#this is such a detailed analysis that i have to share it

[aperrywilliams]

Tin Wedding (Spencer Reid x ExWife!Reader)

------------------ 

Author Masterlist | Event Masterlist

------------------

Pairing: Spencer Reid x ExWife!Reader.

Summary: You've become friends with Penelope Garcia over the past year, and after much insistence from her, you agreed to visit her at her office one day. What you didn't expect was to run into your ex-husband there. And surely you didn't expect that he - Spencer Reid - is Penelope's coworker.

Word Count: 7.2k (please, stop me!)

Warnings: Yes. I set this one as +16. Mention of Reader being drunk. Curses and some strong words. Mention of sex - oral (m&f). Nothing detailed. IDFK anything about the US marriage and divorce system.

A/N: 2nd Fic for the "We are not gonna make it" writing challenge I was hosting during October with my sis @babymetaldoll. I'm so sorry for the delay, but life has crushed me these past weeks.

---------------

The ding of the elevator signals you are already on the sixth floor. The doors open, and the first thing you see are people going and coming. It's the bustling of a lively office at noon. But this is not just any office; this is the FBI headquarters in Quantico. You never thought you would be in a place like this in your life, but here you are after your friend Penelope convinced you to visit her at work after insisting for weeks.

BAU - Behavioural Analysis Unit reads the glass doors in front of you. This is the place. Looking at the scattered desks on the open floor, you look for a clue that leads you to Penelope.

People walk past you without paying much attention. Maybe you should ask for help. But before you can decide to do so, a voice behind your back breaks you out of your thoughts.

"Can I help you?"

You know that voice. You're sure of that. But wait. It can't be—not after years of not hearing it.

You slowly turn around just to confirm that your suspicions are correct. Standing in front of you is a curious Spencer Reid, who pales when he sees your face. He remembers you, too.

"Oh God, Spencer?"

A stupid question with an obvious answer, but that doesn't take away the surprise of coming face to face with someone you never thought you'd see again in your life.

"(Y/N)? Wow..."

Time has passed, you tell yourself. Spencer looks more grown up. His hair is a little shorter, and he doesn't look so skinny anymore; it even seems there's some muscle under the white shirt he sports. Some stubble adorns his face, and dark circles can be seen under his eyes. But his beautiful eyes are the same as you remember them from when you first met in Pasadena.

"What are you doing here?" You ask, still shocked. Spencer's expression seems pretty much the same as yours.

"Uh. Well, I work here," he explains after clearing his throat.

A Caltech's genius working with the FBI? You wouldn't have expected it. But then again, you didn't expect to cross paths with him after all this time. "And what are you doing here?"

Good point. Why did you come? Oh, yes. Penelope Garcia.

"I'm here to see a friend," you mumble. Spencer's confused look changes to what? Disappointment? Of course, you're not there for him. It's stupid ever to think that, considering you haven't talked since the day you said goodbye and parted ways in that tiny apartment you shared in Pasadena.

And then an awkward silence. What are the chances that after so long, you were going to meet Spencer? And if you're wondering how long, we're talking about ten years when you were both pursuing your degrees at Caltech. In your case, it was the first one because Spencer was already in his third PhD when you met.

Before you can say something else, the one and only Penelope Garcia burst into the room, looking for you.

"There you are! Why didn't you call me when you got here?"

Totally unbeknown to the tense silence, she steps in front of you and hugs you. You can feel Spencer's confused look on you. "I'm glad you made it! We have so much to talk about."

"Garcia is your friend?" Spencer asks, gaze on you, and it's when you realize how weird the situation is. Penelope turns to him, an eyebrow furrowed.

"Of course, I'm her friend. And she came to see me," Garcia scoffs until she realizes something. "Wait a minute. For what reason would you ask that?"

Spencer clears his throat. He doesn't know what your opinion is about people knowing that fact.

"We know each other," you explain to her before asking. "How do you know Spencer?"

"No way! What a coincidence!" Garcia chirps. The exclamation raises the interest of the people entering the bullpen. Some of them approach to where you all are. "Reid? We work together!"

What were the chances of something like that happening to you, you wondered, as Spencer continued to stare at you, his eyes never leaving yours.

"What's happening here, baby girl?" A toned man asks Garcia, who can't contain her excitement.

"Oh, you wouldn't believe it," she announces as two women join the conversation.

Garcia briefly explains to the audience who you are and that she just found out that you both know Spencer, too. After the first impression, she proceeds to introduce you to those there: Derek, JJ, and Emily. From the corner of your eye, you can see Spencer downcasting his look at their curious glances at him.

"So you guys know each other?" JJ asks.

You both nod at the same time as Spencer mutters, "Caltech."

"Ah, fellow grads," JJ assumes. And in part, she is right. Indeed, you met while you were starting your master's degree and subsequent doctorate in the same area as Spencer.

"Kind of," you admit, seeing Spencer's cheeks flush and feeling yours burn too. The guy who was presented as Derek Morgan has a smirk plastered on his face.

"College sweethearts?" Morgan asks in a teasing tone. And he is kind of right, too. You lock eyes with Spencer, and you can't tell if he did or wants to say to his colleagues what you really were at that time. But before you both can even think of saying anything, Garcia's eyes widen in recognition.

"No! Wait a minute! Did you go to college together? You said the other day that you-" she starts connecting information, and you start to freak out internally. Before you can stop her, Garcia blurts. "Oh! Spencer is your ex-husband? You have to be kidding me!"

Shit. How did she figure it out so quickly? Sure, it might be your fault for sharing details about your college love life with her on a night filled with alcohol, but how could you have known she was already acquainted with him? You were careful not to mention any names or specifics, yet here you are.

"Wait, what?" Morgan's smirk turns to jaw slack in astonishment. There is no difference between JJ's and Emily's reactions. Spencer's face is flushed, and so is yours.

"Someone is going to say anything?" Emily asks, bouncing her eyes between you and Spencer.

"Uh, well—" you start, giving Spencer an apologetic look, who returns you an awkward tight-lip smile.

"Yeah. We were married," he confirms.

"When we were at college," you add.

You can feel the heaviness in the air and the mid-surprised, mid-incredulous looks from the people around you. Morgan is the first to break the silence.

"Damn it, pretty boy. What a story you had hidden from us," he says, patting Spencer's shoulder. JJ - the quietest one until now - senses how uncomfortable you and Spencer are with all the attention.

"Guys, why don't we give them a minute?"

After a moment of consideration, Emily seconds the motion. "Yeah, Morgan, would you help me with something?"

"Su- sure," Morgan agrees, still confused but following Emily nonetheless.

"But—" Penelope is still trying to understand the whole situation and has many questions she wants to ask.

"Come on, Garcia. I'm sure (Y/N) will find you when she is ready," JJ encourages, looking at you. That's when you get out of your daze and nod.

"Yes. Yeah. I'll text you, Penelope."

And just like that, the same way people surrounded you just seconds ago, now it's just you, Spencer, and an awkward silence.

"I'm sorry. I didn't know you worked here. I didn't know you were Penelope's coworker, and—" you start to apologize.

"No. Don't. It's not your fault," Spencer rushes to speak.

"I shouldn't have told her about - about," you trail off.

"About you having an ex-husband?" Spencer supplies, and you shyly nod.

"Believe me, it's not a thing I tell everyone I meet, but Penelope, well, she-" you try to find the right words. Spencer nods in understanding.

"Yeah, she can be pretty convincing when she wants to know something."

Another halo of silence passes between you until it's Spencer who breaks it this time.

"So, how have you been? I mean, it's been a while." You nod, still uncomfortable with the situation but just as curious as you assume Spencer is.

"Yeah, it's been a while," you confirm. "Good, all good on my end. Working and living. What about you?"

"Me? Good. Working here at the BAU."

"Cool."

Cool? What does that mean?

A sharp 'Reid' is heard from behind you both, making you turn to the source. A well-dressed man with a serious gaze is looking at Spencer from an office threshold. "Can you come, please?" the man adds. Spencer nods quickly. "Sure. I'll be there in a second, Hotch." The answer seems to satisfy the man, so he nods and returns inside.

Spencer turns to you again. "Uh. I - uh-" he stutters, motioning where the man called Hotch was a second ago.

"Yeah. I have to go, too." You have to, actually, but you don't think you can face Penelope or anyone else right now, for that matter. "It was nice to see you." As you are about to run away subtly, Spencer calls your name. Stopping in your tracks, you turn, and your eyes make contact with his again.

"Would you - uh. Would you like to grab a coffee with me sometime?"

It catches you off guard, but you only assume he's being polite. You think you should return the gesture.

"Sure. Why not," you say, giving him a little smile. "Now I have to go. Bye, Spencer."

And with that, you resume your escape to the elevator.

----------

From the moment he saw you at the BAU, Spencer has never been the same. He never imagined he would see you again, especially under those circumstances. Spencer was so astonished he wasn't even able to start a decent conversation or even ask for your number after inviting you to a coffee.

Also distressed about the interrogation he knew his colleagues would subject to him, Spencer wanders through the BAU halls as if he were not in the present. And, in fact, he is not. After seeing you, he has only been able to think about you and the years you both spent in Pasadena.

A smile tugs the corners of his mouth every time one of those memories comes to him.

"Okay, pretty boy, spill," Derek prompts when he sees Spencer in the kitchen two days after your encounter.

"Uh? What are you talking about?" he turns, confused, to see Derek looking at him with a frown and arms over his chest.

"Come on! You know what I'm talking about. About the pretty lady, Garcia's friend, who happens to be your ex-wife?"

Spencer huffs through his nostrils.

"I already told you. We met in college, and we were together until we graduated," Spencer says nonchalantly as if it's normal. He tries, at least. Morgan scoffs at his attempt.

"Reid. You married her. You just can't tell me you 'were together' as you're talking about any other relationship. She was important; what happened?"

Morgan remembers well a few years ago when Spencer told him about a great love he had while at Caltech and how, from time to time, those memories would come to plague his head. It wasn't hard for Morgan to connect the dots and assume you were the person Spencer was referring to.

Spencer sighs thoughtfully. "We ended it by mutual agreement. We both knew our career paths were going to be incompatible, and we both had so many dreams to fulfill. Our greatest act of love was letting each other go. At least that's how I saw it for a long time."

"But you regretted it at some point," Morgan adds, and Spencer nods. "Why didn't you try to find her then?"

"I didn't want to be selfish. What if she already had her life going perfectly, and I was just going to show like a kicked puppy? It wasn't fair for her."

"Man, I get it, but what about now? You found each other again. Can it be a kind of sign or something." Spencer glances at Derek with an incredulous look.

"Are you listening to yourself? You sound like Garcia," Spencer grumbles, making Derek laugh.

"Yeah. Definitely, it's something my baby girl would say. But, truly speaking, Reid, why not take a chance?"

Spencer huffs in frustration. "I - I don't know anything about her in these years! I didn't even ask for her number that day. I was frozen on the spot!"

"And that will stop you?"

A satisfactory smirk appears on Derek's face when Spencer stays silent, contemplating his options.

---------

Not wanting to talk about the encounter with anyone, you write to Penelope, apologizing for having to leave suddenly that day. She responds everything is fine and doesn't even ask you why, to which you are tremendously grateful.

But as the days pass by, you know you have to talk to her at some point, so you invite her to come over one afternoon.

You have been thinking a lot and rationalizing everything that happened. Of course, there was always a possibility of crossing paths with Spencer someday, but turning it into reality is different. So you conclude all your nerves were out of the shock of something unprovable happening, not because seeing Spencer after ten years made you fall off your balance.

With that in mind, you were ready to talk to Penelope.

Once she gets to your apartment, you first apologize for leaving that day and explain how you got frozen after the unexpected encounter. Garcia tells you not to worry and even says she is sorry for telling everyone about her discovery without any filter.

"It's just- I was so impressed. I couldn't help it!" she explains, and you nod in understanding.

"It's okay. I guess no one expected something like that."

"Right? But I have to ask. How did Spencer Reid become your husband? I mean, you told me about your ex-husband and all, but I'm sorry, I can't picture Spencer even talking to a girl without stuttering, less asking for marriage, and then divorcing? It's beyond me."

It catches your attention how she talks about him. Although you met Spencer when you both were very young, knowing how shy he was, over time, you managed to beat his barrier and meet a wonderful man full of charisma and not so sheepish after all. Has he never shown that side to anyone else in all these years?

"Why so much interest in my marriage? It's been a decade," you ask Penelope, and her scoff sounds a mix of obvious and disbelief.

"Honey, it's unbelievable Doctor Loving Reid has kept THAT information to himself for so long. So now that it is out, it does pick my full interest. Spill. What happened?"

You shrug your shoulder. "It's like I said the first time I told you. We were young, a whole life ahead. Neither he nor I wanted to cut each other's wings."

"But you loved each other!" Penelope complains with an adorable pout. You have known this woman for what? Less than a year? And she seems brokenhearted about something that happened to you and Spencer ten years ago. She's right, though. You and Spencer were mad in love. Unlike what people have believed for years, your marriage was not a result of a wild night of alcohol and passion in Pasadena. You were both quite sober when you went to court that day. Both even had written down the vows you professed in front of the judge- yours on a piece of paper and Spencer in his brain, of course.

"If it's any consolation, the year we were married, we were very happy," you tell her, fondly remembering that time. Garcia rolls her eyes.

"Well, exactly that's what I mean, miss. If you were so happy, why end it like that?"

The only answer you can think of is 'it's complicated,' but that will surely increase her curiosity.

"We wanted the best for each other, even if it meant being apart. As good rational beings, we weighed our options, and the sensible thing to do was to end it."

Putting it in that way, Penelope can believe it. Having known Spencer for years, she knows for a fact his big brain is capable of analyzing every probability of every possible outcome. What seems incredible to her is how feelings - how love - can be rationalized like this.

A ding from your phone pauses your talk with Penelope. You glance at the device and see a text from an unknown caller.

'Hi. I'm Spencer. I stupidly didn't ask you for your number, so after cursing myself for the past few days, I had to find it out. Don't get mad, please. I would really like to grab a coffee with you if you are up to it. If you don't want to, I understand. And if you don't want me to contact you again, just say the words, and I'll stop. But I really hope you say yes. SR.'

Okay. This is unexpected. Indeed, you remember not having exchanged numbers with Spencer, and you didn't give it much thought either, assuming his invitation had been out of pure kindness. But here you are, reading the message and feeling an emotion you can't describe. Nostalgia, maybe?

You narrow your eyes to Garcia, who immediately suspects who sent you a text.

"Before you ask, I didn't give him your number!" she defends as you breathe a deep sigh.

"He's asking me out for coffee," you tell Garcia, and she can't help but squeal.

"Will you say yes?"

"I don't know. Is it a good idea to get back in touch after all these years?" you muse more for yourself than her.

"Honey, only you know what's best for you, but if you ask me, I remember you telling me after you both split up, you were left with a lot of 'what ifs' in your head, and some of them are still floating around. Maybe this could help clear them up once and for all."

Penelope has a point. But now, you have a dilemma in the form of a coffee invitation.

---------

It's just a coffee. Don't overthink it.

You have been telling yourself that for a while as you walk to the coffee shop where you agreed to meet Spencer today.

He is just being nice.

Sure, after ten years of no contact, this sudden encounter in the FBI - with all his colleagues there - maybe pressured him to invite you to grab a coffee.

Still lost in your thoughts, you don't realize you are already there. After taking a deep breath, you step inside and look around. You spot him in a booth in the corner, back to you. A smile tugs at your lips, remembering all the coffee dates you both had back then. It was your thing. Hours and hours talking about everything and anything until the owner asked you to leave because they needed to close.

"Hey," you greet, making Spencer look up to you.

"Hi," he returns, a smile plastered on his face. "Thanks for accepting my invitation," he gestures for you to sit.

"Sure. Why I wouldn't?" After taking off your coat, you sit in front of him in the booth.

"Yeah. I mean, we haven't talked in ten years. And then we see each other at my work, and- well, it's kind of weird, I guess?"

Weird is an understatement, you think.

"You are right. Kind of it is."

You notice there are two coffee cups on the table. Spencer follows your line of sight.

"Uh- I had ordered already," he points to the coffee in front of you. "I don't know if you have changed your order, though."

"Thanks," you mumble appreciatively. "I haven't changed it, actually."

"Great!"

You try to gauge his expression. Is he nervous? Anxious? Because you are.

"Spencer, if you are uncomfortable, we can just go home. There is no—" You can't finish the sentence before Spencer cuts you off.

"No. No, I'm not. Please, don't think that."

"Okay," you concede. "I won't. But you need to be honest with me, okay?"

"Of course," Spencer agrees.

"You felt obligated to invite me here after what happened?" You bluntly ask, and Spencer's eyes widen.

"What? No, of course not," Spencer immediately denies. "I really wanted to see you. It's just that-" he hesitates. You tilt your head, waiting for him to continue. "I just didn't know if it was right, you know? I mean, we never reach out, and then it happens. We never agreed-" he trails off. And you know exactly what he's talking about.

Back then, when you decided to go separate ways, Spencer asked you what would happen if you met again in the future, and you shook your head, saying it probably wouldn't happen. So yes, you never talked about the possibility, and Spencer understood he should never contact you, and so did you.

"I know. We didn't," you recognize, regret slipping in your voice. "I guess I didn't want to think about the possibility back then."

You two know there are things you left out and left unsaid the last night you were together in Pasadena, but you don't think it's a good idea to say them now—not when this is supposed to be a friendly reunion between exes.

"So, since when have you been working in DC?" Spencer asks after you tell him about your work career on the west side.

"Almost two years," you admit.

Two years living in the same city. Spencer wonders if Garcia hadn't met you, he would have ever seen you again.

Your professional career has certainly been prolific; Spencer can tell after the stories you have been recounting. Years of experience and important jobs, just as you had dreamed when you were in college. These are the same dreams you shared with Spencer during the nights of studying and those where there was everything else but studying.

"I thought you were going to pursue academics. When did the FBI happen?" you ask after saying it's enough of talking about yourself.

"I thought that too. And I did it for a while. Then I met Gideon. He - uh, he showed me what the BAU had been doing, and I knew it was my place to be."

Spencer fondly tells you about his early years working as a profiler and how much he has learned. It seems that, like you, he has found his professional calling.

Two hours and three coffees later, you are both laughing about the weird and funny things you have seen in the past years. It feels good, and much of the initial nervousness has dissipated. But there is one topic you both have actively avoided: romantic relationships.

You are curious about it, and Spencer is, too, but neither of you wants to be the one to mention it first. Spencer is who breaks first.

"Are we going to talk about - about that? I feel we have been dancing about the topic, but I don't know if you want to."

You can't help but snort out of being caught and for the subject itself. You are sure your almost nonexistent love life is enough to make anyone cry or laugh.

"I'm still that obvious?"

"You have your tells," Spencer shrugs. You raise an eyebrow.

"I have my tells? What about you, doctor? You have been bouncing your leg the same way you did the day you defended your engineering PhD dissertation."

Spencer's eyes widen. "You still remember that?"

The insinuation of you forgetting that day makes you scoff.

"Of course I do! I tried everything to try to calm your nerves. Do you remember what I did, and actually, it worked?" Spencer's cheeks redden because he remembers.

You won't tell the details, but you recall, as clear as the day, how you helped him to 'decompress.'

"Okay, okay. Guilty as charged."

"So, what do you want to know?" You ask, still not fully ready but resigned, leaning back in your seat and crossing your arms over your chest.

"Are you with someone?" Spencer asks, and you gasp, feigning surprise.

"No beating around the bushes, uh?"

Spencer's cheeks flush, and he can't help it. "If it's out the line, you don't need to answer."

Seeing him flustered and biting his lower lip makes your heart do flip-flops. It's something you haven't felt in a long time—ten years, to be exact.

"If you had asked me a month ago, I should have said yes."

Indeed, you had a boyfriend until a month ago when his insistence on moving in with you was too much to handle, and his frustrated self decided to say a lot of awful things when you said no to him.

Some people would say you have commitment issues, and maybe you have. But in all honesty, until this day, there is no one you have felt secure enough to take that step.

It's ironic, considering you already have a marriage under your belt.

"I'm sorry," Spencer mumbles.

"No. Don't be. It wasn't meant to be."

'Like I used to think about us,' you want to add, but you refrain. Instead, you explain in not much detail every failed relationship you have had. Spencer listens intently, his heart aching to think of how a part of you might have been broken with each failed relationship. He hasn't done any better, though.

"And that's all. As you can see, there is nothing too exciting to remark," you chuckle to lighten the mood. "Tell me about you. There is a Mrs. Reid waiting at home?"

Spencer snorts, shaking his head. "No. There's no Mrs. Reid. The only one who has held the title has been you," he says with a look that makes your breath hitch in your throat. What is it? Longing?

"Wow. I feel honored," you tease, trying to hide the heat rising to your cheeks.

Spencer tells you about the few relationships he's had over the years. In his own opinion, none of them are very meaningful. When you ask him why, he doesn't hesitate to answer. "This job not only consumes my time, but also a lot of me as a person. Not everyone understands that."

He would like to say no one has ever been so important as to make him doubt continuing to work in what he does. The only person who ever made him doubt was you. But instead of saying it, he prefers to end with a "I guess that's why no one has stayed."

Listening to him talk is like listening to yourself, trying to minimize the fact that professional success is possibly one of the main reasons why other parts of your personal life have never flourished.

It was your choice. You both decided to make it that way. But sometimes you wonder if...

"Do you think we made a mistake?"

Spencer's question gets you out of your thoughts.

You look at him, baffled. "What?"

"Do you think we shouldn't have broken up? That I shouldn't have left?"

You pondered his question for a second. It has to do with how you felt at that time? Or does it have to do with how you felt after or even now?

"Honestly? I don't know, Spencer." A resigned sigh leaves your lips. "I always wanted to think it was the right thing to do."

"You never regretted it?" He asks you, and you shrug, not knowing much to say. Instead, you opt to ask him the question back.

"Did you?"

"Yeah. I did," he admits. "Sometimes I still do."

A heavy silence settles between you. The admission that you both had doubts about the drastic decision you made almost ten years ago is difficult to take. It unfurls a whole new set of questions whose answers you are not sure you are ready to hear or say. But it's only fair he knows your truth as you know his now.

"For what is worth, me too. I regret it. More often than I would like to admit."

Spencer's heart starts to beat faster; breath hitches in his throat for a second.

He tentatively reaches out to rest his hand on yours. You watch the action and think you know what it means. His eyes are hopeful. Something you'd like to mirror in your own, but the uncertainty is there, and you can't help it.

"Spencer, no. Please, don't." You try to articulate but not take your hand away from his. "I wish I could tell you I'm willing to try- to try to make up for lost time, but I can't. Even though it may not seem like it, we're strangers to each other, and I'm not in a place to even think about- you know."

Spencer gives a little squeeze to your hand, nodding.

"I know. And I'm not asking you for us to redo our story and start from where we ended. No. But I would love to get to know you again and be your friend."

"Friends?" You ask, brows furrowed. He smiles.

"Yeah. First and foremost, you were always my best friend. My person. Even if we never get back together as a couple, and we don't have to, I don't want to lose you again."

You take a moment to think about his words. What would be the harm? You're at a stage in your life where you don't want to live thinking about those things you wish you had done and didn't. The things you might have done differently. Why not put reason aside for a moment and just be?

