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sleeplesslionheart · 7 months

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The Haunting of Bly Manor as Allegory: Self-Sacrifice, Grief, and Queer Representation

As always, I am extremely late with my fandom infatuations—this time, I’m about three years late getting smitten with Dani and Jamie from The Haunting of Bly Manor.

Because of my lateness, I’ll confess from the start that I’m largely unfamiliar with the fandom’s output: whether fanfiction, interpretations, analyses, discourse, what have you. I’ve dabbled around a bit, but haven’t seen anything near the extent of the discussions that may or may not have happened in the wake of the show’s release, so I apologize if I’m re-treading already well-trod ground or otherwise making observations that’ve already been made. Even so, I’m completely stuck on Dani/Jamie right now and have some thoughts that I want to compose and work through.

This analysis concerns the show’s concluding episode in particular, so please be aware that it contains heavy, detailed spoilers for the ending, as well as the show in its entirety. Additionally, as a major trigger warning: this essay contains explicit references to suicide and suicidal ideation, so please tread cautiously. (These are triggers for me, and I did, in fact, manage to trigger myself while writing this—but this was also very therapeutic to write, so those triggering moments wound up also being some healing opportunities for me. But definitely take care of yourself while reading this, okay?).

After finishing Bly and necessarily being destroyed by the ending, staying up until 2:00 a.m. crying, re-watching scenes on Youtube, so on and so forth, I came away from the show (as others have before me) feeling like its ending functioned fairly well as an allegory for loving and being in a romantic partnership with someone who suffers from severe mental illness, grief, and trauma.

Without going too deeply into my own personal backstory, I want to provide some opening context, which I think will help to show why this interpretation matters to me and how I’m making sense of it.

Like many of Bly’s characters, I’ve experienced catastrophic grief and loss in my own life. A few years ago, my brother died in some horrific circumstances (which you can probably guess at if you read between the lines here), leaving me traumatized and with severe problems with my mental health. When it happened, I was engaged to a man (it was back when I thought I was straight (lol), so I’ve also found Dani’s comphet backstory to be incredibly relatable…but more on this later) who quickly tired of my grieving. Just a few months after my brother’s death, my then-fiancé started saying things like “I wish you’d just go back to normal, the way you were” and “I’ve gotten back on-track and am just waiting for you to get back on-track with me,” apparently without any understanding that my old “normal” was completely gone and was never coming back. He saw my panic attacks as threatening and unreasonable, often resorting to yelling at me to stop instead of trying to comfort me. He complained that he felt like I hadn’t reciprocated the care that he’d provided me in the immediate aftermath of my brother’s loss, and that he needed me to set aside my grief (and “heal from it”) so that he could be the center of my attention. Although this was not the sole cause, all of it laid the groundwork for our eventual breakup. It was as though my trauma and mourning had ruined the innocent happiness of his own life, and he didn’t want to deal with it anymore.

Given this, I was powerfully struck by the ways that Jamie handles Dani’s trauma: accepting and supporting her, never shaming her or diminishing her pain.

Early in the show—in their first true interaction with one another, in fact—Jamie finds Dani in the throes of a panic attack. She responds to this with no judgment; instead, she validates Dani’s experiences. To put Dani at ease, she first jokes about her own “endless well of deep, inconsolable tears,” before then offering more serious words of encouragement about how well Dani is dealing with the circumstances at Bly. Later, when Dani confesses to seeing apparitions of Peter and Edmund, Jamie doesn’t pathologize this, doubt it, or demean it, but accepts it with a sincere question about whether Dani’s ex-fiancé is with them at that moment—followed by another effort to comfort Dani with some joking (this time, a light-hearted threat at Edmund to back off) and more affirmations of Dani’s strength in the face of it all.

All of this isn’t to say, however, that Dani’s grief-driven behaviors don’t also hurt Jamie (or, more generally, that grieving folks don’t also do things that hurt their loved ones). When Dani recoils from their first kiss because of another guilt-inspired vision of Eddie, Jamie is clearly hurt and disappointed; still, Jamie doesn’t hold this against Dani, as she instead tries to take responsibility for it herself. A week later, though, Jamie strongly indicates that she needed that time to be alone in the aftermath and that she is wary that Dani’s pattern of withdrawing from her every time they start to get closer will continue to happen. Nonetheless, it’s important to note that this contributes to Dani’s recognition that she’s been allowing her guilt about Eddie’s death to become all-consuming, preventing her from acting on her own desires to be with Jamie. That recognition, in turn, leads Dani to decide to move through her grief and beyond her guilt. Once she’s alone later in the evening after that first kiss, Dani casts Eddie’s glasses into the bonfire’s lingering embers; she faces off with his specter for a final time, and after burning away his shadow, her visions of him finally cease. When she and Jamie reunite during their 6:00 a.m. terrible coffee visit, Dani acknowledges that the way that she and Jamie left things was “wrong,” and she actively tries to take steps to “do something right” by inviting Jamie out for a drink at the village pub…which, of course, just so happens to be right below Jamie’s flat. (Victoria Pedretti’s expressions in that scene are so good).

Before we continue, though, let’s pause here a moment to consider some crucial factors in all of this. First, there is a significant difference between “moving through one’s grief” and simply discarding it…or being pressured by someone else to discard it. Second, there is also a significant difference between “moving through one’s grief” and allowing one’s grief to become all-consuming. Keep these distinctions in mind as we go on.

Ultimately, the resolution of the show’s core supernatural conflict involves Dani inviting Viola’s ghost to inhabit her, which Viola accepts. This frees the other spirits who have been caught in Bly Manor’s “gravity well,” even as it dooms Dani to eventually be overtaken by Viola and her rage. Jamie, however, offers to stay with Dani while she waits for this “beast in the jungle” to claim her. The show’s final episode shows the two of them going on to forge a life together, opening a flower shop in a cute town in Vermont, enjoying years of domestic bliss, and later getting married (in what capacities they can—more on this soon), all while remaining acutely aware of the inevitability of Dani’s demise.

The allegorical potentials of this concluding narrative scenario are fairly flexible. It is possible, for instance, to interpret Dani’s “beast in the jungle” as chronic (and/or terminal) illness—in particular, there’re some harrowing readings that we could do in relation to degenerative neurological diseases associated with aging (e.g. dementia, Alzheimer’s, Parkinson’s, progressive supranuclear palsy, etc.), especially if we put the final episode into conversation with the show’s earlier subplot about the death of Owen’s mother, its recurring themes of memory loss as a form of death (or, even, as something worse than death), and Jamie’s resonant remarks that she would rather be “put out of her misery” than let herself be “worn away a little bit every day.” For the purposes of this analysis, though, I’m primarily concerned with interpreting Viola’s lurking presence in Dani’s psyche as a stand-in for severe grief, trauma, and mental illness. …Because, even as we may “move through” grief and trauma, and even as we may work to heal from them, they never just go away completely—they’re always lurking around, waiting to resurface. (In fact, the final minutes of the last episode feature a conversation between older Jamie and Flora about contending with this inevitable recurrence of grief). Therapy can give us tools to negotiate and live with them, of course; but that doesn’t mean that they’re not still present in our lives. The tools that therapy provides are meant to help us manage those inevitable resurfacings in healthy ways. But they are not meant to return us to some pre-grief or pre-trauma state of “normality” or to make them magically dissipate into the ether, never to return. And, even with plenty of therapy and with healthy coping mechanisms, we can still experience significant mental health issues in the wake of catastrophic grief, loss, and trauma; therapy doesn’t totally preclude that possibility.

In light of my own experiences with personal tragedy, crumbling mental health, and the dissolution of a romantic partnership with someone who couldn’t accept the presence of grief in my life, I was immediately enamored with the ways that Jamie approaches the enduring aftereffects of Dani’s trauma during the show’s final episode. Jamie never once pressures Dani to just be “normal.” She never once issues any judgment about what Dani is experiencing. At those times when Dani’s grief and trauma do resurface—when the beast in the jungle catches up with her—Jamie is there to console her, often with the strategies that have always worked in their relationship: gentle, playful ribbing and words of affirmation. There are instances in which Dani doesn’t emote joyfulness during events that we might otherwise expect her to—consider, for instance, how somber Dani appears in the proposal scene, in contrast to Jamie’s smiles and laughter. (In the year after my brother’s death, my ex-fiancé and his family would observe that I seemed gloomy in situations that they thought should be fun and exciting. “Then why aren’t you smiling?” they’d ask, even when I tried to assure them that I was having a good time, but just couldn’t completely feel that or express it in the ways that I might’ve in the past). Dani even comments on an inability to feel that is all too reminiscent of the blunting of emotions that can happen in the wake of acute trauma: “It’s like I see you in front of me and I feel you touching me, and every day we’re living our lives, and I’m aware of that. But it’s like I don’t feel it all the way.” But throughout all of this (and in contrast to my own experiences with my ex), Jamie attempts to ground Dani without ever invalidating what she’s experiencing. When Dani tells her that she can’t feel, Jamie assures her, “If you can’t feel anything, then I’ll feel everything for the both of us.”

A few days after I finished the show for the first time, I gushed to a friend about how taken I was with the whole thing. Jamie was just so…not what I had experienced in my own life. I loved witnessing a representation of such a supportive and understanding partner, especially within the context of a sapphic romance. After breaking up with my own ex-fiancé, I’ve since come to terms with my sexuality and am still processing through the roles that compulsory heterosexuality and internalized homophobia have played in my life; so Dani and Jamie’s relationship has been incredibly meaningful for me to see for so, so many reasons.

“I’m glad you found the show so relatable,” my friend told me. “But,” she cautioned, “don’t lose sight of what Dani does in that relationship.” Then, she pointed out something that I hadn’t considered at all. Although Jamie may model the possibilities of a supportive partnership, Dani’s tragic death espouses a very different and very troubling perspective: the poisonous belief that I’m inevitably going to hurt my partner with my grief and trauma, so I need to leave them before I can inflict that harm on them.

Indeed, this is a deeply engrained belief that I hold about myself. While I harbor a great deal of anger at my ex-fiancé for how he treated me, there’s also still a part of me that sincerely believes that I nearly ruined his and his family’s lives by bringing such immense devastation and darkness into it. On my bad days (which are many), I have strong convictions about this in relation to my future romantic prospects as well. How could anyone ever want to be with me? I wonder. And even if someone eventually does try to be with me, all I’ll do is ruin her life with all my trauma and sadness. I shouldn’t even want to be with anyone, because I don’t want to hurt someone else. I don’t want someone else to deal with what I’ve had to deal with. I even think about this, too, with my friends. Since my brother’s death and my breakup, I’ve gone through even more trauma, pain, grief, and loss, such that now I continue to struggle enormously with issues like anhedonia, emotional fragility, and social anxiety. I worry, consequently, that I’m just a burden on my friends. That I’m too hard to be around. That being around me, with all of my pain and perpetual misfortune, just causes my friends pain, too. That they’re better off not having to deal with me at all. I could spare them all, I think, by just letting them go, by not bothering them anymore.

I suspect that this is why I didn’t notice any issues with Dani’s behavior at the end of Bly Manor at first. Well…that and the fact that the reality of the show’s conclusion is immensely triggering for me. Probably, my attention just kind of slid past the truth of it in favor of indulging in the catharsis of a sad gay romance.

But after my friend observed this issue, I couldn’t stop thinking about it.

I realized, then, that I hadn’t extended the allegory out to its necessary conclusion…which is that Dani has, in effect, committed suicide in order to—or so she believes, at least—protect Jamie from her. This is the case regardless of whether we keep Viola’s ghost in the mix as an actual, tangible, existing threat within the show’s diegesis or as a figurative symbol of the ways that other forces can “haunt” us to the point of our own self-destruction. If the former, then Dani’s suicide (or the more gentle and elusive description that I’ve seen: her act of “giving herself to the lake”) is to prevent Viola’s ghost from ever harming Jamie. But if the latter, if we continue doing the work of allegorical readings, then it’s possible to interpret Bly’s conclusion as the tragedy of Dani ultimately succumbing to her mental illness and suicidal ideation.

The problems with this allegory’s import really start cropping up, however, when we consider the ways that the show valorizes Dani’s actions as an expression of ultimate, self-sacrificing love—a valorization that Bly accomplishes, in particular, through its sustained contrasting of love and possession.

The Implications of Idealizing Self-Sacrifice as True Love

During a pivotal conversation in one of the show’s early episodes, Dani and Jamie discuss the “wrong kind of love” that existed between Rebecca Jessel and Peter Quint. Jamie remarks on how she “understands why so many people mix up love and possession,” thereby characterizing Rebecca and Peter’s romance as a matter of possession—as well as hinting, perhaps, that Jamie herself has had experiences with this in her own past. After considering for a moment, Dani agrees: “People do, don’t they? Mix up love and possession. […] I don’t think that should be possible. I mean, they’re opposites, really, love and ownership.” We can already tell from this scene that Dani and Jamie are, themselves, heading towards a burgeoning romance—and that this contrast between love and possession (and their self-awareness of it) is going to become a defining feature of that romance.

Indeed, the show takes great pains to emphasize the genuine love that exists between Dani and Jamie against the damaging drive for possession enacted by characters like Peter (who consistently manipulates Rebecca and kills her to keep her ghost with him) and Viola (who has killed numerous people and trapped their souls at Bly over the centuries in a long since forgotten effort to reclaim her life with her husband and daughter from Perdita, her murderously jealous sister). These contrasts take multiple forms and emerge from multiple angles, all to establish that Dani and Jamie’s love is uniquely safe, caring, healing, mutually supportive, and built on a foundation of prevailing concern for the other’s wellbeing. Some of these contrasts are subtle and understated. Consider, for instance, how Hannah observes that Rebecca looks like she hasn’t slept in days because of the turmoil of her entanglements with Peter, whereas Jamie’s narration describes how Dani gets the best sleep of her life during the first night that she and Jamie spend together. Note, too, the editing work in Episode 6 that fades in and out between the memories of the destructive ramifications of Henry and Charlotte’s affair and the scenes of tender progression in Dani and Jamie’s romance. Other contrasts, though, are far more overt. Of course, one of the most blatant examples (and most pertinent to this analysis) is the very fact that the ghosts of Viola, Peter, and Rebecca are striving to reclaim the people they love and the lives that they’ve lost by literally possessing the bodies and existences of the living.

The role of consent is an important factor in these ghostly possessions and serves as a further contrast with Dani and Jamie’s relationship. Peter and Rebecca frequently possess Miles and Flora without their consent—at times, even, when the children explicitly tell them to stop or, at the very least, to provide them with warnings beforehand. While inhabiting the children, Peter and Rebecca go on to harm them and put them at risk (e.g. Peter smokes cigarettes while in Miles’s body; Rebecca leaves Flora alone and unconscious on the grounds outside the manor) and to commit acts of violence against others (e.g. Peter pushes Hannah into the well, killing her; Peter and Rebecca together attack Dani and restrain her). The “It’s you, it’s me, it’s us,” conceit—with which living people can invite Bly’s ghosts to possess them, the mechanism by which Dani breaks the curse of Bly’s gravity well—is a case of dubious consent at best and abusive, violent control at worst. (“I didn’t agree,” Rebecca says after Peter leaves her body, releasing his “invited” possession of her at the very moment that the lake’s waters start to fill her lungs).

Against these selfish possessions and wrong kinds of love, Jamie and Dani’s love is defined by their selfless refusal to possess one another. A key characteristic of their courtship involves them expressing vulnerability in ways that invite the other to make their own decisions about whether to accept and how to proceed (or not proceed). As we discussed earlier, Dani and Jamie’s first kiss happens after Dani opens up about her guilt surrounding her ex-fiancé’s death. Pausing that kiss, Jamie checks, “You sure?” and only continues after Dani answers with a spoken yes. (Let’s also take this moment to appreciate Amelia Eve’s excellent, whispered “Thank fuck,” that isn’t included in Netflix’s subtitles). Even so, Dani frantically breaks away from her just moments later. But Jamie accepts this and doesn’t push Dani to continue, believing, in fact, that Dani has withdrawn precisely because Jamie has pushed too much already. A week later, Dani takes the initiative to advance their budding romance by inviting Jamie out for a drink—which Jamie accepts by, instead, taking Dani to see her blooming moonflowers that very evening. There, in her own moment of vulnerability, Jamie shares her heart-wrenching and tumultuous backstory with Dani in order to “skip to the end” and spare Dani the effort of getting to know her. By openly sharing these difficult details about herself, Jamie evidently intends to provide Dani with information that would help her decide for herself whether she wants to continue their relationship or not.

