#well clearly paul but

[camphorror]

the fact that paul was so bothered and hung up about their plans changing and he kept saying he doesn't even understands why he's moaning about it but he wants what they're doing to have a "pay off" then he justs says this to john and it's like. oh. ok. I Get It now....

and then he sits there like this

[mrcowboydeanwinchester]

these are the days of miracle and wonder

supernatural // the boy in the bubble, paul simon

realised that as this has been sat in my wips for 2 years it probably just won't get finished. but i also think it's too good to hide away. so here is a little treat to thee supernatural song of all time, you should see what the rest of this looks like in my head

[moeblob]

Despite charisma being a pretty important stat for paladins, Paul has no charisma in the base plot. So I decided it would be really funny to have him have super low charisma in game, too.

So the whole "roll a save" in town is because Karen and Paul want to visit a tavern for info and Chris thinks it would only be fair to bully Pauladin with an NPC version of his hot bartender depending on the save.

[graythursday]

[fluffywigglesworth]

Paul "Prick-Tease" Landers

[cherryb0mb-s]

Jake talked heavy shit and then didn't even leave Mike with a fuckin scratch 💀

[sqlmn]

Unfortunately for everyone involved, Brent doesn't understand the concept of being bought a joke, like, why would someone SPEND MONEY on a joke? Since Karen's his friend and bought him a shirt, he's like. Legally obligated to wear it at least once... ? Probably?

So while he suffers over the idea of wearing it and not wanting to wear it at work he eventually would wear it and Karen would suffer the fact she needs to actually not try to joke too much in a teasing way if it's gonna be Treated Seriously. Right suffering from being gay because oh, Brent looks nice in color. (Chris would find out about it at work that he missed Brent in color and just stares at Karen because she is an absolute menace how did she manage that.)

[allthishumanityforfree]

His routine for Streetcar went something like: ‘I had to be the first person out of the dressing room and up the stairs, I had to do the exact same warm-up, I always had to be first person in the theatre.’

It also included eating the same meal every day, ‘so if we did the play for 60 nights, I would say that I ate the same meal from Wahaca for 50-plus nights. Two buttermilk chicken tacos, chicken quesadilla, patatas bravas and a can of Coke,’ he intones, with a smile. It’s about control, he explains, ‘or the lack thereof. Like, you can’t control how the play will resonate with an audience, so it’s about controlling the things I can before it starts.’ (x)

[mydaroga]

She was very kind, very loving. There was a lot of sitting on laps and cuddling. She was very cuddly. I think I was very close to her. My brother thinks he was a little closer, being littler. I would just be trying to be a bit more butch, being the older one. She liked to joke and had a good sense of humour and she was very warm. There was more warmth than I now realise there was in most families.

I think she was pretty good-looking. To me she's just a mum and you don't look at a mum the same way as you look at film stars or something. She had slightly wavy hair in a bob, I suppose she would have described her hair as mousy. It wasn't jet black or red or blonde or anything, it was kind of an in-between colour. She had gentle eyes and wore rimless spectacles. She was quite striking-looking. She had lovely handwriting and was quite nicely spoken for Liverpool and encouraged us to speak the Queen's English. That's why I never had too thick a Liverpool accent.

Paul McCartney, Many Years From Now

[get-back-homeward]

The Case of Thelma Pickles

Thelma's account of John is most often cherrypicked by detractors as evidence he was some lifelong wifebeater. While the violence in the incident she describes is clear, the nuance that makes her account so vivid gets lost in the debate.

I keep coming back to her account for her picture of John at a crucial time, only a few months after Julia is killed.

John’s girlfriend in the autumn of 1958 was Thelma Pickles, a new and interesting student at the art school, just turning 17. Initially, she thought him “a smartarse,” then changed her mind when she witnessed his reaction to a girl who asked if what she’d heard about his mother was true. “She said, ‘Hey John, I hear your mother’s dead.’ He didn’t flinch. He simply said, ‘Yeah.’ She carried on, ‘It was a policeman that knocked her down, wasn’t it?’ Again he didn’t react, he just said, ‘That’s right, yeah.’ I was stunned by his detachment, and impressed that he was brave enough not to break down or show any emotion. Of course, it was all a front.”30

Soon afterward, John and Thelma sat talking at the Queen Victoria Monument and each revealed being deserted by their dads. “He pissed off and left me when I was a baby,” John said of Alf, which was far from correct but no doubt how he felt. Thelma’s father had left home when she was ten; she was sensitive to the stigma of having only one parent and emotional when anyone mentioned it. “I couldn’t sustain the detachment John managed,” she says. “I thought it was quite an achievement to be able to behave like that.”

Suddenly, John and Thel, as he called her, were “going out.” The shared soul-baring cemented it, and also they fancied each other. Thelma was the first female John allowed to get close after Julia’s terrible death. She was given glimpses of his other side.

When we discussed it between ourselves I realized he was clearly more sensitive than he appeared. He spoke of the pure shock of losing his mother, and he said what a loss it was (though I don’t think he used the word “loss”). At such times, he spoke in a much softer, more explanatory way than usual, and though he never demonstrated extremes of emotion, his pain was clear. The other side of the coin was that he’d detect any minor frailty in somebody with a laser-like homing device. I thought he was hilarious, but it wasn’t funny to the recipients.31

Thelma was witness to a rare occasion at Mendips, when John, Paul and George all stood in the kitchen and played their guitars. Mimi was out, and before she was expected back Thelma and the two lads scarpered. John knew Mimi didn’t want them in the house and would raise merry hell about it, and he just didn’t need the headache. For a while, though, John and Thel took regular advantage of Mimi’s going out (it seems she went to play bridge one night a week). The plan, carefully formulated by John, was for Thel (who lived in Knotty Ash) to take the bus to Woolton; she and John would meet and sit across Menlove Avenue in a shelter on the edge of the golf course, and when Mimi left and walked down the street, over they’d go. “I only ever saw Mimi from a distance, in the dark,” Thelma says.