You squeeze his hand back, a sign of yes; you're willing to get to know the Spencer in front of you.

---------

Three months have passed since your conversation with Spencer at the coffee shop. You both agreed to reconnect as friends, which has led to many coffee meetings, lunches, dinners, movie nights, and walks in the park. And to say your heart feels full and happy would be an understatement. You've realized how much of the Spencer you met in Pasadena still exists, and the connection that once brought you together has revitalized and is stronger than ever.

Neither of you has wanted to rush things, and so far, you're both happy to be able to spend time together.

Spencer has also opened the door for you to the BAU team, which has been his family for eight years now. In addition to the bond you already had with Penelope, you now regularly attend the girls' night she hosts with JJ and Emily. You've also gotten to know Derek and Hotch better and understand why Spencer considers them like his older brother and father figure, respectively. You've also become a favorite of David Rossi, who doesn't take no for an answer every time he invites you to one of his dinners.

Like tonight, where you find yourself vividly chatting with the girls in a corner of Rossi's backyard.

"No way I could have passed Dynamics and Mechanics without Spencer," you acknowledge when you're talking about the most challenging subjects you had in college.

"It seems a very interesting topic," Emily jokes, not knowing what the hell you were talking about.

You giggle at the memory, cheeks turning a shade of pink.

"I still remember those afternoons Spencer spent trying to help me memorize the Euler–Lagrange equations and the Hamilton's principle. He made it interesting, if you know what I mean," you wink at them.

"I don't think I want to know," JJ muses. Emily snorts at the suggestion.

"Oh, I definitely want to know what that means," Penelope pipes. You chuckle.

"One night, he made me recite the whole equations with his head buried between my thighs," you confess with a mischievous look.

"Oh my God!" Garcia's jaw goes slack, and Emily's eyes widen in disbelief.

"You fucking kidding me!"

"Definitely, I didn't want to know that," JJ shakes her head.

"Well, I helped him with Applied Computer Science. He had to produce a code to operate a string of relational databases while I was on my knees su-"

"Okay! I get it!" Garcia cuts you off, with her hands in the air, as Emily laughs and JJ groans.

"You asked," you shrug, a smirk on your lips.

"Okay, okay. But hear me out. Since we are talking about college time, and honestly speaking, we all have had someone in college, more or less important, with whom to study or do other things," Emily prefaces, making you giggle. "But from that, to marry, and one year later to divorce? How do you get over something so intense like that?"

You have questioned yourself the same for years.

Looking past JJ's shoulder, you see Spencer talking with Morgan, beer in hand, and you can't help but feel the smile creeping on your face when he looks back and winks at you.

If anything, the past months have made you realize what you had back then with him was unique. But what you're having now? It is as unique as before and better.

"I don't think you get over it. And it's okay; you learn to appreciate it and value the chances life gives you after."

The girls follow your line of sight and share a knowing look. When they see Spencer approaching the group, they collectively decide to go inside the house for a new drink.

"All yours," Garcia whispers to Spencer before going in a bee-line with Emily and JJ.

"What was that?" Spencer asks you with a quirked eyebrow when the girls are out of sight.

You look at him, pretending not to understand.

"I assume they wanted a refill," you say with a shrug. Spencer nods and smiles at you.

"And you don't? Do you want me to get you something?"

"No. I'm fine," you respond to his offer. "Besides, I think I've got my alcohol ration filled for the night."

"If you're done for the night, I can take you home if you want."

That's the Spencer you know, always concerned about your well-being and comfort. You shake your head.

"Not yet. Walk with me, though?" You ask, extending your hand for him to take. Without questioning reasons, Spencer nods and takes your hand. The two of you begin to walk towards the pool area, where the sound of the music coming from the house is less audible.

It's not unusual for you to hold hands now. You trust each other, and it's been an innocent way of showing affection. And while the tension of something more has been building, neither of you has wanted to take the next step yet.

When you stop in the pool deck, Spencer moves to stand in front of you, his free hand reaching to tilt your chin with his index so he can inspect your face for some kind of clue.

"Are you okay?"

You nod as your fingers, from your joined hands, absently play with his. A thorough smile tugs the corners of your mouth. Your eyes admiring Spencer's honey ones in the moonlight.

"More than okay," you admit. But Spencer knows there is more in your mind you're not saying.

"Yeah?"

"Yep." You're stretching this on purpose. A smirk plays on your face. Spencer knows what you are doing.

"Good." His voice is amused. This game was one you both used to play back then, testing each other's curiosity and seeing how long it took the other to demand an answer about what the other was thinking. Usually, you were the one who won since Spencer couldn't stand not knowing.

"Have you grown patient over the years, Dr. Reid?" You ask, entertained. Spencer's laughter fills you with a feeling you thought was dormant inside you, but he has managed to refloat.

Not wanting to prolong his torture, and because you don't have it in you to hold back any longer, you decide to speak.

"I know you remember, but can you tell me the first thing I said to you the day I met you?"

Spencer's eyes narrow in search of the moment you're referring to.

-

You were in the library, busily searching through the shelves for a book you couldn't find. Spencer could see the stress radiating off of you. After watching you for a few seconds, he decided to walk over to the shelf, and leaning down, he pulled a book from the top shelf before presenting it to you. "Maybe this is the one you're looking for?" And he was right. Your first thought was, 'How did I not see it before?' and then you realized the weirdest thing of all, 'how did he know which was the book you were looking for?' You didn't know the guy, and as far as you knew, he didn't know you either.

Seeing your confusion, he proceeded to explain. "It was an educated guess, seeing as you have Fuller's, Richmond's, and Helbert's there. I assumed you were in Thermodynamics 301 and didn't have Priest's."

-

Spencer laughs before trying to imitate your voice. "Can I buy you a coffee in appreciation and keep you in my purse for future reference?" You nod, smiling.

"Bold of me for asking that to a stranger, uh?"

"Bold of you for thinking I would ever refuse," Spencer says in a mocking tone to match your joke. You both share a fit of laughter. Once it subsides, your eyes fix on him.

"Bold of me to think I wouldn't fall in love with you after all these years." Your words hit Spencer, whose expression changes from light to serious in a second.

"What?"

"It's like they say. At some point, something has to give. And this is my moment." You pause before continuing. "I can't say I'm sure what's coming, because I'm not. I also don't know if what you've seen of me these past few months is worth enough for you to love me again. But there's one thing I do know. I love you. I loved you, I missed you, and now I've loved you again."

Spencer is speechless. His brain tries to piece together each word you say. You take both his hands in yours, and you can feel them tremble.

"If you'll have me, I want to be the one that stays," you add, hoping your words are good enough to convey your emotions.

You don't know when tears start running down your cheeks. It might be when you see Spencer's glassy eyes.

"I do love you. And I want you to be the one who stays," he rasps before releasing your hands to cup your cheeks with his own, leaning down to whisper, "Let me be the person you want to stay for."

"You already are," you whisper back before closing the distance between you, allowing your lips to meet in a tender, sweet kiss. A new promise and a new beginning for two souls that were meant to be. Thanks to fate, or maybe not. That doesn't matter anymore.

-

As you kiss, part, whisper sweet nothings to each other, and kiss again, not so far away, are two people watching the scene with satisfied looks on their faces.

"Do you see that, Hot Stuff?" Garcia asks Morgan. A smirk appears on his face.

"Yeah, mama. I see it, clear as the day."

"We did it!" Penelope cheers, whisper-yelling, making Morgan chuckle.

"I should never have doubted you, baby girl," the man says, kissing her cheek.

"Of course not. But I forgive you only because I'm so happy our plan worked wonderfully."

-----------

SIX MONTHS EARLIER

Penelope Garcia's curiosity always gets the best of her. She has gotten to know you better in the past months since the IA convention where you met. She sees you as a beautiful person and a good friend. So when you told her on a night full of alcohol about your ex-husband and how important your relationship was for you, Penelope couldn't shake the feeling of wanting to know more, so maybe she could do something to help. Do what? She didn't know, but maybe more information about it would give her an idea.

Quickly typing on her keyboard, she finds a Pasadena Marriage License with your name on it. Checking the date, Garcia notes you had married in the summer before your senior year. It was expected. You already told her that.

What was unexpected, though, was finding out who the person you had married was. Garcia had to read the name twice before realizing the huge discovery she had just made: Spencer Walter Reid.

'No way! It has to be a mistake,' she squealed, fast-reading the information on the papers. No, there wasn't any mistake. You married Spencer Reid almost ten years ago. The same Spencer Reid she has known for so long and works with her every day.

But wait. You had said, ex-husband. Where are the divorce papers?

Typing again, she finds a divorce request signed by you and Spencer a year after you married. So that is true, too.

Overwhelmed by everything she has just discovered, Garcia is about to close the web tabs with all this data when something pops up: it's a court resolution dated six months after the divorce request. The resolution reads that the request has been denied because one of the parts couldn't be notified for comparison to the Pasadena tribunal. Garcia narrows her eyes and types again, looking for an updated legal document granting the divorce request. She finds none.

'Double holy fucking shit! They are still married!'

Without knowing what to do with this new information, she starts pacing frantically in the office. Garcia knows that the information she found wasn't for her to know, but at the same time, how does it not you or Spencer know this? She can't tell you, but she should, or maybe not. Grabbing her phone, she dials the only person she knows will help her with the dilemma.

"Derek Morgan. I need your delicious ass in my office right now!"

And just like that, a plan emerged. A plan to give a little push to destiny. A little push to you and Spencer cross paths again. Maybe this time, for good.

-----------

"And when are you going to tell them about their failed divorce?" Morgan asks Garcia, who is still looking at the couple giggling and kissing.

"Oh, shush. Let them enjoy tonight. There will be time for that."

Derek Morgan shakes his head, laughing. "Okay. You're the boss, mama. You're the boss."

---------------

Spencer Reid's Taglist: @dreatine @nomajdetective @jayyeahthatsme @rosalinasam2 @averyhotchner @lovelyxtom @princessmiaelicia @pastelbabygirl19 @reidsbookclub @alexxavicry @gspenc @spencerreidisbae123 @calmspencer @pauline5525mgg @anamiad00msday @milivanili99 @laylasbunbunny @leahblackk @miaxx03 @missabsey @taintedstranger @khxna @hiireadstuff @pleasantwitchgarden @dysphoricsanity @themoonchildwhofell @silver138 @lovelybaka @shinytinywhispers

[mysteryanimator]

Breaking down Castlevania Nocturne Season 01 - Episode 06 "Gulity Men to be Judged" Olrox and Mizrak scenes (almost) shot by shot!

With episode 08's breakdown (which you can read here), I'm deciding to tackle episode 06! I'm glad people enjoyed my last breakdown as much as I did writing it! While I will try to be as in-depth as the last, I will try to keep it concise because there is a lot I want to cover with a 30-image limit AND I am not just covering the "I'm not in love with you" scene. I will be covering their other scenes in this episode because I cannot understate how extremely important specific shots are.

To preface this again, this is not the end-all-be-all for these scenes. This is just me making observations based on my media analysis and production studies and a deep passion for visual storytelling/storyboarding. I also consider myself an amateur, so please take what you will from this. My terminology may flip flop, and I will be super casual and informal in this analysis. However, I hope I still get my points across well!

Scenes will not just be "the curtain is blue because it is." Heavy moments with character interaction are important. They have very little time to go over this scene, they have a budget, they have a deadline, so every choice matters and it needs to push out a very specific message.

What is this? A close-up to start off this new scene?

I've talked before about how establishing shots are used to establish a new scene, which often than not is a big expansive shot of the area and of the characters/plot we're following. This still does that. In fact, this shot alone is giving us massive clues to what type of story we're getting. We're getting a much more closed-off private conversation that we shouldn't be privy to. We're getting a view of Macheoul from Olrox's inn, as if we're pulling away from the bustle of life just for a moment.

I'm going to be talking a lot about windows so let me set up the foundations to start us off. Symbolically, windows are important to get a deeper view into a person. Freedom, transparency in conversation, openness, and connection.

We're also getting a close-up of Mizrak and his eyes are cut off. Eyes are another symbolic way to showcase connection and openness but we're not seeing that. Intentionally. Contrasting things are happening. This is already alerting us that this is going to be a tense private scene where things are being bared out for us but things are still going to be closed off from being shared. Also a-ha that curtain being pulled off to the side, which previously it wasn't in episode 04. It is as if we're unveiling a bit more about these characters.

Now we get this long shot.

Hey, so fun fact, you know in the fan-animatic (which you can watch here I'm sorry for the self-plug lol, I was also writing this analysis when making that animatic), I had put in an absurd amount of divider/window themes it might've gotten really over the top (whoops). I was directly referencing those themes from this. Naturally, this inn room references 1750s architecture and how there is a lot of vertical and horizontal detailing, however, I will be excessively pointing them out in this breakdown, so let me also lay the foundations of how important these vertical lines are as well.

In a scene, you can make characters feel at a distance, divided and such not only by using physical distance between other characters and objects but implying it by having vertical lines between them. It can create invisible walls and borders, separating a character from the situation at hand.

Even when characters are really close to each other, putting a vertical line between them in the background can make all the difference. Example, you can a close distance physically, but they cannot connect on a deeper level because there's a metaphorical border by putting a vertical line between them in the background.

These borders pop up a lot in previous episodes surrounding Mizrak and Olrox. The only time it doesn't is in episode 08, where they're out in the open and Olrox unveils something he has guarded up until that point.

The gap between them for most of this scene is HUGE. This has to be established from the get-go to help build upon later scenes where the gap gets closed.

Olrox and Mizrak are both presenting closed-off poses. Mizrak is fully faced away, arms crossed, while Olrox has his leg crossed over himself as he reads, also not in any form facing Mizrak.

By the way, I want to point out, Olrox has the book the Abott uses to turn people into night creatures, he's reading it in Mizrak's presence. Olrox STOLE the book and presumably, Mizrak has seen it being used. Which, this whole scene gets alluded to in episode 4 around the time Olrox passes Mizrak the head. They both were planning to conspire together or at the very least, feed each other information from their side. They're both reluctant players of their team, seeing flaws in the plans of their 'leaders' as much as they do in their enemies. So without overstepping a line, Olrox and Mizrak forge a temporary alliance, which that line gets blurred by simple human emotions.

Close upppp

Oh my god guys he said the episode title !!! I think this goes without saying that each episode title is a line said from a character in the show, and that it is super important

We're still noticing this MASSIVE GAP between Olrox and Mizrak. Also, check that divide there. The vertical divides that are happening are the wooden wall detailing, the candle, more notably the window, that vertical line the biggest/important divide in the scene once again.

Mizrak is shoved into the corner of the screen, he's not important right now so he doesn't take up too much of a focus and, therefore is smaller. Which also means when Olrox follows up with the line "he's threatening you", there's less weight to the line because it's not the main focus, it's a joke. There's no real threat.

Which establishes another thing- their dynamic. In episode 03, Mizrak scoffs and chuckles "and you expect me to believe you care, vampire?" By Olrox chuckling out "he's threatening you" it shows us that this dynamic is reciprocated. They both make jabs at each other, which they know won't actually hurt them. This also means they know how to jab at each other and make it hurt. Foreshadowinggggg~

From here on out, Olrox gets a lot of close up shots, that are framed to JUST focus up on his face (and hand but I will talk about that later).

I'm going to end up skipping a few of Olrox's close up shots in this analysis because I'll end up repeating the same thing, but this is important. We need to see Olrox emote up close because he doesn't ever emote in a very 'animated' lively way. Compare how Richter/Annette/The Abbott and so many other characters emote, their hair and body drag with their face. Olrox does that super rarely because he controls himself. So here, when we get a sliver of his emotions, we're getting up close and personal with him.

Mid....shot? I'm going to be less picky about my terminology because what's important here is the message being conveyed to the audience.

Mizrak turns away from the window (not fully yet) to face him. I need to point out- that Mizrak is super pushed off to the side of the screen, but then his reflection is crossing over that divide.

So as mentioned, having a vertical line is intended to make the characters feel separated from each other. Having a character cross the border can mean they want to overcome the metaphorical walls that are being set up. For better or for worse, it depends of on the character's motives and the context of each respective shot.

Mizrak is passing through a divide to get insight into Olrox. The curtain, again, pushed and tied off to the side. A window. A view into the past. Which I need to make clear, only Mizrak's reflection crosses over the boundary, as if to let his inner self connect to Olrox. While physically, Mizrak keeps himself guarded in case.

By the way, Olrox is fully in his own box. A frame inside a frame if you will. This helps draw attention to a character BUT also fully isolates them. Mizrak, by this question, is calling out Olrox. It's an isolated incident solely caused by Olrox.

Olrox indulges him in this conversation, but he's not fully facing him. He periodically does, but never fully.

I want to point out, that we have gotten Olrox from a front view, and now we're getting a 3/4 view. The next will be a side profile of him, as if he's turning inwards.

By the way, horizontal lines can act to lead someone in a direction. Because this is a western show made for a western audience, most of the audience will read left to right. So naturally our eyes will start left of the screen and move right (unless there's a major focus placed else where). This also just helps in general to move from shot to shot as it will imply for us where to look next, for the upcoming shot. This is also indicated by the massive empty space on the right of Olrox.

So this shot. His eyes are purposefully covered up and Mizrak turns around. Also it looks very similar to the third shot of this whole entire scene but with those key differences I mentioned. It's to alert to us the tone of the section has shifted.

Right now, Olrox is beginning to open up about a vulnerable personal matter from his past, but we can't see him emote—not yet anyway. He will choose and decide when to invite us into his emotions. We see Mizrak reacting to him though. Still giving him that space, but he's now engaged into Olrox's conversation.

Ok skipping a shot forward, but this close-up of him closing the book is basically telling us his mission to dig further into the Abbott's plans is unimportant now. As is closing off the current story he's reading to tell Mizrak a story of his past.

Also followed by the line "He was proud to be Mohcian, with roots deep in the land and forest" as he balls his hand into a fist against the book.

Hands are a superrrr common thing to use for symbolic purposes. It can represent connection. Humanity. Strength. Many more than this list, but a lot of human symbolism and motifs tie down a lot to what Olrox's previous lover is like- along with what Mizrak is like.

Pspspspsps in episode 3, Mizrak's introduction is with his hands, might be a stretch though because that intro is also cross-symbolic. Regardless I thought it was important to at least flag

CLOSE UP SIDE VIEW.

This cut from his hand to his face honestly makes it so gut-wrenching because you're suddenly slapped with Olrox emoting. Olrox's side profile here is acting here that he cant fully face his past, he can't fully face Mizrak as he talks about his past love. Sure he will here and there look over to him, but he can't hold it.

Also, this is what Mizrak would be seeing. While yes, a close up shot so its not entirely a one for one POV shot, we can argue Mizrak is only focused on Olrox's face. We as an audience are forced to be focused on Olrox's face and his face only because of this camera shot. Who is not to say Mizrak is also a part of the audience. Especially since the next shot is of Mizrak looking at Olrox.

Mid shottttt

So cutaway shots like this can help with things like avoiding to keep animating Olrox talking/moving because that will eat up your deadlines, budgets, etc (I think, I can be wrong). This also gives us insight into Mizrak because we haven't seen him for a few shots and oh my god, Mizrak is emoting too.

Right now, Mizrak is pulled away from the window divide. He's giving him the space to talk. Divides are not always bad, again it depends on the context of the shot and what you want to portray.

Also, we're seeing Macheoul behind him. People get to walk freely, poor and rich, sinners and saints and all the people who sit in the middle of those divides. Until Ezerbet's plan becomes finalized. There are a lot of colonization themes in this show and this show is about fighting for freedom. In order to show what freedom is like, the privilege to have it, we must acknowledge the opposite.

We're doing it through Annette AND Olrox.

Mid shot again, featuring Olrox instead.

Now this is supposed to be a mirrored version Mizrak's shot because now Olrox is turned towards Mizrak here as well.

Mizrak mirrors the traits of Olrox's previous lover.

As Olrox talks about his previous lover, we as an audience begin to notice how Olrox's previous lover matches the themes of the show. Revolution. Fight for freedom. This also foreshadows that Mizrak will end up fighting with the revolutionaries, Annette, Maria, Richter.

Skipping one of Olrox's close ups to where Mizrak begins to prod at Olrox's story. He is a little bit too invested in Olrox's life.

MIZRAK CROSSES OVER THE BOUNDARY. THAT DIVIDE. The window divide that keeps them in their separate boxes, he's crossing it over to call him out. He leans forward, then leans back as if to prod him and then go back into his safe zone. His box.

This close-up cut is in between Olrox and Mizrak talking. It's supposed to completely throw us off because its so sudden because we're not expecting this AT ALL. Sure we know Olrox would get riled by this comment, but it's so fast its a literal blur, and this shot doesn't last that long either.

He's also choosing to run. Which in a way, make its slightly more terrifying. He has the ability to float, and (please correct me if I'm wrong) would be cheaper/faster for him to just float really fast. So the choice for him to use his feet to get to Mizrak is a conscious choice.

Which I won't lie, it brings me to this line.

"She said to me, if you would love me as a man, then live as a man, Travel as a man." 

Said none other than Dracula himself in the first episode of the first Castlevania series. Olrox has a lot of times where he just chooses to walk/run, "travel as men do. Slowly." In turn, he's way more human still, despite his supernatural speed. There are also just a lot of parallels between Dracula and Olrox but I digress. It's pulling away from my analysis, but I thought it was a very important thing to note.

This is a low-angle shot. This shot is TENSE. Low angled shots are to make the character's seem powerful, larger then life because it puts the camera, in turn the audience, beneath what we're watching. At a lower place.

I'm here yet again to point out the divide. Mizrak even leans AWAY from the divide, as if to go back into his box. Olrox taunts the divide when he leans over. Not yet crossing it.

Until.

This close-up shot is so diabolical and it's so masterful.

Which, let's get this out of the way- It looks like they're about to kiss because they're that close to each other. We know they won't not, but it's the tension and the conversation we're having now just adds to it. We as an audience are now wondering what Olrox has planned for Mizrak because why is he that close? It is also not harmful bait either because we have them both naked in bed with each other prior. This is a set up for something bigger for season 2. (Or season 3... season 4... guys please stream Nocturne so we can get more seasons.)

Mizrak is pushed into his little box as Olrox stands over that divide and has an overwhelming huge visual weight over this scene. Mizrak, despite having very little of the screen, and being cornered by Olrox, is being very bold and questioning Olrox and his plans.

There are other ways to have someone feel like they have power over a scene besides a low-angle shot For instance, you can have them take an overwhelming amount of the screen so they feel big and powerful. To make someone appear weaker, you make them smaller in the scene (in other cases it'll make a character feel unimportant, like much earlier for that long shot, however in this case it is not). Right now, Olrox is trying to overwhelm Mizrak. This shot is suffocating, there is very little space between these two characters AND the visual breathing space for the eye to rest is almost nonexistent because Olrox takes up so much space. He's trying to read him and pull out his insecurities at this very moment. It won't work though. Olrox knows a lot about Mizrak. He has analyzed this man back and front, inside and out (I mean that metaphorically, but sure, you can take it literally too) but this is an impulse reaction, much like how Mizrak in episode 03 had an impulse reaction to pin Olrox to the wall.

Olrox feels threatened.