Their shared refusal to possess reaches its ultimate culmination in that moment, all those years later, when Dani discovers just how close she’s come to strangling Jamie—and then leaves their home to travel all the way back to Bly and drown herself in the lake because she could “not risk her most important thing, her most important person.” Upon waking to find that Dani has left, Jamie immediately sets off to follow her back to Bly. And in an absolutely heartbreaking, beautiful scene, we see Jamie attempting the “you, me, us,” invitation, desperate for Dani to possess her, for Dani to take Jamie with her. (Y’all, I know I’m critiquing this scene right now, but I also fuckin’ love it, okay? Ugh. The sight of Jamie screaming into the water and helplessly grasping for Dani is gonna stay with me forever. brb while I go cry about it again). Dani, of course, refuses this plea. Because “Dani wouldn’t. Dani would never.” Further emphasizing the nobility of Dani’s actions, Jamie’s narration also reveals that Dani’s self-sacrificial death has not only spared Jamie alone, but has also enabled Dani to take the place of the Lady of the Lake and thereby ensure that no one else can be taken and possessed by Viola’s gravity well ever again.

And so we have the show’s ennoblement of Dani’s magnanimous self-sacrifice. By inviting Viola to possess her, drowning herself to keep from harming Jamie, and then refusing to possess Jamie or anyone else, Dani has effectively saved everyone: the children, the restive souls that have been trapped at Bly, anyone else who may ever come to Bly in the future, and the woman she loves most. Dani has also, then, broken the perpetuation of Bly’s cycles of possession and trauma with her selfless expression of love for Jamie.

The unfortunate effect of all of this is that, quite without meaning to (I think? I hope—), The Haunting of Bly Manor ends up stumbling headlong into a validation of suicide as a selfless act of true love, as a force of protection and salvation.

So, before we proceed, I just want to take this moment to say—definitively, emphatically, as someone who has survived and experienced firsthand the ineffably catastrophic consequences of suicide—that suicide is nothing remotely resembling a selfless “refusal to possess” or an act of love. I’m not going to harp extensively on this, though, because I’d rather not trigger myself for a second time (so far, lol) while writing this essay. Just take my fuckin’ word for it. And before anybody tries to hit me with some excuse like “But Squall, it isn’t that the show is valorizing suicide, it’s that Dani is literally protecting Jamie from Viola,” please consider that I’ve already discussed how the show’s depiction of this lent itself to my own noxious beliefs that “all I do is harm other people with my grief, so maybe I should stop talking to my friends so that they don’t have to deal with me anymore.” Please consider what these narrative details and their allegorical import might tell people who are struggling with their mental health—even if not with suicidal ideation, then with the notion that they should self-sacrificially remove themselves from relationships for the sake of sparing loved ones from (assumed) harm.

Okay, that said, now let’s proceed…‘cause I’ve got even more to say, ‘cause the more I mulled over these details, the more I also came to realize that Dani’s self-sacrificial death in Bly’s conclusion also has the unfortunate effect of undermining some of its other (attempted) themes and its queer representation.

What Bly Manor Tries (and Fails) to Say about Grief and Acceptance

Let’s start by jumping back to a theme we’ve already addressed briefly: moving through one’s grief.

The Haunting of Bly Manor does, in fact, have a lot to say about this. Or…it wants to, more like. On the whole, it seems like it’s trying really hard to give us a cautionary tale about the destructive effects of unprocessed grief and the misplaced guilt that we can wind up carrying around when someone we love dies. The show spends a whole lot of time preaching about how important it is that we learn to accept our losses without allowing them to totally consume us—or without lingering around in denial about them (gettin’ some Kübler-Ross in here, y’all). Sadly, though, it does kind of a half-assed job of it…despite the fact that this is a major recurring theme and a component of the characterizations and storylines of, like, most of its characters. In fact, this fundamentally Kübler-Rossian understanding of what it means to move through grief and to accept loss and mortality appears to be the show’s guiding framework. During his rehearsal dinner speech in the first episode, Owen proclaims that, “To truly love another person is to accept that the work of loving them is worth the pain of losing them,” with such eerie resonance—as the camera stays set on Jamie’s unwavering gaze—that we know that what we’re about to experience is a story about accepting the inevitable losses of the people we love.

Bly Manor is chock full of characters who’re stuck in earlier stages of grief but aren’t really moving along to reach that acceptance stage. I mean, the whole cause of the main supernatural haunting is that Viola so ferociously refuses to accept her death and move on from her rage (brought about by Perdita’s resentment) that she spends centuries strangling whoever she comes across, which then effectively traps them there with her. And the other antagonistic ghostly forces, Rebecca and Peter, also obviously suck at accepting their own deaths, given that they actually believe that possessing two children is a perfectly fine (and splendid) way for them to grasp at some semblance of life again. (Actually…the more that I’ve thought about this, the more that I think each of the pre-acceptance stages of grief in Kübler-Ross’s model may even have a corresponding character to represent it: Hannah is denial; Viola is anger; Peter and Rebecca are bargaining; Henry is depression. Just a little something to chew on).

But let’s talk more at-length about this theme in relation to two characters we haven’t focused on yet: Hannah and Henry. For Hannah, this theme shows up in her struggles to accept that her husband, Sam, has left her (Charlotte wryly burns candles in the chapel as though marking his passing, while Hannah seems to be holding out hope that he might return) and in her persistent denial that Peter-as-Miles has killed her. As a ghost, she determinedly continues going about her daily life and chores even as she’s progressively losing her grip on reality. Henry, meanwhile, won’t issue official notifications of Dominic’s death and continues to collect his mail because doing otherwise would mean admitting to the true finality of Dominic’s loss. At the same time, he is so, completely consumed by his guilt about the role that he believes he played in Charlotte and Dominic’s deaths that he’s haunting himself with an evil alter-ego. His overriding guilt and despair also result in his refusal to be more present in Miles and Flora’s lives—even with the knowledge that Flora is actually his daughter.

In the end, both Hannah and Henry reach some critical moments of acceptance. But, honestly, the show doesn’t do a great job of bringing home this theme of move through your grief with either of them…or with anybody else, really. Peter basically winds up bullying Hannah into recognizing that her broken body is still at the bottom of the well—and then she accepts her own death right in time to make a completely abortive attempt at rescuing Dani and Flora. Henry finally has a preternatural Bad Feeling about things (something about a phone being disconnected? whose phone? Bly’s phone? his phone? I don’t understand), snaps to attention, and rushes to Bly right in time to make an equally abortive rescue attempt that leaves him incapacitated so that his not-quite-ghost can hang out with Hannah long enough to find out that she’s dead. But at least he decides to be an attentive uncle/dad to Miles and Flora after that, I guess. Otherwise, Hannah and Henry get handwaved away pretty quickly before we can really witness what their acceptance means for them in any meaningful detail. (I blame this on some sloppy writing and the way-too-long, all-about-Viola eighth episode. And, on that note, what about the “acceptances” of Rebecca, Peter, and Viola there at the end? Rebecca does get an interesting moment of acceptance—of a sort—with her offer to possess Flora in order to experience Flora’s imminent drowning for her, thereby sparing the child by tucking her in a happy memory. Peter just…disappears at the end with some way-too-late words of apology. Viola’s “acceptance,” however, is tricky…What she accepts is Dani’s invitation to inhabit her. More on this later).

Hannah and Henry’s stories appear to be part of the show’s efforts to warn us about the ways that unprocessed, all-consuming grief can cause us to miss opportunities to have meaningful relationships with others. Hannah doesn’t just miss her chance to be with Owen because…well, she’s dead, but also because of her unwillingness to move on from Sam beforehand. Her denial about her own death, in turn, prevents her from taking the opportunity as a ghost to tell Owen that she loves him. Henry, at least, does figure out that he’s about to lose his chance to be a caring parental figure to his daughter and nephew—but just barely. It takes the near-deaths of him and the children to finally prompt that realization.

Of the cast, Dani gets the most thorough and intentional development of this move through your grief theme. And, importantly, she learns this lesson in time to cultivate a meaningful relationship that she could’ve easily missed out on otherwise. As we’ve already discussed, a critical part of Dani’s character arc involves her realization that she has to directly confront Edmund’s death and start absolving herself of her guilt in order to open up the possibility of a romantic relationship with Jamie. In Episode 4, Jamie’s narration suggests that Dani has had a habit of putting off such difficult processes (whether in regards to moving through her grief, breaking off her engagement to Edmund, or coming to terms with her sexuality), as she’s been constantly deferring to “another night, another time for years and years.” Indeed, the show’s early episodes are largely devoted to showing the consequences of Dani’s deferrals and avoidances. From the very beginning, we see just how intrusively Dani’s unresolved guilt is impacting her daily life and functioning. She covers up mirrors to try to prevent herself from encountering Edmund’s haunting visage, yet still spots him in the reflections of windows and polished surfaces. Panic attacks seem to be regular occurrences for her, sparked by reminders of him. And all of this only gets worse and more disruptive as Dani starts acting on her attraction to Jamie.

It's only after Dani decides to begin moving through her grief and guilt that she’s able to start becoming emotionally and physically intimate with Jamie. And the major turning point for this comes during a scene that features a direct, explicit discussion of the importance of accepting (and even embracing) mortality.

That’s right—it’s time to talk about the moonflower scene.

In a very “I am extremely fed up with people not being able to deal with my traumatic past, so I’m going to tell you about all of the shit that I’ve been through so that you can go ahead and decide whether you want to bolt right now instead of just dropping me later on” move (which…legit, Jamie—I feel that), Jamie sits Dani down at her moonflower patch to give her the full rundown of her own personal backstory and worldview. Her monologue evinces both a profound cynicism and a profound valuation of human life…all of which is also suggestive, to me at least, of a traumatized person who at once desperately wishes for intimate connection, but who’s also been burned way too many times (something with which I am wholly unfamiliar, lol). She characterizes people as “exhaustive effort with very little to show for it,” only to go on to wax poetic about how human mortality is as beautiful as the ephemeral buds of a moonflower. This is, in essence, Jamie’s sorta convoluted way of articulating that whole “To truly love another person is to accept that the work of loving them is worth the pain of losing them” idea.

After detailing her own past, Jamie shifts gears to suggest that she believes that cultivating a relationship with Dani—like the devoted work of growing a tropical, transient Ipomoea alba in England—might be worth the effort. And as part of this cultivation work, Jamie then acknowledges Dani’s struggles with her guilt, while also firmly encouraging her to move through it by accepting the beauty of mortality:

“I know you’re carrying this guilt around, but I also know that you don’t decide who lives and who doesn’t. I’m sorry Dani, but you don’t. Humans are organic. It’s a fact. We’re meant to die. It’s natural…beautiful. […] We leave more life behind to take our place. Like this moonflower. It’s where all its beauty lies, you know. In the mortality of the thing.”

After that, Jamie and Dani are finally able to make out unimpeded.

Frustratingly, though, Jamie’s own dealings with grief, loss, and trauma remain terribly understated throughout the show. Her monologue in the moonflower scene is really the most insight that we ever get. Jamie consistently comes off as better equipped to contend with life’s hardships than many of Bly’s other characters; and she is, in fact, the sole member of the cast who is confirmed to have ever had any sort of professional therapy. She regularly demonstrates a remarkable sense of empathy and emotional awareness, able to pick up on others’ needs and then support them accordingly, though often in gruff, tough-love forms. Further, there are numerous scenes in which we see Jamie bestowing incisive guidance for handling difficult situations: the moonflower scene, her advice to Rebecca about contacting Henry after Peter’s disappearance, and her suggestion to Dani that Flora needs to see a psychologist, to name just a few. As such, Jamie appears to have—or, at least, projects—a sort of unflappable groundedness that sets her apart from everyone else in the show.

Bly only suggests that Jamie’s struggles run far deeper than she lets on. There are a few times that we witness quick-tempered outbursts (usually provoked by Miles) and hints of bottled-up rage. Lest we forget, although it was Flora who first found Rebecca’s dead body floating in the water, it was Jamie who then found them both immediately thereafter. We see this happen, but we never learn anything about the impact that this must have had on her. Indeed, Jamie’s exposure to the layered, compounding grief at Bly has no doubt inflicted a great deal of pain on her, suggested by details like her memorialization of Charlotte and Dominic during the bonfire scene. If we look past her flippancy, there must be more than a few grains of truth to that endless well of deep, inconsolable tears—but Jamie never actually shares what they might be. Moreover, although the moonflower scene reveals the complex traumas of her past, we never get any follow-up or elaboration about those details or Dani’s observation of the scar on her shoulder. For the most part, Jamie’s grief goes unspoken.

There’s a case to be made that these omissions are a byproduct of narrator Jamie decentering herself in a story whose primary focus is Dani. Narrator Jamie even claims that the story she’s telling “isn’t really my story. It belongs to someone I knew” (yes, it’s a diversionary tactic to keep us from learning her identity too soon—but she also means it). And in plenty of respects, the telling of the story is, itself, Jamie’s extended expression of her grief. By engaging in this act of oral storytelling to share Dani’s sacrifice with others—especially with those who would have otherwise forgotten—Jamie is performing an important ritual of mourning her wife. Still, it’s for exactly these reasons that I think it would’ve been valuable for the show to include more about the impacts that grief, loss, and trauma had on Jamie prior to Dani’s death. Jamie’s underdevelopment on this front feels more like a disappointing oversight of the show’s writing than her narrator self’s intentional, careful withholding of information. Additionally, I think that Bly leaves Jamie’s grieving on an…odd note (though, yes, I know I’m just a curmudgeonly outlier here). Those saccharine final moments of Jamie filling up the bathtub and sleeping on a chair so that she can face the cracked doorway are a little too heavy-handedly tear-jerking for my liking. And while this, too, may be a ritual of mourning after the undoubtedly taxing effort of telling Dani’s story, it may also suggest that Jamie is demurring her own acceptance of Dani’s death. Is the hand on her shoulder really Dani’s ghost? Or is it Jamie’s own hopeful fabrication that her wife’s spirit is watching over her? (Or—to counter my own point here and suggest a different alternative—could this latter idea (i.e. the imagining of Dani’s ghost) also be another valid manner of “accepting” a loss by preserving a loved one’s presence? “Dead doesn’t mean gone,” after all. …Anyway, maybe I would be more charitable to this scene if not for the hokey, totally out-of-place song. Coulda done without that, seriously).

But let’s jump back to the moonflower scene. For Dani, this marks an important moment in the progression of her own movement through grief. In combination, her newfound readiness to contend with her guilt and her eagerness to grow closer to Jamie enable Dani to find a sense of peace that she hasn’t experienced since Eddie’s death…or maybe ever, really (hang on to this thought for this essay’s final section, too). When she and Jamie sleep together for the first time, not only does Dani actually sleep well, but she also wakes the next morning to do something that she hasn’t done to that point and won’t do again: she comfortably looks into a mirror. (One small qualification to this: Dani does look into her own reflection at the diner when she and Jamie are on their road trip; Viola doesn’t interfere then, but whether this is actually a comfortable moment is questionable). Then, shifting her gaze away from her own reflection, she sees Jamie still sleeping soundly in her bed—and smiles. It’s a fleeting moment of peace. Immediately after that, she spots Flora out the window, which throws everything back into accumulating turmoil. But that moment of peace, however fleeting, is still a powerful one.

However, Bly teases this narrative about the possibilities of finding healing in the wake of traumatic loss—especially through the cultivation of meaningful and supportive relationships with others—only to then totally pull that rug out from under Dani in the final episode.

During that final episode, we see that Dani’s shared life with Jamie has supported her in coming to terms with Viola’s lurking presence, such that “at long last, deep within the au pair’s heart, there was peace. And that peace held for years, which is more than some of us ever get.” But it’s at the exact moment that that line of narration occurs that we then begin to witness Dani’s steady, inexorable decline. Sure, we could say that Dani “accepts” Viola’s intrusions and the unavoidable eventuality that the ghost will seize control of her. But this isn’t a healthy acceptance or even a depiction of the fraught relationships that we can have with grief and trauma as we continue to process them throughout our lives. At all. Instead, it’s a distinctive, destructive sense of fatalism.

“I’m not even scared of her anymore,” Dani tells Jamie as the flooded bathtub spills around them. “I just stare at her and it's getting harder and harder to see me. Maybe I should just accept that. Maybe I should just accept that and go.” Remember way back at the beginning of this essay when I pointed out that there’s a significant difference between “moving through one’s grief” and allowing one’s grief to become all-consuming? Well, by the time we reach the bathtub scene, Dani’s grief and trauma have completely overtaken her. Her “acceptance” is, thus, a fatalistic, catastrophizing determination that her trauma defines her existence, such that she believes that all she has left to do is give up her life in order to protect Jamie from her. For a less ghostly (and less suicidal ideation-y) and more real-life example to illustrate what I’m getting at here: this would be like me saying “I should just accept that I’m never going to be anything other than a traumatized mess and should stop reaching out to my friends so that I don’t keep hurting them by making them deal with what a mess I am.” If I said something like this, I suspect (hope) that you would tell me that this is not a productive acceptance, but a pernicious narrative that only hurts me and the people who care about me. Sadly, though, this kind of pernicious narrative is exactly what we get out of Bly’s ending allegory.

“But Squall,” you may be thinking, “this scene is representing how people who struggle with their mental health can actually feel. This is exactly what it can be like to have severe mental illness, even for folks who have strong support systems and healthy, meaningful relationships. And there’s value in showing that.”

