evacuation lists.

Why are different plans called for at different times?

Different eSims work in different areas of the Gaza Strip (and Egypt, where many refugees currently are). The team tries to keep a stockpile of each type of sim on hand.

Is there anything else I can do to help?

There is an urgent need for more eSims. Print out these posters and place them on bulletin boards, in local businesses, on telephone poles, or wherever people are likely to see them. Print out these foldable brochures to inform people about the initiative and distribute them at protests, cafes and restaurants, &c. Also feel free to make your own brochures using the wording from this post.

The Connecting Humanity team is very busy connecting people to eSims and don't often have time to answer questions. Check a few of Mirna El Helbawi's most recent tweets and see if anyone has commented with any questions that you can answer with the information in this post.

[blkkizzat]

@ 𝙭𝙓𝘿𝙞𝙜𝙞𝙂𝙤𝙙69𝙓𝙭 𝙞𝙣𝙫𝙞𝙩𝙚𝙨 𝙮𝙤𝙪 𝙩𝙤 𝙥𝙡𝙖𝙮...

AND GOD KNOWS I'M TRYIN', BUT THERE'S JUST NO USE IN DENYING... ❤︎︎︎︎ THE OTAKU IS MINE ❤︎︎

⏯︎︎ OTAKU!GOJO X BIMBO!READER SERIES

bunny, how on earth did you end up dating this huge otaku nerd? urgh, you actually like him and match his freak too? and he buys you what?! omg! what will your friends think?!

⏯︎︎ 𝐏𝐑𝐄𝐒𝐒 𝐏𝐋𝐀𝐘

𖦏 genre: college au

𖦏 ratings: 18+MDNI. unprotected, ecchi gojo, dubcon, cnc, bdsm, puppy play, public sex, creampies, spanking, sugar daddy/baby dynamics, edging, squirting, threesums, femdom, the ridiculous ass pervy pet names gojo gives you & reader is called 'bunny' in lieu of 'y/n'. each story will have warnings on its story page.

𖦏 pre register: comment to be tagged. i may not respond to everyone but rest assured if you comment you will be tagged!

𖦏 gamer's guide: all fics are listed in chronological order, but likely won't be written in chronological order. summaries subject to change slightly. they also will be written over time so please don't rush me for the next installment but feel free to ask me questions i love talking about this lil freak❤︎︎

⏯︎︎ 𝐌𝐀𝐈𝐍 𝐒𝐓𝐎𝐑𝐘:

𝐥𝐯𝐥 𝟏: ❝ DIGIMON—BUT MAKING U CUM IS MY REAL HOBBY! ❞

𖦏 your best friend gojo is a hopeless otaku virgin with zero rizz that's still obsessed with digimon—despite being a grown ass man. you're a slut who despite her best whoring efforts—can't cum. you'll take his v-card and he'll fix your broken pussy, deal? ⏯︎︎ plays: 13.3k

𝐥𝐯𝐥 𝟐: ❝ STICKS N' STONES MAY BREAK MY BONES BUT CHAINS N' WHIPS EXCITE ME! ❞

𖦏 so now that you have a filthy rich boyfie who is completely obsessed with you and has moved you into his house, you're winning, right? or you will be at least— if can survive a trip to the sex dungeon. don't worry it's professionally sanitized after each use! ...what? that's not what you're worried about? oh... ⏯︎︎ plays: lvl in-progress

𝐥𝐯𝐥 𝟑: ❝ AND ALL OF THAT WAS OKAY, CAUSE IT WAS IN A 3-WAY!❞

𖦏 the three of you: you, gojo and geto are like peas in a pod, especially since its summer! and if two of you start f*cking in that pod well its only natural that the third want to join in, right? besides, you both already want to f*ck him. just make sure your current boyfie doesn't get too jealous from how hard you are moaning on your other besties' joystick. your only his ecchi angel, remember? ⏯︎︎ plays: lvl in-progress

𝐥𝐯𝐥 𝟒: ❝ IN THE BEDROOM I BE SCREAMIN', BUT OUTSIDE I KEEP IT QUIET—OR TRY TO AT LEAST!❞

𖦏 you can only keep your relationship underwraps from the rest of your friend group for so long. but you need to ease them into the idea first! although, when there's a yacht party for nanami's bday how is your uber clingy otaku boyfie supposed to keep his hands off of you when you're looking like the most perfect pervy princess in that itty bitty swimsuit? ⏯︎︎ plays: lvl in-progress