Mostly, Thel found John “enormous fun to be with, always witty, and when we were alone together he was really soft, thoughtful and generous-spirited.” He made them tea and toast, he made her laugh, and he made love to her in his little bedroom above the porch. “We didn’t call it sex—that word wasn’t really used by people then. John called it ‘going for a five-mile run,’ because he’d read or heard this was the amount of energy a man spent.” They used no protection, trusting only to luck, and John told Thel he was glad she was no “edge of the bed virgin”—his euphemism for the kind of girl who would take him half the way there but no further.

John and Thel often took afternoons off from art school to go to the pictures. He liked the old horror films at the equally old Palais de Luxe on Lime Street, and they also went to see Elvis’s final pre-army film, King Creole, which reached Liverpool Odeon in mid-October 1958. Though John very occasionally wore his glasses at college, he definitely didn’t do so in public, and without them, even sitting near the front of the stalls, he could hardly make out how his idol was faring up there on the big screen. He kept nudging Thelma, nagging her to describe all the action: “What’s he doing now, Thel?”

—Tune In, Ch. 9 (June–Dec 1958)

Her account of the beginning of their relationship supports Paul and Cynthia’s characterization of young John as a kid that put on a public front to mask fear and insecurities and grief. She is surprised by his detachment to loss, something she wishes she could attain. (Echoes of this story of John and Paul. Like recognizes like?) Yet with further scrutiny, she sees the detachment as a facade and discovers a shared trauma, and they bond over opening up about their family losses.

After this recognition, they become close. When alone, Thelma sees the softer side to John, thoughtful and generous. When in public, she notices his awareness of the eyes of others, mocking frailties of others while walking around half-blind himself. She finds him hilarious as long as his target is someone else, feeling a sense of specialness by being part of his crew. You can see echoes of John and Paul's mean girls schtick here.

It's notable that by 1959, John has made a habit out of bonding over shared grief/trauma. John meets Paul just after his mother dies, and John lost his father figure a few years before that. John meets Thelma after Julia’s death and they bond over absent fathers. John goes on to meet Cynthia, who has just recently lost her father.

Her account of the end of their relationship supports how John would lash out when power shifted and exposed his insecurities. This lashing out comprises not only one hit in a moment of anger, but several days/weeks(?) of public mocking in response to her ending the relationship over his own actions. Notice how he mocks her with a lie they both know isn’t true all because she wounded his ego? It’s the performance of it all that sticks with me.

And the only way she gets him to shut up is to match him in being equally vicious back. The games of adolescence perhaps, but its echoes in John’s other significant relationships suggest a pattern. Mind games, more than anything, is the weapon of choice.

[Quotes and sources under the cut]

During the course of this, John leaned over to Thel and asked if she fancied “going for a five-mile run.” She agreed, and they slipped upstairs to the Art History room, assuming it would be free. “It was dark but we could tell there were other couples in there, probably having a five-mile run of their own, or trying to,” Thelma recalls. “I told John I was uneasy about doing it in a place like that, especially with other people there, and he wasn’t happy with my attitude. When I insisted on going, and got up to leave, he became rough and whacked me one—his fist connected somewhere between my shoulder and my head, around my neck.”8

During the course of this, John leaned over to Thel and asked if she fancied “going for a five-mile run.” She agreed, and they slipped upstairs to the Art History room, assuming it would be free. “It was dark but we could tell there were other couples in there, probably having a five-mile run of their own, or trying to,” Thelma recalls. “I told John I was uneasy about doing it in a place like that, especially with other people there, and he wasn’t happy with my attitude. When I insisted on going, and got up to leave, he became rough and whacked me one—his fist connected somewhere between my shoulder and my head, around my neck.”8

Thelma stormed off, and decided that was the end of their relationship. She did her best to avoid John through the following week, and when this wasn’t possible she simply ignored him. He started to mock her but she resisted his gibes, and this went on for several days until reaching its culmination in the Cracke. “He was still mocking me, in front of others, and then he called me ‘an edge of the bed virgin.’ That really pissed me off because we both knew it wasn’t true. He was just being sarcastic and wounding because he was pissed off with me, and I got so enraged I shouted back, ‘Don’t blame me just because your mother’s dead!’ It was a cruel remark, but he knew all about those. It just seemed the easiest way to get back at him.”

John and Thelma had reached the end of the line, though they’d remain friends and keep in touch for several years. In an interview in 1980, John reflected on his teenage behavior: “Hitting females is something I’m always ashamed of and still can’t talk about—I’ll have to be a lot older before I can face that in public, about how I treated women as a youngster.”9 Except that he was talking about it, and with the sort of candor customary even when it was to his own detriment. In 1967, John mentioned it within a song lyric and spoke about it to his biographer Hunter Davies. “I was in a blind rage for two years,” he said. “I was either drunk or fighting. There was something the matter with me.”10

This was also, of course, the way it was in many other relationships, and had been for a long time and would be in the future, especially in the north of England. It wasn’t excusable but nor was it unusual, and such attitudes were reinforced constantly in receptive minds by the silver screen. “Not only did we dress like James Dean and walk around like that,” John later remarked, “but we acted out those cinematic charades. The he-man was supposed to smack a girl across the face, make her succumb in tears and then make love. Most of the guys I knew in Liverpool thought that’s how you do it.”11

In terms of dress, John continued to interchange between college scarf and Teddy Boy drape, though being a Ted was always more a state of mind for him.12 The persona remained very much part of his attraction to Paul and George, however—as Paul says, “We looked up to him as a sort of violent Teddy Boy, which was attractive at the time. He got drunk a lot and once he kicked the telephone-box in … [and] what might have been construed as good old-fashioned rudeness I always had to put down to ballsiness.”