And if you’re thinking that, then first of all—as I have indicated already—I am aware that this is what it can be like. Very aware. And second of all, you make a fair point, but…there are ways that the show could’ve represented this without concluding that representation with a suicide that it effectively valorizes. I’ll contend with this more in the final section, where I offer a few suggestions of other ways that Bly could’ve ended instead.

I just want to be absolutely clear that I’m not saying that I think all media portrayals of mental illness need to be hopeful or wholesome or end in “positive” ways. But what I am saying is that Bly’s conclusion offers a really fuckin’ bleak outlook on grief, trauma, and mental illness, especially when we fit that ending into the framework of the show’s other (attempted) core themes, as well as Dani’s earlier character development. It’s especially bleak to see this as someone with severe mental health issues and who has also lost a loved one to suicide—and as someone who desperately hopes that my life and worldview won’t always stay so darkly colored by my trauma.

Additionally, it’s also worth pausing here to acknowledge that fatalism is, in fact, a major theme of The Beast in the Jungle, the 1903 Henry James novella on which the ninth episode is loosely based. I confess that I’ve only read about this novella, but haven’t read the story itself. However, based on my (admittedly limited) understanding of it, there appears to be a significant thematic rupture between The Beast in the Jungle and The Haunting of Bly Manor in their treatments of fatalism. In the end of the novella, its protagonist, John Marcher, comes to the realization that his fatalism has been a horrible mistake that has caused him to completely miss out on an opportunity for love that was right in front of him all along. The tragic fate to which Marcher believed that he was doomed was, in the end, his own fatalism. Dani, in contrast, never has this moment of recognition, not only because her fatalism leads to her own death, but also because the show treats her fatalism not as something that keeps her from love, but instead as leading her towards a definitive act of love.

All of this is exactly why Dani’s portrayal has become so damn concerning to me, and why I don’t believe that Bly’s allegory of “this is what it’s like to live with mental illness and/or to love (and lose) someone who is mentally ill” is somehow value-neutral—or, worse, something worth celebrating.

How Dani’s Self-Sacrifice Bears on Bly’s Queer Representation

In my dabblings around the fandom so far, I’ve seen a fair amount of deliberation about whether or not Bly Manor’s ending constitutes an example of the Bury Your Gays trope.

Honestly, though, I am super unenthused about rehashing those deliberations or splitting hairs trying to give some definitive “yes it is” or “no it isn’t” answer, so…I’m just not going to. Instead, I’m going to offer up some further observations about how Dani’s self-sacrificial death impinges on Bly’s queer representation, regardless of whether Bury Your Gays is at work here or not.

I would also like to humbly submit that the show could’ve just…not fucked around in proximity of that trope in the first place so that we wouldn’t even need to be having these conversations.

But anyway. I’m going to start this section off with a disclaimer.

Even though I’m leveling some pretty fierce critiques in this section (and across this essay), I do also want to say that I adore that The Haunting of Bly Manor and its creators gave us a narrative that centers two queer women and their romantic relationship as its driving forces and that intentionally sets out to portray the healing potentials of sapphic love as a contrast to the destructive, coercive harms found in many conventional dynamics of hegemonic heteronormativity. I don’t want to downplay that, because I’m extremely happy that this show exists, and I sincerely believe that many elements of its representation are potent and meaningful and amazing. But…I also have some reservations with this portrayal that I want to share. I critique not because I don’t love, but because I do love. I love this show a lot. I love Dani and Jamie a lot. I critique because I love and because I want more and better in future media.

So, that being said…let’s move on to talk about Dani, self-sacrifice, and compulsory heterosexuality.

Well before Dani’s ennobled death, Bly establishes self-sacrifice as a core component of her characterization. It’s hardwired into her, no doubt due to the relentless, entangled educational work of compulsory heterosexuality (comphet) and the aggressive forms of socialization that tell girls and women that their roles in life are to sacrifice themselves in order to please others and to belong to men. Indeed, Episode 4’s series of flashbacks emphasizes the interconnectedness between comphet and Dani’s beliefs that she is supposed to sacrifice herself for others’ sakes, revealing how these forces have shaped who she is and the decisions that she’s made across her life. (While we’re at it, let’s also not lose sight of the fact that Dani’s profession during this time period is one that—in American culture, at least—has come to rely on a distinctively feminized self-sacrificiality in order to function. Prior to becoming an au pair, Dani was a schoolteacher. In fact, in one of Episode 4’s flashbacks, Eddie’s mother points out that she appreciates Dani’s knack for identifying the kids that need her the most, but also reminds Dani that she needs to take care of herself…which suggests that Dani hadn’t been: “Save them all if you can, but put your own oxygen mask on first”).

In the flashback of her engagement party, Dani’s visible discomfort during Edmund’s speech clues us in that she wasn’t preparing to marry him because she genuinely wanted to, but because she felt like she was supposed to. The “childhood sweethearts” narrative bears down on the couple, celebrated by their friends and family, vaunted by cultural constructs that prize this life trajectory as a cherished, “happily ever after” ideal. Further illustrating the pressures to which Dani had been subject, the same scene shows Eddie’s mother, Judy O’Mara, presenting Dani with her own wedding dress and asking Dani to wear it when she marries Eddie. Despite Mrs. O’Mara’s assurances that Dani can say no, the hopes that she heaps onto Dani make abundantly clear that anything other than a yes would disappoint her. Later, another flashback shows Dani having that dress sized and fitted while her mother and Mrs. O’Mara look on and chatter about their own weddings and marriages. Their conversation is imbued with further hopes that Dani’s marriage to Edmund will improve on the mistakes that they made in their lives. Meanwhile, Dani’s attentiveness to the tailor who takes her measurements, compliments her body, and places a hand on her back strongly suggests that Dani is suppressing her attraction to women. Though brief, this scene is a weighty demonstration of the ways that the enclosures of heteronormativity constrain women into believing that their only option is to deny homosexual attraction, to forfeit their own desires in order to remain in relationships with men, and to prioritize the hopes and dreams and aspirations of the people around them above their own.

Dani followed this pathway—determined for her by everyone else except herself—until she couldn’t anymore.

During the flashback of their breakup, Dani explains to Eddie that she didn’t end their relationship sooner because she thought that even just having desires that didn’t match his and his family’s was selfish of her: “I should’ve said something sooner. […] I didn’t want to hurt you, or your mom, or your family. And then it was just what we were doing. […] I just thought I was being selfish, that I could just stick it out, and eventually I would feel how I was supposed to.” As happens to so many women, Dani was on the cusp of sacrificing her life for the sake of “sticking out” a marriage to a man, all because she so deeply believed that it was her duty to satisfy everyone’s expectations of her and that it was her responsibility to change her own feelings about that plight.

And Eddie’s response to this is telling. “Fuck you, Danielle,” he says. “Why are you doing this to me?”

Pay close attention to those last two words. Underline ‘em. Bold ‘em. Italicize ‘em.

“Why are you doing this to me?”

With those two words, Eddie indicates that he views Dani’s refusal to marry him as something that she is doing to him, a harm that she is committing against him. It is as though Dani is inflicting her will on him, or even that she is unjustly attackinghim by finally admitting that her desires run contrary to his own, that she doesn’t want to be his wife. And with this statement, he confirms precisely what she anticipated would happen upon giving voice to her true feelings.

What space did Edmund, his family, or Dani’s mother ever grant for Dani to have aspirations of her own that weren’t towards the preordained role of Eddie’s future wife? Let’s jump back to that engagement party. Eddie’s entire speech reveals a very longstanding assumption of his claim over her as his wife-to-be. He’d first asked Dani to marry him when they were ten years old, after he mistakenly believed that their first kiss could get Dani pregnant; Dani turned him down then, saying that they were too young. So, over the years, as they got older, Eddie continued to repeatedly ask her—until, presumably, she relented. “Now, we’re still pretty young,” he remarks as he concludes his speech, “but I think we’re old enough to know what we want.” Significantly, Eddie speaks here not just for himself, but also for Dani. Dani’s voice throughout the entire party is notably absent, as Eddie and his mother both impose their own wishes on her, assume that she wants what they want, and don’t really open any possibility for her to say otherwise. Moreover, although there’s a palpable awkwardness that accompanies Eddie’s story, the crowd at the party chuckles along as though it’s a sweet, innocent tale of lifelong love and devotion, and not an instance of a man whittling away at a woman’s resistance until she finally caved to his pursuit of her.

All of this suggests that Eddie shared in the socialized convictions of heteropatriarchy, according to which Dani’s purpose and destiny were to marry him and to make him happy. His patterns of behavior evince the unquestioned presumptions of so many men: that women exist in service to them and their wants, such that it is utterly inconceivable that women could possibly desire otherwise. As a political institution, heteropatriarchy tells men that they are entitled to women’s existences, bodies, futures. And, indeed, Eddie can’t seem to even imagine that Dani could ever want anything other than the future that he has mapped out for them. (Oh, hey look, we’ve got some love vs. possession going on here again).

For what it’s worth, I think that the show’s portrayal of compulsory heterosexuality is excellent. I love that the writers decided to tackle this. Like I mentioned at the beginning, I found all of this to be extremelyrelatable. I might even be accused of over-relating and projecting my own experiences onto my readings here, but…there were just too many resonances between Dani’s experiences and my own. Mrs. O’Mara’s advice to Dani to “put your own oxygen mask on first” is all too reminiscent of the ways that my ex’s parents would encourage me to “heal” from my brother’s loss…but not for the sake of my own wellbeing, but so that I would return to prioritizing the care of their son and existing to do whatever would make him happy. I’ll also share here that what drove me to break up with my ex-fiancé wasn’t just his unwillingness to contend with my grief, but the fact that he had decided that the best way for me to heal from my loss would be to have a baby. He insisted that I could counteract my brother’s death by “bringing new life into the world.” And he would not take no for an answer. He told me that if I wouldn’t agree to try to have children in the near future, then he wasn’t interested in continuing to stay with me. It took me months to pluck up the courage, but I finally answered this ultimatum by ending our relationship myself. Thus, like Dani, I came very close to sacrificing myself, my wants, my body, my future, and my life for the sake of doing what my fiancé and his family wanted me to do, all while painfully denying my own attraction to women. What kept me from “sticking it out” any longer was that I finally decided that I wasn’t going to sacrifice myself for a man I didn’t love (and who clearly didn’t love me) and decided, instead, to reclaim my own wants and needs away from him.

For Dani, however, the moment that she finally begins to reclaim her wants and needs away from Eddie is also the moment that he furiously jumps out of the driver’s seat and into the path of a passing truck, which leaves her to entangle those events as though his death is her fault for finally asserting herself.

Of course, the guilt that Dani feels for having “caused” Eddie’s death isn’t justa matter of breaking up with him and thereby provoking a reaction that would prove fatal—it’s also the guilt of her suppressed homosexual desire, of not desiring Eddie in the first place. In other words, internalized homophobia is an inextricable layer of the culpability that Dani feels. Internalized homophobia is also what’s haunting her. As others (such as Rowan Ellis, whose deep dive includes a solid discussion of internalized homophobia in Bly, as well as a more at-length examination of Bury Your Gays than I’m providing here) have pointed out, the show highlights this metaphorically by having Dani literally get locked into a closet with Edmund’s ghost in the very first episode. Further reinforcing this idea is the fact that these spectral visions get even worse as Dani starts to come to terms with and act on her attraction to Jamie, as though the ghost is punishing her for her desires. Across Episode 3, as Dani and Jamie begin spending more time together, Edmund’s ghost concurrently begins materializing in more shocking, visceral forms (e.g. his bleeding hand in Dani’s bed; his shadowy figure lurking behind Dani after she’s held Jamie’s hand) that exceed the reflective surfaces to which he’d previously been confined. This continues into Episode 4, where each of Eddie’s appearances follows moments of Dani’s growing closeness to Jamie. A particularly alarming instance occurs when Dani just can’t seem to pry her gaze away from a dressed-up Jamie who’s in the process of some mild undressing. Finally turning away from Jamie, Dani becomes aware of Eddie’s hands on her hips. It’s a violating reminder of his claims over her, horrifying in its invocation of men’s efforts to coerce and control women’s sexuality.

It is incredibly powerful, then, to watch Dani answer all of this by becoming more resolute and assertive in the expression of her wants and needs. The establishment of her romantic relationship with Jamie isn’t just the movement through grief and guilt that we discussed earlier; it’s also Dani’s defiance of compulsory heterosexuality and her fierce claiming of her queer existence. Even in the face of all that’s been haunting her, Dani initiates her first kiss with Jamie; and Eddie’s intrusion in that moment is only enough to temporarily dissuade her, as Dani follows this up by then asking Jamie out for a drink at the pub to “see where that takes them” (i.e. up to Jamie’s flat to bang, obviously). The peace that Dani finds after having sex with Jamie for the first time is, therefore, also the profound fulfillment of at last having her first sexual experience with a woman, of finally giving expression to this critical part of herself that she’d spent her entire life denying. Compulsory heterosexuality had dictated to Dani that she must self-sacrifice to meet the strictures of heteropatriarchy, to please everyone except herself; but in her relationship with Jamie, Dani learns that she doesn’t have to do this at all. This is only bolstered by the fact that, as we’ve talked about at length already, Jamie is very attentive to Dani’s needs and respectful of her boundaries. Jamie doesn’t want Dani to do anything other than what Dani wants to do. And so, in the cultivation of their romantic partnership, Dani thus comes to value her own wants and needs in a way that she hasn’t before.

The fact that the show nails all of this so fucking well is what makes all that comes later so goddamn frustrating.

The final episode chronicles Dani and Jamie forging a queer life together that the rest of us can only dream of, including another scene of Dani flouting homophobia and negotiating her own internal struggles so that she can be with Jamie. “I know we can’t technically get married,” she tells Jamie when she proposes to her, “but I also don’t really care.” And with her awareness that the beast in the jungle is starting to catch up with her, Dani tells Jamie that she wants to spend whatever time she has left with her.

But then…

A few scenes later—along with a jump of a few years later, presumably—Jamie arrives home with the licenses that legally certify their civil union in the state of Vermont. It’s a monumental moment. In 2000, Vermont became the first state to introduce civil unions, which paved the way for it to later (in 2009) become the first state to pass legislation that recognized gay marriages without needing to have a court order mandating that the state extend marriage rights beyond opposite-sex couples. I appreciate that Bly’s creatorsincorporated this significant milestone in the history of American queer rights into the show. But its positioning in the show also fuckin’ sucks. Just as Jamie is announcing the legality of her and Dani’s civil union and declaring that they’ll have another marriage ceremony soon, we see water running into the hallway. This moves us into that scene with the flooded bathtub, as Jamie finds Dani staring into the water, unaware of anything else except the reflection of Viola staring back at her. Thus, it is at the exact moment when her wife proudly shares the news of this incredible achievement in the struggle for queer rights—for which queer folks have long fought and are continuing to fight to protect in the present—that Dani has completely, hopelessly resigned herself to Viola’s possession.

I want to be careful to clarify here that, in making this observation, I don’t mean to posit some sort of “Dani should have fought back against Viola” argument, which—within the context of our allegorical readings—might have the effect of damagingly suggesting that Dani should have fought harder to recover from mental illness or terminal disease. But I do mean to point out the incredibly grim implications that the juxtaposition of these events engenders, especially when we contemplate them (as we did in the previous section) within the overall frameworks of the show’s themes and Dani’s character development. After all that has come before, after we’ve watched Dani come to so boldly assert her queer desire and existence, it is devastating to see the show reduce her to such a despairing state that doesn’t even give her a chance to register that she and Jamie are now legal partners.

Why did you have to do this, Bly? Why?

Further compounding this despair, the next scene features the resumption of Dani’s self-sacrificial beliefs and behaviors, which results in her demise, and which leaves Jamie to suffer through the devastation of her wife’s death. This resumption of self-sacrifice hence demolishes all of that beautiful work of asserting Dani’s queer existence and learning that she doesn’t need to sacrifice herself that I just devoted two thousand words to describing above.

Additionally, in the end, Dani’s noble self-sacrifice also effects a safe recuperation of heteronormativity…which might add more evidence to a Bury Your Gays claim, oops.

And that is because, in the end, after we see Jamie screaming into the water and Dani forever interred at the bottom of the lake in which she drowned herself, we come to the end of Jamie’s story and return to Bly Manor’s frame narrative: Flora’s wedding.

At the start of the show, the evening of Flora and Unnamed Man’s (Wikipedia says his name is James? idk, w/e) rehearsal dinner provides the occasion and impetus for Jamie’s storytelling. Following dinner, Flora, her fiancé, and their guests gather around a fireplace and discuss a ghost story about the venue, a former convent. With a captive audience that includes her primary targets—Flora and Miles, who have forgotten what happened at Bly and, by extension, all that Dani sacrificed and that Jamie lost so that they could live their lives free of the trauma of what transpired—and with a topically relevant conversation already ongoing, Jamie interjects that she has a ghost story of her own to share…and thus, the show’s longer, secondary narrative begins.