We don't know step by step what lead to the death of his lover, what drove Julia killing to him, but Olrox has opened up and Mizrak immediately begins prodding at his life the moment he mentions Julia killed his past love. How dare Mizrak tell him the person he would do anything for, that his death, was his fault. How dare Mizrak say Olrox would turn him. How dare Mizrak presume he loves him.

How dare Mizrak overstep the invisible boundary they've established.

Olrox moves off that divide back into his box.

BTW, side tangent:

I don't know if this was intentionally done but Mizrak's angle is really similar here, the key difference being his eyes and being shuffled into the corner more. Also, Olrox is there LMAO, but his eyes are cut off. It's like, in one truth being revealed, another one is being hidden. This is the very first shot of Mizrak we see in this section versus the very last time we see Mizrak in this section. Though this I'm a bit unsure about so I won't delve further than that.

Ok, tangent out of the way, the last shot for this scene!

This feels like a POV shot from Mizrak.

Front facing. Dead center. No fanfare at all. Blunt. Straight to the point. There's no hiding the truth. He is the subject of main focus.

Olrox is not lying, but it's not the full truth either, which is alluded to the fact the shot gives off the impression that it is symmetrical but it's not. Visually, the weight is so much heavier to the right, purely because of the bed, more of Olrox's face is exposed and the lights. The other side of Olrox is in the shadow and his hair covers up his eyes and parts of his body.

I'll split the shots into two without annotations just so you can see what I mean. Having this shot be split down the middle is wild because they feel soooo different from each other.

This one line is SO NUNANCED, there are so many layers to this (like an onion). So as we get a statement from Olrox saying he isn't in love with him. There is more then meets the eye, much like this shot. The front Olrox puts on.

Love is a very complex emotion, as is all emotions.

Regardless of love, the ending shot of this interaction is supposed to hit us like a brick wall. It forces us to face directly what Olrox is saying and we (including Mizrak) cannot turn away from what he has displayed. It feels heavy as Olrox's glowing eyes bore into us.

The scene concludes, and Lacrimosa, the song Edouard sings throughout the entire section, ends. I don't talk about music because I'm not well versed in that area, but I've gathered that Lacrimosa is a hymn sung in catholic masses. Lacrimosa literally means to weep. It's about mourning. I've seen it here and there about the Virgin Mary/Lady of Sorrows, things about mourning over sinners preparing to be judged for eternity.

We enter a scene, where Olrox mourns a lover, followed by Mizrak judging Olrox for what he did to preserve that love. His sin, his guilt.

Before we get into their later conversation, Mizrak and Olrox's reaction to the arrival of Ezerbet says a lot so I'll quickly touch on that.

Wow this mid shot honestly says a lot about the characters, how they pose and how they hold themselves, AND why they're even conspiring with each other in the first place. It's literally just for a second, its a still image except for the petals. You can recognise how, despite their very tense relationship with each other, they both share their disdain for Ezerbet's plan. No matter their differences. No matter the argument they had before.

Omg Myst what does this window divide mean? I hear no one asking, well, its almost like Mizrak is finally confronted with the vampire world, confronted that the vampire messiah is here, crossing over to look at what's happening. Crossing over to look into Olrox's world.

NOW, let's dive into their later encounter!

We're establishing a new scene, so this is our establishing shot. Looking onto the streets of Macheoul celebrating their Messiah, while we pull back into the private thoughts of Mizrak and Olrox once again. They're also back in their respective boxes, as you can see through the window's dividers.

We will never get to know what happened between the "I'm not in love with you" and this present moment, but they know to go back to their respective places, there's a much more pressing matter.

THIS SHOT IS SO IMPORTANT TO ME FOR A PARTICULAR CALL BACK.

I'm calling this out, it's a reference to episode 04.

When they're both behind their respective partners, they look at them so forlornly, while the other recounts the horrors of their lives LOOKING DOWN. They're both also put at the same heights. Like Olrox is really tall, but for the sake of having these scenes parallel, he's sitting.

Also, the way Mizrak's head turns to look at Olrox in episode 06 gives me unbelievable psyche damage because he's looking at him so gently and Olrox never gets to see and it makes me ache so bad. I love animation y'all.

A massive theme of these two looking at each other from behind with such worry and pain, like episode 08. It will probably appear again in later seasons because it happens A LOT with these characters, so this won't be the last time.

Here we have a high angle close up shot! God this expression he makes breaks me.

While not as extreme as other examples in episode 04 or episode 08, its still a high angle regardless. This high-angle shot looks DOWN onto Olrox and makes him appear more vulnerable, to feel powerless. Couple that fact he pushed further to the side of the screen, taking up the same amount of space on the screen as the literal bed. He talks gently, but talks about the horrific events he's witnessed in the past. He's sidestepping for now. The argument they had, that doesn't matter now.

What matters is that he's going to basically relive it again if nothing is done about Ezerbet. People will die for the sake of power, for the sake of amassing a paradise that only cultivates for their personal needs.

Olrox's eyes poke through without the 'glow'. It just pops against the dark interior of the room. This allows for us, the viewer to be drawn to his eyes. How distraught he feels.

Did you accidentally miss that shot of him where he looks forlorn at Olrox, BAM, you're getting a close-up of it. (Also another cutaway to into not animating Olrox talking.)

Also, the line that they cut to going "They said were they doing it for their god." GOES TO MIZRAK. They could've cut to any line but they chose this line. Mizrak has been convincing himself for this entire season he's doing this for God, horrors and sins committed. It was for God. There's a difference between the Abbott's and Mizrak's justifications to do these things, the Abbott's more plainly put out and explored in season 01, which I won't explore here because then this analysis will get too long (and I haven't fully analyzed him yet so I could be wrong) but the Abbott fears what he has built is being torn apart and will sacrifice others to keep his position.

Mizrak. He has nowhere else to go. The world has abandoned him and God has saved him from whatever trial and tribulation he's gone through. Therefore he will do the same for others, as God has done for him.

The people in charge of this scene knew it was important for us to see Mizrak's reaction here. We need to see a more gentle version of Mizrak because prior, Mizrak had just been a very closed-off yet fiery stubborn man, who would literally growl at the people who he saw as a threat and would continue to do so. Not that long ago we saw him tearing into Olrox, indirectly telling him it was his fault that his lover died.

Yet now.

He's listening. He's here. He understands.

Which by the way, Mizrak always constantly has this very specific eye highlights in his eye, which (in my personal opinion) makes me drawn to looking at his eyes first whenever his face is shown on screen. This a very good example of being drawn to his eyes first because, amidst the darkness of the interior, you're drawn to his eyes. Then you notice how softly, how concerned he looks. Which is the main premise of this very specific shot. Mizrak, despite being guarded, can be gentle.

This close up shot allows us to transition to the next scene, cutting off Olrox's eyes in the reflection as we look out into the streets of Macheoul. We're now being pulled away from their private conversation, as we will now not be allowed to hear whatever Olrox will undoubtedly tell Mizrak and Mizrak to Olrox.

We now close off episode 06's breakdown!

I am honestly such a sucker for the division lines in a composition to portray distance even when people are close to each other. I am also a massive sucker for call backs and parallels, I literally cannot get enough of them. Like a WHOLE mood will shift completely if you shift character and camera placements.

Hopefully, my own opinions on the matter didn't sway you too much, so I'm hoping this implores you to rewatch Castlevania Nocturne! Look out for those key details not only in Mizrak and Olrox, but in a lot of characters in the show as well! Each character within a shot is framed in very particular ways for a reason. So we must wonder why and question it. I also hope this gives you a deeper appreciation for the work that goes into shows like these!

Anyways, hope you enjoyed reading as I did writing this!

[baron-von-tibbles]

give an opinion on Tsubasa, then!

a petty part of me would genuinely like a version of the show with her as the protagonist instead of Kyomi 🤷‍♀️

Tsubasa Vamp is genuinely such a compelling idea imo

I genuinely think people down-play her queerness, like, projection (trans) and headcanons (dyke) aside, she is bi and she and Senjo had such an important relationship and people seem to forget that

[shinshoyu]

this song is so kenshi core and i have an entire essay explaining why but essentially i feel like it's representative of his time in the yakuza (more analysis under cut)

the song title そのまんまそのまんま、そのままずっとそまま translates as "as it is, as it is, without change." to me, this is probably how he felt following orders: day in, day out, it's all the same, without change.

the verses all follow the same pattern:

as it is, as it is, without change

it's always been the same, so let's go back to sleep

have a good night, have a good night, have a good night

now please rest peacefully*

*this part of the verses change with each verse. they're usually subtle parts of a day (i'm tired now, there's a ramune salad waiting for me, i have school tomorrow). every time this verse repeats, it's a new day, a new night, but it's all the same, except for such minute differences that it barely matters.

there are two bridges in the song, and to me it sounds like a maddening cycle-- and really, i'm only calling them "a bridge" because they're the only part of the song that doesn't follow the verse structure. i'm not sure if that means what i'm calling the verses are choruses, or if what im calling the bridges are choruses, and i don't care. i'm just using these words to describe them.

the bridges give a bit more story to the song, a break from the maddening cycle of day in, day out, as it is, as it is, without change.

bridge 1:

"The way home is disappearing

School's already out for the day

Ahh, I've got to get back quickly now

There's a Ramune salad waiting for me

I don't think I know anything

Being run over by flounder and sea breams

Stuffed into a tortoise shell

And once again it's timе to go back to school"

again, this song represents a cycle without change. the first bridge feels like the fall of his sanity; working for the yakuza, day in, day out, without change has to take a toll on your psyche. the lyrics "the way home is disappearing", "i don't think i know anything", and "and once again, it's time to go back to school" strike a particular chord in this chorus. kenshi likely doesn't have a sense of self working with the yakuza, all he knows is his life of bloodshed. i interpret the "way home" as his family, the taira clan, and how deeply rooted they are within the yakuza. on top of that, all of the lines that relate to "going back to school" i'm interpreting as going back to work and working and working and working.

bridge 2:

"I've been dreaming about it for so long

Your voice is the only one I can hear

The road in my head is rotten and decayed

And I still hear you talking to me"

now, i don't know a super whole ton about kenshi's backstory, and i'm basing most everything i know on MK1 and bits and pieces i've read about him. in my mind, this verse applies to someone who made him want out. there had to have been a moment, or person, that made kenshi snap and want to leave the yakuza and free his clan. maybe he fell in love, or maybe he took an innocent life and it weighed heavier on his conscious, something like that.

sure, he's likely dreamt of freedom before, but being born into a criminal empire doesn't normally constitute a rebellion. something happens that makes you think and question your loyalties. i think this was a person, maybe someone he cared about or someone he killed, but i think that was what finally inspired him to leave. maybe the voice talking to him is his conscious! either way, i think this is his breaking point

after this verse, the song starts to repeat the day in, day out mantra again. as it is, as it is, without change. at this point though, the rest of the sound and music is very chaotic. to me, this could apply to internal turmoil- the background, the sounds, they're chaotic, uncoordinated, emotional, but on the outside, everything is fine, the words repeat and stay the same. inside, turmoil, outside, calm. he's keeping up appearances as he plans his escape.

again, most of this post is about my limited knowledge of his character from mk1! that's the only game i've played so far, but i think the new timeline probably gives me a bit of leeway here LMAOOO

this post is very all over the place and i apologize because my thoughts are very much not organized. this is just an info dump abt a song i love and a character i love. ok love u bye

[jameszmaguire]

y'know, sometimes you just gotta look at the average age of people in a certain fandom and go 'good for them, i'm too old to interact with media in the way that they're doing' and just nope out

[seth-the-giggle-fish]

as someone who's been put in the 'creative person' box all my life it is wild to learn how business bros are taught about being creative

[malusrecord]

((I'm editing icons for Prime!Howard rq and listen---))

((Sir first of all how dare you, secondly the second Emily says 'you really are the only one I have left' the fuckin visible shock on his face and that fact that he processes it incredibly slowly, just..ugh my heart. Prime!Howard hasn't heard words like that---gentle, accepting, open words, words that he doesn't know what to do with, doesn't know how to include himself in them---in years (largely in part due to his own defensive mechanisms, choices, and etc but not entirely) and it shows.))

[not-rome]

i will focus on the most random thing in the source material that literally no one else cares about and just obsess over it without ever saying anything

[rooksamoris]

💞 — 𝐋𝐔𝐍𝐂𝐇 𝐁𝐑𝐄𝐀𝐊𝐒.

💞 — in which professor divus crewel is down bad for his spouse.

💞 — divus crewel x reader

💞 — warnings: none really, just fluff and ace and deuce being ace and deuce.

💞 — around 700 words!! not very long, but yk it came to me when i should have been writing my essay (due tomorrow) since that card came out. ive been hella offline, my cousin had a malwi (yemeni bridal party) yesterday, and the wedding is tomorrow, and my other cousin is in the process of having engagement parties all throughout july--hope you enjoy!

“No way you get bitches,” 

“What was that, Trappola?” Crewel shot a glare at his student who was staring at the picture on his desk.

The picture was of him and his spouse, looking very happy. He looked relaxed in the picture, his arm draped around you while you held his face in your hands and kissed his cheek. The best part was that you were dressed in one of his designs, looking ever so elegant in the fur shawl over your shoulders.

Ace stiffened up and was sent a concerned glance from Deuce, “Uhm, nothing… sir,” he quickly corrected himself.

He could not help it—all the time he spent in Professor Crewel’s class was filled with a certain strictness that he did not think anyone would find appealing. The redhead glanced at the picture again, before back at his professor.

Deuce was sweating, praying to whatever was in the sky that he would not get caught up in whatever trouble Ace would be in. He almost wanted to shake some sense in his dormmate.

Crewel drew the silence out, just for the sake of intimidating his students a little longer before his brows softened. He would not do anything further wreck his mood, not when the love of his life would come over and share lunch with him. He sighed, raising a red gloved hand to pinch the bridge of his nose, “I’ll let it slide this once, pup.”

The cyan-eyed student visibly slumped in relief.

He handed each of them their corrected worksheets. They both had detailed notes written in the margins on what they could do to improve. He pointed out how Ace could use his skills in Magic Analysis and apply them to Alchemy, and gave Deuce examples that could make more sense to him. He was a strict professor, but that did not mean he was a bad professor. He knew his rowdier dogs could improve—he expected them to. He laid out the resources, they just had to use them.

“Thank you, professor!” exclaimed Deuce, bowing his head in respect as he held the page to his chest. Deep down, he appreciated his professor's willingness to correct his work so thoroughly.

Ace nodded, as if sharing the thanks with Deuce, before following his classmate out.

Things stayed quiet before you burst through the doors, carrying lunch bags with you, wearing that smile he loved so much. Your clothes were a bit of a mess, but when were they not? You were always running about and doing something.

Crewel stood from his seat, a softer grin on his face as he stepped forward, his arms reaching out to adjust your outfit. Gentle hands tugged at the collar and fixed your mixed-up buttons, “Now, I wonder what circus you just returned from,”

You laughed and leaned into his touch, “Just the kitchen, nothing too crazy, Divus. I made raisin butter and homemade bread,” you told him, excitedly.

His thumb brushed over some flour left on your cheek, “I can see that much,” he muttered before he moved to your side and slid his hand down to the small of your back, “Come sit,” he said, guiding you to the seat across from his desk.

“You saved me from another lunch spent playing chess with Mozus,”

“Oh, come on. You act like spending time with him is a chore,” you replied, reaching into the bags to set the food on the desk for you guys to share.

He carefully moved his things out of the way, before taking his seat as elegantly as ever, “It’s only a chore when he spends thirty minutes deciding on his next move.”

You rolled your eyes playfully, “One day you’ll be just as old and spending thirty minutes buttoning up your vest. When that happens, I’ll remind you of this conversation.”

He let out a little laugh at that. Your joke just affirmed what he always knew, you would be with him forever, even when white became the natural color of his hair, even once his students were visiting him as adults with their own lives, and thanking him for his harshness. He let out a breath of contentment, before carefully cutting the bread you made for him, “How was work, my love?”

[squidthusiast]

Ok, but why do I imagine Eight being the unofficial child of Pearl x Marina?

Because I imagine Eight was minding their business and all of a sudden, Pearl would slam the paper down and said “You’re adopted now”

Basically OTH at the start of their world tour haha, I love that they took Eight with them.

I have more detailed thoughts under the cut for those interested in my ramblings, analysis and interpretations of the characters.

Disclaimer: This is my own take on it, don’t let it ruin your fun!

I personally don’t really subscribe to the fandom’s ‘pearlina moms’ headcanon.

On the one hand, I am an absolute sucker for the ‘found family’ trope, and I definitely think Agent 8 and OTH fit in it!

On the other hand, I think people immediately put Pearl and Marina into the ‘parenthood’ box, a little too eagerly. Not saying this specific ask is that, btw, it just reminded me of some instances i’ve seen.

I personally think that the relationship between OTH and Agent 8 is a little more nuanced & sibling-esque, for the following reasons:

1. Within canon, we often see 8 being referred to as a friend by both Pearl and Marina.

Pearl does it more explicitly (see that one interview at her house), whereas with Marina it’s more insinuated (ex. In the Side Order dev diaries, she starts calling Agent 8 as ‘Eight’, which is stated to be a name used by their friends).

Pearl seems to be an accidental-duck-parent of sorts who haphazardly collects octoling teenagers & young musical talent. It goes in line with her whole mentor-esque leader personality, and i’m sure these disoriented teens find relief in an idol who seemingly knows what she’s doing (she really doesn’t).

However she doesn’t act in a parental manner. More-so like your estranged gay cousin who hit it big in another country and is down to show your queer little butt the ropes.

Marina on the other hand seems to have a more empathetic approach with Agent 8 (opposite to Pearl’s brashness). Marina clearly connects with Agent 8 through their shared experience as defected octoling soldiers, and probably sees her younger self in them. She’s already caring as it is, but this is accentuated during octo expansion given the circumstances.

I feel however that, unlike Pearl, Marina has a bit of a harder time actually forming a bond with Eight at the beginning. Their similarities (seemingly) end at their shared experience, and probably leaves Marina awkwardly wondering how to approach them further. What we can assume though is that they become closer friends during OTH’s world tour, given the events described in the Memverse Dev Diaries.

Meeting Eight during difficult circumstances (OE) and helping them get out creates a sense of camaraderie between them, which probably devolves into genuine care, established friendship and a strong bond amongst the three overtime.

2. Pearl and Marina are very career-centric both in Splat 2 and 3.

It is reasonable that the two young idols, who see their fame and musical recognition rise spectacularly & fast, are not particularly interested in settling down at this point in their lives.

Now entering her late 20s, Pearl is most definitely still interested in keeping the ball rolling with Off the Hook’s international success. Her character often points towards restlessness, freedom and discovery. There has definitely been character development in regards to her maturity in Splatoon 3, but these aforementioned traits are still ever present in her demeanour & decision-making.

Marina on the other hand can be seen slowly blossoming from a supporting character to being her own person. She definitely develops more self-confidence by Splatoon 3, but is still naturally bashful. It’s clear that she is allowing herself to explore & open up to new things for her own sake. She remains a caring and somewhat nurturing individual, but she is at a stage where she’s learning to live for herself and not for others.

Parenthood (and all the responsibilities and sacrifices it entails) at this moment of their lives would probably freak Pearl out, and stunt Marina’s personal growth.

3. The age gaps between OTH and Agent 8 are too close for it to create a parent/kid bond.

This makes their relationship a little hazy in regards to roles; 8 is still young enough that they may seek out rolemodels and mentors (still relatively influenceable), but they’re also nearing their 20s. By this point they are fairly self sufficient, have a sense of their personal values & identity, and they are relatively responsible & mature.

Pearl and Marina are 8’s seniors by approximately 4-6 years. However, in Splatoon 2 they’re entering their early 20s and their career has just begun to take off.

They are both still relatively youngsters, albeit older & more mature(? glancing at Pearl) youngsters than 8. This places them in a position where they can guide 8 and offer certain support and resources, but lack the maturity and experience of a full-fledged adult. This would approximate their relationship closer to that of siblings in a family setting.

Pearl & Marina are also less likely to feel a duty towards Eight as an adult would with a child. Instead, the latter’s circumstances are more likely to incite feelings of rapport and compassion as a fellow young inkfish.

Now, with all of this said, I will acknowledge that friendship/found family is MUCH more nuanced than a strict binary.

From personal experience in my last years of college, I did find myself caring for my fellow freshmen as though they were my kids, in certain ways. Hell, I called them my kids.

I acted as a proud parent whenever some of them achieved something, attempted to pass down my knowledge to them, and was protective of them to a certain extent.

They also annoyed me sometimes, like younger people do haha. And i’m sure I annoyed them too!

So I wouldn’t put it past OTH to call Eight their kid and have this mentor/parent-esque rapport with them in certain circumstances.

This is all based both on canon & my own interpretations of it, but still closely aligned to what has been shown in-game.

So if you have a different interpretation of Agent 8 and OTH, that’s great! I love to see people’s personal headcanons. Ultimately, Agent 8 is meant to be somewhat of a blank slate for the players to mold, with some hinted-at personality traits of their own.

As long as you have fun with these characters, that’s all that matters. This is just my personal opinion on their relationship in-game.

If you read all of this, you deserve the biggest golden star for listening to my incessant yapping 🤲⭐️

Feel free to bother me about this or other opinions you may have in my inbox, just be kind please!

[springtyme]

𝐓𝐡𝐢𝐬 𝐀𝐢𝐧'𝐭 𝐍𝐨 𝐄𝐦𝐩𝐭𝐲 𝐇𝐨𝐦𝐞 ♡

𝐂𝐡𝐚𝐩𝐭𝐞𝐫 𝟏: 𝐈'𝐦 𝐆𝐥𝐚𝐝 𝐈𝐭'𝐬 𝐘𝐨𝐮

Spencer Reid x f!reader || Series masterlist || Series playlist

Main masterlist || can also be read on ao3 || Next chapter

summary: After having worked for the BAU for two years, you have seen and experienced a lot, but after a series of murders of young married couples, you’re asked to do something that you never had thought you would have to do; going undercover, as an expecting, married couple, with Spencer Reid.

word count: 5.8k

warnings/tags: Eventual smut! (18+, mdni!) Undercover as a married couple. Pretend pregnancy. Language. Drinking. Angst and fluff. Slow burn. Mutual pining. Coworkers to lovers. Not set at a specific time, but definitely somewhere in the early seasons. Reader uses she/her pronouns. Mention of canon-typical violence.

The table is a bit sticky, and the music could be better, but the drinks are decent and you’re just so happy to finally be out with your friends after what feels like forever. Your job is demanding, and being an FBI agent in the Behavioral Analysis Unit means that your work-life balance is almost non-existent. But tonight, you don’t want to think about the gruesome crime scenes or the long hours spent profiling and investigating violent crimes, all you want to do is have a good time and catch up with your friends. And finally having an occasion to dress up and feel cute isn’t bad either.  

Closing your glossed lips around the straw of your Strawberry Daiquiri, you take a long sip and let the sweet, icy drink cool your throat as you sit back in your chair, listening to the lively chatter of your friends. Michaela and Piper are going back and forth about some new movie that you haven’t had the time to watch yet, and you and Janelle, who is sitting across from you, are laughing at their antics as you listen to their debate with half an ear, but you focus shifts as Janelle gently nudge your shin under the table.