—Tune In (Ch. 10, Jan–July 1959)

Based on the accounts of Thelma here and Cynthia elsewhere, both known incidents of John being physically violent with women are single, isolated events. Thelma describes a hair pull and full-on hit (punch) in the neck, which is physically painful to think about, whereas Cynthia describes a slap in the face. In both cases, they feel confident enough to shut it down and walk away, Thelma for good and Cynthia at least making him grovel first (Christmas 1959 card). Domestic violence comes in several forms, some of which do match John’s behavior with Cynthia even if they were common for the time (controlling appearance and activities, possessiveness and paranoia of infidelities, etc.), but neither of these women describe habitual physical violence.

However, this incident does not seem to reflect the guilt with which John talks about it later. Even when put together with Cynthia’s account, which is less than a year later (fall 1959), the level doesn’t seem to match. I notice both incidents would be within the two years after Julia’s death, yet he’s writing about it in 1967 (“I hit my woman”) and still talking about it in 1980. Even 3 months before his death, he was calling himself "a hitter." Either there were more incidents left untold (e.g., Thelma and/or Cynthia are condensing into one where they left, or other women who’ve remained silent) or John’s guilt spun it into more over time. This is notable because there’s not much else he ever seems to publicly regret.

Looking up Lewisohn’s sources, the worst quote from John is actually from Source 11 (the James Dean quote above), a print interview from a dubious author (link in the sources listed below). The author Sandra Shevey has claimed to have spent at least 12 hours interviewing John and Yoko, and while at least one recording of her interview with them is available, I’m skeptical about other quotes in print considering her output. Reading a few pages of her book on John, some parts are so unhinged I wondered why on earth Lewisohn even used anything from her as a source (serious burn book vibes). John has mentioned elsewhere about being influenced by Hollywood’s images of (toxic) masculinity as a teen, but her full quote makes it sound like he was basically raping women all the time. She uses the quote as a springboard to her more outlandish theories (like devoting several pages to the idea that John raped and then murdered Brian over a contract detail?!).

Burn book moments aside, Shevey also gets tons of basic details completely wrong like attributing Get Back’s writing or Bernard Webb’s Woman to John (both are Paul’s) and in general treats Paul as a nonentity in John’s life and work. So I have a hard time trusting anything from her book. However, she is one of the few John bio authors to consider bisexuality (unhinged theories aside) and is questioning the ballad of John&YokoTM in print as early as 1990, perhaps because she spoke with them during a time when the cracks were more visible. So assuming her quotes are accurate and her reading is just wildly off the mark, I think it’s worth mentioning the context of this James Dean quote in her book. It's prefaced with background that may shed light on the case of Thelma Pickles, who had the dubious honor of being John’s first real girlfriend.

Talking in 1972, he's speaking about this in relation to his struggle with accepting Yoko as an equal creative partner on the latest album. There’s a flavor of blaming British society and American culture that sounds very Yoko shaped (he goes on to call British men both effeminate and sadist). However, applying this background to 1958, you can see how a young John would have struggled to apply his relationships with other boys to his first attempt at a relationship with a girl, especially one who was by her own account looking for recognition and belonging with the boys.

Aside from the physical violence, Thelma’s account details the headtrip of John’s verbal violence. When you’re 16, a week of public mockery can feel like a lifetime. Doubly so when it comes from someone you were once close to. Like Pete and Paul, Thelma figures out how to match John’s level and shut him up. Bill Harry also recalls the importance of standing up to John to gain his respect. Thelma has to deal with him like one of the guys, delivering a verbal uppercut that leaves him clocked out and in the sand.

In a way, John’s mockery of Thelma looks like a mirror of the much longer, much more public mockery Paul gets from John 1970-1972. Ram aside, Paul waits to turn the public equivalent on John until 1972—which just so happens to be when John starts to cool his fire toward Paul. Shevey claims to interview John a day in September 1972 and the only recording she’s released is John ruminating about working as a partner with Yoko vs male artists (“It’s a plus, not a minus. The plus is that your best friend, also, can hold you without…I mean, I’m not a homosexual, or we could have had a homosexual relationship, maybe that would have solved it”) and the continued struggle of making this transition. Assuming Paul knew more about John after 13 years than Thelma did in 6 months, I’m left wondering why did Paul wait so long in the 70s? Maybe it’s harder to kick back when you’re feeling down? Or guilty? Maybe smarting from result of the last attempt? Maybe it’s harder to kick back when there’s a mountain more of feelings between you.

After Thelma gives him a taste of his own medicine, they continue to be on speaking terms though the closeness they had was gone. She recalls loaning him art college assignments because he’s in danger of flunking out. John goes on to date Cynthia, and Thelma remembers thinking he’d fancied her given his taunts but sounds a bit dismayed by how he got her to change her entire identity for him (“He got what he wanted”). She recognizes being married to John would be a “gargantuan task” and had no regrets herself.

Lastly, a comment on Lewisohn’s framing here. I think it’s appropriate to mention John’s guilt and the effect of pop culture on the social mores of the time here. But I find it incredibly distasteful that Lewisohn concludes this incident with a quote that suggests Paul liked John violent and hitting women, considering the actual context of the quote.

Here's Paul's words in Many Years From Now that Lewisohn quotes from:

The first sentence of Paul's words on this says it all. This quote is all about the image of the Teddy Boy as a protective measure. Conflating violence against women with fashion is not helpful at all.

This word-twisting feels especially terrible because Paul ends up dating Thelma himself a few years down the line...

All the Beatles were now in settled relationships. Having ended with Dorothy Rhone, Paul played a broad field without hindrance, sparking flames old and new, and he also (from August 1962) found himself a special new “steady.” This was Thelma Pickles—John’s art school lover before he got together with Cynthia. Paul had always liked Thelma, and happened to see her in Liverpool while driving his car—his proud and precious Ford Consul Classic, which he bought new (“on the never-never”) in early August.16 She married, had a baby boy and then separated from her husband. Approaching 21, Thelma lived in a Prince’s Avenue bedsit as a single parent and was trying to resume her art school studies, a talented young woman … and here in her life arrived Paul McCartney.