When Jamie’s tale winds to a close at the end of the ninth episode, the show returns us to its frame, that scene in front of the cozy, crackling fire. And it is there that we learn that it is, in fact, Jamie who has been telling us this story all along.

As the other guests trickle away, Flora stays behind to talk to Jamie on her own. A critical conversation then ensues between them, which functions not only as Jamie’s shared wisdom to Flora, but also as the show’s attempt to lead viewers through what they’ve just experienced and thereby impart its core message about the secondary narrative. The frame narrative is, thus, also a direct address to the audience that tells us what we should take away from the experience. By this point, the show has thoroughly established that Jamie is a gentle-but-tough-love, knowledgeable, and trustworthy guide through the trials of accepting grief and mortality, and so it is Jamie who leaves Flora and us, the audience, with the show’s final word about how to treasure the people we love while they are still in our lives and how to grieve them if we survive beyond them. (But, by this point in this essay, we’ve also learned that Bly’s messages about grief and mortality are beautiful but also messy and unconvincing, even with this didactic ending moment).

With all of this in mind, we can (and should) ask some additional questions of the frame narrative.

One of those questions is: Why is the secondary narrative being told from/within this particular frame?

Answering this question within the show’s diegesis (by asking it of the narrator) is easy enough. Jamie is performing a memorialization of Dani’s life and sacrifice at an event where her intended audience happens to be gathered, ensuring that Miles and Flora begin to recognize what Dani did for them in a manner that maybe won’t just outright traumatize them.

Okay, sure, yeah. True. Not wrong.

But let’s interrogate this question more deeply—let’s ask it of the show itself. So, Bly Manor: Why is the secondary narrative being told from/within this particular frame?

We could also tweak this question a bit to further consider: What is the purpose of the frame? A frame narrative can function to shape audiences’ interpretations of and attitudes towards the secondary narrative. So, in this case, let’s make our line of questioning even more specific. What does the frame of Flora’s wedding do for Bly’s audiences?

Crucially, the framing scene at the fireplace provides us with a sense that we’ve returned to safety after the horror of the ghost story we’ve just experienced. To further assure us of this safety, then, Bly’s frame aims to restore a sense of normality, a sense that the threat that has provoked fear in us has been neutralized, a sense of hope that endures beyond tragedy. Indeed, as we fade from the secondary narrative and return to the frame, Jamie’s narration emphasizes how Dani’s selfless death has brought peace to Bly Manor by breaking its cycles of violence and trauma: “But she won’t be hollow or empty, and she won’t pull others to her fate. She will merely walk the grounds of Bly, harmless as a dove for all of her days, leaving the only trace of who she once was in the memory of the woman who loved her most.”

What Dani has accomplished with her self-sacrifice, then, is a longstanding, prevailing, expected staple of Western—and especially American—storytelling: redemption.

American media is rife with examples of this narrative formula (in which an individual must take selfless action—which may or may not involve self-sacrificial death—in order to redeem an imperiled community by restoring a threatened order) to an extent that is kind of impossible to overstate. Variations of this formula are everywhere, from film to television to comics to videogames to news reports. It is absolutely fundamental to our cultural understandings of what “heroism” means. And it’s been this way for, umm…a long time, largely thanks to that most foundational figure of Western myth, some guy who was crucified for everybody’s sins or something. (Well, that and the related popularization of Joseph Campbell’s hero’s journey, but…I’m not gonna go off onto a whole rant about that right now, this essay is already too long as it is).

In Bly Manor, the threatened order is the natural process of death itself, which Viola has disrupted with a gravity well that traps souls and keeps them suspended within physical proximity of the manor. Dani’s invitation to Viola is the initial step towards salvation (although, I think it’s important to note that this is not entirely intentional on Dani’s part. Jamie’s narration indicates that Dani didn’t entirely understand what she was doing with the “It’s you, it’s me, it’s us” invitation, so self-sacrifice was not necessarily her initial goal). It nullifies the gravity well and resumes the passage of death, which liberates all of the souls that have been trapped at Bly and also produces additional opportunities for others’ atonements (e.g. Peter’s apology to Miles; Henry’s guardianship of the children). But it’s Dani’s suicide that is the ultimate completion of the redemptive task. It is only by “giving herself to the lake” that Dani is able to definitively dispel Viola’s threat and confer redemptive peace to Bly Manor.

It’s tempting to celebrate this incredibly rare instance of a queer woman in the heroic-redemptive role, given that American media overwhelmingly reserve it for straight men. But I want to strongly advise that we resist this temptation. Frankly, there’s a lot about the conventional heroic-redemptive narrative formula that sucks, and I’d rather that we work to advocate for other kinds of narratives, instead of just championing more “diversity” within this stuffy old model of heroism. Explaining what sucks about this formula is beyond the purview of this essay, though. But my next point might help to illustrate part of why it sucks (spoiler: it’s because it tends to prop up traditional, dominant structures of power and relationality).

So…What I want us to do is entertain the possibility that Dani’s redemptive self-sacrifice might serve specific purposes for straight audiences, especially in the return to the frame at the end.

Across The Haunting of Bly Manor, we’ve seen ample examples of heterosexuality gone awry. The show has repeatedly called our attention to the flaws and failings of heterosexual relationships against the carefully cultivated safety, open communication, and mutual fulfillment of a queer romance between two women. But, while queer audiences may celebrate this about this show, for straight audiences, this whole situation might just wind up producing anxiety instead—as though heterosexuality is also a threatened order within the world of Bly Manor. More generally, asking straight audiences to connect with a queer couple as the show’s main protagonists is an unaccustomed challenge with which they’re not normally tasked; thus, the show risks leaving this dominant viewer base uncomfortable, threatened, and resentful, sitting with the looming question of whether heterosexuality is, itself, redeemable.

In answer to this, Dani’s self-sacrifice provides multiple assurances to straight audiences. To begin with, her assumption of the traditional heroic-redemptive role secures audiences within the familiar confines of that narrative formula, which also then promises that Dani is acting as a protector of threatened status quos and not as another source of peril. What Bly Manor is doing here is, in effect, acknowledging that it may have challenged (and even threatened) straight audiences with its centerpiece of a queer romance—and that, likewise, queers themselves may be challenging the status quos of romantic partnerships by, for instance, demanding marriage rights and improvements in media representations—while also emphatically reassuring those audiences in the wake of that challenge that Dani and Jamie haven’t created and aren’t going to create too much disturbance with their queerness. They’re really not that threatening, Bly swears. They’re harmless as a dove. They’re wholesome. They’re respectable. They—and queer folks more generally—aren’t going to totally upend everything, really. Look, they’ll even sacrifice themselves to save everyone and redeem imperiled communities and threatened orders—even heterosexuality itself!

A critical step towards achieving this assurance is the leveling of the playing field. In order for the show to neutralize the threat of queerness for straight audiences, comfort them with a return to safety, and promise them that heterosexuality is redeemable, the queer women need to have an on-screen tragic end to their relationship just like all of the straight couples have. And so, Dani must die and Jamie must grieve.

That accomplished, the show then immediately returns to the frame, the scene at the fireplace following Flora’s rehearsal dinner.

There—after we’ve witnessed so much queer joy and queer tragedy crammed into this final episode—we see Flora and her fiancé, bride and groom, sitting together, arms linked, taking in all that Jamie has to tell them. And with this warm, idyllic image of impending matrimony between man and wife, the safety to which straight audiences return in the frame is, therefore, also the safety of a heterosexuality that can find its redemption through Dani’s self-sacrifice. Not only does Dani’s death mean that Flora can live (and go on to marry her perfectly bland, unremarkable husband, all without the trauma of what happened at Bly), but it also means that she—and, with her, straight audiences—can ultimately benefit from the lessons about true love, loss, and grieving that Dani’s self-sacrifice and Jamie’s story bestow.

And so, Bly Manor concludes with a valorization of redemptive self-sacrifice and an anodyne recuperation of heteronormativity, bequeathing Flora with the opportunities to have and to hold the experiential knowledge that Dani and Jamie have provided for her. Here, queer tragedy serves up an educational opportunity for heterosexual audiences in a challengingly “inclusive,” but otherwise essentially non-threatening manner. The ending is a gentle, non-traumatizing, yet frank lesson to heterosexual audiences in the same way that Jamie’s story is a gentle, non-traumatizing, yet frank lesson to Flora.

Did the show’s creators intentionally do all of this to set about providing such assurances to straight audiences? Maybe. Maybe not. I don’t really know—or care! But, especially in light of incidents like the recent “Suletta and Miorine’s relationship is up to interpretation” controversy following the Gundam: Witch from Mercury finale, I absolutely do not put it past media corporations and content creators to very intentionally take steps to prioritize the comfort of straight audiences against the threats of queer love. And anyway, intentional or not, all of this still has effects and implications loaded with meaning, as I have tried to account for here.

Honestly, though, I can’t quite shake the feeling that there’s some tension between Jamie, Owen, and maybe also Henry about Jamie’s decision to publicly share Dani’s story in front of Flora and Miles. Owen’s abrupt declaration that it’s getting late and that they should wrap up seems like an intervention—like he’s been as patient and understanding as he possibly could up to that point, but now, he’s finally having to put a stop to Jamie’s deviance. I can’t help but read the meaningful stares that pass between them at both ends of the frame as a complex mixture of compassion and fraught disagreement (and I wish that the show had done more with this). The scene where Dani and Jamie visit Owen at his restaurant seems to set up the potential for this unspoken dispute. By their expressions and mannerisms (Dani’s stony stare; the protective way that Jamie holds her as her own gaze is locked on Dani), it’s clear that Dani and Jamie are aghast that Flora and Miles have forgotten what happened and that Owen believes that they should just be able to live their lives without that knowledge. And it’s also clear, by her very telling of Dani’s story, that Jamie disagrees with him. Maybe I’m over-imposing my own attitudes here, but I’m left with the impression that Jamie resents the coddling of Miles and Flora just like I’m resenting the coddling of straight audiences…that Jamie resents that she and Dani have had to give up everything so that Miles and Flora can continue living their privileged lives just like I’m resenting the exploitation of queer tragedy for the sake preserving straight innocence. (As Jamie says to Hannah when Dani puts the children to work in the garden: “You can’t give them a pass forever.” Disclaimer: I’m not saying that I want Miles and Flora to be traumatized, but I am saying that I agree with Jamie, because hiding traumatic shit is not how to resolve inter-generational trauma. Anyway—).

Also, I don’t know about y’all, but I find Flora and Jamie’s concluding conversation to be super cringe. Maybe it’s because I’m gay and just have way too much firsthand experience with this sort of thing from my own comphet past, but Flora’s whole “I just keep thinking about that silly, gorgeous, insane man I’m marrying tomorrow. I love him. More than I ever thought I could love anybody. And the crazy thing is, he loves me the same exact amount,” spiel just absolutely screams “woman who is having to do all of the emotional work in her relationship with an absolutely dull, mediocre, emotionally illiterate man and is desperately trying to convince herself that he does, in fact, love her as much as she (believes) that she loves him.”

I feel like this is a parody of straightness?? Is this actually sincere??

This is what Dani gave up her life to redeem??

To me, this is just more bleak shit that Bly leaves us with. It is so painful to watch.

Bless.

Okay, so I know that I said that I wasn’t going to offer a definitive yes or no about whether Bly commits Bury Your Gays with Dani’s death, but…after writing all of this out, I’m honestly kinda leaning towards a yes.

But I’m already anticipating that folks are gonna push back against me on this. So I just want to humbly submit, again, that Bly could have just not done this. It could have just not portrayed Dani’s death at all.

To really drive this point home, then, I’m going to conclude this essay by suggesting just a few ways that The Haunting of Bly Manor could have ended without Dani’s self-sacrificial death—or without depicting her death on-screen at all.

Bly Manor Could Have Ended Differently

Mike Flanagan—creator, director, writer, editor, executive producer, showrunner, etc. of The Haunting of Bly Manor—has stated that he believes that the show’s ending is a happy one.

I, on the other hand, believe that Bly’s ending is…not. In my view, the way that the ending treats Dani is unnecessarily cruel and exploitative. “Happy ending”—really? If I let myself be cynical about it (which I do), I honestly think that Dani’s death is a pretty damn transparent effort to squeeze out some tears with a sloppy, mawkish, feel-good veneer slapped over it. And if we peel back that veneer and look under it, what we find is quite bleak.

To be fair, for a psychological horror show that’s so centrally about grief and trauma, Bly Manor does seem to profess an incredibly strong sense of hopefulness. Underlying the entirety of the show is a profound faith in all the good and beauty that can come from human connection, however fleeting our lives may be—and even if we make a ton of dumb, awful mistakes along the way. If I’m being less cynical about it, I do also think that the show’s ending strives to demonstrate a peak expression of this conviction. But—at least in my opinion—it doesn’t succeed in this goal. In my writing of this essay, I’ve come to believe that the show instead ends in a state of despair that is at odds with what it appears to want to achieve.

So, in this final section, I’m going to offer up a few possibilities for ways that the show could have ended that maybe wouldn’t have so thoroughly undermined its own attempted messages.

Now, if I were actually going to fix the ending of The Haunting of Bly Manor, I would honestly overhaul a ton of the show to arrive at something completely different. But I’m not going to go through all the trouble of rewriting the entire show here, lol. Instead, I’m going to work with most of what’s already there, leading out from Viola’s possession of Dani (even though I don’t actually like that part of the show either – maybe someday I’ll write about other implications of Viola’s possession of Dani beyond these allegorical readings, but not right now). I’m also going to try to adhere to some of the show’s core themes and build on some of the allegorical possibilities that are already in place. Granted, the ideas that I pose here wouldn’t fix everything, by any stretch of the imagination; but they would, at least (I hope), mitigate some of the issues that I’ve outlined over the course of this essay. And one way or another, I hope that they’ll help to demonstrate that Dani’s self-sacrificial death was completely unnecessary. (Seriously, just not including Dani’s death would’ve enabled the show to completely dodge the question of Bury Your Gays and would’ve otherwise gone a long way towards avoiding the problems with the show’s queer representation).

So, here's how this is going to work. First, I’m going to pose a few general, guiding questions before then proposing an overarching thematic modification that expands on an idea that’s already prominent across the show. This will then serve as the groundwork for two alternative scenarios. I’m not going to go super into detail with either of these alternatives; mostly, I just want to demonstrate that the show that could’ve easily replaced the situation leading to Dani drowning herself. (For the record, I also think that the show could’ve benefitted from having at least one additional episode—and from some timing and pacing restructuring otherwise. So, before anybody tries an excuse like “but this wouldn’t fit into the last episode,” I want to urge that we imagine these possibilities beyond that limitation).

Let’s start off by returning to a point that I raised in the earlier conversation about grief and acceptance: the trickiness of Viola’s “acceptance.”

What Viola “accepts” in the end aren’t her losses or her own mortality, but Dani’s desperate, last-ditch-effort invitation to inhabit her. Within the show’s extant ending, Viola never actually comes to any kind of acceptance otherwise. Dani’s suicide effectively forces her dissolution, eradicating her persistent presence through the redemptive power of self-sacrifice. But in all of my viewings of the show and in all of my efforts to think through and write about it, there’s a question that’s been bugging me to no end: Why does Viola accept Dani’s invitation in the first place?

We know that Peter figured out the “it’s you, it’s me, it’s us” trick in his desperation to return to some form of life and to leave the grounds of Bly Manor. But…what is the appeal of it for Viola? How do her own motivations factor into it? For so long, Viola’s soul has been tenaciously persisting at Bly all so that she can repeatedly return to the physical locus of her connection with her husband and daughter, their shared bedroom in the manor. She’s done this for so long that she no longer even remembers why she’s doing it—she just goes back there to grab whatever child she can find and strangles whoever happens to get in her way. So what would compel her to accept Dani’s invitation? What does she get out of it—and what does she want out of it? What does her acceptance mean? And why, then, does her acceptance result in the dissipation of the gravity well?

We can conjecture, certainly. But the show doesn’t actually provide answers to these questions. Indeed, one of the other major criticisms that I have of Bly is that it confines all of Viola’s development to the eighth episode alone. I really think that it needed to have done way more to characterize her threat and at least gestureat her history sooner, rather than leaving it all to that penultimate episode, interrupting and drawing out the exact moment when she’s about to kill Dani. (Like, after centuries of Viola indiscriminately killing people, and with so many ghosts that’ve been loitering around for so long because of that, wouldn’t Bly Manor have rampant ghost stories floating around about it by the time Dani arrives? But there’s only one minor suggestion of that possibility: Henry indicating that he might’ve met a soldier ghost once. That’s it. And on that note, all of the ghosts at the manor needed to have had more screentime and development, really). Further, it’s disappointing that the show devotes that entire eighth episode to accounting for Viola’s motivations, only to then reduce her to Big, Bad, Unspeakable Evil in the final episode, with no rhyme or reason for what she’s doing, all so that she can necessitate Dani’s death.