“That guy is totally checking you out,” Janelle says with a playful raise of her eyebrow, gesturing towards the bar with her eyes, as she takes a sip of her Mai Tai, while Michaela and Piper continue their discussion about whether the final plot twist of the movie was too predictable or an actual  genius twist.

You can’t help but let out a tired giggle and roll your eyes as you follow Janelle’s gaze, glancing over to the bar and catch the eye of a man who is indeed looking in your direction, but you quickly turn back towards your friend again. “I thought we had decided to just focus on having a girls’ night out tonight, no boys allowed?” you say, giving her a knowing look. She shrugs her shoulders and smiles jestingly.

“You can still appreciate the view, even if you’re not looking to buy,” she teases, taking another sip of her drink. You shake your head, laughing at her antics, but you can’t help but look over in the direction of the guy at the bar again. He catches your eye and flashes you a charming smile. He is cute, sure, but not cute enough for you to want to do anything about it. 

But to be fair, he could be the cutest guy in all of  D. C. and you probably still wouldn’t do anything about it. You don’t really have the time or energy for dating right now and you are not really currently in the mood for meaningless sex with a stranger either. 

Your job consumes so much of your life already, and you’re content with just focusing on your career, or at least that’s what you tell yourself. Sure, it would be nice to have someone to share your life with, but what you’ve learned over the last few years is that most guys don’t understand the demands and emotional toll of your job. They either can’t handle the long hours, and all the time you have to spend on cases, or the gruesome details of your work, or they simply can’t comprehend the darkness that you have to face on a daily basis. And so, you’ve built up walls to protect yourself, to shield yourself from potential heartbreak or disappointment.

“You sure it’s not you who he’s checking out?” you ask, trying to shift the focus of the conversation away from your lack of interest in dating. Janelle laughs and shakes her head. 

“No, I think he’s definitely into you,” she says, nudging you playfully. 

“Well, I’m not interested, so he is all yours, Nell,” you reply, taking another sip of your drink as you give her a playful wink. Janelle just laughs and shakes her head.

“Nah, I’m good. I’m just here to have a good time with my girlies,” she says, raising her glass in a toast, making Machaela and Piper forget their never-ending debate and cheerfully join in. 

Just as you’re about to raise your glass and join in the toast, your phone buzzes in your purse, interrupting the moment. You reach into your bag and pull out your phone, seeing Hotch’s familiar number flash across the tiny screen. 

“Sorry, I have to take this,” you say with a sigh, standing up from the table giving your friends an apologetic smile. Your friends nod understandingly, knowing that your job always comes first as you excuse yourself from the table and head to a quieter corner of the bar to take the call. You feel a wave of exhaustion wash over you, knowing that your night out with your friends is about to be cut short. 

“Yeah?” you answer, putting the phone to your ear, not bothering with any formalities as you know that Hotch is going straight to the point when he calls you outside of office hours.

“Sorry to interrupt your Friday night, but we’ve got a new case, high priority,” Hotch’s voice comes through the line, his tone serious and professional, but you can also hear the tired edge in his voice. It can’t be easy being the Unit Chief and always having to be on call, but you respect him for his dedication to the job. “I’m afraid I need you and the team back at the office ASAP.” 

“I’ll be there as soon as possible,” you say, already mentally preparing yourself to switch back into work mode.

“Great, thank you, agent,” Hotch says, and you can hear the gratitude in his voice before he hangs up. You can only imagine how shitty it must feel to have to call in your team on a Friday night only a few hours after everyone has left the office. But that’s the nature of the job, and you have accepted it a long time ago, even though it means sacrificing your personal life and plans at a moment’s notice. 

With a deep breath you take a moment to collect yourself, trying to shake off the disappointment of having to leave your friends behind. As you head back to the table to break the news to your friends, you can’t help but feel a pang of guilt for having to leave them hanging. They all look up at you expectantly, sensing the change in your demeanor. “I’m sorry guys, I have to go. Work…” you trail off, your voice apologetic, you hate having to disappoint them.

Michaela and Piper exchange sympathetic looks, while Janelle just nods understandingly. “It’s okay, we understand,” Janelle says, giving you a reassuring smile. 

“I’m sorry I have to cut the night short,” you say, feeling the weight of disappointment settling in your chest. 

“Hey, your job’s important, we’ll catch up another time,” Michaela says, standing up to give you a supportive hug. “And we are really proud of you, just so you know,” she adds, giving you a reassuring smile as she pulls back from the hug.

Suddenly you almost feel like you could cry. You spend so much time burying your emotions and focusing on the job that it almost feels overwhelming to be reminded that you have people outside of work who love and care about you. “Thank you, Kay,” you say, smiling back at her. You hug the others and say your goodbyes, before you quickly gather your things and prepare to head out and find a cab. 

· · · · ·

Spencer is abruptly pulled out of his slumber by the sound of his phone ringing. The book he had been reading sprawled open in his lap. The softness of the armchair and the long week of work finally caught up to him, and he must have dozed off. He blinks groggily as he fumbles to grab his phone. He squints at the screen, momentarily disoriented from being woken up so suddenly. Seeing it’s a call from Hotch, he quickly answers, his voice still thick with sleep.

“Hello?” Spencer mumbles, trying his hardest to sound awake and alert despite his groggy state.

“Reid, I’m sorry to be the bearer of bad news, but we have a new case, high priority. I need you and the others back at the office ASAP, we will have a briefing as soon as you’re all here,” Hotch’s voice comes through the line, terse and serious, but also tinged with exhaustion. 

Spencer’s heart sinks at the news, knowing that his plans of spending a quiet Friday night at home, recovering after a hard work week is now dashed, but he quickly pushes the book aside, already mentally preparing himself to switch into work mode.

“I’ll be there as soon as I can,” he replies, removing his glasses that he had swapped his contacts out for earlier in the evening. Rubbing his eyes and sitting up straight, the sense of urgency now kicking in.

“Thank you, Reid,” Hotch says before ending the call, leaving Spencer to gather his things and head out to Quantico without delay.

As he makes his way out of his apartment and towards his car, he can’t help but feel a sense of disappointment at having his night disrupted once again by work. He had really been looking forward to a quiet night in, and finally enjoy a break. 

Spencer watches the city lights pass by in a blur as he begins to make his way out of D. C., the reality of his job sinking in once again. He knows that as a part of the BAU, his work is never truly done. The cases are always waiting, the criminals are always out there, and the demands of his job are always pressing. And while he loves what he does and finds fulfillment in helping to catch the most dangerous offenders, and having his mind challenged, there are days when he longs for a sense of normalcy, for a break from the darkness that seems to follow him everywhere he goes.

With a deep breath, he steels himself for the long night of driving and work ahead, knowing that he may not see his bed again for a while. 

· · · · ·

As you arrive back to Quantico, you rush into the FBI building, quickly making it through the security check. The heels of your stilettos click loudly against the floor as you hastily make your way to the conference room. The short, tight dress that had made you feel so confident just a few hours ago now makes you feel exposed and vulnerable as you walk through the sterile hallways of the building. 

You try to pull down the short hemline of your dress, as you push open the heavy door to the conference room, but it doesn’t change the fact that most of your thighs are on display and that your tits are almost spilling out of the low-cut neckline. It is so rare that you get the opportunity to dress up and feel sexy, so you might have gone a little overboard with your choice of outfit for a simple girls night, or at least that is how you feel now as you’re about to walk into a room full of your colleagues, who aren’t that used to see this side of you, and are about to hear about the details of a violent crime case.

As you step into the room, you see that Derek and Spencer are already sitting at the big round table, waiting for the rest of the team to show up, Hotch is probably in his office getting more details for the briefing before the entire team is here. They turn their heads in your direction as you enter, and you can feel their eyes lingering a moment longer than necessary, seemingly surprised to see you in such attire.

“Damn, princess, you clean up well,” Derek says with a smirk, giving you a once-over. “You had a hot date tonight or something?” 

You roll your eyes at his comment, knowing that he always loves to tease you about your personal life. “Wouldn’t you like to know, Morgan,” you reply with a raised brown and a playful smile, taking a seat at the table and crossing your legs and adjusting your dress as you sit down. 

“Of course, I would like to know, that’s why I asked,” Derek chuckles, leaning back in his chair. “You come in here looking like that, and you expect us not to ask questions? I just need to know, is he more handsome than me, should I be worried?” he teases, earning another playful eye roll from you.

“Can’t a girl just want to look good for a change, without it having to be for a man?” you shoot back.

“What do you mean, for a change? You always look good,” Derek counters with a charming smile, before he turns to Spencer, who has been awfully quiet this entire time. “Isn’t that right, pretty boy?”

Spencer looks up at Derek and then at you, a faint blush rising to his pale cheeks. His hair is slightly tousled and he is wearing his glasses, making him look even more adorable than usual. You don’t know if it is wrong of you to think of your colleague as adorable, he is a grown man and exceptionally capable of his job, you respect him a lot, but you just can’t help but find Spencer extremely endearing. 

“You don’t have to answer that, Spence,” you quickly interject, not wanting to make him feel uncomfortable. You know that Spencer can be a bit awkward when it comes to social interactions and you don’t want Derek’s teasing to make him feel even more self-conscious.

You and Spencer have become good friends over the two years that have passed since you joined the BAU team, you and him are the youngest agents in the unit. You have always admired Spencer’s brilliant mind and his ability to remember almost everything he reads as well as his sweet, quirky personality. You have a mutual respect for each other’s intelligence and dedication to the job. You have also noticed the way he sometimes gets lost in his thoughts or stumbles over his words when he’s nervous, and you have always tried to support him and make him feel comfortable in social situations.

But despite being friends and good colleagues, there’s also always been a slightly awkward tension between you and Spencer, at least on your end, it’s not like it’s there all the time, but you do feel it from time to time. You are not even sure where it comes from or why it’s there, but there’s something about Spencer that can make you feel slightly flustered and unsure of yourself, if you ever stop to think about it. It’s probably just because you admire him so much and don’t want to embarrass yourself in front of someone you respect so deeply.

“No, it’s okay,” Spencer says, his usual rambling tone coming through as he speaks. “You do look very nice, tonight. Wait, no, I mean, Morgan is right you always look nice, but you also look real nice tonight,” he stammers, stumbling over his words as he tries to explain himself. 

You can’t help but smile at his adorable awkwardness, grateful that Derek’s teasing didn’t faze him too much. “Thank you, Spence,” you say, giving him a kind smile and reaching out to pat his arm reassuringly, hoping to ease his discomfort. “I appreciate it.”

“Oh, so when it is him you appreciate it, I see how it is,” Derek jokes, earning a playful shove from you. 

“Shut up, Morgan, you know that I love you,” you say with a laugh, playfully rolling your eyes at him, which makes him laugh, but you don’t get to continue your banter as the rest of the team starts to filter in, Hotch enters the room with a stack of case files in hand, his usual stoic expression in place as he takes his seat at the head of the table to begin the briefing. 

“Thank you all for coming with such short notice,” Hotch starts, his voice authoritative and commanding. “We have a new case that just came in and it’s classified as high priority. A series of brutal murders have been reported in Northern California. Local police have finally reached out to us for assistance after multiple cases after two new victims were found earlier in the day. They have all been double murders, with the assumption that the victims have been stalked for a while beforehand, and are then killed in a very specific and violent manner. All have been young married couples, all under thirty, and in all of the cases, the female victim has been between five and nine months pregnant.”

As Hotch continues to outline the details of the case, you can feel the weight of the seriousness of the situation settle in the room. You are usually able to compartmentalize your emotions and focus on the task at hand, but the thought of innocent lives being taken in such a violent manner always hits a nerve and you feel a chill run down your spine as Hotch describes the details of the case, the gravity of the situation sinking in. This is a disturbing and horrific case, one that hits close to home for you as a woman. 

As Hotch finishes the briefing he turns to Spencer. “Reid, I would like to have a word with you in my office. The rest of you, start looking into the evidence and see if we can find any leads or patterns that may help us track down the unsub.”

You watch as Spencer nods in acknowledgment, it’s clear that he is a bit confused about being called into Hotch’s office alone, as he follows Hotch out of the room, leaving you and the rest of the team to start digging into the case files and evidence.

· · · · ·

“Please take a seat,” Hotch says as he gestures towards the chair in front of his desk, as Spencer follows him into his office. Spencer feels slightly anxious as he takes a seat, his eyes searching Hotch’s face for any clues as to why he’s been called into his office while Hotch takes his seat behind the desk. Hotch clears his throat before speaking, his tone serious and professional. “I have something to ask you to do, and it’s not a small thing,” Hotch begins, his eyes fixed on Spencer. “I need you to think carefully before you answer.” 

Spencer can feel how his heart starts to race, his mind already trying to anticipate what Hotch is about to ask him. “What is it?” he asks, his voice steady despite his growing nerves. Hotch takes a moment to gather his thoughts before he speaks again. 

“I’ve spoken with the local authorities in California, as well as our own expert and with the circumstances of the case and lack of leads, we have decided that the best way to proceed is to send in two undercover agents that fits the profile of the victims, and I want to ask you to be one of those agents.” 

Spencer’s eyes widen in surprise, his mind racing with the implications of such a task. Going undercover in a case like this would be incredibly risky, not to mention emotionally taxing and it is not something he has much expertise in.

“I understand that this is a big ask, but you fit the profile of the victims and your ability to think on your feet and adapt in high-pressure situations makes you the best candidate for this job,”  Hotch explains, his eyes searching Spencer’s face for any sign of hesitation.

Spencer takes a moment to process Hotch’s words. He can see the logic in Hotch’s reasoning with the specific details of the case and the lack of leads; it might be the best way to proceed, and Spencer knows that it is only done when absolutely necessary. “And you’re sure I’m the best agent for the job, I don’t have much experience with undercover work,” Spencer says, keeping his voice as steady as he can while feeling the uncertainty within himself. 

“You’re more than capable, Reid. Your intelligence and quick thinking are your strongest assets, and we have full confidence in your abilities. I would never ask this of you if I was not fully convinced that you are fit for this job. I know it’s a lot to ask, but I also know that you have it in you to handle it,” Hotch reassures him, his tone firm and unwavering. 

Spencer nods, taking a deep breath as he processes the weight of the task that has been given to him. This is a very serious assignment, one he knows is crucial to solving the case and bringing justice to the victims. “If you believe I can do it, then I’ll do it,” Spencer says finally, his voice resolute. 

Hotch nods, a sense of relief crossing his features. “Thank you, Reid. This means a lot to the case, and I know you will do a great job,” he says, his voice showing his appreciation. 

Spencer reciprocates the nod, feeling a surge of determination coursing through him. It’s a lot to take in, and it takes his usually so fast thinking mind a second to realize that he won’t be going undercover alone. “Who will be the other agent going undercover with me?” Spencer asks, wanting to know who he will be partnering with.

“I have someone in mind, but I want to make sure that she is on board before we move forward.” 

“Is it, Y/L/N?” Spencer can’t help but ask, his mind already considering the possibilities of who he is going to work undercover with, and you are the person in the unit that would fit the profile of the victim the best. He really hopes it’s gonna be you, even though a part of him also doesn’t want you to be put in a potentially dangerous position. Spencer knows that your skills and intelligence would complement his own in such a high-stakes situation. And most importantly he just really likes being around you. You are always so kind to him and you never fail to make him feel included and supported. 

Hotch nods. “Yes, she fits the profile as well and I believe that she has the expertise for this kind of operation. I will speak with her and see if she is willing to take on this assignment. I trust that the two of you will work well together on this case and you seem to get along well, and that’ll be important in this case. I’ll have to be sure that the agents I’m sending in can deliver a believable performance.”

And that is when it really dawns on Spencer, the two of you are not just going into a dangerous situation together, you will also have to pretend to be a couple, a young married couple expecting a child. He had been so caught up in the seriousness of the assignment and the potential risks involved that he hadn’t even considered that part of going undercover with you. 

The thought of pretending to be a married couple with you, even if it’s just for the sake of the operation, sends a wave of feelings and thoughts through him, too many at once for him to fully process. Sure, it’s all part of the job, but the idea of being so close to you and having to maintain that facade is a challenge he’s not sure he’s fully prepared for. The idea of playing the role of your husband, even if it’s just for work, is both exhilarating and absolutely terrifying at the same time. 

But as Spencer looks into Hotch’s eyes, he sees the trust and confidence that his boss has in him, and he knows that he can’t back down now. He has a job to do, and he will do it to the best of his abilities, alongside you. 

· · · · ·

After Hotch and Spencer left the conference room, you and the other agents moved back to your desks to go through the evidence and case files. You are now wrapped in the cardigan that usually hangs from the back of your desk chair and you feel a little more office appropriate. 

“Damn, this is a tough one,” Derek says, shaking his head as he scans through the crime scene photos. “The level of violence in these murders is just brutal.” 

You nod in agreement as you flip through your own stack of evidence, looking up from the file in your hand as Spencer and Hotch emerge from Hotch’s office, Spencer walking down the stairs to join the team, but Hotch stays back, his expression serious and you get a little surprised when he addresses you.

“Can I have a word with you in my office?” Hotch says, his tone somber before he steps back into his office. 

You can’t help but feel a sense of urgency as you put down the file in your hand and get up from your desk. You pass Spencer at the foot of the stairs, his eyes flicking down to meet yours. “Everything okay?” you ask, a hint of concern in your voice. Spencer nods, but there is something in his eyes you can’t quite read. 

“Yeah, uh… yeah, Hotch will explain,” he says, his voice slightly tense, and a slight crease is formed between his brows  but the look in his brown eyes are soft as they meet yours. 

“Okay,” you whisper, giving him a small smile, before  you quickly step up the stairs, or at least as quickly as you can in your five inch heels. You feel a small knot of anxiety starting to form in your stomach as you step into the office, wondering what this is about.

The door clicks shut behind you, and you feel the weight of Hotch’s gaze on you as you stand in front of his desk. “Please, sit down,” Hotch says, his tone grave as he gestures towards the chair in front of him. You take a seat, feeling a sense of unease settling in your stomach.

Hotch’s expression is unreadable as he looks at you, and for a moment, you can’t help but wonder what all of this is about.

“I have a very big thing to ask from you, agent, and I want you to know that I’m asking this of you because I trust you can handle it. It’s a request, but the choice is fully up to you,” Hotch starts, his voice steady but filled with seriousness. “Due to the lack of leads and the nature of these murders, we have come to the decision to send in two undercover agents who fit the profile of the victims to try and draw out the unsub, and I would like to ask you to be one of those agents. Agent Reid has already agreed to take on the assignment, the two of you match the victim profiles, and I truly believe that with your skills and expertise, you would be the perfect choice for this task.” 

You lean back in your chair as you let Hotch’s words sink in. So this is why Hotch wanted to talk with Spencer. Going undercover on a case as gruesome and high stakes as this is not something to take lightly, but with the circumstances of the case and the lack of current leads you can see the logic in it. It’s a risky move, but you know that sometimes risky moves are necessary in order to catch the unsub and bring justice to the victims. 

“I know that this is a very big thing for me to ask of you, and I want you to know that I fully understand if you have any reservations or concerns,” Hotch continues, his tone earnest. “But I also believe that you have what it takes to handle this assignment, and your dedication to the job is unparalleled. I wouldn’t ask this of you if I wasn’t convinced that you could handle it.” 

“I understand the gravity of this assignment, Hotch,” you say, your voice calm and steady, wanting to reassure him that you are aware of the importance of the task at hand. “I am aware of the risks involved, and if you think I’m the right person for the job, then I’ll do it.” 

Hotch nods, his features softening. “Thank you, agent. I know this is a lot to ask, but I have full confidence in your abilities and I truly believe that you and Reid will be able to handle this assignment with the utmost professionalism.” 

You nod in acknowledgment, a surge of determination coursing through you by your decision. You also can’t help but feel a sense of relief wash over you at the fact that Spencer will be the person going undercover with you. You trust him implicitly and that makes you feel a sense of ease.

“I will arrange for a briefing with you and Agent Reid to go over the details of the assignment. You’ll also have to go through a training course while we set up a location for the undercover operation, and you will of course be given your undercover identities. I’ll inform the rest of the team about the assignment,” Hotch’s words are firm and decisive, and you can see the weight of responsibility in his expression. “But you better get home and get some rest. You have a long and intense process ahead of you, agent,” he adds, a softer tone creeping into his voice.

“Copy that,” you reply as you stand up from your chair. Soon you’re back down in the bullpen, standing at your desk as you gather your belongings and start to make your way out of the office. Just as you’re about to close your purse, you catch Spencer’s eye from where he’s standing over at his own desk, and as you give him a tired smile, which he mirrors, you swing your purse over your shoulder and walk over to his desk. 

“So, Hotch asked you?” Spencer says as you approach him, his brown eyes meeting yours. You nod, the weight of the assignment settling in as you face each other. 

“Yeah, he did. Looks like we’re partners in this one,” you reply, smiling at him once again.

Spencer nods, a small smile of his own tugging at the corners of his lips. You both stand there for a short moment, the weight of the assignment hanging heavily between you, before Spencer breaks the silence. “Do you need me to walk you to your car? I know the parking lot is just outside and that we have security, but still.”

You feel a wave of gratitude wash over you for his offer, and you can see the concern in his eyes as he looks at you, but that is also when you remember that you didn’t drive here yourself.

“Thank you, that’s really sweet of you,” you say, feeling touched by his concern. “But I actually didn’t drive here tonight, I took a cab.”

“You took a cab all the way from D. C.?!”

You laugh at his surprised expression. “Yeah, I was out, I didn’t have my car and I also had had a few drinks.”

“You should have called me, I could have picked you up and we could have driven together,” he says, his tone filled with genuine concern. You can’t help but smile at his thoughtfulness.

“I appreciate that, Spence. Maybe next time,” you say, giving him a grateful smile. You know that Spencer is always willing to go above and beyond to help his friends and colleagues, and you can’t help but feel extra lucky to have him as a partner in this assignment. 

“Well, you have a ride back home now,” he says, offering you a gentle smile.

“That’s nice,” you reply, with a bright smile, feeling very grateful for his offer. You had expected to get a lift from one of your colleagues when you drove out here, it would be difficult, if not impossible, to get hold of a cab this late out here, but it feels really nice that you didn’t even have to ask for one. 

“Of course,” Spencer replies, his smile growing wider. Soon the two of you are stepping out of the FBI building and are met with the brisk night air, your feet are hurting and the cool air makes goosebumps rise on your skin. But almost before you get to register it, Spencer has removed his jacket and offers it to you. “You must be cold,” he says, giving you a kind look. You try to protest, but he insists, draping the jacket over your shoulders.

“Thanks,” you mumble, not feeling like protesting further as soon as the warm feeling of the jacket engulfs you. 

Once you reach his car, he opens the door for you and you slide into the passenger seat, feeling a sense of gratitude for his kindness. “You want this back?” you ask, removing the jacket from your shoulder. You don’t really feel ready to give up the warm garment, but you also don’t want to assume that he offered it for more than just the walk to the car. 

Spencer shakes his head as he settles into the driver’s seat and you watch him start the engine. “No, you just keep it.” You smile happily as you toe off your shoes and curl up in the seat draping the jacket over your bare legs, feeling like it is enveloping you in a comfortable cocoon of warmth and safety as Spencer starts the car and begins the drive back towards D. C.