He was no longer a slightly plump young schoolboy but very much his own person. I only like visual art, I’m not into music, so I had just a vague notion that John and his group were still going. Paul said he’d pick me up later to see them play at the Cavern. It was a jazz club when I’d last been there. It was full of raw energy. Girls were screaming and boys liked them as well. I’d only ever watched Six-Five Special and this was different. I hadn’t believed what Paul said about their increasing fame—being brought up working-class in that era, we were given to believe “our sort” couldn’t become successful.17

—Tune In (Ch. 31, Aug 19–Oct 4 1962)

Her comment on class and success is important to put in context with the rest of her account. Given John's more middle class standing living with Mimi at the time, I’m sure Thelma felt the power differential between them at least the first time she visited Mendips. Notice how sneaky John is to make sure Mimi doesn’t meet her? It mirrors how John only has the band over when Mimi's out of the house; he knows how she will react to him seeing a working-class girl and doesn’t want the trouble. That sticks with a girl, feeling like you’re not worth the trouble. He does end up introducing the much more prim and proper Cynthia to Mimi, and it still goes terribly, but at least he tries, signaling to Cynthia he sees some future with her. That hit in the neck? Sounds a lot more gruesome than a slap in the face. And it's in public, after she turns him down. Despite their shared closeness alone, the power differential in public still reigns supreme. But she knew her limits and stood firm in spite of it all. We only have one picture of her at this time, but it’s a telling one all the same. I look at it and can’t help thinking, oh, I know this girl. Good for her.

Even after Thelma and Paul’s relationship fizzles, they stay friends through other connections. She ends up dating (and later marrying) Mike’s bandmate, Roger McGough. She recalls staying with Roger at Cavendish in the 60s. It’s not clear if she crosses paths with John at this time. Perhaps her presence prompted the guilt we see John express in 67 in Getting Better and interviews with Hunter Davies. I hope she haunted him…even just a bit.

Sources by Chapter

Chapter 9

30 Observer, December 13, 2009.

31 Author interview, September 6, 2010.

Chapter 10

9 Interview by David Sheff, September 24, 1980, for Playboy.

10 Davies, pp56–7. The song lyric: “I used to be cruel to my woman / I beat her and kept her apart from the things that she loved”—“Getting Better,” 1967.

11 Interview with Sandra Shevey, the Hartford Courant, November 26, 1972.

12 “The Teddy Boy … that was my scene, but it was only a club to belong to at the time”—interview by David Skan, Record Mirror, October 11, 1969.

13 Many Years From Now, pp49/33.

Chapter 31

16 Author interview, May 2, 1991.

17 Author interview, September 6, 2010, and e-mails August 29, 2010, and February 28, 2012.

[kalakilo]

there's such an innocence to when adam and harry kiss for the first time in all of us strangers: as much as harry is quite forward and directly asks if he can kiss him, they're very slow and careful about it. bit by bit they move their bodies closer as they hold each other's gaze and smile just so incredibly sweetly. adam feels shy about it because it's been a long time since he's kissed anyone and even with harry's nature and forwardness even he seems careful. they want to be careful with the moment and the energy between them, as any moment of connection like this can be fleeting and fragile and gone before you know it. adam forgets how to breathe, his mind must be running a mile a minute. and once they give themselves to each other after their first kiss they just let go, let themselves be only present in each other

[unproduciblesmackdown]

i'm the first to admit i'm doing a bad job of not liveblogging, but i gotta be nogblogging

[reidmotif]

Between the Books

Summary: Reader is a librarian at the library Spencer frequents while he's finishing one of his degrees. They find themselves in a precarious situation when everyone's left and they're the last two people there.

Couple: Spencer Reid/Fem!Reader

Category: Smut

Content Warning: unprotected penetrative sex, oral (f!recieving), fingering (f!recieving), themes of exhibitionism, public sex.

Word Count: 3.9 k

Masterlist

Being observant came naturally to you, almost as if it was a reflex embedded into the core of your nervous system. You’d say “hello” to a new face and as if under command, your eyes would naturally drift to the small pieces of hair on that stranger’s coat. 

Dog? Cat? Freakishly large gerbil? 

Whatever it was, you couldn’t turn it off. And that’s why when Spencer Reid caught your eye, you simply couldn’t find it in yourself to look away. 

And with time, it seemed like his actions mirrored yours.

You’d taken interest in a position at a university library for the summer. The job seemed to be a welcome change of pace from the likes of hectic summer jobs you’d go for typically in the past, a position that would mostly consist of monitoring graduate-level students who were, thankfully, much calmer than their undergrad counterparts.

 For the most part, you were right. Your days were filled with reading in an air-conditioned building, looking up titles of reference books for other students, and of course, the unexpected, yet welcomed, occurrence of Spencer Reid. 

The longer you spent at the library, the more you came to learn more about him. 

Well, as much as you could learn without actually speaking to the man. 

You’d learned his name from the library card he’d brandish when it came time to check out materials. He’d frequent books about Jean-Paul Sarte, Camus, and Nietzsche, opting to stay in the same, well-lit corner by the window every time he visited. While he could come in at any part of the day, he seemed to prefer later hours, when the library would be mostly vacant. His outfits weren’t over-the-top with formality, but he clearly wasn’t in the business of dressing casually.

 You found it attractive, honestly, how put-together he seemed. 

His return-rate on books was freakishly fast, and at one point, you’d assumed he was checking out books to read a certain page or chapter for research, and would then put it back, until you found yourself properly watching him and realized, no, he actually was just reading that fast. He could finish texts that would take almost a year to cover by seasoned professors and scholars in mere hours.

 How? You had no idea. Nevertheless, you desperately wanted to learn- to know him beyond the gazes of a library hall. 

You’d decided to try your luck at speaking to the man, noticing the three books he’d chosen all seemed to have one incredibly common theme amongst their authorship. 

“Existentialist?” You ask, trying to make your tone seem polite but still friendly. 

He blinks, as if he wasn’t expecting to be spoken to, and takes a second, his gaze meeting yours. “Sorry, what?” 