As we continue pondering these unanswered questions, there’s also another issue that I want to raise, which the show abandons only as an oblique, obscure consideration. And that is: How the hell did Jamie acquire all that extensive knowledge about Viola, the ghosts of the manor, and all that happened, such that she is able to tell Bly’sstory in such rich detail? My own sort of headcanon answer to this is that Viola’s possession of Dani somehow enabled Viola to regain some of her own memories—as well as, perhaps, a more extended, yet also limited awareness of the enduring consciousnesses of the other ghosts—while also, in turn, giving Dani access to them, too. Dani then could have divulged what she learned to Jamie, which would account for how Jamie knows so much. I bring this up because it provides one possible response to the question of “What does Viola get out of her possession of Dani?” (especially given the significant weight that the show places on the retention of one’s memories—more on this in a moment) and because this is an important basis for both of my proposed alternative scenarios.

Before we dig into those alternative scenarios, however, there’s also a thematic modification that I want to suggest, which would help to provide another answer to “What does Viola get out of her possession of Dani?” while also alleviating the issues that lead into the valorization of Dani’s suicide. That thematic modification involves how the show defines love. Although Bly’s sustained contrasts between love and possession have some valuable elements, I think that the ending would’ve benefitted from downplaying the love vs. possession theme (which is where we run into so much trouble with Dani’s self-sacrifice, and which has also resulted in some celebratory conflations between “selflessness” and self-sacrifice that I’ve seen crop up in commentary about the show—but, y’all, self-sacrifice is not something to celebrate in romantic partnerships, so please, please be careful idolizing that) to instead play up a different theme: the idea that love is the experience of feeling such safety and security with another person that we can find opportunities for peace by being with them.

Seeking peace—and people with whom to feel safe enough to share traumas and experience peace—is a theme that already runs rampant across the show, so this modification is really just a matter of accentuating it differently. It’s also closely linked to the moving through grief theme that we’ve already discussed at length, as numerous characters in Bly express desires for solitude with loved ones as a way of finding relief and healing from their pain, grief, and trauma. (And I suspect that I latched onto this because I have desperately wanted peace, calm, and stillness in the midst of my own acute, compounding traumas…and because my own former romantic partner was obviously not someone with whom I felt safe enough to experience the kind of peace that would’ve allowed me to begin the process of healing).

We run into this idea early in the development of Jamie and Dani’s romance, as narrator Jamie explains in the scene leading up to their first kiss, “The au pair was tired. She’d been tired for so long. Yet without even realizing she was doing it, she found herself taking her own advice that she’d given to Miles. She’d chosen someone to keep close to her that she could feel tired around.” Following this moment, at the beginning of Episode 5, narrator Jamie then foregrounds Hannah’s search for peace (“The housekeeper knew, more than most, that deep experience was never peaceful. And because she knew this ever since she’d first called Bly home, she would always find her way back to peace within her daily routine, and it had always worked”), which calls our attention to the ways that Hannah has been retreating into her memory of her first meeting with Owen as a crucial site of peace against the shock of her own death. Grown-up Flora even gushes about “that easy silence you only get with your forever person who loves you as much as you love them” when she’s getting all teary at Jamie about her husband-to-be.

Of course, this theme is already actively at work in the show’s conclusion as well. During her “beast in the jungle” monologue, Dani tells Jamie that she feels Viola “in here. It’s so quiet…it’s so quiet. She’s in here. And this part of her that’s in here, it isn’t…peaceful.” As such, Viola’s whole entire issue is that, after all those centuries, she has not only refused to accept her own death, but she’s likewise never been at peace—she’s still not at peace. Against Viola’s unpeaceful presence, however, Dani does find peace in her life with Jamie…at least temporarily, until Viola’s continued refusal of peace leads to Dani’s self-destructive sense of fatalism. Still, in her replacement of Viola as the new Lady of the Lake, Dani exists as a prevailing force of peace (she’s “harmless as a dove”); however, incidentally, she only accomplishes this through the decidedly non-peaceful, violent act of taking her own life.

But…what if that hadn’t been the case?

What if, instead, the peace that Dani finds in her beautiful, queer, non-self-sacrificing existence with Jamie had also enabled Viola to find some sense of peace of her own? What if, through her inhabitation of Dani, Viola managed to, like…calm the fuck down some? What if Dani’s safety and solitude worked to at least somewhat assuage Viola’s rage—and even guide her towards some other form of acceptance?

Depending on how this developed, the show could’ve borne out the potential for a much more subversive conclusion than what we actually got. Rather than All-Consuming-Evil Viola’s forced dissolution through the violence of Dani’s redemptive self-sacrifice (and its attendant recuperation of heteronormativity), we could’ve instead had the makings of a narrative about sapphic love as a source of healing that’s capable of breaking cycles of violence and trauma. And I think that it would’ve been possible for the show to accomplish this without a purely “happy” ending in which everything was just magically fine, and all the trauma dissipated, and there were no problems in the world ever again. The show could have, in fact, managed this while preserving the allegorical possibilities of Viola’s presence as mental and/or terminal illness.

But, before I can start describing how this could’ve happened, there’s one last little outstanding problem that I need to address. In the video essay that I cited earlier, Rowan Ellis suggests that there are limitations to the “Viola as a stand-in for mental/terminal illness” reading of the show because of the fact that Dani invites Viola into herself and, therefore, willingly brings on her own suffering. But I don’t think that this is quite the case or that it interferes with these allegorical readings. As I’ve already mentioned at various points, Dani doesn’t entirely understand the implications of what she’s doing when she issues her invitation to Viola; and even so, the invitation is still a matter of a dubious consent that evidently cannot be withdrawn once initially granted—at the absolute most generous characterization. Dani’s invitation is a snap decision, a frantic attempt to save Flora after everyone and everything else has failed. Consequently, we don’t necessarily have to construe Viola’s presence in Dani’s life as a matter of Dani “willingly inviting her own suffering,” but can instead understand it as the wounds and traumas that persist after Dani has risked her life to rescue Flora. In this way, the show could have also challenged the traditional heroic-redemptive narrative formula by offering a more explicit commentary on the all-too-often unseen ramifications of selflessly “heroic” actions (instead of just heedlessly perpetuating their glorification and, with them, self-sacrifice). Dani may have saved Flora—but at what cost to herself? What long-term toll might this lasting trauma exact on her?

And with that, we move into my two alternative ending scenarios.

Alternative Ending 1: Progressive Memory Loss

Memory and its loss are such significant themes in Bly Manor that theycould use an essay all their own.

I am, however, going to refrain from writing such an essay at this moment in time (I’m already super tired from writing this one, lol).

Still, the first of my alternative scenarios would bring these major themes full-circle—and would make Jamie eat her words.

In this alternative scenario, Viola would find some sense of peace—even if fraught and, at times, tumultuous—in her possession of Dani. As her rage subsides, she is even able to regain fragmented pieces of her own memory, which Dani is also able to experience. The restoration of Viola’s memory, albeit vague and scattered, leads Dani to try to learn even more about Viola’s history at Bly in an effort to at least partially fill in the gaps. As time goes on, though, Viola’s co-habitation within Dani’s consciousness leads to the steady degradation of Dani’s own memory. The reclamation of Viola’s memories would occur, then, concomitant with a steady erosion of both herself and Dani. Thus, Dani would still undergo an inexorable decline across the show’s ending, but one more explicitly akin to degenerative neurological diseases associated with aging, accentuating the “Viola as terminal illness” allegory while also still carrying resonances of the residual reverberations of trauma (given that memory loss is often a common consequence of acute trauma). Jamie would take on the role of Dani’s caregiver, mirroring and more directly illuminating the role that Owen plays for his mother earlier in the show. By the show’s conclusion, Dani would still be alive, including during the course of the frame narrative.

I mentioned earlier in this essay that I’ve endured even more trauma and grief since my brother’s death and since my breakup with my ex-fiancé. So, I’ll share another piece of it with you now: shortly after my breakup, my dad was diagnosed with one of those degenerative neurological diseases that I listed way back at the very beginning. I moved home not only to get away from my ex, but also to become a caregiver. In the time that I’ve been home, I’ve had no choice but to behold my dad’s continuous, irreversible decline and his indescribable suffering. He has further health issues, including a form of cancer. As a result, he now harbors a sense of fatalism that he’ll never be able to reconcile—he does not have the cognitive capacities to address his despair or turn it into some other form of acceptance. He is merely, in essence, awaiting his death. Hence, fatalism is something that I have had to “accept” as a regular component of my own life. (In light of this situation, you may be wondering if I have thoughts and opinions on medical aid in dying, given all that I have had to say so far about fatalism and suicide. And the answer is yes, I do have thoughts and opinions…but they are complex, and I don’t really want to try to account for them here).

Indeed, I live in a suspended, indefinite state of grieving. Day in and day out, I watch my father perish before my eyes, anticipating the blow of fresh grief that will strike when he dies. I watch my mother’s grief. I watch my father’s grief. He forgets about the symptoms of his disease; he looks up his disease to try to learn about it; he re-discovers his inevitable demise anew; the grieving process restarts again. (“She would wake, she would walk, she would forget […] and she would fade and fade and fade”).

What, then, does acceptance look like when grief is so ongoing and so protracted?

What does acceptance look like in the absence of any possibility of acceptance?

Kübler-Ross’s “five stages of grief” model has been a meaningful guide for countless folks in their efforts to navigate grief and loss. Yet, the model has also been subject to a great deal of critique. Critics have accused the model of, among other things, suggesting that grieving is a linear process, whereby a person moves from one stage to the next and then ends conclusively at acceptance (when grieving is, in fact, an incredibly uneven, nonlinear, and inconclusive process). Relatedly, they have also called attention to the fact that the model commonly gets used prescriptively in ways that usher grieving folks towards the end goal of acceptance and cast judgment on those who do not reach that stage. These are criticisms that I would level at Bly’s application of Kübler-Ross as well. Earlier, we thoroughly covered the show’sissues with grief and acceptance as major themes; but in addition to those issues, Bly alsotends to steer its characters towards abrupt endpoints of acceptance, while doling out punishments to those who “refuse” to accept. At root, there are normative ascriptions at work in the show’s very characterization of deferred acceptance as refusal and acceptance itself as an active choice that one has to make.

This alternative ending, then, would have the potential to challenge and complicate the show’s handling of grief by approaching Jamie’s grieving and Dani’s fatalism from very different angles. As Dani’s caregiver, Jamie would encounter and negotiate grief in ongoing and processual ways, which would continue to evolve as her wife’s condition worsens and her caregiving responsibilities mount, thereby lending new layers of meaning to the message that “To truly love another person is to accept that the work of loving them is worth the pain of losing them.” Dani’s fatalism here could also serve as a different interpretation of James’s Beast in the Jungle; perhaps her sense of fatalism ebbs and flows, morphs and contorts along with the progression of her memory loss as she anticipates the gradual whittling-away of her selfhood—or even forgets that inevitability entirely. Still a tragic, heart-rending ending to the show, this scenario may not have the dramatic force of Jamie screaming into the waters of the lake, but it would be a relatable depiction of the ways that many real-life romances conclude. (And, having witnessed the extent of my mom’s ongoing caregiving for my dad, lemme tell ya: if y’all really want a portrayal of selflessness in romantic partnerships, I can think of nothing more selfless than caring for one’s terminally ill partner across their gradual death).

Additionally, this scenario could allow the show to maintain the frame narrative, while also packing fresh complexities into it.

Perhaps, in this case, Dani is still alive, but Jamie has come to Flora’s wedding alone, leaving Dani with in-home caregivers or within assisted living or some such. She comes there determined to ensure that Miles and Flora regain at least some awareness of what Dani did for them—that they remember her. The act of telling Dani’s story, then, becomes not only the performance of a mourning ritual, but also a vital way of preserving and perpetuating Dani’s memory where both the children and Dani, herself, can no longer remember. To be sure, such purposes already compel Jamie’s storytelling in the show: Narrator Jamie indicates that the new Lady of the Lake will eventually lose her recollection of the life she had with the gardener, “leaving the only trace of who she once was in the memory of the woman who loved her most.” But in the context of a conclusion so focused on memory loss, this statement would take on new dimensions of import. In this way, the frame narrative might also more forcefully prompt us, the audience, to reflect on the waysthat we can carry on the memories of our loved ones by telling their stories—and also, maybe, the responsibilities that we may have to do so. “Almost no one even remembers how she was when her mind hadn’t gone,” Jamie remarks after returning from Owen’s mother’s funeral, a subtle indictment of just how easily we can lose our own memories of those who suffer from conditions like dementia—how easily we can fail to carry on the stories of the people they were before and to keep their memories alive. (“We are all just stories in the end,” Olivia Crain emphasizes during the eulogy for Shirl’s kitten in The Haunting of Hill House. In fact, there’re some interesting comparative analyses we could do about storytelling and the responsibilities incumbent on storytellers between these two Flanagan shows).

Along those lines, I think that this would’ve been an excellent opportunity for the show to exacerbate and foreground those latent tensions between Jamie and Owen (and maybe also Henry) about whether to share Dani’s story with the now-adult children.

In the show’s explorations of memory loss, there’re already some interesting but largely neglected undercurrents churning around about the idea that maybe losing one’s memory isn’t just a curse or a heartbreaking misfortune (as it is for Viola, the ghosts of Bly Manor, and Owen’s mother), but can, in certain circumstances, be a blessing. Bly implies—via Owen and the frame narrative—that Miles and Flora have been able to flourish in their lives because they have forgotten what happened at Bly and still remain blissfully unaware of it…which, to be clear, is only possible because of the sacrifices that Dani and Jamie have made. But this situation raises, and leaves floating there, a bunch of questions about the responsibilities we have to impart traumatic histories to younger generations—whether interpersonally (e.g. within families) or societally (e.g. in history classrooms). Cycles of trauma don’t end by shielding younger generations from the past; they especially don’t end by forcing impacted, oppressed, traumatized populations (e.g. queer folks) to shoulder the burdens of trauma on their own for the sake of protecting another population’s innocent ignorance. But how do we impart traumatic histories? How do we do so responsibly, compassionately, in ways that respect those harrowing pasts—and those who lived them, those most directly impacted by them—without actively causing harm to receiving audiences? On the other hand, if we over-privilege the innocence of those who have forgotten or those who weren’t directly impacted, what do we lose and what do we risk by not having frank, open conversations about traumatic histories?

As it stands, I think that Bly is remiss in the way it tosses out these issues, but never actually does anything with them. It could have done much, much more. In this alternate ending, then, there could be some productive disagreement among Jamie, Owen, and Henry about whether to tell Flora and Miles, what to tell them, how to tell them. Perhaps, in her seizing of the conversation and her launching of the story in such a public way, Jamie has taken matters into her own hands and has done so in a way that Owen and Henry can’t easily derail. Perhaps Owen sympathizes but does, indeed, abruptly cut her off just before her audience can completely connect the dots. Perhaps Henry is conflicted and doesn’t take a stand—or perhaps he does. Perhaps we find out that Henry had been torn about whether to even invite Jamie because of the possibility of something like this happening. Or, perhaps Henry wants the children to know and believes that they should hear Dani’s story from Jamie. Perhaps we see scenes of past quarrels between Jamie and Owen, Owen and Henry. Perhaps, once the story has ended, we see a brief aftermath conversation between Owen and Jamie about what Jamie has done, their speculations about how it may impact Miles and Flora. Perhaps the show presents these conversations in ways that challenge us to reflect on them, even if it does not provide conclusive answers to the questions it raises, and even if it leaves these conflicts open-ended, largely unresolved.

Alternative Ending 2: Living with the Trauma

If Bly’s creators had wanted Viola’s inhabitation of Dani to represent the ongoing struggles of living—and loving someone—with severe mental illness and trauma, they could have also just…done that? Like, they could have just portrayed Jamie and Dani living their lives together and dealing with Viola along the way. They could have just let that be it. It wouldn’t have been necessary to include Dani’s death within the show’s depicted timeline at all.

The show could’ve more closely aligned its treatment of Dani’s fatalism with James’s Beast in the Jungle—but with, perhaps, a bit more of a hopeful spin. Perhaps, early on, Dani is convinced that her demise is imminent and incontrovertible, much as we already see in the final episode’s diner scene. For a while, this outlook continues to dominate her existence in ways that interfere with her daily functioning and her relationship with Jamie. Perhaps there’s an equivalent of the flooded bathtub scene, but it happens much earlier in the progression of their partnership: Dani despairs, and Jamie is there to reinforce her commitment to staying with Dani through it all, much like her extant “If you can’t feel anything, then I’ll feel everything for the both of us” remarks. But maybe, as a result of this, Dani comes to a realization much like The Beast in the Jungle’s John Marcher—but one that enables her to act on her newfound understanding, an opportunity that Marcher never finds before it’s too late. Maybe she realizes that her fatalism has been causing her to miss out on really, truly embracing the life that she and Jamie have been forging together, thus echoing the show’s earlier points about how unresolved trauma can impede our cultivation of meaningful relationships. Maybe she realizes that her life with Jamie has been passing her by while she’s remained so convinced that Viola will claim that life at any moment. Maybe she comes to understand that her perpetual sense of dread has been hurting Jamie—that Jamie needs her in the same ways that she needs Jamie, but that Dani’s ever-present sense of doom has been preventing her from providing for those needs. And maybe this leads to a re-framing of the “you, me, us,” conceit, with a scene in which Dani acknowledges the extent to which her fatalism has been dictating their lives; in light of this acknowledgement, she and Jamie resolve—together—to continue supporting each other as they navigate Viola’s lasting influences on their lives.