The landscape passes by in a blur outside the window as the two of you drive in comfortable silence, the both of you seemingly getting lost in your own thoughts for a little while. The weight of the assignment in front of you settles heavily between you.

“I’m really grateful that you’re going to be my partner on this assignment,” Spencer breaks the silence eventually, his voice soft but filled with sincerity. 

“Me too,” you reply, turning to look at him, a small smile tugging at your lips. 

Another comfortable stretch of silence fills the car as you continue on your way back to the city. Despite trying to fight it, your eyes start to feel immensely heavy. Fatigue from a long day and the weight of the impending assignment finally catching up to you, and with the gentle lull of the car you never really stood a chance and soon you are starting to doze off, slowly sliding into the sweet embrace of sleep as you sink deeper into the soft car seat.

Thank you for reading! Reblogs and comments are always greatly appreciated :) let me know if you want to be tagged in the next chapter ♡ edit: it would especially be nice if you reblog when you ask to be added to the tag list ♡

Taglist: @luivisa @babyspiderling @reidsdaisies @eddioto @sadroses98 @lovelyygirl8

[purplealmonds]

This is my tribute to the late Technoblade. I'm well over a week late to the anniversary of his passing, but I think it was worth the wait. I wanted to get this right.

The story I want to tell is of time's passage after his passing, and the set dressing of this space is a symbolic amalgamation of various aspects of his life depicting that concept.

I have a lot more to say about this painting - three pages just for the symbolism alone. If you're interested, please let me know and I'll share my analysis on a separate post! Edit: I caved. Aight, prepare for a massive info dump below the cut!

DISCLAIMERS:

Although I put a lot of research into this piece, my knowledge is likely flawed and incomplete. If I missed or misinterpreted a reference, it’s because I’m new to the Technoblade community. If I got a symbolism thing wrong, it’s because I relied on Google search for answers. I fact checked where I could. And with this analysis, I hope I can clear up any misinterpretations! 

—

OVERVIEW:

There’s lots of imagery to unpack so I’ll try parsing it in a structured manner. Let’s first examine it holistically. 

The story I want to tell here is of time’s passage after Technoblade’s passing. As such,the set dressing of this space is a symbolic amalgamation of that concept.

Prominently featured are the various medical equipments - a nod to the grim reality of his cancer. But let’s not linger upon that aspect of his story.

Of equal importance are the more mundane objects - his gaming setup, the couch and pillow which Floof sat upon in that one photo, the plethora of paraphernalia of branded merchandise, and references to his exploits in Minecraft. These are relics and mementos of his legacy.

All of these elements intermingle in flooded, lushly overgrown room looking out to a rose-tinted exterior. Is it dawn? Dusk? I’ll leave that interpretation up to the viewers.  

The third and final component is the plant life representing his community -us. We beautify this metaphorical space with where it was once laden with tragedy. Yet, despite these riotous blooms, we never quite encroach on the bed - the empty space left behind by him.

—

SET DRESSING:

Much care was taken in selecting the blossoms and placing them in symbolically significant locations.  And this neatly transitions us into the analysis individual details.

Foreground: 

In the foreground, ivy crawls through a lamp and white clovers thrive atop a pile of pillboxes. The lamp base, once a shining bronze-like finish, is heavily tarnished. The lampshade is overgrown with moss and ivy. Even if the greenery has yet to damage the electric wiring, the damp surely has finished the job. Even if the bulb is replaced, the body is too far gone. The light’s never coming on again. 

I was initially put out that my painstakingly 3D modeled pillboxes became entirely obscured, but I think it works in favor of the piece’s overarching theme: the beautiful wilds overtaking a space that once reeked of the desperate fight to prolong life. 

White clover blossoms meaning “thinking of you” is paired with the ivy meaning “everlasting devotion”.  It’s an apt combination. It has been over a year since his passing, and we still remember and carry on his legacy. 

Nestled amongst the foliage is Techno’s compass. It was once used to hunt him down in the Dream SMP. But now, it’s an odd comfort. Even though he’s no longer with us, he’s still somewhere far, far away– or is he? The original idea was for the needle to point heavenwards, but it is currently pointing…sideways?  I’ll get to the reasoning a bit later. 

The Flood:

Moving deeper into the space, we hit the floodwaters. These once turbulent currents are now tranquil enough to nourish this verdant place. The thriving plant life hides much of this darkness. It is beautiful, hopeful, even. But always bittersweet, because everything that grows here is laced with an old sorrow.

White lotus rise from the murky depths. That is us, overcoming our grief. Breaching the surface, we gain a new vantage point to contemplate this loss. Perhaps we can also find a more comforting perspective of it.

Submerged amongst the blossoms is a rusted oxygen machine. I wanted to decorate the machine with stickers, much like one would personalize a plaster cast for a broken limb. It is deliberate that the “Technoblade Never Dies” sticker is in shadow, while the “So Long, Nerds" is in light. 

Immediately to the right was meant to be a box of assorted Technoblade apparel.  But then I flooded the space for narrative reasons, rendering that idea unusable. I eventually converted it into a Welch’s Fruit Snacks box, because apparently Technoblade liked them? It’s one of the shallower references here but it is what it is.

And finally, there is a little cameo floating somewhere in the waters. An Easter egg, if you will. I wonder if you can find it? 

Furnishings from Home:

I found the couch and Technoblade’s gaming setup during my trawl through the Technoblade Reddit page for reference photos. Balancing this space full of impersonal medical equipment with more personalized belongings is grounding. These areas insert familiarity in this strange environment.

Gaming Setup:

The gaming setup is bare bones - just the monitor, keyboard, and mouse. There was no space to add more iconic elements like his Blue Yeti microphone or the steering wheel from that Minecraft challenge. Hanging above but heavily obscured by overgrowth are two framed pictures of Technoblade’s cabin and a potato minion. It is a blink-and-you-miss-it detail, placed in a dim space and requiring close examining to notice. Without the context of the rest of this environment, it is easily mistaken as generic set dressing. 

That’s the point, though. This was a space where he streamed and created videos much beloved by his community. This space was the means of creation, not the creations themselves. Without the creator at the helm, this setup becomes insignificant. Does one dote over the easel on which paintings were created, or the paintings themselves? So now it sits in darkness, a footnote of Technoblade’s legacy. 

Nostalgia Corner:

On the other end, we have the sold out Youtooz plushies and the Agro Pig plush from the recent merch drop sat atop the couch.  If you look closely, you’ll see a Skeppy coin leaning against one of the plushies. Behind the couch is a shelf. A generic shelf, but the important bits here are the sellout bell, Youtube plaque, and vinyl figurines. 

This corner of the room is nostalgic and soft. Everything is bathed in rosy pink light, and it is filled with things that are comfortingly familiar. All across the world, people in his community have these pieces of merch to remember him by. 

The red poppies that also grow here have multiple meanings. It represents the battle - one against sarcoma - which was fought here. It symbolizes death, but also resilience in the face of grueling conditions. It is said that they grow in former battlefields where of fallen warriors. I believe of all the flowers here, this one best represents Technoblade.

The Hanging Mobile:

Strung up above it is a rather last minute addition to the environment - a hanging mobile fabricated from totems representing each member of the Sleepy Bois Inc. friend group. First and foremost is Technoblade’s iconic MCC crown, aptly placed at the top. Although it is untouched by the greenery, the gold and jewelry are somewhat muted and tarnished by time.

This is not the case for the objects below. TommyInnit’s music disc shines iridiscent green and purple - Cat and Mellohi merged into one. To is right is a sky-blue guitar pick with the LoveJoy logo engraved onto it for Wilbur Soot. And finally, below it all is Philza’s Friendship Emerald - sparkling and refracting light - with Elytra feathers fastened at the bottom. They, suspended and isolated from everything, maintain a pristine vibrancy which strongly contrasts against everything else in this space. 

IV Stand:

Next to the computer setup is the IV stand. It sustains life which is incapable of continuing on without intervention. The butterfly milkweed growing on it, in contrast, says “let me go.�� The latter, overtaking the tangle of tubes and powered off patient monitor, is victorious. The hooks stand rusted, and the IV bag empty from disuse.

Sat atop the patient monitor but almost blending into the walls is a pig figurine featured in Dream’s latest music video. It stands on a high perch, yet is unassuming as to direct focus on Technoblade, or rather, his absence. 

Hanging from the wired basket is an air freshener tag. If you look on the official website, this is one of the only products which has what I can only call interesting flavor text. Most are merely descriptions and specs of the product. To quote it verbatim:

“Yes, this is a real product. And no, this ‘air freshener’ has no discernible fragrance. ‘Why’ you ask? Because Mr. Technodad and our team agreed this was exactly the sort of air freshener Alex would have found hilarious.”

As morbid as it sounds, I feel like this air freshener tag would not have existed before Technoblade’s passing. It is so unlike any other merchandise I’ve seen in any other branded merchandise store. It’s like an inside joke, secretly shared within the descriptions for the world to eventually discover. 

Window:

Unlit candles line the window sill - the aftermath of a candlelight vigil. It is a versatile symbol. It raises awareness of a disease or illness. It pays tribute the dead. Judging from the melted wax dribbling down the candle shafts and the wall below (the opacity was reduced so it looks less like bloodstains), this has been done many times over. But there is so much more candle to burn, representing the people still continuing this ceremony, albeit in the privacy of their own homes.

Above the candles are some broken blinds. When grieving, it would have been so easy for Mr. Technodad to hide away from the world in his grief. It’s understandable, to give into that primal urge to flee from prying eyes when he’s at his most vulnerable. He had the difficult task of reading out his son’s final farewell to us. This barrier between him and us dismantled by this gesture so we can remember Technoblade together. 

Coincidentally, the window frame itself somewhat resembles the kitchen window featured in Technoblade and Technodad's cooking videos. Completely unintentional on my end, but fitting in a way since in both those videos they're pulling back the metaphorical curtains for the audience to peer into a small aspect of their private lives.

To the right of the window is a nondescript clock, forever stopped at the 6:30 as a nod to the date when the "So Long, Nerds" video was published. The minute hand is accidentally left out removed to signify that time will no longer move forward for Technoblade. In contrast, the rest of the world - represented by this space - continues to grow and change around his absence.

A wind chime hangs just outside the window. It is said that the soothing sounds produced by them is a healing balm during tumultuous times. Where there is wind there is stirred up emotions, but it is motionless on this calm, breezeless day. A rare respite, where remembrance overrides grief. 

On a more amusing note, there is an interesting looking moth perched on the window glass. Upon closer inspection, the wing pattern may look somewhat familiar. In Chinese culture, when a huge moth visiting your home is the embodiment of your recently deceased loved one checking on you. Remember the compass in the foreground? Well, here’s why it is pointed sideways instead of upwards. This idea came up rather organically during a VC session in the R/Technoblade Discord server. My handful of viewers and myself affectionately dubbed this doofy looking moth TechnoMoff!

Venturing further beyond the windows, ferns grow with wild abandon. They represent eternal youth, and from a certain point of view, he will remain youthful forever at the age of 23. He lives on through us carrying on his legacy and spreading his story. 

Everything outside is tinged with pink. After someone dies, we start seeing them less as a person and more as a legacy. It is the natural course of things to start seeing the deceased through rose-tinted lenses - hence the artificially pink hue of the outside contrasting with the more grounded color palette of the inside. 

Bed:

And now we circle back to the centerpiece of this entire composition: the bed and the things that surround it. 

In front of the bed is an over-bed table with a single object: an incense bowl filled to the brim with burnt sticks of incense. A simple shrine for Technoblade. In Chinese culture, we light incense at the altar to honor our loved ones. We may live separate lives and not cross paths often, but we all come together to leave our marks through this ritual. It is proof that he is still very much loved and missed by us all.

The bariatric bed frame is typically seen in hospitals. It allows the patient to comfortably sit up or recline without expending valuable energy. Encased in this frame is something more personal - the mattress and cushions which Technoblade laid upon in his photo with the Youtube plaque. Their unique patterning is a foil for the impersonal receptacle it is caged in. It is spotlit by the window light, emphasizing its emptiness. Not a single blossom dares to encroach upon this space, because to do so would be to erase the space where Technoblade last resided. Like I mentioned before, this is story is about the space around him as much as it is about him. 

Cradling this bed frame are several flowers. Rosemary and forget-me-not’s for remembrance. Appropriate, given its proximity to the bed. Morning glories, for resilience. That’s us, again. For a while, we meander and spread in the upper walls of this space, avoiding the floodwaters which symbolize grief. But eventually, we gather the strength to meander down to the bed, where grief was the strongest.

—

CONCLUSION:

There is that cheesy quote from that one Marvel TV show – “What is grief, but love persevering?” While this reframes our perception of dealing with loss, grief is not some thing that should linger. The absence of grief does not equate to the lack of love. Instead, I would like you to consider this: remembrance is love persevering. And with our combined perseverance, Technoblade will never truly die. 

[resplendent-ragamuffin]

I have encountered issues with JVP in the past in regards to not accommodating kashrut/shabbat observance (and wheelchairs), but previously hasn’t heard about the Mikvah thing. Do you have any sources I can refer to?

Oh boy. Oh boy oh boy oh boy. The noise I made when I saw this ask.

You are probably unaware but I have literally been working on a post on this topic since February. Bless you for asking me about it and giving me a reason to share it. Genuinely. I'm delighted.

Without further ado, now that I've finally finished:

On the JVP Mikveh BS

Some of you are no doubt aware of the Jewish Voice for Peace Mikveh Guide (on JVP’s website here, and here on the Wayback Machine in case that link breaks). You may have seen the post I reblogged about it, you may have seen the post about JVP in general on @is-the-thing-actually-Jewish, or you may have heard about it elsewhere. Or maybe you’ve somehow managed to avoid all knowledge of its existence. (God I wish that were me.) Even if you know about it, even if you’ve scanned through it, you probably haven’t taken the time to read it through properly.

I have.

God help me.

I was originally looking through it to help draft the @is-the-thing-actually-Jewish post back in February, but some terrible combination of horror, indignation, and probably masochism compelled me to do a close reading, so that I could write this analysis and share it with you, dear readers. For those of you who’ve never heard of a mikvah, for those of you who’ve immersed in one, for those of you who’ve studied it intensely—I give you this, the fruit of my suffering, so you too can understand why “Mikveh: A Purification Ritual for Personal and Collective Transformation,” written by Zohar Lev Cunningham and Rebekah Erev for Jewish Voice for Peace has got so many people up in arms.

Brace yourselves. It’s going to be a long journey.

First off, a disclaimer: When I say something is “required in Jewish law” or whatnot, I’m talking about in traditional practice / Torah-observant communities; what is often called “Orthodox.” There’s a wide range of Jewish practice, and what is required in frum (observant) Judaism may not be required in Reform Judaism, etc. Don’t at me.

Second note: I myself am Modern Orthodox, and come from that perspective. I’m also very much more on the rationalist side than the mysticism side of things. I did run this past people from other communities. Still, if I’ve missed or misrepresented something, it was my error and was not meant maliciously.

Third: I am not a rabbi. I am a nerd who likes explaining things and doing deep dives. Again, I may have made errors–please let me know if you spot any, and I’d be happy to discuss them.

Now then. Before we get into the text itself, let’s give some background.

WHAT IS THIS MIKVEH THING ANYWAY?

A mikveh (or mikvah, both they and I switch between spellings; plural mikva’ot) is a Jewish ritual bath, sometimes translated as an immersion pool. Some communities or organizations that run mikva’ot will have a single all-purpose all-purpose, some have separate human- and utensil-pools, and some have separate women’s and men’s pools. The majority of the water in a mikvah has to be “living waters,” i.e. naturally collected rather than from a tap or a bucket. Some natural bodies of water can also be used, such as the ocean and some rivers (ask your local rabbi). The construction is complicated and has extremely detailed requirements. Here’s an example of a modern mikvah:

(By Wikimedia Commons (ויקיגמדון) - Own work, Public Domain, https://commons.wikimedia.org/w/index.php?curid=17373540)

Whoever is being dunked (the scientific term) has to be entirely immersed, and the water has to be in direct contact with all of them. That means no clothes, no makeup, no hair floating on the top of the water, no feet touching the floor, no clenched fists. You have to be completely clean as well, so no dirt is obstructing you from the water.

In essence, a person or thing is immersed in a mikvah to change their/its state from tameh (ritually “impure”) to tahor (ritually “pure”). I use quotes because “pure/impure” aren’t really good translations—they have value judgments that tameh/tahor don’t. There’s nothing wrong with being tameh, you aren’t lesser because you are tameh—it’s just a state one enters when one comes into contact with death and related concepts. (There are also different levels of both.) As a matter of fact, technically speaking even after going to a mikvah basically all people are tameh now—the tum’ah (“impurity,” sort of) that comes from contact with dead humans can only be removed by the Red Heifer offering (see Numbers 19), which we can’t do without the Temple. (Why I say “all” even if you’ve never been to a funeral is a much much longer tangent that I’ll spare you for now.) To quote one of my editors on this, mikvah is “about the natural oscillation between states of ritual purity and impurity. Men go to mikveh after having seminal emissions. Menstruating women go to mikveh on a monthly basis (emphasis added).” It’s just states of life.

In the days of the Temple, one had to be tahor to enter it (the Temple). Archaeologists have found a ton of ancient mikva’ot in Jerusalem that were presumably used by people visiting the Temple, which personally I think is extremely cool.

Nowadays, there are three main traditionally required uses for a mikvah. First, and most importantly, observant married women will go about once a month as part of their niddah (menstrual) cycle, part of practice known as Taharat HaMishpacha, or “Family ‘Purity,’” which at its root is a way to sanctify the relationship between spouses. Until she immerses, a wife and husband cannot resume relations. And not just sex—in some communities, they can’t sleep in the same bed or even have any physical contact at all.

The second use is for conversion—immersion is a central part of the conversion ceremony. One enters the water a gentile, and emerges a Jew.

The third usage is a bit different as it’s not for people. Tableware—plates, cups, etc.—made of certain materials have to be immersed before they can be used. This isn’t what the Guide is about, so I’m not going to go into that as much, but felt remiss if I didn’t mention it was a thing. If you want to know more, Chabad has an article on it here.

Aside from uses required by Jewish law, there is a strong tradition in some communities for men to go to the mikveh just before Yom Kippur, or sometimes every week before the Sabbath, to enter the holiday in as “pure” a state as possible these days. (The things they’re “purifying” from still made them tameh, it just matters less without the Temple.) There is also a strong custom to immerse before one’s wedding. Less traditional communities have also started using mikvah for other transitional moments, such as significant birthdays or remission from cancer. There has recently been an “open mikvah” movement, which “is committed to making mikveh accessible to Jews of all denominations, ages, genders, sexual orientations, and abilities (Rising Tide Network old website, “Why Open Mikvah”).”

To quote others:

No other religious establishment, structure or rite can affect the Jew in this way and, indeed, on such an essential level. —Rebbetzen Rivkah Slonim, Total Immersion, as quoted on Chabad.org

The mikveh is one of the most important parts of a Jewish community. —Kylie Ora Lobell, “What Is a Mikveh?” on Aish.com

How important? According to Rav Moshe Feinstein, one of the great American rabbis of the 20th century, one should build a mikveh before building a synagogue in a town that has neither, and even in a town where there is a mikveh but it’s an inconvenient distance away from the community (Igros Moshe: Choshen Mishpat Chelek 1 Siman 42).

A mikveh is more important than a synagogue.

I’d say that’s pretty important.

Tl;dr: A mikveh is the conduit through which a convert becomes a part of the Jewish people. It is traditionally used to sanctify the relationship between spouses. It was required for people to go to the Temple, back when we still had it. It is extremely central to Jewish practice.

So. What does JVP have to say about it?

THE JVP MIKVEH GUIDE

The document in question is titled “Mikveh: A Purification Ritual for Personal and Collective Transformation,” by Zohar Lev Cunningham and Rebekah Erev. I am largely going to quote directly from the text and then analyze and explain it.

Now let me be clear. I’m not trying to say the authors aren’t Jewish. I’m not saying they’re bad people, or that you should attack them. I am not intending any of this as an ad hominem attack. But given the contents of this document, I do think it is fair to call this appropriative, even if it is of their own culture—in the same way someone can have internalized racism, or twist feminism into being a TERF, I would argue that this is twisting Judaism into paganism. In fact, while I use “appropriation” throughout this document, an extremely useful term that’s been coined recently is “cultural expropriation”--essentially, appropriative actions done by rogue members of the community in question. One example of this would be the Kabbalah Centre in Los Angeles, which is the source of a lot of the Madonna-style “pop Kabbalah.” It was founded by an Orthodox Jewish couple, but it and its followers are widely criticized by most Jewish communities. In much the same way, the Guide is expropriation. 

We start off with a note from the authors.

Hello, Welcome to the Simple Mikveh Guide. This work comes out of many years of reclaiming and re-visioning mikveh. The intention of this guide is to acknowledge and give some context to what mikveh is, provide resources related to mainstream understanding of mikveh and also provide alternative mikveh ideas. Blessings for enjoyment of this wonderful, simple Jewish ritual! Zohar Lev Cunningham & Rebekah Erev

This is fairly normal, though “alternative mikveh ideas” is a bit odd to say. I also find “blessings for enjoyment” to be odd phrasing, somewhat reminiscent of the Wiccan “Blessed Be,” but it could be a typo.

The first main section is titled “Intro to Mikveh,” and begins as follows:

Mikveh is an ancient Jewish ritual practice of water immersion, traditionally used for cleansing, purification, and transformation. It's been conventionally used for conversion to Judaism, for brides, and for niddah, the practice of cleansing after menstruation.

This is relatively accurate, and credit where credit is due avoids making niddah out to be patriarchal BS. I do object slightly to “purify” as a translation without further explanation, as I went into above, and “cleansing” for similar reasons—it implies “dirtiness,’ which isn’t really what tum’ah is about. Also, though this is pretty minor, a bride going to the mikveh before her wedding is actually a part of the laws of niddah. I’d also note that they entirely leave out that it was important for going to the Temple in ancient times, though given this is published by JVP I’m not terribly surprised.

For Jews, water signifies the transformative moment from slavery in Egypt, through the parted Red Sea, and into freedom.

On the one hand, I suppose it’s not unreasonable to connect the Red Sea and mikveh, though I think I’d be more likely to hear it the other way around (i.e. “going through the sea was like the people immersing in a mikveh and being ‘cleansed,’ so to speak”). Though they were, rather importantly, not actually immersed in the water. However I don’t think I’d say water as a whole signifies the Splitting of the Sea. In fact, water imagery is more often used to signify the Torah, see for instance Bava Kamma 82a.

There is also a mystical connection to mikveh as a metaphor for the womb of the divine.

A mikveh being like a womb is also not uncommon. It’s found in the Reishis Chochmah (Shia’ar HaAhavah 11,58) and the writing of Rabbi Aryeh Kaplan (The Aryeh Kaplan Anthology, vol 2., p. 382; both as quoted in 50 Mikvahs That Shaped History, by Rabbi Ephraim Meth), see also “The Mikveh’s Significance in Traditional Conversion” by Rabbi Maurice Lamm on myjewishlearning. Filled with water, you float in it, you emerge a new being (at least for conversion); it’s not an absurd comparison to draw. I’m not sure I’ve found anything for the Womb of the Divine specifically, though. (Also, Divine should definitely be capitalized.)