“Existentialist.” You repeat, motioning to the books you were checking out for him.  “Kierkegaard, Dostoevsky, Kafka. Your books seem to share a commonality.” 

He chuckles, realizing the meaning of your words and shakes his head. “No, no. Not an existentialist. I’d like to believe the world is better than what any of them make it out to be.” 

You smile, and nod. “I’d hope so.” Your eyebrows furrow, head tilting slightly. “Why the interest then?” There’s genuine fascination in your tone, and he seems to absolutely thrive off that, his eyes lighting up as you continue the conversation. 

“I’m completing my Masters in Philosophy.” He responds. “We’ve been doing an assignment on existentialism, hence the ridiculous amount of gloom and doom in my reading.”

 There’s a pause, before he cracks a smile, and then asks you, “Romantic?” 

You look at him in confusion. It’s your turn to not get the joke. “Sorry?” 

“Are you a romantic?” He asks. When you retain that confused look on your face, he continues. 

“You’re almost always reading some variation of a romance novel here. So far I’ve counted Austen, Bronte, and I think I saw a copy of Anna Karenina on the counter once.” 

You feel a bit of heat rise to your face, realizing that in his own way, he’d been observing you as well. In a second, the tables were turned, and the lens you often used on others was abruptly focused on you instead. 

“Well, Anna Karenina is hardly a romance, I’d argue.” You say, before nodding. “But, yeah. I guess I’d say I’m a fan of romance in novels.” 

He smiles, shaking his head. “I’m not asking you if you’re a fan of romance in novels, I’m asking you if you’re a romantic.” He says, putting emphasis on the last word, as if that was supposed to provide some grand difference to the statement. 

“Just as much as anyone else, right?” You respond, still a bit puzzled at his insistence on contrasting the syntax of his statement. 

“I see.” He says, nodding, continuing to look at you, as if he was sizing you up. “I’ll have to pick up a copy of Anna Karenina sometime then. See if it’s as much of a love story as I remember.” 

“I think you’ll find it’s absolutely not.” You reply, smiling. “I believe we have a copy of it here, as a matter of fact, if you’re actually interested.” There’s a hint of skepticism in your tone, wondering why he seemed to be taking so much regard to your conversation.

“Of course I’m actually interested. You seem passionate about the subject.” He counters, grinning. 

“I mean- yeah, I am! It’s a pretty misinterpreted book, I think.” You say. There’s a slight moment of silence, before you find yourself saying your next few words. “I’m also surprised you’re interested. I’m not always sure if it’s up everyone’s lane. Lots of people can’t get through it.” 

“I’m sure the least I can do is try.” He says, shrugging. 

You check out the last of his books, placing them in his outstretched hands. “Honestly, I’m even more surprised you noticed. You seem pretty into it in your corner over there.” You say, half-jokingly, but with a hint of seriousness mixed into it. 

He gives a softer smile, almost boyish, as he replies. 

“You’re pretty hard not to notice.” 

He keeps the smile on his face, giving you a slight nod of his head, before leaving you to deal with the sudden heat that had risen to your cheeks as a result of his words. You couldn’t find it in yourself to respond to his quick wit in the moment, your heartbeat still racing long after he’d left. 

Over that summer, the two of you get continually closer. To your absolute delight, he does end up reading Anna Karenina and better yet, he agrees with you. You immediately take an even stronger liking to him than before. Thus starts your tradition of recommending books to each other, the two of you discussing them when he’d come to the library, almost like a secret, private book club that only you two were privy to. 

You come to learn more about him. His doctorates, his job. The secret of his inhumanely fast reading was revealed to you later down the road, when he explained the abilities of an unconscious mind.. or something. While you wanted to give your undivided attention to him, there was an unspoken part of you that couldn’t help but find it ridiculously attractive when he explained things to you. He never seemed to notice that enduring part of your psyche, and you were grateful for that. 

Overall though, he made quite the friend. He shared your love of literature, and could be a wonderful listener at times. Your previous days of solitude in the library were long forgotten, and you found yourself looking forward to his daily visits, ready to share your thoughts on some book he’d last asked you to read. 

You find that his visits become less and less about the actual establishment, and more and more about you, especially when he opts to visit you at the front desk first, as opposed to over at his usual spot by the window. Somedays, he makes it obvious, not even bothering to peruse the selection of books he was previously accustomed to, and merely opts to talk to you the entire time, right up to the point where you’re locking the doors of the library and heading to your own place for the night. 

There’s a part of you that wonders why he hasn’t asked you out. You wonder why you hadn’t asked him out. It only seems natural, given how much time the two of you were spending- a date seemed like an obvious byproduct of the lingering gazes you’d catch him throw at you, the absolute joy that would bubble in your chest everytime the two of you shared an afternoon. 

You shrug it off. All in good time, right? 

It’s another night at the library, and you found yourself a bit frustrated. You’d asked your manager if there was any way she could take on the later shift of the day, increasingly tired with the hours of the job and simply needing a break from it all. She refused, and tonight, that refusal seemed to be on the forefront of your mind. 

“I just- I don’t get it, Spencer. I know she can take on this shift.” You say, wheeling around a cart of books to be reshelved, talking openly since the library was empty at this point in the day, all patrons packed up and soundly at home– while you were stuck here. 

He stayed, of course, following you around diligently as you completed the task, listening to every word.

 “I get that this is the worst shift to have, but come on. I’m a good employee, you know? I feel like I deserve a break here and there.” You come to a stop, picking up a stack of books with a huffy sigh. “But no. I’m the one who has to go home late. I’m the one who’s on closing every single night. I’m sick of it.” 

He nods sympathetically, and you continue to grovel, deeply appreciative that he was allowing you to vent to him like this. You stand on the provided step-stool on the ground, allowing you to have the height necessary to shelve some books that belonged further up than normal. 