By making this suggestion, I once again do not want to seem like I’m advocating that “Dani should fight back against Viola” (or, in other words, that “Dani should fight harder to win the battle against her mental illness”). But I do want to direct us back to a point that I raised at the very beginning: grieving, traumatized, and mentally ill folks can, indeed, cause harm to our loved ones. Our grief, trauma, and mental illness don’t excuse that fact. But what that means is that we have to take responsibility for our harmful actions. What it absolutely does not mean is that our harms are inevitable or that our loved ones would be better off without us.It means recognizing that we still matter and have value to others, despite the narratives we craft to try to convince ourselves otherwise. It means acknowledging the wounds that fatalistic, “everybody is better without me” assumptions can inflict. It means identifying the ways that we can support and care for our loved ones, even through our own struggles with our mental health.

“Fighting harder to win the battle against mental illness” is a callous and downright incorrect framing of the matter; but there are, nevertheless, intentional steps that we must take to heal from trauma, to receive treatment for our mental illnesses, to care for ourselves, to care for our loved ones. For instance…the very process of writing this essay incited me to do a lot of reflecting on the self-defeating narratives that I have been telling myself about my mental health and my relationships with others. And that, in turn, incited me to do some course-correcting. I thought about how much I want to work towards healing, however convoluted and intricate that process may be. I thought about how I want to support my family. How I want to foster a robust social support network, such that I feel a genuine sense of community. How I want to be an attentive friend. How, someday, if I’m fortunate enough to have a girlfriend, I want to be a caring, present, and equal partner to her; I want to emotionally nourish her through life’s trials and turmoil, not just expect her to provide that emotional nourishment for me. I started writing this essay in August; and since then, because of it, I’ve held myself accountable by reaching out to friends, spending time with them, trying to support them. I’ve also managed to get myself, finally, to start therapy. And my therapist is already helping me address those self-defeating narratives that have led me to believe that I’m just a burden on my friends. So, y’know, I’m workin’ on it.

But it ain’t pretty. And it also ain’t a linear upward trajectory of consistent improvement. It’s messy. Sometimes, frankly, it’s real ugly.

It could be for Dani, too.

Even with her decision to accept the certainties and uncertainties of Viola’s intrusive presence in her life, to live her life as best she can in the face of it all, perhaps Dani still struggles from day to day. Perhaps some days are better than others. Perhaps Viola, as I suggested earlier, begins finding some modicum of peace through her possession of Dani; nonetheless, her rage and disquiet never entirely subside, and they still periodically overtake Dani. Perhaps Dani improves, only to then backslide, only to then find ways to stabilize once again. In this way, the show could’ve more precisely portrayed the muddled, tumultuous lastingness of grief and trauma throughout a lifetime—without concluding that struggle with a valorized suicide.

Such portrayals are not unprecedented in horror. As I contemplated this ending possibility, I couldn’t help but think of The Babadook (2014), another piece of horror media whose monster carries allegorical import as a representation of the endurance and obtrusion of unresolved trauma. The titular monster doesn’t disappear at the film’s end; Sam emphasizes, in fact, that “you can’t get rid of the Babadook.” And so, even after Amelia has confronted the Babadook and locked him in the basement of the family’s home, he continues to lurk there, still aggressive and threatening to overcome her, but able to be pacified with a bowlful of worms. Like loss and trauma, the Babadook can never be totally ignored or dispelled, only assuaged with necessary, recurrent attention and feedings.

Bly could have easily done something similar with Viola. Perhaps, in the same way that Amelia has to regularly provide the Babadook with an offering of worms, Dani must also “feed” Viola to soothe her rage. What might those feedings look like? What might they consist of? Perhaps Viola draws Dani back to Bly Manor, insisting on revisiting those same sites that have held implacable sway over her for centuries. Perhaps these visits are what permit Dani to gradually learn about Viola: who she was, what she has become, why she has tarried between life and death for so long. Perhaps Dani also learns that these “feedings” agitate Viola for a while, stirring her into fresh furor—but that, in their wake, Viola also settles more deeply and for longer periods. Perhaps they necessitate that Dani and Jamie both directly confront their own traumas, bring them to the surface, attend to them. Perhaps, together, they learn how to navigate their traumas in productive, mutually supportive ways. Perhaps this is also what quiets Viola over time, even if Dani is never quite sure whether Viola will return to claim her life.

You may be wondering, then, about what happens with the frame narrative in this scenario. If Dani doesn’t meet some tragic demise, what happens to the role and significance of grieving in the act of Jamie’s storytelling? Would Jamie’s storytelling even occur? Wouldn’t Dani just be at Flora’s wedding, too? Would we miss the emotional gut-punch of the reveal of the narrator’s identity at the end?

Perhaps, in this case, the ending removes some of the weight off of the grief theme to instead foreground those troubled deliberations about how to impart traumatic histories (as we covered in the previous scenario). As such, the frame could feature those conflicts between Jamie (and Dani here too this time), Owen, and Henry concerning whether or not to tell Dani’s story to Miles and Flora. Perhaps Dani decides not to attend the wedding, wary of contributing to this conflict at the scene of what should be a joyous occasion for Flora; perhaps she feels like she can’t even face the children. And then, without Dani there, perhaps an overwrought Jamie jumps into the story when the opportunity presents itself—whether impulsively or premeditatedly.

Or…Perhaps the show could’ve just scrapped the frame at Flora’s wedding and could’ve done something else instead. What might that be? I have no idea! Sky’s the limit.

At any rate, even with these changes, it would’ve still been possible to have the show conclude in a sentimental, tear-jerking way (which seems to be Flanagan’s preference). Perhaps Jamie’s storytelling does spark the return of the children’s memories. Perhaps, as they begin to remember, they reach out to Dani and Jamie, wanting to connect with them, wanting especially to see Dani again. And then, perhaps, the show could’ve ended with a scene of Miles and Flora finally reuniting with Dani—emotional, sweet, and memorable, no valorized suicide or exploitation of queer tragedy needed.

Conclusion

In my writing of this essay—and over the course of the Bly Manor and Hill House rewatches that it inspired—I’ve been finding myself also doing a great deal of reflection about the possibilities and purposes of horror media. I’ve been thinking, in particular, about the potential for the horror genre to provide contained settings in which we can face and explore our deepest fears and traumas in (relatively) safe, controlled ways. Honestly, I think that this is part of why I enjoy Flanagan’s work so much (even if it also enrages me at the same time). If you’ve read this far, you’ll have seen just how profoundly I relate to so much of the subject matter of The Haunting of Bly Manor. It has been extremely meaningful and valuable for me to encounter the show’s depictions of topics like familial trauma, grief, loss, compulsory heterosexuality, caregiving for aging parents, so on, all of which bear so heavily on my own existence. Bly Manor produced opportunities for me to excavate and dig deeply into the worst experiences of and feelings about my life: to look at them, understand them, and give voice to them, when I’m otherwise inclined to bury them into inconspicuous docility.

Even so, the show does not handle these relatable topics as well as it could have. Flanagan and the many contributors to this horror anthology can’t just preach at us about the responsibilities of storytellers; they, too, have responsibilities as storytellers in the communication of these delicate, sensitive, weighty human experiences. And so, to reinforce a point that I made earlier, this is why I’ve written this extensive critique. It’s not because I revile the show and want to condemn it—it’s because I cherish Bly Manor immensely. It’s because I wanted more out of it. It’s because I want to hold it and its creators accountable. It’s because I want folks to think more critically about it (especially after how close I came to unreflectively accepting its messages in my own initial reception of it).

Television usually doesn’t get me this way. It’s been a long time since I was this emotionally attached to a show. So this essay has been my attempt to honor Bly with a careful, meticulous treatment. I appreciate all of the reflection and self-work that it has inspired me to undertake. I’ve wanted to pay my respects in the best way I know how: with close, thorough analysis.

If you’ve read all this mess, thanks for taking the time to do so. I hope that you’ve been able to get something out of it, too.

Representation matters, y’all.

The end.

#the haunting of bly manor #bly manor #thobm #dani clayton #jamie taylor #dani x jamie #damie #sapphic romance #lesbian romance #mental health #compulsory heterosexuality #queer representation #not a fix-it fic but a fix-it essay

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hacash · 1 year

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ted lasso 3x01 thoughts

WE’RE BACK BABY

God, what a corker of an opener - whenever I take a break from Ted Lasso I forget how much I’m going to enjoy it and then we open up and fuck me it’s always so good

and the big news on everyone’s lips: Ted is officially the character under focus for season three! I wasn’t sure if they’d go there but if this episode has shown us anything it’s that Ted desperately needs something to change! someone else on tumblr pointed out that there was a washed-out feel to the entire cinematography in this episode which was clearly corresponding with Ted’s long-term depression, and that really landed with me - as someone who’s had depression come and go in waves that’s exactly what it is: you’re making the same jokes and doing the same stuff, but there’s this colourlessness that begins pervading everything. Ted’s never been more self-deprecating :( he’s making slip-ups like walking past his own front door….God, the poor man’s a mess.

BUT he’s still talking with Doctor Sharon! Ted’s taking his mental health seriously! this is a good thing!

and on that subject

GET IT DOCTOR SHARON

(I honestly thought that was Hunky Luca she was with for a second; what a turn around that would have been)

so the big question that this season is clearly going to be ramping up to is does Ted decide to stay in Richmond or go back to the US. I can’t wait to see how this unfolds - I did have a minor heart-pang moment when Ted was about to go in and comfort the team about Nate, but Jamie jumped in without even being asked and did a Tedism into the bargain. It was so sweet and so demonstrative of how Ted has planted those seeds for his team, but it will beg the question: if the boys are doing this on their own, will Ted feel he’s still needed at Richmond?

I’m worried about Rebecca this season: it’s clear there are some serious issues around the West Ham v Richmond rivalry that ain’t going away any time soon. It was interesting seeing her scoffing at Nate when he (unbeknownst) ducked away from the press conference to have his panic attack. Bear in mind, this was before he started being a dick about Richmond: so she’s clearly bitter about Nate moving to West Ham (which, as I’ve said before, is pretty unfair: people move jobs all the time) - it’ll be interesting to see if her anger at Rupert starts blinding her judgement again.

It’ll also be interesting to see if her desire to beat Rupert clashes with Ted’s own style and issues…

(I’m also predicting here and now that new, potentially high profile player Zava might end up being another Jamie Tartt but more arrogant and more aggressive on the field - and while Ted may worry that he’s not good for the team, Rebecca will want to keep him around because he’s such a significant player. Watch this space!)

Nate

NAAAAATE

From Nate’s ongoing addiction to Twitter to his unkindness to the players, to Rupert’s constant manipulation of how Nate talks and what he drives, to his dressing down a dickish journalist, to that panic attack, to the car - I am flailing about so heavily right now. Nick Mohammed is going to ruin me this season, stg

Did we notice when he was talking about settling in with his new team, Nate’s comments were that he was ‘getting to know all about them….getting to like them…getting to hope….’ straight before having a flashback of being bullied by the team? Did we? Are our hearts hurting yet?

Even his insults about Richmond - ‘they’re in the sewer because they’re a shitty team’ - are just childish! he’s trying to be a killer because that’s what Rupert wants but it doesn’t work!

Also Disco’s only spoken one line of dialogue yet but I’m immediately adopting him as my new favourite character

I’ll be honest, because we all predicted Keeley and Roy would have broken up, the reveal scene didn’t hit as emotionally hard as it did some people. But on the end I’m absolutely convinced it isn’t going to last - both Roy and Keeley clearly have some growing in their personal lives* to do, and when they eventually find their way back to each other it’s going to be beautiful. I also think that if it was an actual Planned Plot Point (TM) we’d have seen that scene play out in real time; as it is, I think it’s less important how Roy and Keeley break up than how they get together again.

*God, can you imagine Nate’s reaction if he realised Roy was comparing himself unfavourably to him?!

The sewer school trip was such a lovely little reminder of what a good team dad Ted really is. That being said, after two years of this shit, Ted could probably have realised that the sight of Richmond team dropping down into a sewer in broad daylight probably wasn’t going to play out all that well.

Katy Wix is joining the cast!! well, at least we know where she went off to after BBC Ghosts.

SHIRTLESS LOCKERROOM SCENE IN THE VERY FIRST EP; this show truly does give us everything.

I’ll be honest, I may have inhaled a mouthful of tea here; at the sight of Sam’s arms and shoulders I became a simple Victorian maiden prone to the vapours and in need of a good lie down on a chaise longue.

I, like Dani, am traumatised that Paddington Bear doesn’t actually exist

Colin gets bullied by nuns. (also I swear he was in more lingering shots this episode; the impending Colin storyline is making me so nervous and so excited)

All of the himbos are just so fucking pretty in this episode. Even despite Jamie’s hair choices. I’m also so delighted by the increasing amount of himbo interactions we’re getting: I can really imagine that the writers didn’t quite realise how popular the footballers themselves would be, and are now looking to include more himbo content for sheer funsies. Particular shout out to Phil Dunster for making Jamie as cocky and oblivious as he ever was, but this time using his powers for good. It’s a

God bless Henry Lasso for joining the Nate Shelley defence squad, and God bless Ted for listening to him. That was such a telling little moment and a promise of things to come, and I can’t believe I got that emotionally affected by a freaking Lego set.

There was so much emotional stuff in this episode, I can’t wait to see what happens next...

….nope, still distracted by Sam’s arms.

#ted lasso #ted lasso spoilers #theodore lasso #rebecca welton #roy kent #keeley jones #sam obisanya #jamie tartt #isaac mcadoo #colin hughes #dani rojas #leslie higgins #coach beard

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bruhstation · 7 months

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I feel like I’m 14 and Know nothing about Ask the famous 8 again, I am not sleeping, I am not eating, I am gripping my phone waiting for notifications, you tapped into the perfect intersection of hyper fixation, human au’s, and GORGEOUS ART and I’m LIVING, I AM BREATHING, I AM SHAKING

Congrats, I salute you o7

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WOAHHHH????!??!?!? WOAAHHHHHHHH. this whole analysis page is making my jaw drop to the floor like it’s truly award-worthy how you managed to catch some of my very VERY niche references here and there. I cannot applaud you enough!!!! good lird!!!!! truly amazing work, you!!!! I’d like to give some of my comments as well :]

1. captain zero is not beating the bitter ex husband allegations #actuallydivorced

2. zorran and zip take after captain zero but in vastly different ways. zorran has been around far longer than zip; he’s his first employee and right hand man, after all. he took after captain zero like his speech mannerisms and view on the world, but the strain of responsibility captain zero put on zorran weighs down on him. zip is a newbie, having joined just a few weeks ago. he sees captain zero as a father figure, which is not 100% reciprocated by him (literally the first adult figure in zip’s life to show him a semblance of human decency which is not going to end well for the z-stack youth). zorran took after something that is a thorough, long process (speech mannerism), while zip took after something that is at face value (coat). also reflects their emotional maturity (zorran is more cautious, while zip is easily impressionable and needs others to guide him despite their intentions)

why does captain zero name him “zip”? it was zebedee’s idea, partially. he joked that he got the epiphany when he ate a piece of marzipan, but captain zero thought it’s fitting. zip means “to close something”. zipline. zipper. ziplock. to zip. you say “zip it” when you want someone to shut up. (also remember how zorran said “shut it zip in the first episode)

"he sees a child” captain zero views zip as an employee when he expects zip to go through with his plans, while he views zip as a child when he’s talking down on him and giving commands. zip has no problem with this

3. “why is it not a war?” captain zero’s scared. ahaha

4. “stop talking” remember the first episode, sunshine, and his line, “I don’t expect you to think”? remember how I said in the previous posts that there’s hunting dog imagery within captain zero?

5. zip’s crossword puzzle!!! yes!!!!!! you noticed it!!!!! the words and the meanings I try so hard to convey!!!!!!! you nailed almost every single one of them

6. “cops? acab” this is hilarious and fitting considering what I have in store for captain star

7. “invasion” “something is coming” with how captain zero’s criminal history remains shrouded in darkness and the very tiny bits we got from johnny cuba’s words to zebedee...... I’ll just say that it’s going to come back to bite him

8. “camaraderie” “9 across doesn’t exist” these speak for themselves. especially with zipcents there (starts clawing on my face)

9. the fleets do work together, occasionally. they gotta set aside personal feelings for the contracts, and to an extent, their captains. and yeah something bigg is coming and it is Not Pretty! (see point 7)

10. zip’s suspenders has three black lines, while zebedee and the rest of the z-stacks have five!

that’s all I have to say for now!!! phew!!!! this was very fun to respond to and I’m really happy you noticed the stuff I’ve laid out for fortezza bigg city so far!!!! also I love the tiny doodles :3 zebedee is so cute!!! and your gal zaffre looks amazing! the suspenders are definitely fbc’s signature. her high hairdo is such a fantastic look on her, too :D once again, thank you very much!!!!