Entering a mikveh is a transformative and healing experience and we have long wondered why it is not available to more people, including the significant trans and queer populations in Jewish communities.

So. I am NOT going to say there’s no problem with homophobia and/or transphobia in Jewish communities. It’s definitely a community issue, and many communities are grappling with it in various ways as we speak. And I’m certainly not going to say the authors didn’t have the experience of not having a mikveh available to them—I don’t know their lives, I’m not going to police their experiences.

However, while Orthodox mikvahs are often still restricted to married women (who by virtue of the community will generally be cis and married to men) and potentially adult men (given the resources and customs, as mentioned above), there are plenty of more liberal mikva’ot these days. Some even explicitly offer rituals for queer events! The list of reasons to go to the mikvah linked up above, for instance, includes:

(Mayyim Hayyim, “Immersion Ceremonies”)

Again, that’s not to say there aren’t issues of queerphobia in the Jewish community, but if you are queer and want to go to the mikvah, there are options out there. If you’re looking, I’ve included some links at the end.

When we make ritual, we are working with the divine forces of presence and intention. The magic of mikveh comes in making contact with water. Contact with water marks a threshold and functions as a portal to bring closer our ritual intention/the world to come.

This is…a weird way to put things. I would say this is the start of the red flags. “When we make ritual,” first of all, is, to quote @the-library-alcove (who helped edit this), “a turn of phrase that is not typically associated with any branch of Jewish practice; we have a lot--a LOT--of rituals, and while it's certainly not completely outside of the realm of Jewish vernacular, the tone here, especially in light of the later sections, starts veering towards the vernacular of neo-paganism.” One might say “make kiddush” (the blessing over wine on Shabbos and holidays) or “make motzi” (the blessing over bread), but not generally “make ritual.”

The next section is titled “Who Gets to Do Mikveh?” Their answer:

Everyone! Mikveh practice is available to all of us as a healing tool at any time.

The healing tool part isn’t the original purpose of mikveh, but there are some who have used it as a part of emotional recovery from something traumatic, by marking a new state of being free from whatever caused it, see for instance Mayyim Hayyim’s list linked above.

The “everyone” bit is a little more complicated. To explain why, we’re going to skip ahead a little. (Some of these quotes will also be analyzed in full later.)

We want to make mikveh practice available as a tool to all Jews and non-Jews who want to heal wounds caused by white supremacy and colonialism. [..] To us, a queer mikveh welcomes anyone, regardless of spiritual background or not. […] Queer mikveh is accessible physically and spiritually to any and all people who are curious about it. You don't have to be a practicing Jew to enter queer mikveh. You don't have to be Jewish. (pg. 2, emphasis added)

Now, I am told there are mikva’ot that allow non-Jews to immerse. I have yet to find them, so I don’t know what rituals they allow non-Jews to do. I also haven’t been able to find any resources on non-Jews being allowed to immerse. I have found quite a few that explicitly prohibit it. If there are any sources you know of, please send them to me! I’d love to see them! But so far everything I have come across has said that mikvah immersion is a closed practice that only Jews can participate in. (Technically, to quote the lovely @etz-ashashiot, any non-Jew can do mikvah…once. And they won’t be non-Jews when they emerge. There is also one very extreme edge-case, which is absolutely not mainstream knowledge or practice, and basically isn’t actually done. You can message me if you’re curious, but it’s really not relevant to this–and even in that case, it is preferable to use a natural mikvah rather than a man-made one.)

If there are any legitimate sources that allow non-Jews to do a mikvah ritual, I would assume said non-Jews would be required to be respectful about it. Unfortunately, this is how the paragraph we began with continues:

Who Gets to Do Mikveh? Everyone! Mikveh practice is available to all of us as a healing tool at any time. You don't need any credentials. Your own wisdom is all the power you need to be a Jewish ritual leader. (emphasis added)

This is where we really go off the rails. First of all, you need more than “wisdom” to lead a Jewish ritual. You need to actually know what you’re doing. You can’t just say “oh you know what I feel like the right thing to do for morning prayers is to pray to the sun, because God created the sun so the sun is worth worshiping, and this is a Jewish ritual I’m doing.” That’s just idolatry. Like straight up I stole that from a midrash (oral tradition) about how humanity went from speaking with God in the Garden of Eden to worshiping idols in the time of Noah (given here by Maimonides; note that it continues for a few paragraphs after the one this link sends you to).

Second of all, this is particularly bad given this guide is explicitly to Jews and non-Jews. As @daughter-of-stories put it when she was going over an earlier draft of this analysis, “they are saying that non-Jews can just declare themselves Jewish ritual leaders based on nothing but their own ‘wisdom.’”

I hope I don’t need to explain why that’s extremely bad and gross?

While we’re on the topic of non-Jews using a mikvah, let’s take a moment to address an accusation commonly mentioned alongside the mikvah guide: that JVP also encourages (or encouraged) self-conversion.

I have been unable to find a separate document where they explicitly said so, or an older version of this document that does. This leads me to believe that either a) the accusation came from a misreading of this document, or b) there was a previous document that contained it which has since been deleted but was not archived in the Wayback Machine. EITHER is possible.

Even in the case that there was no such document, however, I would point out that such a suggestion can be read–intentionally or not–as implicit in this document. This is a guide for mikvah use by both Jews and non-Jews, and includes an idea that non-Jews can perform Jewish rituals on their own without any guidance or even background knowledge, as quoted above. Why would a non-Jew, coming into Jewish practice with very little knowledge, go looking to perform a mikvah ritual?

I would wager that the most well-known purpose of immersing in a mikvah is for the purpose of conversion.

Nowhere in this guide is there any explicit statement that you can do a self-conversion, but it also doesn’t say anywhere that you can’t, or that doing so is an exception to “you don’t need any credentials” or “your own wisdom is all the power you need to be a Jewish ritual leader.” It may not be their intention, but the phrasing clearly leaves it as an option.

Even if this were from a source that one otherwise loved, this would be upsetting and disappointing. The amount of exposure this document is getting may be at least in part because it comes from JVP, but the distress and dismay would be there regardless. If there is further vitriol, it’s only because JVP is often considered a legitimate source by outsiders, if no one else–in other words, by the very people least likely to have the background to know that this document isn’t trustworthy. It’s like the difference between your cousin telling you “the Aztecs were abducted by aliens” versus a mainstream news program like Fox reporting it. Both are frustrating and wrong, but one has significantly more potential harm than the other, and therefore is more likely to get widespread criticism (even if you complain about your cousin online).

On the other hand, as one of my editors pointed out in a moment of dark humor, they do say you don’t have to be Jewish to lead a Jewish ritual, so perhaps that mitigates this issue slightly by taking away a motivation to convert in the first place.

Returning to our document:

We do mikvahs in lakes, rivers, bathtubs, showers, outside in the rain, from teacups, and in our imaginations.

At this point the rails are but a distant memory.

In case you’ve forgotten what I said about this at the beginning of this post (and honestly I wouldn’t blame you, we’re on pg. 9 in my draft of this), there are extremely strict rules about what qualifies as a mikvah. Maimonides’s Mishnah Torah, just about the most comprehensive codex of Jewish law, has eleven chapters on the topic of the mikvah (though that includes immersion in it as well as construction of it). I’m not going to make you read through it, but let’s go through the list in this sentence:

Lakes and rivers: you might be able to use a river or lake as a mikvah, but you need to check with your local rabbinical authority, because not all of them qualify. In general, the waters must gather together naturally, from an underground spring or rainwater. In the latter case, the waters must be stationary rather than flowing. A river that dries up in a drought can’t be used, for instance. (The ocean counts as a spring, for this purpose.)

Bathtubs and showers: No. A man-made mikveh must be built into the ground or as an essential part of a building, unlike most bathtubs, and contain of a minimum of 200 gallons of rainwater, gathered and siphoned in a very particular way so as not to let it legally become “groundwater.” Also, it needs to be something you can immerse in, which a shower is not.

Outside in the rain: No? How would you even do that?? What??

Teacups: Even if you were Thumblina or K’tonton (Jewish Tom Thumb), and could actually immerse your entire body in a teacup, it wouldn’t be a kosher mikvah as a mivkah can’t be portable.

In your imagination: Obviously not, what the heck are you even talking about

We will (unfortunately) be coming back to the teacup thing, but for now suffice it to say most of these are extremely Not A Thing.

Mikveh has been continually practiced since ancient Judaism. It is an offering of unbroken Jewish lineage that we have claimed/reclaimed as our own.

I find the use of “claimed/reclaimed” fascinating here, given this guide is explicitly for non-Jews—who, whether or not they are permitted to use a mikvah, certainly shouldn’t be claiming it as their own—as well as Jews. I find it particularly interesting given the lack of clarity of how much of JVP’s membership is actually Jewish and JVP���s history of encouraging non-Jewish members to post “as Jews.” Kind of telling on yourselves a bit, there.

(Once again, I’m not commenting on the authors themselves, but the organization they represent here and the audience they are speaking to/for.)

We want to make mikveh practice available as a tool to all Jews and non-Jews who want to heal wounds caused by white supremacy and colonialism. We want to make mikveh practice available for healing our bodies, spirits, and the earth.

Setting aside the “Jews and non-Jews” thing, since I talked about that earlier and this is already extremely long, I do want to highlight the end of the paragraph. While there are some modern uses of the mikvah to (sort of) heal the spirit, I haven’t heard of anyone using a mikvah to heal the body—as a general rule Jews don’t tend to do faith healing, though of course some sects are the exception. Healing the earth, however, is absolutely not a use of a mikvah. Mikvah rituals, as we’ve now mentioned several times, are about tahara of a person or an object, and require immersion. You can’t immerse the earth in a mikvah. The earth contains mikva’ot. Healing the earth with a mikvah is a very strange worship (IYKYK).

We acknowledge that not all beings have consistent access to water, including Palestinians.

This is a tragedy, no question. I don't mean to minimize that. However, it is also unrelated to the matter at hand. The Guide also doesn’t give any recommendations on how we can help improve water access, so this lip service is all you get.

A lack of water does not make mikveh practice inaccessible.

Yes, in fact, it does. Without a kosher mikvah of one variety or another one cannot do anything that requires a mikvah. That’s why building a kosher one is so important. I haven’t gone looking for it, but while I’m sure there’s lots (and lots and lots and lots) of Rabbinic responsa out there of what to do in drought situations, you definitely do need water in all but the most extreme cases. If you do not have water, AYLR (Ask Your Local Rabbi)--don’t do whatever this is.

The spirit of water can be present with us if we choose to call for water, so even when water is not physically available to us we can engage in mikveh practice.

This is just straight up avodah zarah (“strange worship,” i.e. idolatry) as far as I can tell. The “spirit of the water”? What? We’re not Babylonians worshiping Tiamat. What source is there for this? Is there a source??

Like all material resources, the ways water is or is not available to us is shaped by our geographic and social locations. The ways we relate to water, what we decide is clean, treyf (dirty), drinkable, bathable, how much we use, how much we save, varies depending on our experiences. We invite you to decide what is clean and holy for your own body and spiritual practice.

This is going to require some breaking down.

To start with, let’s define “treyf.” To quote myjewishlearning, “Treyf (sometimes spelled treif or treyfe) is a Yiddish word used for something that is not kosher [lit. "fit"]. The word treyf is derived from the Hebrew word treifah, which appears several times in the Bible and means 'flesh torn by beasts.' The Torah prohibits eating flesh torn by beasts, and so the word treifah came to stand in for all forbidden foods.”

You may note the lack of the word “dirty” in this definition, or any other value judgments. Myjewishlearning continues, “over time, the words kosher and treyf have been used colloquially beyond the world of food to describe anything that Jews deem fit or unfit.” While this does have something of a value judgment, it’s still not “dirty.” I can’t say why the authors chose to translate the word this way, but…I don’t like it.

Now, when it comes to what is kosher or treyf, food and drink are most certainly not based on “our experiences.” There are entire books on the rules of kashrut; it generally takes years of study to understand all the minutiae. Even as someone who was raised in a kosher household, when I worked as a mashgicha (kosher certification inspector) I needed special training. What is considered kadosh (“sacred” or “holy,”  though again that’s not a perfect translation) or tahor is also determined by very strict rules. We don’t just decide things based on “vibes.” That’s not how anything in Jewish practice works.

Water, in fact, is always kosher to drink unless it has bugs or something else treyf in it. And mikvehs aren’t even always what I’d consider “drinkable;” I always wash utensils I’ve brought to the mikvah before I use them.

We come to our next heading: What is Queer Mikveh?

What is Queer Mikveh? To us, a queer mikveh welcomes anyone, regardless of spiritual background or not.

As I’ve said above, I have yet to find a single source (seriously if you have one please send it to me) that says non-Jews can go to a mikvah. As one of my editors for this put it, “to spin appropriation of Jewish closed practices as ‘queer’ is not only icky but deeply disrespectful to actual queer Jews.”

Also, and this is not remotely the point, but “regardless of spiritual background or not” is almost incoherently poor writing.

As Jews in diaspora we want to share and use our ritual practices for healing the land and waters we are visitors on for the liberation of all beings.

I have tried to be semi-professional about this analysis, but. “Jews in the diaspora,” you say. Tell me, JVP, where are we in the diaspora from? Hm? Where are we in diaspora from? Which land do we come from? Which land are we indigenous to, JVP? Do tell.

Returning to the point, I would repeat that mikvah has nothing to do with “healing the land and waters.” It’s ritual purification of whatever is immersed in it. You want to heal the land and waters? Go to your local environmental group, and/or whoever maintains your local land and waters. Pick up trash. Start recycling. Weed invasive species. Call your government and tell them to support green energy. You want liberation for all beings? Fight bigotry—including antisemitism. Judaism believes in action—go act. Appropriating rituals from a closed religion doesn’t liberate anyone.

We have come up with this working definition and welcome feedback!

Oh good, maybe I won’t be yelled at for posting this (she said dubiously).

Queer mikveh is a ritual of Jews in diaspora. We believe the way we work for freedom for all beings is by using the gifts of our ancestors for the greatest good. We bring our rituals as gifts.

I have nothing in particular new to say about this, except that I find the idea of “bringing our rituals as gifts” for anyone to use deeply uncomfortable, given Judaism is a closed religion that strongly discourages non-Jews from joining us, and that has had literal millennia of people appropriating from us.

It acknowledges that our path is to live on lands that are not historically our peoples [sic] and we honor the Indigenous ancestors of the land we live on, doing mikveh as an anti-colonialist ritual for collective and personal liberation.

Again I would love so much for JVP to tell us which lands would historically be our people’s. What land do Jews come from, JVP? What land is it we do have a historical connection to? What land do our Indigenous ancestors come from??

And why does it have to be our path to live on lands other than that one?

Secondly, to quote the lovely @daughter-of-stories again when she was editing this, “Mikveh as anti-colonialism, aside from not being what Mikveh is, kinda implies that you can cleanse the land of the sins of colonialism. So (a) that’s just a weird bastardization of baptism since, mikveh isn’t about cleansing from sin, and (b) so does that mean the colonialism is erased? Now we don’t have to actually deal with how it affects actual indigenous people?”

I’m sure that (b) isn’t their intent, but I will say that once again they don’t give any material suggestions for how to actually liberate any collectives or persons from colonialism in this document, including any links to other pages on their own website*, which surely would have been easy enough. It comes across as very performative.

*I disagree strongly with most of their methods, but at least they are suggesting something.

Queer mikveh is a physical or spiritual space that uses the technologies of water and the Jewish practice of mikveh to mark transitions. Transition to be interpreted by individuals and individual ritual.

I have no idea what the “technologies of water” are. Also usage of a mikvah to mark transitions beyond ritual states is a fairly new innovation, as mentioned above.

Queer mikveh in it's [sic] essence honors the story of the water. The historical stories of the water we immerse in, the stories of our own bodies as water and the future story we vision [sic].

This just sounds like a pagan spinoff of baptism to me, if I’m being honest. Which would be non-Jewish in several ways.

Queer mikveh is accessible physically and spiritually to any and all people who are curious about it. You don't have to be a practicing Jew to enter queer mikveh. You don't have to be Jewish.

First off, once again whether or not non-Jews can use mikvah seems at best extremely iffy. Secondly, accessibility in mikva’ot is, as one of my editors put it, “a continual discussion.” We have records of discussions regarding access for those with physical disabilities going back at least to the 15th century (Shut Mahari Bruna, 106; as quoted in 50 Mikvahs That Shaped History by Rabbi Ephraim Meth), and in the modern era there are mikva’ot that have lifts or other accessibility aids. That said, many mikva’ot, especially older ones, are still not accessible–and many mikva’ot don’t have the money to retrofit or renovate. Mikvah.org’s directory listings (linked at the end of this) notes whether various mikva’ot are accessible, if you are looking for one in your area.  If you want to help make mikva’ot more accessible to the disabled, consider donating to an existing mikvah to help them pay for renovations or otherwise (respectfully) getting involved in the community. If you want to help make mikva’ot more accessible for non-Orthodox Jews, try donating to an open mikvah (see link to a map of Rising Tide members at the end of this essay) or other non-Orthodox mikvah.

Queer mikveh is an earth and water honoring ritual.

Not even a little. We do have (or had) rituals that honor the earth or water, at least to an extent–the Simchat Beit HaSho’evah (explanations here and here) was a celebration surrounding water; most of our holidays are harvest festivals to some extent or another; there are a large number of agricultural mitzvahs (though most can only be done in Israel, which I suppose wouldn’t work for JVP). (Note: mitzvahs are commandments and/or good deeds.) Even those, though, aren’t about the water or earth on their own, per se, but rather about honoring them as God’s gift to us. This description of mikvah sounds more Pagan or Wiccan–which is fine, but isn’t Jewish.

Queer mikveh exists whenever a queer person or queers gather to do mikveh. Every person is their own spiritual authority and has the power to create their own ritual for individual or collective healing.

Absolutely, anyone can create their own rituals for anything they want. But it probably won’t be a mikvah ritual, and it probably won’t be Jewish.

Do you know what it’s called when you make up your own ritual and claim that it’s actually a completely valid part of an established closed practice of which you aren’t part? (Remember—this document is aimed just as much at non-Jews as at Jews.)

It’s called appropriation.

With the next section, “Some Ideas for Mikveh Preparation,” we begin page three.

(Yes, we’re only on page three of seven. I’m so sorry.)

The most important part of mikveh preparation is setting an intention.

This isn’t entirely wrong, as you do have to have in mind the intention of fulfilling a mitzvah when you perform one.

Because mikveh is a ritual most used to mark transitions, you can frame your intention in that way.

To quote myself above, “usage of a mikvah to mark transitions beyond ritual states is a fairly new innovation.” I’d hardly say it is mostly used for marking transitions.

You can do journaling or talk with friends to connect with the Jewish month, Jewish holiday, Shabbat, the moon phase, and elements of the season that would support your intention.

If this were a guide for only Jews, or there was some sort of note saying this section was only for Jews, I would have less of a problem. But given neither is true, they are encouraging non-Jews to use the Jewish calendar for what is, from the rest of the descriptions in the Guide, a magical earth healing ritual.

This is 100% straight up appropriation.

The Jewish calendar is Jewish. Marking the new moon and creating a calendar was the first commandment given to us as a people, upon the exodus from Egypt. Nearly all our holidays are (aside from the harvest component, which is based on the Israeli agricultural seasons and required harvest offerings) based on specific parts of Jewish history. Passover celebrates the Exodus and our becoming a nation. Sukkot celebrates the Clouds of Glory that protected us in the desert. Shavuot celebrates being given the Torah.

According to some opinions, non-Jews literally aren’t allowed to keep Shabbat.

If you are a non-Jew and you are basing the collective earth healing ritual you have created under your own spiritual authority around Jewish holidays and calling it “mikvah,” you are appropriating Judaism.

Full stop.

This isn’t even taking into account the generally Pagan/witchy feel of the paragraph, with “moon phases” and “elements of the season.” Again, if you want to be a Pagan be a Pagan, but don’t call it Jewish.

Things only go further downhill with their next suggestion for preparation before you go to the mikvah.

Divination: A lot can be said about divination practices and Judaism.

There certainly is a lot to be said. First and foremost, there’s the fact that divination is forbidden in Judaism.

(Screenshot of Leviticus 19:26 from sefaria.org)

One method of divination they suggest is Tarot, which is a European method of cartomancy that seems to have begun somewhere in the 19th century, though the cards start showing up around the 15th. While early occultists tried to tie it to various older forms of mysticism, including Kabbalah, this was, to put it lightly, complete nonsense. (Disclaimer: this information comes from wikipedia; I’ve already spent so much time researching the mikvah stuff that I do not have the energy or interest to do a deep dive into the origin of Tarot. It isn’t Jewish, the rest is honestly just details.)

I have nothing against Tarot. I think it’s neat! The cards are often lovely! I have a couple of decks myself, and I use them for fun and card games. But divination via tarot is not Jewish. If I do any spreads, I make it very clear to anyone I’m doing it with that it is for fun and/or as a self-reflection tool, not as magic. Because that is extremely not allowed in Judaism.

The authors suggest a few decks to use, one of which is by one of the authors themselves. Another is “The Kabbalah Deck,” which—holy appropriation, Batman!

In case anyone is unaware, Kabbalah (Jewish mysticism) is an extremely closed Jewish practice, even within Judaism. Traditionally it shouldn’t be studied by anyone who hasn’t already studied every other Jewish text (of which there are, I remind you, a lot), because it’s so easy to misinterpret. I mentioned this above briefly when explaining cultural expropriation. Pop Kabbalah (what Madonna does, what you see when they talk about “Ancient Kabbalistic Texts” on shows like Supernatural, the nonsense occultists and New-Agers like to say is “ancient Kabbalistic” whatever, it’s a wide span of appropriative BS) is gross, combining Kabbalah with Tarot is extremely gross. I’m not 100% sure, as the link in the pdf doesn’t work, but I believe they are referring to this deck by Edward Hoffman. For those of you who don’t want to click through, the Amazon description includes this:

(Screenshot from Amazon)

Returning to our text:

Another practice that's been used in Judaism for centuries is bibliomancy. You can use a book you find meaningful (or the Torah) and ask a question. Then, close your eyes, open the book to a page and place your finger down. Interpret the word or sentence you pointed at to help guide you to answer your question.

Bibliomancy with a chumash (Pentateuch) or tanach (Bible) in Jewish magic is kind of a thing, but the tradition of Jewish magic as a whole is very complicated and could be its own entirely different post. This one is already long enough. This usage of bibliomancy is clearly just appropriative new-age BS, though, especially given you can use “[any] book you find meaningful.”

Also, if you aren’t Jewish, please don’t use the Torah for ritual purposes unless you are doing it under very specific circumstances under the laws for B’nei Noach (“Children of Noah,” also called Righteous Gentiles; non-Jews who follow the 7 Noachide Laws).

Sit with your general intention or if you aren't sure, pose a question to the divination tool you are using. "What should be my intention for this mikveh?" "What needs transforming in my life?" "How can I transform my relationship with my body?"

As I hope I’ve made clear, there are very specific times when one uses a mikvah, even with more modern Open Mikvah rituals. You always know what your intention is well before going—to make yourself tahor, or mark a specific event. I’m not here to police how someone prepares mentally before they immerse—meditation is fine, even encouraged. But magic? Like this? That’s not a thing. And given the fact that divination specifically is not only discouraged but forbidden, this section in particular upset a lot of Jews who read it.