“Like, is it really that hard?” You grumble, your face turned away from Spencer as you find each book’s proper place. “God forbid she sleeps at a later time than normal- or I don’t know, hires someone else.” The last book is reshelved, and you turn around, about to dismount the stool. “And another thing-” 

In the midst of your rant, you find yourself distracted,  missing the step on the stool that would’ve allowed a safe dismount, and you quickly realize you’re falling off, letting out a small yelp before a stronger force keeps you upright- a force that happened to be Spencer’s arms catching you. 

“You alright?” He asks with heavy concern, trying to look into your eyes or your legs, attempting to discern for signs where you might’ve hurt yourself on your descent. 

It takes a second for you to process that you are insanely close to Spencer. His features are almost enhanced by the low-lighting of the dark library, his eyes entirely dilated as he stares at you, his lips soft and perfect– and those cheekbones, god. You could practically cut yourself on them. 

You quickly return to your senses, trying to go back to a more suitable position that wouldn’t leave you so absolutely tongue tied. “No, no. I’m fine, honestly.” You step back, wiggling your leg a little. “See? Entirely fine.” 

He smiles a little sheepishly. “Sorry, I just get worried. I’m a doctor, you know.” He says, a teasing quality in his tone as he steps closer. 

“Not an actual doctor.” You say, rolling your eyes fondly. 

“Come on.” He says, letting his hand drift over back to your arm, which had taken most of the shock of falling onto him. “Humor me.” 

There’s that grin again, and you can’t help but relent. 

And so you humor him like he asked, letting his fingertips trail over the skin to properly check for any injuries, the action much more sensual than it should’ve been for a friend checking up on another friend. 

“You know.” He murmurs, his voice a bit lower than before. “I don’t actually think this is the worst shift to take on.” 

Your throat is dry, a physical reaction being drawn out of you as he touches you, and there’s a conscious reminder you actually have to respond to his words. 

“Oh? Why is that?” You force out. 

“It’s so quiet.” He mumbles out, immediately, his fingertips now tracing down to your waist, as the two of you made eye contact. “Nobody’s even in here at this point.” 

You swallow, trying to calm the rapid beat of your heart. “Yeah, I suppose you’re right.” 

“I like the quiet.” He says, continuing on. The previously feather-like touch on your waist becomes more grasping than anything else. “There’s just so much more you can get done when it’s quiet.” 

You nod and half heartedly mumble. “Mhm.” You’re far more focused on your growing proximity than his actual words, the act rendering you entirely breathless until he’s standing face to face with you, your breaths mingling due to the closeness. 

“I can feel your heart beating.” He mumbles. “So fast. Do I make you nervous?” 

You lick your lips and nod out of instinct, before squeezing your eyes shut and shaking your head. “No, no. It’s just the closeness. I’m not used to it.” You whisper, eyes opening– and his gaze is as intense as ever. 

One of his hands goes to cup your face. “Unless you tell me otherwise, I’m going to kiss you now.” 

You don’t move a single muscle. 

And then all of a sudden, he’s everywhere. He’s pulling you closer, absolutely devouring you like he’s been starved for your touch all along. His tongue slips into your mouth, and you respond in approval, humming with a deep content against his lips, your hands going to wrap around his neck, pulling your bodies flush together. You don’t want space– not now, or ever again. 

“Fuck. Wanted this for so long.” He mumbles, as soon as he breaks off the kiss, finding the pulse point on your neck, and going at it with his lips, causing you to quietly moan out in pleasure. You’d never heard him curse before, and the act only served to add to the steadily growing throb in between your legs. 

He pushes you even more insistently up against the counter attached to the bookshelves, your weight slightly more supported by the wood, as opposed to his body like before. 

“You’re so pretty.” He breathes out in between his assault on your neck, his mouth finding every inch of your nape, and marking it as his own. It’s almost like he’s hellbent on mapping out every plane of skin there, committing every spot that makes you whine or let out his name to memory.

You’re breathing so heavily, and you think it can’t possibly get any better than this, but he proves you wrong when he abruptly gets to his knees, your eyes widening. 

“Need to taste you. Please.” 

He’s begging, like, on-his-knees, doe-eyes, broken voice- begging to eat you out. 

And how could you ever say no, what, with those pretty eyes of his, and that expression on his face that made you practically weak with need?  

“Yes.” You whisper out, and in record time, he’s undoing your jeans and underwear in one clean swoop, not even bothering to fully remove the material before his tongue is all over your cunt, lapping up the wetness that had accumulated in the past few minutes. You’re half surprised he didn’t just rip your clothing off, given the enthusiasm he was showing at this moment. 

You’re suddenly incredibly aware of where you are- your place of work, a fucking library, and Spencer Reid was buried in your thighs like a man parched, lapping up wherever he possibly can. You can hear the obscene noises of your passion, his tongue lavishing over you, before he pays special attention to your clit, wrapping his lips around the nub and sucking softly.  You cover your mouth with your free hand- grateful that the wood behind you was supporting you, because without it, you truly think you’d topple over from the sheer pleasure of it all. 

“Fuck.” You whisper, voice high-pitched as you try to hold back your noises. “Fuck. Gonna come.” You warn, legs shaking as you barreled towards your release. 

Without warning, his fingers enter your cunt, and you’re fighting back a scream. 

How long had you stared at his fingers before this? How many times had you watched them run up and down the spines of the books he read, or gestured with them constantly whilst speaking? How long had such a simple part of his body captivated you? 

How many times had you secretly wondered to yourself how they’d feel inside you?

It didn’t matter anymore. You had your answer now. Fucking amazing.

“Spencer!” You whine out, his fingers naturally reaching that soft spot inside that you often struggled to even brush against. His lips find your clit again, sucking softly and you know you’re an absolute goner. 

“Oh, fuck, fuck, fuck-” 

Before you can even voice in coherent terms how good this feels, you’re coming, the walls of your cunt spasming around his fingers as he relishes in the reaction, using the tip of his tongue to circle your clit, and slowing his fingers down as you ride out the remnants of your orgasm. He slips the digits out of you as he rises to his knees, and sucks on his fingers, one by one, practically moaning as he tastes your release.