#submission #firecooking #for me #fortezza bigg city #this is tugs #is it bad that anything that alludes to the captains' divorce makes me guffaw #I think divorce between these two would be both hilarious and depressing. lol

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vethbrenatto · 1 year

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TLOVM S2E7 Thoughts

WOW, I was like “i wonder if they’re going to keep in the ‘vex calls scanlan useless’ bits” a day ago and they literally. just started it I’m insane my intuition

I hadn’t even considered grog and the gnomes might not be in the episode but now I’m thinking that e7 might be team half elf plus Percy and e8 will be grog and gnomes

Lmao nerd boy is nerding

You couldn’t just pretend to be happy Vax

Nope totally wrong grog and the gnomes are here

WHAT IF I PUT MY HAND OF YOURS WHILE YOU HEALED YOURSELF WHAT THEN

literally this whole scene he’s holding her how am I supposed to focus

SKINNY GROG CANT HURT YOU

why do i have three peni.

how could you say that about his books vax

COUNTRY TRAVELING SONG WHAT THR FUCKCK

I’m really of two minds about the Pikelan direction they’re going in: I think it aids Scanlan in that it emphasizes his need to deflect sincerity with comedy. However, I think it really detracts from Pike in that campaign-Pike thinks Scanlan is funny. She likes his jokes. A lot of pike’s s1 arc in TLOVM feels inconsistent with her dislike of Scanlan’s crass side- like it’s very in her nature to find this stuff funny. Not that she can’t also like the sincere side, which she does, but just that I think her side of this narrative is making her character seem flatter than it should, especially when you group it with the fact she’s been given a lot of Kiki’s campaign personality traits

the drug trip scene is funny but was it necessary. there’s 8 minutes left where is saundor. or syldor. Where is the Vex focus. Maybe,, they’ll stay in the feywild for e8 while grog and gnomes head to Westruun?

Garmelie was merely the TRAVELER

okay so syngorn next episode.

Best Characterization: Percy. Love u nerd boy

TLOVM S2E8 Thoughts

ohhhh this episode is the Echo Tree, I had the order in my mind wrong no wonder I was so confused about the pacing

Syldor your bitchass can die

WILHAND TRICKFOOT YOU WILL ALWAYS BE FAMOUS I LOVE YOU SIR

ngl I think the titling hit less animated but fun nonetheless (it’s about the reactions, the live audience, the Matt’s face)

I love saundors voice literally slay sendhil

I adore this Vex in the Echo tree scene, I’ll touch more on it at the end

“My heart is someone else’s” NOW THERES A PUNCH THAT HITS

arty my boyyyy

Best Characterization: Vex

TLOVM S2E9 Thoughts

Boulder parchment shears!!

OKAY THERES THE PIKELAN I WANTED. she flirts back! it’s stupid!! he takes it too seriously!! they joke!!

KAYLIEEE SHES HERE SHES HERE

I don’t have much comment I just love the grog backstory

black hair pike 🥹💚

wait so scanlan wasn’t part of dranzel’s troupe :( that’s such a weird detail to remove

zanror does have a cutie nose

“What if I need you” mirroring s1 buddies ahhhh

Best Characterization: Grog/Pike

Overall Best Characterization: I’ll say Grog.

Okay so I liked this batch a lot, but I’ve got to come back to the question: Split the party- yay or nay?

And I’m still wavering between yay and nay.

Yay: I think the character beats particularly that came from the Grog + Gnomes side of the story hit harder with them sequestered on their own. This new “Grog finds his strength” taken literally storyline is a huge boon to Grog’s character even though I found it a bit superfluous at first. They were able to emphasize the Pikelan and to a lesser extent Scanlan/Grog dynamic that they haven’t been able to touch on as much before.

Nay: I felt like the episodes had some wasted time. Episode 7 I felt like we didn’t need the Feywild side of the story (the most important part is meeting Garmelie- the fight in that episode is essentially to drive further home that Vax is on a diverging path, something I think 4-6 already firmly established). Episode 8 I felt we didn’t need the Grog/Gnomes side of the story (meeting Wilhand was great, but the B plot of “giving grog an enema” was weak)

Ultimately, I think I come down on the side that I would’ve preferred the party to stick together. The weaker plot lines I outlined above I think could’ve been axed and the whole party could’ve gone to the Feywild, we’re still given significant Grog + Gnomes content, and then we’re given just a bit more time to stew in the concept of Syngorn. The punches, specifically with Perc’ahlia in Syngorn, fell flat to me because I don’t think they were given enough time. Had they cut the original E7 fight to make more context for Syngorn, I think it would’ve gone well in expanding context. Then, E9 could’ve remained totally the same just with the rest of VM along for the ride.

That said, maybe the split was worth it just for the country traveling Pikelan bop.

#the legend of vox machina #tlovm spoilers #tlovm thoughts

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charliebjones · 11 months

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Ted Lasso has gone home!

Honestly it’s taken me a full 24 hours to process it this much and I’m still not there. And there’s so much I could say.

First off, I have to get this out the way, wtf happened between Roy and Jamie in that bar, and good on Keeley for not choosing either, that’s my girl. But, despite what I’ve read, I do think it wasn’t such a big deal as people have been making it, they went for kebabs after for f*cks sake.

Now, onto the rest of it.

I do think, despite the fact I didn’t want Ted to leave at all, it was a beautiful ending to three beautiful seasons that have touched the hearts of so many people.

From the way they showed the public finally seeing who Rupert was with his interaction with Cartrick, to the little throwbacks to the first season, to Sassy’s interaction with Rupert, Ted’s dance on the pitch, Colin and Michael, and so, so, SO many more. It couldn’t have been more perfect.

My nerves have been all over the place all week waiting and now that it’s over I don’t quite know how to feel. It’s like a post adrenaline crash and I just don’t know what to do with myself other than watch it all over again. I don’t talk on here much but I feel like I had to say something to mark this, the ending of something so small yet so large in so many ways, and in a massive one to me:

Ted Lasso saved my life.

When the show came out in 2020 I wasn’t in a good place, I was struggling and I couldn’t see the lighter side that I could barely even hope for at the time. Then I found Ted. That little show had such an impact, and even the simplest act of waiting for the new episode each week gave me something to look forward to when I didn’t have much. That special little show gave me hope, showed me that there are people in this world that are kind, that life can be shit but sometimes that allows you to move forward, and that forgiveness isn’t something you give to someone else, it’s something you give yourself.

My friends joke that I’m addicted, and to be honest, they’re not completely wrong. But I’d say it’s attachment instead, it’s love, so much love, for a show that helped me through some of the darkest times of my life and made me feel whole again. So thank you, Ted Lasso, for saving my life.

And so, in the words of the man himself:

I know some folks like to say ‘there ain’t no place like home, but there ain’t a lot of places like AFC Richmond either’

Thank you Ted, for everything.

#ted lasso

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tellthemeerkatsitsfine · 2 years

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More things I like about No More Jockeys, now that I’m on episode seven of the second set (really a continuation of this post, but I can’t just keep adding to that one forever so I’m starting a new one):

- Alex getting genuinely exasperated with Tim for forgetting the order of turns. Alex expressing this exasperation through passive-aggressive sarcastic comments, making it sounds like he wants to just call him a fucking moron but is trying to not be too much of a dick about it.

- The previous point aside, the rise of Tim Key in set 2. Deciding to start occasionally thinking about words before he says them and things like that. Tripping people up on categories that sound obscure but have a surprising numbers of ways to fall into them, or names that are bait for failed challenges. Making up for not seeming to have the memorization or focus skills of the other two by bringing more creativity.

- I think one of my favourite parts of the whole game is when someone says something wrong and you can see one or both of the other two notice, but try to pretend they haven’t until the turn is complete, so they won’t change their answer before anyone has a chance to challenge it. And sometimes when both people notice, you can see them try to communicate with each other about it without letting on. It’s really funny, and just interesting to watch.

Alex is weirdly much better at this when it was Mark’s mistake than when it was Tim’s mistake – it seems that he’s just not very good at hiding his natural exasperation with Tim Key when he does things wrong. When Mark fucks up, there’s a sort of subtle change in Alex’s facial expression. When Tim fucks up, there’s an incredulous “What the fuck is wrong with you?” look on Alex’s face. Mark, unlike every other aspect of the game (and just contrary to how life works generally), appears to be better at this when drunk than when sober. When he’s drunk he’s always a bit giggly so you don’t notice a big difference when he reacts to something, but when he sober he’s focused most of the time, and it really stands out when he catches a mistake and reacts to it at first before covering his mouth and trying to stop. After the initial reaction his strategy for not giving anything further away is normally to just not look anywhere near the camera, which is actually a more obvious tell than if he just looked straight on and raised his eyebrows. Tim doesn’t challenge much, and when he does see a reason for challenging he’ll usually just mention it immediately, but a few times I have seen him wait for a turn to end and then challenge after giving away no signs that he was planning it, so when he wants to I think he has the best poker face of the three of them.

- Love the quirk of saying, “I don’t mind that,” instead of something stronger, whenever there’s a reasonably good joke or point. I don’t try to steal all my speech patterns from comedians off the computer, but I know that picking up language quirks when I hear them a lot is something I do subconsciously. I mean, it’s something everyone does a fair bit, but I’ve been told I do it a lot (probably for reasons that are vaguely related to autism in some way), and while the process itself isn’t conscious, sometimes I can see when it’s going to happen. I feel like that one is going to start cropping up in my own speech; I’m just getting so used to hearing it and it sounds so natural.

- I’ve started reading the comments more and people are still accusing Mark of cheating. Aside from that one time, I don’t think he is. He’s just very, to use a Watsonian word, fiddly. I also feel the need to clarify what I said earlier about respecting him for it, and say obviously I wouldn’t respect someone who cheated at anything that was in any way real. And if he were doing it all the time, which he definitely isn’t, then even then I’d say it’s taking the fun out of this game. What I respect is someone who, in one particular high-stakes moment (high stakes in the sense that Alex would have won the whole set on that turn if they’d lost the challenge, but not really high stakes in that none of this is a real thing), I’m pretty sure got so into a Zoom parlour game that he was Googling on his phone just off camera.

Also, any advantage he may have ever gained by Googling once or twice is undercut by the fact that I think he’s the most lenient of the three in backing down on challenges even when he’s right. He’s fairly aggressive at issuing challenges, but then he’ll let the others override him.

- I genuinely enjoy, not even for the comedy but just because it’s interesting to watch, the mind games of issuing challenges they know they’re likely to lose just to mess with the others and throw them off. Strategizing like that is something I and most people I know have done in actual sports competitions, challenging a referee’s call even if you’re not sure you’ll turn out to be right, just because it interrupts the match and can stop the other side’s momentum and make them worry for a bit. I love watching it apply to this.

- Alex dropped the suits fast after the first set, which I find funny. Trying at first to maintain his schtick as the guy who wears suits all the time, but then pandemic life kept going on and he stopped bothering.

- In the episode I’m watching now, Tim Key just suggested they should do an episode of this while they’re all on drugs. He said that like it was a joke or would be some sort of novelty, which is funny because alcohol is a drug and they are all on it in just about every episode. As far as I can tell, on the tipsy-drunk-hammered scale, Tim and Alex are normally at least tipsy, and Tim has had a few where he’s been properly drunk by the end of it. I think I’ve only seen Alex play while properly drunk a couple of times, though you can tell when he’s approaching the border between “tipsy” and “drunk” because his exasperation with Tim gets more pronounced. Mark has shown up to a few episodes absolutely hammered before the game even started, and while that’s clearly a bad thing for his mental and physical health, it is impressive that he can play a memory game fairly well even at that level of impairment. Obviously he’s better when sober, but he’s not as bad as he should be when hammered. It’s a testament to his intelligence that he can be slurring his words and still pick someone up on a category that was mentioned ages ago in real time. For the rest of the episodes, Mark goes back and forth between getting drunk throughout the game, and trying to take it seriously and do the whole thing sober. Anyway, the point is that I’m not sure in what world we haven’t seen them play this game while all on drugs.

- I realize this isn’t the prevailing view of the dynamic, but I overall see Alex Horne as the one of the three of them who can keep it together the best. A somewhat reasonable middle ground between Tim Key being very aggressive while not remembering what’s going on, and Mark working really hard to remember everything but getting very concerned about every aspect of it. Alex seems to be able to just… think about the words and the people he knows exist and say them in an order that makes some kind of sense. Like a normal person. Unless Tim starts fucking with him and he has a breakdown.

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frostyreturns · 2 years

Text

Frosty Ruins Duncanville

First of all I absolutely hate everything about the art. The art style is that offputting cheap animation style that makes everyone look ugly. The character designs only enhance that ugliness and make this tough to look at.

The show begins its pilot episode with a cameo from someone I've never heard of and their big opening jokes reference pedophilia and incest. The show is about a teenage boy and they literally could not go a minute without bringing up his sex life. Also it was before the three minute mark before another reference to incest where his little sister runs up lovestruck and tells her brother she can't wait to marry him.

We also have the now obligatory black female love interest who looks like she was designed by tumblr, and not current day tumblr either, tumblr before most of the retards left for twitter. Of course her arrival heralds the now completely mandatory ham fisting of the social justice cause. Here their priorities are to skewer papa johns for not supporting lgbt causes and she claims to be bringing them down from the inside. Does anyone even fucking remember what the papa johns nontroversy even was anymore. How can you make topical political leftist humour when there’s no humour and you’re outraged about a new innocuous thing every fucking day.

They also have this one character who’s an influencer and through him they advocate sucking companies dicks on twitter for free stuff. He talks about getting free twizzlers for saying the company is woke. And in case you were wondering how long the show would run before you had to hear about a teenage boys boner the answer is 6 minutes. If you are wondering how long it takes for an older woman to flirt with a teenage boy the answer is ten minutes.

The show is comedy adjacent. You can tell there are supposed to be jokes but you can never find them. One of the jokes is the mom just describing the premise of the movie boss baby and laughing. You can see the outline for the comedy like the chalk lines around where a dead body used to lay...but it's just empty. It's soulless and unfunny and they try to make up for this lack of funniness with uncomfortable sexual situations. I would ask what it is with leftists and assuming that peak comedy is combining sex and children but we all know the answer to that. At one point the kids mom roleplays with him how to initiate sex with a girl and lays down, starts unzipping her shirt and talks like a teenager girl. It was super fucking weird and uncomfortable... but it's okay because the mom got to slip in a feminist consent talking point.You know the one where drunk women can't consent so if two drunk people have consensual sex the man consented but the woman can't so it was male on female rape.

This seems to be a theme that continues throughout the show, putting kids in inappropriate sexual situations and then trying to justify it with a feminist political message. Like the mom and her teenage son go into a strip club but it's okay because she tells him to respect the naked dancing women as honest working women just like her. Then they animate him picturing his mom as one of the strippers for even more incestuous “hilarity”.

Then because the show wasn't creepy enough the kids all go to a rave and one comments how fun it was because they were naked so much. With how much these people have been harranged for being pedophiles you think they would take at least five fucking minutes to not be super obvious about how badly they want to corrupt and rape children. Fuck everyone who made this show, I hope they get hit by a train.

Then one of the episodes ends with a rant about how being someones girlfriend makes you that persons property, making this bizarre point that dating is sexist. So the show attempts to normalize pedophilia and incest but attempts to stigmatize normal age appropriate dating. Like everything a degenerate hollywood leftist touches it’s backward and fucking disgusting. I can't even tell if this show is supposed to be for kids or not. It's not funny and it has this condescending meant for children tone to it but then it's also wildly inappropriate for kids. I’ve watched 6 episodes for this review and I can’t fucking tell who this is meant for... this is a show for nobody.

Also how many fucking shows do we need about dissecting and ridiculing the concept of family. It's been fucking done to death, we get it everyone in hollywood has terrible families and would rather be raised by the government, you're lunatics shut up nobody else cares.

The shows attempts at comedy seem like a bunch of boomers just scrolled through tumblr and drew the conclusion that kids these days think random absurd nonsense is hilarious. It's like the cartoon version of one of those weird old spice commercials from a decade ago. But instead of the punchline being I'm on a horse, the punchline is I'm flying on captain sullys back and holding onto his mustache for support, ha ha get it because he's high and it's therefore funny. That was their first episodes big ending joke.

This show is fucking terrible. And as usual the Amy Pohler character is always some insufferable government stooge, this time instead of the parks department she takes great personal joy in writing parking tickets. Stealing for the state to make quotas making her again a detestable and irritating character. This time though there is no Ron Swanson or Andy Dwyer to make the show funny in spite of her.