Those of us already upset by everything we’ve already covered were not comforted by how the Guide continues.

How to Prepare Physically For Mikveh: Some people like to think about entering the mikveh in the way their body was when they were born. By this we mean naked, without jewelry, with clean fingernails and brushed hair. This framing can be meaningful for many people.

We went into this at the beginning of this essay (about 6500 words ago), but this is in fact how Jewish law mandates one is required to immerse. This is certainly the case in most communities, whether you are immersing due to an obligation (as a married woman or a bride about to be married) or due to custom (as men in post-Temple practice) or due to non-traditional immersion (as someone coming out); wherever on the spectrum of observance one falls (as far as I could find). A mikvah isn’t a bath, it’s not about physical cleanliness—you must first thoroughly clean yourself, clip your nails, and brush your teeth. Nail polish and makeup are removed. There can’t be any barriers between you and the water. Most mikva’ot these days, particularly women’s mikva’ot, have preparation rooms so you can prep on site. When you immerse, you have to submerge completely—your hair can’t be floating above the water, your mouth can’t be pursed tightly, your hands can’t be clenched so the water can’t get to your palms. If you do it wrong, it doesn’t count and you have to do it again. It’s not a “framing,” it’s a ritual practice governed by ritual law.

We suggest you do mikveh in the way you feel comfortable for you and your experience.

This isn’t how this works. If you have a particularly extreme case, you can talk to a rabbi to see if there are any workarounds—for example, if excessive embarrassment would distract you from the ritual, you may be able to wear clothes that are loose enough that the water still makes contact with every millimeter of skin. But you need to consult with someone who knows the minutiae of the laws and requirements so you know if any exceptions or workarounds apply to you. That’s what a rabbi is for. That’s why they need to go to rabbinical school and get ordination. They have to study. That’s why you need to find a rabbi whose knowledge and personality you trust. For someone calling themselves a religious authority in Judaism to say “you can do whatever, no biggie” with such a critical ritual is…I’m not sure what the word I want is.

The idea is to feel vulnerable but also to claim your body as a powerful site of change that has the power to move us close to our now unrecognizable futures.

The idea is to bathe in the living waters and enter a state of taharah. Though that could be an idea you have in mind while you are doing it, I suppose. I could see at least one writer I know of saying something like this to specifically menstrual married (presumably cis) women performing Taharat HaMishpacha (family taharah, see above).

For some people, doing mikveh in drag will feel most vulnerable, with all your make-up and best attire.

Absolutely not a thing. As I said last paragraph, the goal isn’t to feel vulnerable or powerful or anything. It may feel vulnerable or powerful, but that is entirely besides the actual purpose of the ritual. What you get out of it on a personal emotional level has nothing to do with the religious goal of the religious practice.

And if you are wondering how one would submerge oneself in water in full drag, don’t worry, we’ll get there soon.

For some, wearing a cloth around your body until just before you dip is meaningful.

This is just how it’s usually done. Generally one is provided with a bathrobe, and one removes it before entering. You don’t just wander around the building naked. Or the beach, if you’re using the ocean.

If you were born intersex and your genitalia was changed without your consent, thinking about your body as perfect, however you were born, can be loving.

I’m not intersex, so I’m not going to comment on the specifics here. If you are and that’s meaningful to you, more power to you.

We enter a new section, at the top of page 4.

Where To Do Mikveh: There is much midrash around what constitutes a mikveh.

“Midrash” is not the word they want here. The midrash is the non-legal side of the oral tradition, often taking the form of allegory or parable. This is as opposed to the mishna, which is the halachic (legal) side of the oral tradition. They were both written down around the same time, but most midrashim (plural) are in their own books, rather than incorporated in the mishna.

There is, however, a great deal of rabbinic discussion, in the form of mishna, gemara, teshuvot (responsa), legal codices, and various other genres of Jewish writing. More properly this could have just said “there is much discussion around what constitutes a mikveh.”

Most mikvot currently exist in Orthodox synagogues[—]

This is perhaps a minor quibble, but I don’t know that I’d say they’re generally in synagogues. They are frequently associated with a local congregation, but are often in a separate building.

[—]but there is a growing movement to create more diverse and inclusive spaces for mikveh. Mayyim Hayyim is a wonderful resource with a physical body of water mikveh space. Immerse NYC is a newer organization training people of all genders to be mikveh guides. They also work to find gender inclusive spaces for people to do mikveh in NYC.

This is true! Mayyim Hayyim is a wonderful organization I’ve never heard anything bad about, and ImmerseNYC also seems like an excellent organization. Both also only allow Jews (in which group I am including in-process converts) to immerse.

The mikveh guides thing I didn’t explain above, so I’ll take a moment to do so here. Because the rules of immersion are so strict, and because it’s hard to tell if you are completely immersed when you are underwater, most mikva’ot have a guide helping you. Depending on the circumstance and the mikvah, and depending on the patron’s comfort, who and how they do their jobs can differ somewhat. For a woman immersing after niddah, it will usually be another woman who will hold up the towel or bathrobe for you while you get in the water, and will only look from behind it once you are immersed to make sure you are completely submerged. If you are converting, customs vary. Some communities require men to witness the immersion regardless of the convert’s gender, which is very much an ongoing discussion in those communities. Even in those cases, to my knowledge they will only look once the convert is in the water, and there will likely still be a female attendant if the convert is a woman. While there are negative experiences people have had, it is very much an intra-community issue. We’re working on it.

Mikveh can be done in a natural body of water.

Again, this is true, though not all bodies of water work, so AYLR (Ask Your Local Rabbi).

Some people are also making swimming pools holy places of mikveh.

We’ve already explained above why this is nonsense.

In the Mishneh (the book that makes commentary on the torah [sic]) there are arguments as to what constitutes a mikveh and how much water from a spring or well or rainwater must be present.

The main issue in this section is their definition of the Mishneh. As I explained above, the Mishna (same thing, transliteration is not an exact science) is the major compilation of the Oral Torah, the oral tradition that was written down by Rabbi Judah Ha-Nasi so it wouldn’t be lost in the face of exile and assimilation. It’s not so much a commentary on the (Written) Torah as an expansion of it to extrapolate the religious laws we follow. It’s certainly not “the book that makes commentary on the Torah.” We have literally hundreds of books of commentary. That’s probably underestimating. Jews have been around for a long time, and we have been analyzing and discussing the Torah for nearly as long. There are so many commentaries on the Torah.

The second issue is that while there are arguments in the Mishna and Gemara (the oral discussion on the Mishna that was written down even later), they do generally result in a final decision of some sort. Usually whichever side has the majority wins. Variations between communities are still very much a thing, and I can explain why in another post if people are interested, but there usually is a base agreement.

We are of the school that says you decide for yourself what works.

The phrasing they use here makes it sound as though that’s a legitimate opinion in the Mishnah. I cannot emphasize how much that is not the case. While I myself have not finished learning the entire Mishnah, I would be willing to wager a great deal that “whatever works for you” isn’t a stance on any legal matter there. That’s just not how it works. While some modern branches of Judaism may have that as a position, it is definitely not Mishnaic.

If you are concerned about Jewish law, the ocean is always a good choice. There are no conflicting arguments about the ocean as a mikveh. As the wise maggid Jhos Singer says in reference to the ocean, "It's [sic] becomes a mikveh when we call it a mikveh." Done.

(To clarify, I don’t know if that typo was carried over from the source of the original quote or not.)

This is true. However if you are concerned about Jewish law I would very much urge you to look to other sources than this one—be that your local rabbi or rebbetzen, the staff at your local mikvah, or a reliable website that actually goes into the proper requirements. If you want to use a mikveh according to Jewish law, please do not use this document as your guide.

We recognize immersion in water does not work for every body. Therefore, a guiding principle for where to do a mikveh is: do a mikveh in a place that is sacred to you. Your body is always holy and your body is made of mostly water. Later in this guide there is more information on mikveh with no immersion required.

I cannot emphasize how much I have never once heard this before. This, to me, reads like New Age nonsense. If you are unable to immerse in a mikvah, talk to your rabbi. Don’t do…whatever this is.

Our next section is a short one.

Who To Do it With: Do mikveh with people you feel comfortable with and supported by.

This is fine, though many mikva’ot (perhaps even most) will only allow one person to immerse at a time.

Do a solo mikveh and ask the earth body to be your witness.

With this, we return to the strange smattering of neo-Paganism. The “earth body” is not a thing. Yes, the Earth is called as a witness in the Bible at least once. It’s poetic. You also, unless you are converting, don’t actually need a witness anyway. A mikvah attendant or guide is there to help you—if you were somewhere without one, you could still immerse for niddah or various customary purposes.

Do mikveh with people who share some of your vision for collective healing.

As I’ve said before in this essay, collective healing is not the point of a mikvah. If you are Jewish and want to pray for healing, there are plenty of legitimate places for this–the Shemonah Esrei has a prayer for healing and a prayer where you can insert any personal prayers you want; there’s a communal prayer for healing after the Torah reading. You can give charity or recite a psalm or do a mitzvah with the person in mind. You can also just do a personal private prayer with any words you like, a la Hannah, or if you want pre-written words find an appropriate techinah (not the sesame stuff). If you want to work towards collective liberation, volunteer. Learn the laws of interpersonal mitzvot, like lashon hara (literally “evil speech,” mostly gossip or libel). Connect fighting oppression to loving your neighbor or the Passover seder. We have tons of places for this–mikvah isn’t one of them.

Next segment.

What To Bring to A Mikveh: 1. Intentions for the ritual for yourself and/or the collective.

See previous points on intention.

2. Items for the altar from your cultural background[…] (emphasis mine)

If I wasn’t appalled by the “immersing in makeup” or the “do divination first,” this would be the place that got me. This is wrong on so many levels.

One is not allowed to have an altar outside of The Temple in Jerusalem, the one we currently do not have. It’s an extremely big deal. One is not allowed to make sacrifices outside of the Temple. Period. This is emphasized again and again in the Torah and other texts. Even when we had a Temple, there were no altars in a mikvah.

And you certainly couldn’t offer anything in the Temple while naked, as one is required to be when immersing in the mikvah.

Even when we did bring offerings to altars (the Bronze Altar or the Gold Altar, both of which were in the Temple and which only qualified priests in a state of tahara could perform offerings on), the offerings were very specifically mandated, as per the Torah and those other texts. Even when non-Jews gave offerings (as did happen) they were required to comply. You couldn’t just bring any item from your cultural background. This is paganism, plain and simple.

Now, again, let me be clear: if you’re pagan, I have no problem with you. My problem is when one tries to take a sacred practice from a closed religion and try to co-opt it as one’s own. It’s a problem when someone who isn’t Native American decides to smudge their room with white sage, and it’s a problem when someone who isn’t Jewish tries to turn a mikvah into a pagan cleansing rite. And even if the person doing it is Jewish--I have an issue when it’s Messianics who were born Jewish, and I have an issue when it’s pagans who were born the same. Either way, whether you intend to or not, you are participating in appropriation or expropriation.

Which makes the line that follows this point so deeply ironic I can’t decide if I’m furious or heartbroken.

After suggesting that the reader (who may or may not be Jewish) bring items for an altar to a mikvah, the Guide asks:

[…] (please do not bring appropriated items from cultures that are not yours).

Which is simply just... beyond parody. To quote one of my editors, “This is quickly approaching the level of being a new definition for the Yiddish word 'Chutzpah,' which is traditionally defined as 'absurdist audacity' in line with 'Chutzpah is a man who brutally murders both of his parents and then pleads with the judge for leniency because he is now an orphan bereft of parental guidance.' If not for the involved nature of explaining the full context, I would submit this as a potential new illustrative example.”

The next suggestion of what to bring is

3. Warm clothes, towels, warm drinks

All these are reasonable enough, though most mikva’ot provide towels. Some also provide snacks, for while you are preparing. They may also not allow you to bring in outside food.

4. Your spirit of love, healing, and resistance

This, again, has nothing to do with mikvah. The only spirit of resistance in a mikvah is the fact that we continue to do it despite millennia of attempts to stop us. Additionally, to me at least “a spirit of love” feels very culturally-Christian.

Our next section is titled “How to Make Mikveh a Non-Zionist Ritual.”

Right off the bat, I have an issue with this concept. Putting aside for a moment whatever one may think of Zionism as a philosophy, my main problem here is that mikvah has nothing at all to do with Zionism. In Orthodoxy, at least, Jews who are against Zionism on religious grounds perform the mitzvah the same way passionately Zionist Jews do, with the same meanings and intentions behind it. It is performed the same way in Israel and out, and has been more or less the same for the last several thousand years. It is about ritual purification and sanctification of the mundane, no more and no less.

There is a word for saying anything and everything Jewish is actually about the modern Israel/Palestine conflict, simply because it’s Jewish.

That word is antisemitism.

How to Make Mikveh a Non-Zionist Ritual: Reject all colonial projects by learning about, naming & honoring, and materially supporting the communities indigenous to the land where you hold your mikveh. Name and thank the Indigenous people of the land you are going to do your mikveh on.

If you removed the “non-Zionist” description, this would be mostly unobjectionable. We should absolutely help indigenous communities. The framing of “reject all colonial projects” does seem to suggest that there is something colonial about the usual practice of going to the mikvah, though. I would argue that the mikvah is, in fact, anti-colonial if anything—it is the practice of a consistently oppressed minority ethno-religion which has kept it in practice despite the best efforts of multiple empires. Additionally, while Zionism means many different things to those who believe in it, at its root most Zionists (myself included) define it as “the belief that Jews have a right to self-determination in our indigenous homeland.” Our indigenous homeland being, of course, the land of Israel. (This is different from the State of Israel, which is the modern country on that land.) If you are a Jew in Israel, one of the indigenous peoples of the land your mikvah is on is your own. That’s not to say there aren’t others—but to claim Jews aren’t indigenous to the region is to be either misinformed or disingenuous.

Take the time to vision [sic] our world to come in which Palestine and all people are free.

I really, really dislike how they use the concept of The World To Come here. The Jewish idea of The World To Come (AKA the Messianic Age) is one where the Messiah has come, the Temple has been rebuilt, and the Davidic dynastic monarchy has been re-established in the land of Israel. Arguably that’s the most Zionist vision imaginable. This isn’t to say that all people, Palestinians included, won’t be free—true peace and harmony are also generally accepted features of the Messianic Age. But using the phrase in making something “non-Zionist” is, at the very least, in extremely poor taste. (As a side note, even religious non-Zionists believe in this–that’s actually why most of them are against the State of Israel, as they believe we can’t have sovereignty until the Messiah comes. They do generally believe we will eventually have sovereignty, just that now isn’t the time for it.)

Hold and explore this vision intimately as you prepare to immerse. What is one action you can take to bring this future world closer? Trust that your vision is collaborating with countless others doing this work.

Having a “vision” of a world where all are free isn’t doing any of the work to accomplish it. A “vision” can’t collaborate. At least not in Judaism. This sounds like one is trying to manifest the change through force of will, which is something directly out of the New Age faith movement, where it is known as “Creative Visualization.” Even when we do have a concept of bringing about something positive through an unrelated action–like saying psalms for someone who is sick–the idea is that you are doing a mitzvah on their behalf, to add to their merits counted in their favor. It’s not a form of magic or invocation of some mystical energy.

(Once again: I have nothing against pagans. But paganism is incompatible with Judaism. You can’t be both, any more than you can be Jewish and Christian.)

Use mikveh practice to ground into your contribution to the abundant work for liberation being done. We are many.

If you will once more pardon a brief switch to a casual tone:

Nothing says liberation like *checks notes* appropriating a minority cultural practice.

The next section of their document is titled “Ideas for Mikveh Ritual,” and this is where the Neo-Pagan and New Age influences of the authors truly shift from the background to the foreground.  

We start off deceptively reasonably.

Mikveh ritual is potentially very simple. Generally people consider a mikveh to be a full immersion in water, where you are floating in the water, not touching the bottom, with no part of the body above the surface (including the hair).

Technically, most people consider a mikveh to be a ritual bath (noun) in which one performs various Jewish ritual immersions. But if we set this aside as a typo, this is…fairly true. What they are describing is how one is supposed to perform the mitzvah of mikveh immersion. However, in much the same way I wouldn’t say “generally people consider baseball to be a game where you hit a ball with a bat and run around a diamond,” I wouldn’t say it’s a case of “generally people consider” so much as “this is what it is.”

This works for some people. It doesn't work for everyone and it doesn't work for all bodies. Because of this, mikveh ritual can be expanded outside of these traditional confines in exciting, creative ways.

Once again, if you are incapable of performing mikvah immersion in the proper manner, please go speak with a rabbi. Please do not follow this guide.

Before we continue, I would just like to assure you that. whatever “exciting, creative ways” you might be imagining the authors have come up with, this is so much worse.

Method One:

Sound Mikveh: One way that's felt very meaningful for many is a "sound mikveh." This can be a group of people toning, harmonizing, or chanting in a circle. One person at a time can be in the center of the circle and feel the vibrations of healing sound wash over their body. Another method of sound mikveh is to use a shofar or other instrument of your lineage to made [sic] sounds that reach a body of water and also wash over you.

This makes me so uncomfortable I barely have the words to describe it, and I know that I am not alone in this. This is not a mikvah. If someone wants to do some sort of sound-based healing ritual, by all means go ahead, but do not call it a mikvah. This is not Jewish. I don’t know what this is, aside from deeply offensive.

And leave that poor shofar out of this. That ram did not give his horn for this nonsense.

(I could go on about the actual sacred purpose of a shofar and all the rules and reasons behind it that expand upon this, but this is already over 9000 words.)

Method Two is, if anything, worse. This is the one, if you’ve seen social media posts about this topic, you have most likely seen people going nuts about.

Tea Cup Mikveh: Fill a special teacup. If you want, add flower essence, a small stone, or other special elements. Sing the teacup a sweet song, dance around it, cry in some tears, tell the cup a tender and hopeful story, hold the teacup above the body of your animal friend for extra blessing, balance it on your head to call in your highest self. Use the holy contents of this teacup to make contact with water.

This is absolutely 100% straight-up neo-pagan/New Age mysticism. Nothing about this is based on Jewish practice of any kind. Again, I’m at a loss for words of how to explain just how antithetical this is. If you want to be a witch, go ahead and be a witch. But do not call it Jewish. Leave Judaism out of this.

They end this suggestion with the cute comment,

Mikveh to go. We’ve always been people on the move.

Let me explain why this “fun” little comment fills me with rage. 

As you may recall, this document was published by Jewish Voice for Peace. Among their various other acts of promoting and justifying antisemitism, JVP has repeatedly engaged in historical revisionism regarding Jews and Jewish history. In this context, they have repeatedly ignored the numerous expulsions of Jews from various countries, and blaming sinister Zionist plots to explain any movement of expelled Jews to Israel (“In the early 1950s, starting two years after the Nakba, the Israeli government facilitated a mass immigration of Mizrahim,” from “Our Approach to Zionism” on the JVP website; see @is-the-thing-actually-jewish’s post on JVP and the posts linked from there).

So a document published by JVP framing Jewish movement as some form of free spirited 1970s-esque Bohemian lifestyle or the result of us being busy movers-and-shakers is a direct slap in the face to the persecution we’ve faced as a people and society.  No, we aren’t “on the move” because we’re hippies wandering where the wind takes us . We’re always on the move because we keep getting kicked out and/or hate-crimed until we leave.

But there is no Jew-hatred in Ba Sing Se.

Method three:

Fermentation Mikveh: Some food goes through natural changes by being immersed in water. If we eat that food, we can symbolically go through a change similar to the one the food went through.

Again, this has no basis anywhere in halacha. We do have concepts of “you are what you eat,” specifically with reference to what animals and birds are kosher, but there isn’t any food that makes you tahor if you eat it. In the Temple days there were, in fact, foods you couldn’t eat unless you were tahor.

Jews may like pickles, but that doesn’t mean we think they purify you.

Also, the change from fermentation is, if anything, the opposite of the change we would want. Leavening (rising in dough or batter, due to the fermentation of yeast) is compared in rabbinic writings to arrogance and ego, as opposed to the humility of matza, the “poor man’s bread” (see here, for example). Is the suggestion here to become more egotistical?

As we wrap up this section, I’d like to go back to their stated reason for using these “alternative” methods (“It doesn't work for everyone and it doesn't work for all bodies���), and ask: if these really were the only options for immersion, would these really fill that same spiritual need/niche? These obviously aren’t aimed at me, but from my perspective it seems almost condescending, almost worse. “You can’t do the real thing, so we’ll make up something to make you feel better.” If any of them had an actual basis in Jewish practice, that would be one thing, but this just feels…fake, to me. Even within more liberal / less traditional streams of Judaism, there is a connection to halacha: 

“We each (if we are knowledgeable about the tradition, if we confront it seriously and take its claims and its wisdom seriously) have the ability, the freedom, indeed the responsibility to come to a [potentially differing] personal understanding of what God wants us to do… [Halacha] is a record of how our people, in widely differing times, places and societal circumstances, experienced God's presence in their lives, and responded. Each aspect of halacha is a possible gateway to experience of the holy, the spiritual. Each aspect worked for some Jews, once upon a time, somewhere in our history. Each, therefore, has the potential to open up holiness for people in our time as well, and for me personally. However, each does not have equal claim on us, on me…Portions of the halacha whose main purpose seems to be to distance us from our surroundings no longer seem functional. Yet some parts of the halachic tradition seem perfect correctives to the imbalances of life in modernity…In those parts of tradition, we are sometimes blessed to experience a sense of God's closeness. In my personal life, I emphasize those areas. And other areas of halacha, I de-emphasize, or sometimes abandon. Reform Judaism affirms my right, our right, to make those kinds of choices.” – Rabbi Ramie Arian

“[Traditional Reconstructionist Jews] believe that moral and spiritual faculties are actualized best when the individual makes conscious choices…The individual’s choices, however, can and should not be made alone. Our ethical values and ritual propensities are shaped by the culture and community in which we live. Living a Jewish life, according to the Reconstructionist understanding, means belonging to the Jewish people as a whole and to a particular community of Jews, through which our views of life are shaped. Thus, while Reconstructionist communities are neither authoritarian nor coercive, they aspire to influence the individual’s ethical and ritual choices–through study of Jewish sources, through the sharing of values and experiences, and through the impact of the climate of communal opinion on the individual. …While we may share certain values and life situations, no two sets of circumstances are identical. We hope that the Reconstructionist process works to help people find the right answers for themselves, but we can only assist in helping individuals to ask the right questions so that their choices are made in an informed way within a Jewish context. To be true to ourselves we must understand the differences in perception between us and those who have gone before, while retaining a reverence for the traditions they fashioned. If we can juxtapose those things, we ensure that the past will have [in the phrase of Reconstructionism’s founder, Mordecai Kaplan,] a vote, but not a veto.” – Rabbi Jacob J. Straub (Note: the Reconstructionist movement was founded in the late 1920s, and has gone through a very large shift in the past decade or so. I use “Traditional” here to refer to the original version of the movement as opposed to those who have shifted. Both are still called Reconstructionist, so it’s a bit confusing. This is on the advice of one of my editors, who is themself Traditional Reconstructionist.)