𝐥𝐯𝐥 𝟓: ❝ YEAH, HE MY MAN, HE WAS NEVER YO TYPE! ❞

𖦏 school is back! thankfully you somehow manage to instill some kind of decency into your otaku boyfie over the summer so he can come across as normal enough to make his own friends. but did you do too good of a job? wait, he actually has a lil rizz now? you mean you aren't the only girl attracted to him anymore... hol'up! ⏯︎︎ plays: lvl in-progress

𝐥𝐯𝐥 𝟔: ❝ MOVE IT UP, DOWN, LEFT, RIGHT, OH—SWITCH IT UP LIKE NINTENDO! ❞

𖦏 hey, when did you become freaker than your otaku boyfie? so he caught you touching yourself to his femdom p0rn when he came back early from a business trip? yikes! now he wants to try it out with you? don't worry you will do a great job training your new play puppy boyfie! ⏯︎︎ plays: lvl in-progress

⏯︎︎ 𝐃𝐋𝐂:

𝐛𝐨𝐬𝐬 𝐥𝐯𝐥 𝐧𝐧𝐧: ❝PU$$Y GOT MORE M⛧RDERS THAN SHIBUYA.ᐟ❞

𖦏 your loser otaku boyfie wants to take you to an anime convention and enter a couple's cosplay contest. you agree on one condition, he has to participate in No Nut November. Fair trade right? What could go wrong? ⏯︎︎ plays: 5079

⏯︎︎ 𝐒𝐈𝐃𝐄 𝐐𝐔𝐄𝐒𝐓���:

𖦏 soundtrack: [ x ] 𖦏 moodboards: [ lvl 1 ] 𖦏 amazing art by amazing readers: [ x ] 𖦏 faq/thirsts: [ x ]

©𝐛𝐥𝐤𝐤𝐢𝐳𝐳𝐚𝐭 𝟐𝟎𝟐𝟒. 𝐝𝐨 𝐧𝐨𝐭 𝐬𝐭𝐞𝐚𝐥 𝐰𝐨𝐫𝐤𝐬 𝐨𝐫 𝐠𝐟𝐱, 𝐝𝐨 𝐧𝐨𝐭 𝐭𝐫𝐚𝐧𝐬𝐥𝐚𝐭𝐞.︎︎

[enderlovez]

A Little Timid

Spencer Reid x Shy Female Reader WORD COUNT: 1100+

Summary: You bring Spencer something for dinner during a particularly stressful case. One thing, though—nobody else knows you exist.

Content Warning: Spencer is overworking himself and forgetting to eat, reader has a sister and a niece/nephew (not specified), pet names

────── ꒰ঌ·✦·໒꒱ ──────

You and Spencer have been dating for nearly three years, and throughout that time he's visited your workplace more times than you can count. Usually to spend your lunch breaks with you, sometimes just so he can sit and be in your company as you work.

Which your boss is completely fine with, for some reason unknown to you.

Oftentimes you find yourself wishing you could do the same for him, on the nights where he doesn't come home until stupidly late, but every time you bring up maybe bringing him lunch on your days off, he shoots you down entirely. Like a bird out of the sky, or some other stupid simile you can't be bothered trying to come up with.

It's quite different for him, being a federal agent and such, working with sensitive subjects and often in harsh environments, so you suppose it does make sense that he would want to keep you away from all that. Still, you can't help but feel a little hurt and slightly embarrassed every time he denies your requests.

And yet...

"You sound tired," you comment softly, stirring the pot of chicken soup in front of you.

"Mhm."

"Have you eaten anything yet?"

There's no response, which is answer enough for you.

"Lovey, you need to eat," you say with a sigh, putting down the spoon you were stirring with and lean back against the counter beside the stove.

"I know," he mumbles quietly.

You pull your bottom lip between your teeth, eyes turned down to the ground. "I'm making chicken soup, I could bring you some for dinner, if you'd like?" you suggest weakly. "And some of the bread I finished making earlier. You know, I could sit with you for a while."