The sight is downright sinful.

“You taste so good.” He whispers, crashing his lips against yours again, and you’re already needy again when you can taste yourself on his tongue. 

His hands drift down to his own slacks, undoing them and pulling his cock out, already dripping with precum. 

“You ready, pretty girl?” He murmurs, guiding his tip to your waiting cunt. You’ve situated yourself on the wood of the desk entirely now, needing the support for what happens next. 

You nod, and without even realizing he was already mostly there, he pushes into you entirely, and your jaw drops. Your head rests against  his shoulder, trying to accustom to feeling of him stretching you out so fucking perfectly. 

How could you ever fuck anyone else again, when he just felt so perfect for you? 

It seemed that he agreed with the sentiment, moaning softly as his free hand steadied himself by gripping onto the shelf. “You feel so fucking good.” He murmurs. “Can I move? Are you okay?” He asks, softly. 

His other hand rubs soothing circles into your hip bone, and you’re nodding, touched by his concern for you, even during such a salacious act. 

His thrusts are slow at first, still allowing you to get used to the feeling of him inside of you, before he’s truly going at it, his thick cock rubbing against your wet walls in a way that makes you feel light and full all at once. It's delectable, and you never want it to end. 

You whine, holding onto his neck, your head thrown back as you take it, feeling the books rattle around you with every hump he deals into you. You can’t even find it in yourself to care– all that matters right now is you, and him, and how fucking amazing it feels when he’s fucking you like this. 

You can feel yourself building towards another pleasurable release, before you hear the telltale click of the library door opening, effectively removing you from the moment. Fuck. The janitor. 

“Spencer, Spencer!” You whisper-shout, biting your lip. His cock doesn’t once slow inside you, and you find it hard to think when it feels that good. 

“We’re gonna be caught!” You whine out, dizzied by how you were simultaneously turned on and utterly panicked. 

“No, we won’t.” He whispers, gruffly. With your hands now around his neck, he lets his hand drop from the shelf and covers your mouth. He leans in even closer, if that’s possible, eyes dark. 

The sight makes a shiver go up your spine. 

“Stay quiet.” He murmurs, as he begins to deal slower, more deliberate thrusts into your cunt. 

“Feel that? Feel how I’m filling you up, nice and slow?” He whispers, the words barely audible, but with how close he’s standing to you, they overtake every one of your senses, and you nod desperately, eyes glistening as you feel yourself dancing on the precipice of release. 

“Shh. I know.” He murmurs. “Come for me, yeah? I know you want to. Show me how much you like my cock inside of you.” 

It's a combination of his tone, of the risk you two were facing, and the sensation of him that has you responding exactly the way he wants, and in an instant, you’re coming with a shuddering breath, holding back a loud whine, just like he asked you to. 

The feeling of your walls spasming has him releasing as well,  a warmth flooding in your deepest point. His head drops into your shoulder as he attempts to muffle his moans the best he can, and you both bask in the afterglow for a second, trying to pant as quietly as you could. 

Spencer immediately springs into action, redressing you with precision and care, guiding your underwear and jeans back up, buttoning them up for you. You’re still in a slight haze from the two orgasms he’d just given you, and when you properly come to, his slacks are back on, and he leans in for a much more chaste kiss. It leaves you with butterflies, despite everything,  and you find yourself smiling softly at him. The fondness reflected in his expression is undeniable.

“Let’s get out of here.” He murmurs, grabbing your hand and guiding you in between the shadows of the shelves, effectively keeping you both from being caught. The janitor remains clueless, as you two sneak out, giggling like teenagers as you find yourselves outside, the summer night warm and cool all at once. 

“That was..” You mumble, laughing a bit, surprised that had even happened. 

“I know. I- uh. Might’ve gotten carried away?” He says. “I usually like to do that after a date. I just-” He steps closer, cupping your cheek. “I couldn’t wait. I hope that’s okay.” He whispers. 

“More than okay.” You whisper back. 

His thumb slowly strokes over the expanse of your cheek, and he bites his lip. “Could we? Date? Try this out?” He murmurs. “I know I didn’t get much of a chance to say it back there, but I really like you.” 

You can’t help the chuckle that escapes you. This man had just been inside you, and now he was blushing and stuttering whilst he attempted to ask you out. 

“Yes.” You nod. “Let’s try this.” 

He’s got the most genuine smile on his face, and a sigh of relief  can be heard as he leans in again to kiss you, and you can’t help the smile on your face as your lips meet his, the elation in both of your bodies absolutely radiating inside and out. 

You recount your first conversation and know now, there was a difference between liking romance, and being a romantic. 

You reckon Spencer Reid could make quite a romantic out of you. 

this is uploading an hour later than i wanted it to :( but whatever. i hope you guys like this one <3 i'm trying something new! not first person pov, but "you" ? pleaseee let me know how this works for you guys! i love experimenting out with new fic methods but if it's clear this isn't working TELL MEEE so i can go back to what did work. anyway, any likes, reblogs, comments are so so so genuinely appreciated. thank you thank you thank you for reading either way <3

[saintarmand]

hmm. read that iwtv article i reblogged. didn't end up agreeing with much of it. lol

[gremlingottoosilly]

Imagine another soldiers GF is visiting him and Konig sees her and is like "My GF now" what is he gonna do? Challenge the 7 ft. Tall killing machine?