You may note, neither of these talk about inventing things from whole cloth. To paraphrase one of my editors, “You don’t completely abandon [halacha], because if you did how would you have a cohesive community? Even in a ‘do what’s meaningful’ framework, you’re taking from the buffet, not bringing something to a potluck. Even if you don’t see halacha as binding, there are limits.”

(Again, disclaimer that the above knowledge of non-Orthodox movements comes from my editors, and any errors are mine.)

The next section is “Prayers for Mikveh.”

As a note, I’m going to censor the names of God when I quote actual blessings, as per traditional/Halachic practice. I’ll be putting brackets to indicate my alterations.

I’m not going to go much into detail here, because frankly my Hebrew isn’t good enough, and the six different people I asked for help gave me at least six different answers, but I will touch on it a bit.

First, the Guide gives a link to an article on Traditional Mikveh Blessings from Ritualwell (here is a link on the Wayback Machine, since the original requires you to make an account). Ritualwell is a Reconstructionist Jewish website, and accepts reviewed submissions. Here is their about page. The blessings on this page, as far as I know, are in fact exactly what it says on the tin. I’m not sure the first one, asher kidshanu b’mitzvotav v’tzivanu al ha-t’vilah, is said for non-obligatory immersions (i.e. not for niddah or conversion), as it is literally a blessing on the commandment. The second blessing at that link is Shehecheyanu, which the Guide also suggests as a good prayer. This is the traditional form of the blessing, given at Ritualwell:

Baruch Atah Ado[-]nai Elo[k]eynu Melech Ha-Olam shehekheyanu v’kiyimanu v’higiyanu lazman hazeh.

Blessed are You, [LORD] our God, Monarch of the universe, Who has kept us alive and sustained us, and brought us to this season.

(As a quick note, you may notice this is not quite how they translate it on Ritualwell–I have no idea why they say “kept me alive,” as it’s definitely “us” in the Hebrew. There’s a long tradition, in fact, of praying for the community rather than ourselves as an individual, but that’s not the point of this post.)

The Guide, however, gives an alternate form:

B’rucha At y[-]a Elo[k]eynu Ruakh haolam shehekheyatnu v’kiyimatnu v’higiyatnu lazman hazeh. You are Blessed, Our God, Spirit of the World, who has kept us in life and sustained us, enabling us to reach this season.

Under the assumption that most of you don’t know Hebrew, I’m going to break this down further. The main difference between these two is grammatical gender–the traditional blessing uses masculine forms, which is common when referring to God. However, while there are often masculine descriptions of God, it is worth noting that Hashem is very specifically not a “man”--God is genderless and beyond our comprehension, and masculine is also used in Hebrew for neutral or unspecified gender. A whole discussion of gender and language is also beyond the scope of this post, but for now let’s leave it at: changing the gender for God in prayer is pretty common among less traditional Jews, and that’s fine. Some of the changes they make (or don’t make) here are interesting, though. The two letter name of God they switch to is–despite ending in a hey (the “h” letter)–not feminine grammatically feminine. I’m told, however, that some progressive circles consider it neutral because it “sounds feminine.” “Elo-keynu” is also grammatically masculine, but a) that’s used for neuter in Hebrew and b) it’s also technically plural, so maybe they didn’t feel the need to change it. Though if that’s the case I would also have thought that Ado-nai (the tetragrammaton) would be fine, as it’s also technically male in the same way. I’m also not sure why they didn’t just change ”Melech HaOlam” to “Malkah HaOlam,” which would be the feminine form of the original words, but perhaps they were avoiding language of monarchy. It’s apparently a not uncommon thing to change.

One of the responses I got said the vowels in the verbs were slightly off, but I can’t say much above that, for the reasons given at the beginning of this section.

Also, and this is comparatively minor, the capitalization in the transliteration is bizarre. They capitalize “At” (you) and “Elo[k]eynu” (our God), but not “y[-]a…” which is the actual name of God in the blessing and should definitely be capitalized if you are capitalizing.

The Guide next gives a second blessing that can be used:

B’rucha at shekhinah eloteinu ruach ha-olam asher kid-shanu bi-tevilah b’mayyim hayyim. Blessed are You, Shekhinah, Source of Life, Who blesses us by embracing us in living waters. -Adapted by Dori Midnight 

The main thing I want to note about this is that…that’s not an accurate translation. It completely skips the word “eloteinu.” “Ruach ha-olam” means “spirit/breath of the universe/world,” not “Source of Life,” which would be “M’kor Ha-Olam,” as mentioned above. “Kid-shanu,” as she transliterates it, means “has sanctified us,” or “has made us holy,” not “blesses us”--both the tense and the word are wrong. “Bi-tevilah” doesn’t mean “embracing us,” either, it means “with immersing.” In full, the translation should be:

“Blessed are You, Shekhinah, our God, Spirit of the World, Who has sanctified us with immersion in living waters.”

The Shekhinah is an aspect/name of God(dess), though not a Name to the same level as the ones that can’t be taken in vain. It refers to the hidden Presence of God(dess) in our world, and is the feminine aspect of God(dess), inasmuch as God(dess) has gendered aspects–remember, our God(dess) is One. It’s not an unreasonable Name to use if you are trying to make a prayer specifically feminine.

(Though do be careful if you see it used in a blessing in the wild, because Messianics use it to mean the holy ghost.)

“Eloteinu” is, grammatically, the feminine form of Elokeinu (according to the fluent speakers I asked, though again I got several responses).

It is, again, odd that they don’t capitalize transliterated names of God, though here there is more of an argument that it’s a stylistic choice, Hebrew not having capital letters.

The Guide then repeats the link for Ritualwell.

Finally, we come to the last section, “Resources and Our Sources:”

First, they credit the Kohenet Institute and two of its founders. I do not want to go on a deepdive into the Kohenet Institute also, as this is already long enough, but I suppose I should say a bit.

The Kohenet Institute was a “clergy ordination program, a sisterhood / siblinghood, and an organization working to change the face of Judaism. For 18 years, Kohenet Hebrew Priestess Institutes founders, graduates and students reclaimed and innovated embodied, earth-based feminist Judaism, drawing from ways that women and other marginalized people led Jewish ritual across time and space” (Kohenet Hebrew Priestess Institute Homepage). It closed in 2023.

I have difficulty explaining my feelings about the Kohenet Institute. On the one hand, the people who founded it and were involved in it, I’m sure, were very invested in Judaism and very passionate in their belief. As with the authors of the Guide, I do not mean to attack them–I’m sure they’re lovely people.

On the other, I have trouble finding a basis for any of their practices, and most of what practices I do find trouble me–again, with the caveat that I am very much not into mysticism, so take my opinion with a grain of salt.

Of the three founders, only one (Rabbi Jill Hammer) seems to have much in the way of scholarly background. Rabbi Hammer, who was ordained at the Jewish Theological Seminary (a perfectly respectable school), has at least one article where she quotes the New Testament and a Roman satirist making fun of a Jewish begger who interpret dreams for money as proof “that Jewish prophetesses existed in Roman times,” which to me at least seems like saying that the Roma have a tradition of seeresses based on racist caricatures of what they had to do to survive, if you’ll pardon the comparison. In the same article, she says that Sarah and Abigail, who are listed in the Talmud as prophetesses “are not actually prophetesses as I conceptualize them here,” (pg 106) but that “abolitionist Ernestine Rose, anarchist Emma Goldman, and feminist Betty Friedan stand in the prophetic tradition.” Given God says explicitly in the text, “Regarding all that Sarah tells you, listen to her voice” (Genesis 21:12), I have no idea where she gets this.

The second founder, Taya Mâ Shere, describes the Institute on her website as “spiritual leadership training for women & genderqueer folk embracing the Goddess in a Jewish context,” which to me is blatantly what I and some of my editors have taken to calling Jews For Lilith. Now, it is possible this is a typo. However assuming it is not, and it would be a weird typo to have, this rather clearly reads as “the Goddess” being something one is adding a Jewish context to–which is exactly what I mean when I say this guide is taking Paganism and sprinkling a little Judaism on it. If it had said “embracing Goddess in a Jewish context,” I’d have no problem (aside from weird phrasing)--but “the Goddess” is very much a “divine feminine neo-pagan” kind of thing. We don’t say “the God” in Judaism, or at least I’ve never heard anyone do so. We just say God (or Goddess), because there’s only the one. In fact, according to this article, she returned to Judaism from neo-Paganism, and “began to combine the Goddess-centered practices she had co-created in Philadelphia with what she was learning from teachers in the Jewish Renewal movement, applying her use of the term Goddess to Judaism’s deity.” The “Goddess-centered practices” and commune in Philadelphia are described earlier in the article as “influenced by Wiccan and Native American traditions, in ways that Shere now considers appropriative (“After Kohenet, Who Will Lead the Priestesses?” by Noah Phillips).” I’m not sure how it suddenly isn’t appropriative now, but taking the Pagan practices you were doing and now doing those exact same rituals “but Jewish” is, in fact, still Pagan.

Shere also sells “Divining Pleasure: An Oracle for SephErotic Liberation,” created by her and Bekah Starr, which is a “divination card deck and an Omer counter inviting you more deeply into your body, your pleasure and your devotion to collective liberation.”

I hate this.

I hate this so much.

For those who don’t know, the Omer is the period between the second day of Passover and the holiday of Shavuot, 50 days later. It’s named for the Omer offering that was given on Passover, and which started the count of seven weeks (and a day, the day being Shavuot). The Omer, or at least part of it, is also traditionally a period of mourning, much like the Three Weeks between the fasts of the 17th of Tammuz and the 9th of Av–we don’t have weddings, we don’t listen to live music, we don’t cut our hair. It commemorates (primarily) the deaths of 24,000 students of Rabbi Akiva in a plague (possibly a metaphor for persecution or the defeat of the Bar Kochba revolt). It is often used as a time for introspection and self-improvement, using seven of the Kabbalistic Sephirot as guides (each day of the week is given a Sephira, as is each week, so each day of the 49 is x of y, see here). It’s not, as Shere’s class “Sex and the Sephirot: A Pleasure Journey Through the Omer” puts it, a time to “engage…toward experiencing greater erotic presence, deepening our commitment to nourishing eros, and embracing ritual practices of…pleasure.”

The final of the founders, Shoshana Jedwab, seems to be primarily a musician. In her bio on her website, scholarship and teaching are almost afterthoughts. I can find nothing about her background or classes. She’s also, from what I’ve found, the creator of the “sound mikvah.”

So all in all, while I’m sure they’re lovely people, I find it difficult to believe that they are basing their Institute on actual practices, particularly given they apparently include worship of Ashera as an “authentic” Jewish practice, see the above Phillips article and this tumblr post.

The institute also lists classes they offered, which “were open to those across faith practices - no background in Judaism necessary.” If you scroll down the page, you will see one of these courses was titled “Sefer Yetzirah: Meditation, Magic, & the Cosmic Architecture.” Sefer Yetzirah, for those of you unaware, “is an ancient and foundational work of Jewish mysticism.”

You may recall my saying something some 5700 (yikes) words ago about Jewish mysticism (i.e. Kabbalah) being a closed practice.

You may see why I find the Kohenet Institute problematic.

I will grant, however, that I have not listened to their podcasts nor read their books, so it is possible they do have a basis for what they teach. From articles I’ve read, and what I’ve found on their websites, I am unconvinced.

Returning to our original document, the Guide next gives several links from Ritualwell, which I’ve already discussed above. After those, they give links to two actual mikvah organizations: Mayyim Hayyim and Immerse NYC. Both are reputable organizations, and are Open Mikvahs. Neither (at least based on their websites) seem to recommend any of the nonsense in this Guide. In fact, Mayyim Hayyim explicitly does not allow non-Jews to immerse (unless it’s to convert). ImmerseNYC has advice to create a ritual in an actually Jewish way. I would say the link to these two groups are, perhaps, the only worthwhile information in this Guide.

They then list a few “mikveh related projects,” two of which are by the writers. The first, Queer Mikveh Project, is by one of the authors, Rebekah Erev. The link they give is old and no longer works, but on Erev’s website there is information about the project. Much of the language is similar to that in this guide. The page also mentions a “mikvah” ritual done to protest the Dakota Access Pipeline, in which “the mikveh…[was] completely optional.” And, of course, there was an altar. The second project, the “Gay Bathhouse” by (I believe) the other author and Shelby Handler, is explicitly an art installation.

The final link is to this website (thanks to the tumblr anon who found it), which is the only source we’ve been able to find on Shekinah Ministries (aside from a LOT of Messianic BS from unrelated organizations of the same name). So good news–this isn’t a Messianic. Bad news, it also seems to have a shaky basis in actual Jewish practice at best. It is run by artist Reena Katz, aka Radiodress, whose MKV ritual is, like “Gay Bathhouse,” a performance project. As you can see from the pictures on Radiodress’s website (cw for non-sexual nudity and mention of bodily fluids), it is done in a clearly portable tub in a gallery. As part of the process, participants are invited to “add any material from their body,” including “spit, urine, ejaculate, menstrual blood,” “any medication, any hormones they might be taking,” and supplies Radiodress offers including something called “Malakh Shmundie,” “a healing tincture that translates to “angel pussy” made by performance artist Nomy Lamm” (quotes from “An Artist’s Ritual Bath for Trans and Queer Communities” by Caoimhe Morgan-Feir). The bath is also filled by hand, which is very much not in line with halacha. Which, if you’re doing performance art, is fine.

But this Guide is ostensibly for authentic Jewish religious practice.

And with that (aside from the acknowledgements, which I don’t feel the need to analyze), we are done. At last.

Thank you for reading this monster of a post. If you have made it this far, you and I are now Family. Grab a snack on your way out, you deserve it.

Further Reading and Resources:

https://www.mayyimhayyim.org/risingtide/members/

https://www.mikvah.org/directory

https://www.mayyimhayyim.org/

http://www.immersenyc.org/

https://aish.com/what-is-a-mikveh/

https://www.chabad.org/theJewishWoman/article_cdo/aid/1541/jewish/The-Mikvah.htm

https://www.chabad.org/library/article_cdo/aid/1230791/jewish/Immersion-of-Vessels-Tevilat-Keilim.htm

https://www.myjewishlearning.com/article/why-immerse-in-the-mikveh/

Meth, Rabbi Ephraim. 50 Mikvahs That Shaped History. Feldheim Publishers, 2023.

[renthony]

So many people complain about how people recommend/review media (don't list the rep, don't list the tropes, don't be too "fandom-y" about it) that it makes me think they don't know that writing effective summaries, reviews, and criticism are learned skills. Not everyone knows how, not everyone is interested in learning how.

I expect the average media recommendation from a friend to be simple, because not all my friends are media analysts or professional critics! If a friend tells me, "hey, go check out this new thing, it's gay and has wizards in it, and I know you like that kinda thing," I'm not going to get angry and demand they produce a detailed analysis of the thing, I'm gonna pull up the trailer or plot summary or whatever on my phone so I can learn more. Most people are not professional media recommendation generators, and it's ultimately up to me to decide if a piece of media actually seems like it matches my tastes before I check it out.

So, like. Chill out. People giving simple, basic recommendations or reviews online isn't some massive crisis that proves everyone is shallow and stupid, it's just that casual enjoyers are not the same thing as professional media critics.

Start reading the trades if you want to keep up with professional quality reviews and criticism. Don't expect it from the layperson who's just excited to share something with you.

(And while we're at it, MARKETING isn't the same thing as analysis and criticism, either. Pithy marketing slogans generate sales. Go read the full plot summaries instead of getting mad at artists for how we have to navigate social media marketing. That shit is HARD. "It's gay and has wizards" may not be a good summary, but if it gets people to stop scrolling and check out the story, it did its job.)

[yujateaandpi]

Instagram comments:

can’t you make these faster— lol I don’t want to watch the show can someone explain everything to me— *really unhinged rude comment*— first— *completely off topic comment that’s clearly an ad*— umm not to hate but why does he have six fingers lol— I don’t get it *followed by the most lack of comprehension explanation*

Tumblr comments:

Take your time OP! Drink water! :) — *just the sweetest nicest most thoughtful analysis*— *Really clever question/ theory*— what’s your favorite food? :3 — *Very politely worded repost request* — *cool shared detail about the show’s lore* — *legit suggestions for making the story more accessible*— Make sure to take breaks! :)

This is why you guys are my forever primary audience.

[bakuhatsufallinlove]

424

All right, listen. It’s pretty damn funny that two weeks ago I posted all like, “oh I don’t really comment chapter-by-chapter, I’m waiting to see what happens next,” but this one broke me.

This chapter was everything I wanted for bkdk, and it’s so much more tender than I ever dreamed it could be.

This post is not going to be like most of my posts, because I am a flood of emotion. If you’re wanting some detailed, well-researched analysis of this scene, that ain’t coming for a while.

I don’t have some kind of comparative linguistics to show you. I just have my visceral reactions as someone who speaks Japanese and has absorbed Japanese media for many years. I have shared my heart with others in Japanese, I’ve sputtered out words between sobs and felt the many kinds of comfort different people try to offer. I have comforted others who let themselves be vulnerable with me.

In all these moments, just as in English, I wondered if my words and feelings reached them. Each time, I felt the warmth of connection when they looked at me, and I decided that they knew I did my best. They accepted me, even if it wasn’t perfect.

I’m gonna tell you the truth, and I wouldn’t normally say this so directly, but it matters to me: the fan translation for this specific scene is not good. The tone is wildly off in some ways and it outright omits a number of very important words.

The official translation gets so much of it right.

But that’s not really what I want to talk about right now. I want to talk about how people are reading this scene.

I have seen a ton of, frankly, oblivious interpretations of Izuku’s side of things.

Listen to me. Izuku is not making fun of Katsuki for crying, he is not telling Katsuki that crying isn’t like him, that isn’t in the text at all. He is not rejecting Katsuki’s feelings, or belittling them, or ignoring them, or any of that.

Izuku has seen Katsuki cry in-canon a number of times, but every time it was over his own personal failures, and the frustration, anger, guilt, and grief associated with them. We see it in the aftermath of Deku vs. Kacchan 1. We see it during Deku vs. Kacchan 2.

Izuku is shocked to see Kacchan cry because this is the first time he has cried for Izuku.

When Katsuki apologized in 322, he looked Izuku in the eye and told him his feelings with conviction and poise. He was gentle and vulnerable, but strong, because he was asking Izuku to trust them and rely on them. To come back with them and believe in them, like they believe in Izuku. He bowed his head to show his remorse. He caught Izuku when he fell, and he accepted Izuku’s own apology.

He embodied dignity, sincerity, and strength of character. He was a true hero.

This?

This is the raw, honest sorrow of a young boy. It is a tender, earnest, unguarded display of how much Izuku means to him.

These are the tears you shed for someone you cherish. These are tears for when you think you are losing something you can’t live without. Because Katsuki isn’t just crying for the loss of Izuku’s dream—it’s their dream, the future they dreamt up together as kids.

Izuku is almost pathologically incapable of understanding how other people see him and feel about him, but this is unmistakable. He is stunned because there is no other explanation.

There is unmitigated heartache and longing at the core of Katsuki saying, “I just thought somehow we would be together like this, competing and chasing after each other, forever.”

And Izuku is reeling, but so, so touched, and filled with fondness. Look at how his shock shifts to this overwhelmed, affectionate smile.

He’s right—this isn’t the usual Katsuki, and that is precisely why it means so much. We as the audience have been privy to Katsuki’s feelings, but until now Izuku himself has never really grasped the depth of them. This is all the tenderness Katsuki has kept locked up inside, and he is letting Izuku see it for the first time.

To see Kacchan—strong, fierce, and absolutely unstoppable—shed these innocent, helpless tears for him and tell him through sobs that he wanted things to stay this way forever, I can’t blame him for being blown away.

I think Izuku expected Katsuki to be shocked and a little sad that he gave up OFA, both for Izuku’s sake and because it is the legacy of their hero. Before Katsuki even starts crying, Izuku has this small smile on his face, like he was ready to reassure him that he had made peace with his own choice.

But he clearly didn’t expect for Katsuki to weep openly in front of him about it or to confess to wanting him by his side. Izuku had so enjoyed just being allowed near Katsuki, allowed in his life at all—to think that Katsuki could want the same and want it this much, to the point that he worries that things would change, that Izuku would abandon him or deny him? How could that ever be?

In what world could Izuku ever stop chasing Kacchan?

Izuku is a bit of an idiot. He has always thought that Katsuki understood how much he cared for and admired him—that’s why he is so shocked during DvK2 to hear that Katsuki thought he looked down on him for years. Izuku thought Katsuki understood his feelings and simply rejected them.

The way he loves Kacchan is natural and unquestionable. Even now, he can’t understand how Katsuki doesn’t know. It’s baffling to him.

But he still accepts Katsuki’s vulnerability and responds to the intimacy.

This is such an affectionate, loving thing to say. Izuku is being so sweet. I cannot convey to you strongly enough how Izuku telling Katsuki, “C’mon, stop it, this isn’t like you!” reaffirms their closeness.

If Izuku had not said this line and instead skipped straight to this nervous, awkward little attempt at comfort here:

It would have read as so much more distant.

With his tears and his confession, Katsuki pleads with Izuku to not leave him. To be with him always.

And in response, Izuku unabashedly stakes his claim on their bond by being bold enough to affectionately scold him and even assert authority on what kind of person Katsuki is. Remember these?

Chapters 202 and 319

This is such a staple in Japanese media for showing close bonds. Your loved ones know you. They tease you. They scold you. They have that right. You gave it to them.

The people you love cheer you up by reminding you that you’re strong and brave and that even if things feel hopeless and like you can’t go on, that they know you can. Everything will be okay, and they know so because they’ll be right there with you. Of course they’ll be there.

Symbolically, throughout the series, Izuku’s response to Katsuki trying to be closer to him has always been: “Of course.”

He has always accepted Katsuki as much as he is able to, as much as he had awareness for. He is wildly lacking in self-awareness, so it’s certainly not perfect, but by god does he try.

What Izuku is really saying is a mixture of “Really? You want that, too?” and “Don’t be silly!”

One part is him being shocked and touched; the other is him being absolutely certain of his own heart, and showing it as best he can.

He does get flustered and self-conscious, though—because it’s overwhelming to see Kacchan this way, and this is kind of new territory for them. So he switches tactics to reassure Kacchan about how things are now, and make sure he doesn’t feel embarrassed about this outburst. He still has the embers, so it’s okay for now. And their bodies are weak, so of course their heads will be in a bad place too, it’s easy to get low spirits. Of course Katsuki would be feeling vulnerable. It’s normal.

He gives Katsuki so many things here. He gives him as much as he can.

Izuku doesn’t know how long he’ll have the embers for and, frankly, he doesn’t have any guarantee that he will be able to satisfy this longing of Katsuki’s after he loses them. This, too, is a staple of promises in Japanese media: “I don’t know if I can satisfy you, but I want to try. I hope you can accept me.”

Things will be different—the future is always uncertain, now more than ever for their world. But what will never change is what they feel in their hearts.

After this scene, I honestly don’t care if we get something other people see as “bkdk canon.”

What Katsuki says is as good as a confession to me. What Izuku says in return is genuine and pure. This is a messy pair of teenage boys figuring out how to reach each other with words, when they have always been so damn bad at it. This is the two of them both reaching a new point of intimacy and reaffirming everything that came before.