Before he's even responded, you're bracing yourself for rejection.

"That would be nice," he sighs.

Immediately, the tension in your body melts away, a tiny smile making its way onto your face.

"You want me to bring one of those cinnamon rolls you like, too?"

"Yes please..." His voice is so quiet, you're sure he's practically falling asleep at his desk.

"Okay, I'll be there in ten minutes."

────── ꒰ঌ·✦·໒꒱ ──────

Spencer doesn't really think about much when he hangs up the phone. Only that he's really hungry right now, and that he really likes your chicken soup.

The fact that his coworkers don't even know you exist doesn't cross his mind once. Only when you're actually walking into the bullpen, does he realize he should've given them a bit of a heads up, because everyone is looking at you now.

No horrible looks, of course, they're only curious of who you are and why you're here, but you've never particularly liked people looking at you. It makes you feel all anxious and jittery.

Your eyes quickly scan the room (definitely taking note of all the people watching you) and when you finally find your target, a small smile makes it onto your face, despite the discomfort.

He pulls another chair over to his desk as you make your way over, walking just a little faster usual, and place one of those reusable supermarket bags in front of him.

"Hey there," you murmur, bringing his hand to your face so you can press a soft kiss to the back of it. This time, he doesn't even mention how many stupid pathogens can be passed through your hands.

"Beautiful girl," is all he says, quiet and uncharacteristically drowsy, as he reaches into the bag and pulls everything out. Two perfectly warm thermoses, a brown paper bag with some of your fresh bread inside, and two saran-wrapped cinnamon rolls that you've already heated.

You chuckle softly, taking your share of the food and offering him a hunk of warm bread.

Spencer bites off a chunk of the bread and really takes a look at you, now that you're distracted with your own soup. You're wearing a baby pink milkmaid dress, the same one you wore to your sisters baby shower last year, and a white cardigan with little flowers embroidered all over it.

He gifted you the plain cardigan, you were the one who added all the flowers and personal touches.

"I really appreciate this," he hums, finally opening the thermos of soup and spooning some of it into his mouth with one of the metal utensils you brought with you.

"I'm always happy to bring you food when you need it, lovey. Even when you don't necessarily need it, I'll come running," you say in a low voice, sipping your own soup straight from the thermos. "I wish you'd let me do it more. Even when you're not starving and sleep deprived."

He chuckles at the playful lilt in your voice, but knows you're actually being completely serious. "Maybe we can make this a more regular. On the nights I can't be at home—"

"And who might this be?" someone asks, appearing suddenly enough for you to jump a little.

You turn your head the smallest fraction to find another man leaning against Spencer's desk, a (seemingly permanent) smirk breaking through the tired, clouded expression everyone here is sporting.

"Uhm—hi—erm..."

You glance over at Spencer, who is, for the most part, paying no attention to the encounter, simply sipping on his soup and gnawing on his bread like he hasn't eaten in weeks.

"I'm Y/N," you manage, in a voice soft enough to bring serial killers to their knees (now there's an idea), wiping your hands on the fabric covering your thighs and sticking one of them out.

The man hums, eyes flicking between yourself and the man seated beside you. "I don't think Spencer's ever mentioned you before."

Your smile falters slightly, but doesn't disappear completely. "I'm his girlfriend," you say, "and I never really expected him to talk about me here. He said he wouldn't, anyway."

"Girlfriend?" he asks, as if it's the craziest thing he's ever heard. "You. Are Spencer's girlfriend? Spencer has a girlfriend?"

That seems to grab the aforementioned mans attention.

"Morgan. Is it really so hard to comprehend," he asks, wrapping an arm around you and pulling you close—as close as he can, with the chairs in the way, "that I could find a beautiful woman to love me?"

Ah. Derek Morgan, that explains it.

"You know that's not what I mean," Morgan argues, the smile not leaving his face. "And now, if you don't mind, I'll be around. Telling everyone. That you've got a gorgeous girlfriend, and kept it from us."

Neither of you have a chance to argue before he's gone. You're honestly surprised he didn't ask exactly how long it's been, but you're sure he wouldn't have liked the answer, so you don't push it.

"...this is great soup, by the way. I love you."

You chuckle, red coloring your face. "Thanks. I love you, too, baby."