Visiting Paul wasn't the sanest thing you did - and not the proudest of your moments, too. Your relationships started to crack a while ago, not helped by the rumors his squad buddies are spreading whenever you're in the earshot or Facetiming him. You just wanted to give him a visit, maybe woo him over with some homemade goods, and maybe be a normal boyfriend and girlfriend again. Maybe. You didn't expect his colonel to give you such a scolding. "You know that poisoning the troops is a war crime, ja?" You're terrified. His colonel is fucking huge, has a creepy name - seriously, what did he do to be named King instead of Potato or a Shrimp - and has that weird boyishly rough voice that lools you into the sense of security, only for it to be broken the second he laughs, tearing into the dumb box filled with dumb cookies you made for Paul and some of his squadmates. You had friends at his station, you thought you could just get in without the bureaucracy bullshit - only closest family members are allowed here, and you are quite certain that your boyfriend won't wife you up anytime soon. "It's not poison, s...sir" "I look like a sir to you, Maus? Call me colonel" You want to answer that he looks like a fucking nightmare crawling out of your bad dreams, but you bite your tongue. Don't even resist as Konig gets his huge gloved hands into the box, slowly taking one of the cookies. You whimper as he snaps the thing in half - hours of hard work, you can already see them being trashed away all because Paul didn't respond to your calls and didn't pick them up immediately and because he didn't mention his colonel is going to be on the base and- Konig gets one of your cookies under his hood, the sounds of munching like music to your ears - an angel's horn, maybe, the ones that play during the apocalypse. You wait patiently to be prosecuted for your crimes - the ones you aren't quite sure you even committed, to be honest. "You'll do. Horangi will show you to my quarters." You think you're hearing things. Maybe, you somehow managed to hit your head on the way to the colonel's office, and now you're hallucinating the entire encounter? The colonel stands up - he is huge, god, too fucking tall to even be alive, you think - and drops a heavy hand on your shoulder, patting you almost awkwardly. You hate the way he looks at you right now - almost soft, almost gentle, his hand squeezes your skin in a way that is way more loving than your boyfriend ever did before, and you feel pathetic for leaning into the touch, if only for a second. You didn't know that Konig got his eye on you even before you went to the base. He knows a lot about his soldiers, and your sorry fuck of a boyfriend clearly didn't deserve a sweet little thing like you - for fucks's sake, you literally just brought homemade cookies to the military base; how much more of an angel you can be. He also knew that you're not quite satisfied with the relationships if he can judge by how much bitching Paul is letting out during his free time. Konig also knows that if he gets you to marry him as soon as possible, sooner he could put you in his house and make you bake him cookies every day of his retirement - that doesn't seem like such a bad opportunity now, not if he would have a pretty housewife attached to his hip. And if you don't really want to be with him, well... Nothing that a few weeks of extensive home training couldn't fix.

[phantasmicfish]

So I saw Dune Part 2 yesterday and I was initially super crushed because of the deviation from book canon but the more I think about it the more I sorta like it…

So without further ado here’s a list of stuff I liked about Dune Part 2:

- all the scenes initially of Paul growing closer to the Fremen. You can clearly see that they become friends, accept him as a Feydakin, that they’re laughing, joking, hanging out. (And contrast that to the end of the movie, where Paul has no more Fremen friends, only followers. In the book, this is echoed, where Paul recognizes that he has lost his friends to the Muad’Dib religion. Take book Stilgar, who truly embodies this… by the end of the book, Paul says: “I have seen a friend [Stilgar] become a worshipper.”

- giving Chani explicit rejection of Paul’s messiah status was an interesting choice. Chani’s main thought over part 2 is that they don’t need religion to save them, that through Fremen power and desert power, the Fremen can save themselves. She recognizes that this fanatical worship can be a vehicle to control and enslave her people, and I sorta wish we saw Paul lean into that more… that they found a way to stay together and ‘fight’ the prophecy together based on Chani’s ideals…

- also, I love how engrained this rejection of religion and prophecy is in her character. Book Chani takes no issue with her Fremen name, Sihaya (desert spring), but movie Chani hates it “because it’s part of some prophecy.” Later, we see that despite her rejection of prophecy and religion, that the prophecy does indeed come to pass— the tears of desert spring save Him aka, Chani saving Paul after he drinks The Water of Life. (Interesting how Jessica has to force Chani to save Paul using the Voice… another example of Jessica explicitly forcing Paul to become the messiah).

- adding more depth to Fremen culture— the South being the more religious fundamentalist tribes vs the North being more secular. Early on, the movie paints this immediate divide between the tribes of Fremen who accept Paul and Jessica versus those who treat them as offworlders (who murdered Jamis). In the books everyone accepts Paul and Jessica after Paul bests Jamis and Jessica quotes some scripture, but I think it makes more logical sense that there’d be friction over these two random offworlders coming in

- I love love loved Paul speaking at the meeting of the Fremen tribe leaders in the South. He fully accepts his messiah status, exercises his power of the Voice + his prescience as a way to command all the Fremen under his name

- I’m a big fan of omitting the two-year time skip, so with that I’m glad Leto II was skipped over entirely. I always felt that Leto II was an unnecessary character addition to the book, especially when he just dies and everyone sort of goes “oh well” and moves on, so I’m glad it’s omitted.

- another interesting choice was to paint Jessica as a straight up villain in comparison to the way her book counterpart was not. The movie Jessica we see here is seemingly corrupted by the Water of Life: she walks around talking to herself (Alia) and scheming Paul’s ascent to Lisan-Al Gaib. She knows about the Holy War, which is the very thing Paul is trying to prevent, yet she expresses no concern about bringing it to fruition. (Probably because Jessica knows it’s impossible to prevent, but still.) The very last line of the movie, where Alia asks Jessica what’s going on and Jessica says “The Holy War has begun” is just total villain in my mind— explicit acceptance of the Holy War, like it’s just another stepping stone in her plan. Plus, the fact that Paul has visions of Jessica leading him into this period of great starvation totally cements her as a villian.

- going off of that, I like that we see Jessica undergoing actual agony when she takes The Water of Life. When book Jessica and Paul take The Water of Life they accept it calmly and without obvious pain (book Jessica was sitting with her eyes closed, as if sleeping), so this physical reaction that Jessica has to the poison adds to the idea that The Water of Life did change her in a negative way.

- I feel like so far we’ve been introduced to Alia as just a weird talking fetus who’s been consorting with Jessica, so Paul’s vision where Alia says “I love you” really strikes home, that she really does care for Paul which we might not have understood otherwise