When the show isn't being criminally unfunny or pedophilic it's being fucking boring as shit. It's like watching family guy but there's no peter or stewie. It's just Meg, Chris and Lois, so it's nothing but b plots that nobody cares about because in a comedy where the characters are not funny there is no reason to give a shit about the characters. Like one of the plots is an investigation into who sold kids knockoff sneakers and it turns out to be a teacher who used the money to buy the kids tickets to see Hamilton. And then the lesson the audience is given is that crime is okay as long as it's for the benefit of exposing kids to shitty broadway historical propaganda. Or the plot is that the parents are worried their kid isn't popular, because the concept of popularity in high school needs to be done a ten thousandth time and it needs to be done poorly and without humour. It's shows like this that make me so curious how it was pitched and how it came to be, because I cannot for the life of me imagine what the premise even is. Did Amy Poehler walk in and say ok it's like F is for family but take away Bill Burr and the 70's and add nothing at all, but also target it to kids but make it inappropriate for kids...but not in a way that kids will like. Were they like alright fuck it nobody watches the shit we make anymore anyway so do whatever the fuck you want.

I hate absolutely everything about this show, it has no redeeming qualities whatsoever. If you enjoy this show you have a cultural gutter palate and I would assume your opinions on everything are wrong and retarded. Once again further proof that nothing made after 2017 is worth watching. This was an exercise in massochism, fuck this show.

#duncanville

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cjsinkythoughts · 3 years

Text

The Conversation

Pairing: Bucky Barnes x Avenger!Reader

Word Count: 7661 (Don’t come at me - you guys asked for it)

Warnings: !FATWS Spoilers!, Cursing, Fluff, Feelings, I Dunno What Else, This One’s Pretty Chill, Except The Ending, But You’ll See When You Get There

A/N: Here it is! I was hesitant about posting it because that means we’re getting closer to the end and I’m such a nostalgic bitch! I’m definitely gonna cry next week when the last episode comes out! Anyways, I’ve got a few things to talk about:

I think this is one of the most important chapters I’ve written and I’m excited to see your reactions to it. It is longer, but you guys asked for that, so you got it! Also, I’m loving the Asks, Comments, and Reblogs. I try to respond to all of them. I have work in a little bit, so I won’t be able to until after, but I’ll get back to you as soon as I can. Ask me anything; about my series, the show, any of the movies, personal stuff, I really don’t care. If you’re not comfortable, that’s totally fine! Every like means so much to me!

I know it’s not the end yet - we’ve got one more episode and a list of One Shots to get through - but there’s a definite feeling of this series coming to an end, and I just want to thank you all for the support and love you’ve been giving it! I’ve really enjoyed writing these characters and this story! It’s very, very special to me and I’m glad I’ve been able to share it with you lovely people!

On that note, be kind to yourselves and others! Thank you again for reading! Excuse any mistakes - this isn’t beta’d! Enjoy and stay tuned!

FATWS Masterlist

cjsinkythoughts Masterlist

!SPOILERS UNDER CUT! (Sorry for the gifs I just love them so much and he’s so pretty and this part is technically two parts so...you get four!)

“Louisiana.” Bucky hummed, looking around the airport.

You rolled your eyes. “You’re not gonna find anything interesting about Louisiana in here, doofus. Let’s call an Uber.”

“An Ooper? What the hell is an Ooper?”

You giggled, shaking your head and grabbing his hand and pulling him towards the luggage carousel. “Uber. It’s like…a taxi service. But there’s an app on your phone to get a driver instead of waiting for one on the street.”

“Oh.” He blinked, tilting his head. “That’s…helpful.”

You laughed again, stopping in front of Carousel 3, where your flight from New York was assigned. You went back to New York to grab a bag with clean clothes and other necessities, along with taking a real shower for once. It was nice to be back in the States, as much as you loved traveling. It’d been a crazy few weeks and you were ready to just relax.

“Do you think there were any problems with Sammy’s present?”

Bucky shook his head. “Nah. Especially considering they know who we are.”

You snickered at his slight grumble. They had had…problems at the other two airports - first the one in Sokovia then JFK in New York - considering Bucky’s entire arm was metal. It’d taken a full hour before they actually let you go, and by that time they had to give you a new plane because yours had left.

“Seriously. Who else has a fucking metal arm and has 1917 listed as their birth year on their Driver’s License?” You giggled again. That was also true. They thought he was messing with them. It wasn’t until you stepped in a few minutes after they asked Bucky to step to the side, seeing Bucky get frustrated, that they realized Bucky wasn’t pulling their legs.

“Well, we’re here now and that’s all that matters.”

He nodded in agreement, watching for your bags, his hand finding yours when he realized how many people there were. “Do you know where he lives? I didn’t even think about it.”

“Yeah, don’t worry. He invited me over once. I declined, but I saved the address.”

“He…invited you over?” Bucky frowned.

You gave him a look. “I’m sure he invited you, too. You just never checked his texts.”

He licked his lips, tilting his head. “Yeah, no, I know, but I mean…why didn’t you go? Weren’t you two just talking about how you wanted to meet his nephews the other day?”

“Yeah, but I had gotten a tip on Wanda at the time and I didn’t want to miss the chance that she was there. He told me it was fine. I still felt really bad. I could tell he was a bit disappointed. I think it was one of the boys’ birthdays. Or something. I don’t remember. Is that bad? Yeah, probably. I really should remember. Maybe I should keep track of birthdays on my calendar or something.”

“Doll.” You looked up to find him giving you a magnificent smile, teeth and all. “You’re rambling.”

“Oh. Am I? Sorry. I didn’t realize.”

He shook his head quickly, squeezing your hand. “Don’t apologize. It’s cute. I’m just not used to you talking so much. You kinda did on the phone sometimes.”

You shrugged, pushing down the heat crawling up your neck at his words. “I rambled a lot to Steve.”

“Oh.”

His face fell, making you scrunch your eyebrows up in confusion, nudging him slightly to grin at him. “It’s nice to have someone to ramble to again, though.” There was that smile again. You were stopped from saying anything more when you noticed some kids pointing and chattering excitedly at a gleaming silver box coming around the corner on the conveyor belt. “There it is.”

He looked over his shoulder, dropping your hand and stepping over to grab it, lifting it effortlessly. You didn’t know what was in it or how heavy it was, but you were sure it felt like a feather to him.

“Alright. Got our bag, sweetheart?” You lifted up the duffle in answer and he jerked his head towards the doors. “Let’s get outta here, then. Call that Booper or whatever.”

“U-B-E-R! Ub-er!” You threw your hands up, following him as he started walking towards the exit. “What’s so hard about it?!”

He just gave you a little smirk over his shoulder.

***************

Bucky kept asking the Uber driver questions about his job. The guy was super nice and patient the whole time, a thick southern accent lacing his answers. Southern hospitality was no joke and apparently had no limit as Bucky asked about his experiences, listening intently and telling him his own stories of taxi drivers in NYC.

When you got to Sam’s sister’s house, Bucky, being Bucky, tipped the driver half of what you paid for the ride, thanking him for his time and energy, before getting out.

“You’re so adorable, you know that?” You teased him as you stepped up the porch stairs and knocked on the door.

He rolled his eyes, a tint of pink dusting across his cheeks. “He was nice.”

You hummed at his defense, the smile never leaving your features. After a moment, Bucky raised his fist to knock again. “Jesus Christ! Don’t fucking knock their door down!” You grabbed his wrist and lowered it.

“Sorry. I forget sometimes.” Bucky informed you absentmindedly, tilting his head to peek in the window. “I don’t think anyone’s home.”

“They’re probably at the docks, then.”

Bucky raised an eyebrow. “The docks?”

You nodded, gesturing for him to follow you. “Yeah. They have a boat, remember? He talked about it last week.”

“Oh right. The one he’s trying to convince his sister not to sell.”

“Yeah.” You confirmed. “I’m pretty sure it’s that way. I don’t know how far, but we can call the Uber back-”

Bucky scrunched up his face and shook his head. “Nah. I don’t wanna bother him again. We can walk.”

You gave him an incredulous look. “It’s literally his job to drive people around.”

“Well, yeah, but what if he’s got other people to drive?”

You lifted his metal knuckles to your lips. “Trust me, Buck, I’m sure he’d rather drive you than anyone else.”

“Thank you?”

Swinging your now linked hands, you gave a firm nod, letting him know it was, in fact, a compliment. “You are so very welcome.”

The walk was a lot longer than you thought it was, and you ended up on Bucky’s back after he kept complaining about how you “shouldn’t be walking this long” and you were “injured” and you “needed rest’”. You’re not sure how a shoulder wound affected your ability to walk, but you relented and let him carry you the rest of the way to stop his whining.

“You forget, you did pull your thigh.”

“That was, like, three weeks ago! Yeesh!”

You finally got to the docks, which were bustling with people. Bucky set you down and raised an eyebrow which you shrugged in reply to, before heading over to where you spotted Sam with a few other older men.

“How do we get it off the truck?” You heard Sam ask, pointing to a large boat engine part in the bed of a beaten up truck. Scoffing as Bucky lifted it up without breaking a sweat, you leaned against the truck. Bucky grunted and set it down, looking at Sam.

“You’re welcome.” What a punk. “Just dropping this off.” Bucky lifted the case and set it where the engine was previously, Sam coming to stand on the opposite side of the truck as you. “You can sign for it and I’ll go.” You snorted, shaking your head, making Bucky shove your shoulder - the uninjured one - playfully. “I called in a favor from the Wakandans.”

Sam looked at you curiously. You shrugged and shook your head. “Don’t look at me, Sammy. He wouldn’t tell me what it is. He’s all hushy hushy about it until you say so.”

Before Sam could reply, there was a squeak and hissing over at the boat where steam was coming from a few pipes.

“Sam!” You knew that was Sarah from pictures Sam showed you. You stayed up by the truck, pulling yourself onto the bed while Sam tried fixing the pipe, Bucky butting in to show him how to do it properly.

“Why didn’t you use the metal arm?”

You saw Bucky lift up said metallic limb. “Well…I don’t always think of it immediately. I’m-I’m right handed.” Letting out a laugh, Bucky turned around and scowled teasingly at you. “And what’re you laughing at?!”

“Nothing!”

“Well then get your ass over here!”

You rolled your eyes, hopping down from the truck as Bucky asked if Sam wanted help with the boat. You leaned against a wooden post, grinning when Sam looked at you.

“I don’t have any plans.”

Sam gave a small smile, jerking his head back. “Yeah.”

You jumped down onto the boat to follow him, looking over your shoulder and stopping with an amused eyebrow raised as Bucky introduced himself to Sarah. “I’m Bucky.”

“Ah…Sarah.”

“Sarah.” Bucky repeated her name, before walking towards you, a grin still on his lips.

“Careful, Barnes. That playboy Steve warned me about is coming out.” You nudged him with a smirk, ignoring the feeling of your stomach dropping.

He rolled his eyes, kissing your head as he passed you and Sam to go where Sam was gesturing. “Don’t worry, Y/N. You’re still my doll.”

Sam raised an eyebrow, falling into step besides you and lowering his voice. “Conversation?”

“Hasn’t happened.” You informed him through clenched teeth as he groaned.

Sam gave you a list of chores that needed to be done to clean up the boat, giving you a quick tour and letting you know where all the tools needed where. You set to work immediately.

Sanding down, replacing old parts, cleaning, polishing and painting over the things that didn’t need replacing. They didn’t let you do any heavy lifting because of your stupid shoulder, but you were still able to help.

Sam had turned on some music for you to listen to, so you danced around the boat while cleaning. Turning your head when you felt a pair of eyes on you, you smiled when Bucky snapped his head back down to the wood he was sanding down.

“Gonna dance, Barnes?”

He looked back over, shaking his head. “Nah. I’m good watching you.”

Rolling your eyes, you got back to work, continuing to bop to the music, fully aware that he was watching you now.

A little while later, you were repainting the edges of the boat orange, when you looked over and noticed Bucky playing around with a paint scraper…sitting right on the edge that you had just finished repainting a few minutes ago.

“Buck!”

He looked over, eyebrows raised. “Yeah?”

You bit your lip, trying to hold back your mischievous grin. Shaking your head, you waved dismissively. “Never mind!”

He gave you a confused sort of pout, before shrugging and continuing to fidget with the tool. It wasn’t until later when he got up to help Sam tear the metal plating off the edge that it came to light with Sam chuckling and raising an eyebrow.

“Sit in something there, Barnes?”

“What?”

Bucky craned his neck back, eyes widening when he saw the orange paint on his ass, contrasting with his jeans. You let out a cackle and he whipped towards you, pointing at you accusingly, although the small uptick of his lips let you know he wasn’t really mad.

“Y/N!”

“No, no, no!” You laughed, sprinting across the deck, shrieking when he grabbed your waist and spun you around. You gasped when he grabbed a paint brush and painted an orange stripe right down the front of your shirt. “James!”

“Justice, sweetheart.” He breathed in your ear with a chuckle.

You shook your head, wiggling out of his hold. “This is a nice shirt!”

“You should’ve thought about that before.” He smirked, crossing his arms. Your eyes caught sight of Sam behind him, who raised an eyebrow and the bucket of paint he was holding. You nodded with a little giggle, making Bucky’s eyes narrow. “What’s so funny over there, do - holy shit!

You guffawed as orange paint dripped down his head, Sam standing innocently behind him with the now empty bucket behind his back. “Samuel!”

“Oops?”

“I’m gonna kill you!”

“Try me old man!”

“Fuck!

“Doll!”

“Oh my God!”

Paint, orange and white since those were the only cans they had out, flew across the deck, paint brushes being used like fencing swords.

You found out too late that wet paint was a little bit slippery and you slid on a huge puddle, sending you, not onto the ground below, but over the side of the edge into the water.

“Doll!”

“Cher, you good?!”

The three of you looked at each other, stunned for a moment, before bursting into fits of laughter and you nodded. “I’m good!”

The boys helped you get back up onto the dock, Sarah appearing with towels she conjured up out of thin air. “Let’s get you into dry clothes. Do you have-?”

“We’ve got some. We got a bag.” You told her with a grin, facing the guys. “You two should clean up some, too. Sammy, you’ve got a little something right there.” You pointed to your cheek, his own having a giant white splotch from his temple to his jaw. “And Buck?” You sniggered, gesturing to the whole of him. “You’ve got a lotta something right there.”

“Ha. Ha.” He looked down. His top was practically tiger print, drenched in orange with white here and there, and his ass still orange as well. His hair, which had been plastered to his forehead, was starting to dry now, and it only made you laugh some more thinking about what a pain it’d be to get it out. For him, at least.

“God. Can’t even have a relaxing day on the boat with you two.” Sam jested once you finished up and joined him and Bucky, who had just finished dumping out some water buckets. Bucky had changed his shirt and it looked like they tried wiping their faces, but Sam still had small lines of white down his face. “How ‘bout a couple of drinks? Surely you can’t ruin that too.”

“Ruin?” You gasped in mock offence. “Sammy! I just made the day more…interesting.”

Sam chuckled, ruffling Bucky’s hair, which still had orange streaks in it. “Let’s go get some beers.”

************

You chatted for a bit, mainly you and Sam with you asking how Sarah and the boys were while Bucky with your legs in his lap, just listening to you two and sipping at his bottle. You had his hand in your own lap, wiping it down with a rag due to the paint that got on it.

“You’re lucky this is vibranium, you know.” You commented off handedly. “If it was your other one, it’d definitely get stained.”

“And who’s fault is that?” Bucky shot back with a teasing grin.

“Sammy’s.”

Sam spluttered. “Wh-what?! You started it!” You laughed, shaking your head.

Falling into a comfortable silence with just the water and birds chirping as your soundtrack, you downed the rest of your drink, which Bucky took as finished. “Well,” you moved your legs to let him stand up. He leaned forwards to clink his bottle against Sam’s and you stood up and stretched. “Gotta catch our flight tomorrow. Get a hotel room for the night.” Sam gave you a look to which you rolled your eyes at as Bucky set down his bottle and grabbed his jacket. “Crash, you know?”

“So you’re just gonna set me up like that, huh?”

“Well I don’t wanna make it weird for your family.”

“Just stay here.” You laughed as Sam babbled on about how nice the people were here, grabbing the jacket Bucky handed to you. It was getting a bit chilly from the breeze on the water and the sun going down. Plus, that water was cold.

“But don’t flirt with my sister.”

You cackled at Bucky’s face, that turned serious, his head shaking. “No.”

“‘Cause if you do I’ll have Carlos cut you up and feed you to the fish.”

“Can’t hold back the dog, Wilson. It’s been stuck in a kennel too long.”

Bucky turned to you, grabbing your jaw and squishing your cheeks together. “You know what? You need to shush. You’ve been snippy all day.”

You just smiled as innocently as you could with your lips being held by his metal fingers. “You’re too fun to mess with.”

He pecked your nose. “As long as I’m the only one you’re messing with. I’ll be right back.” He let you go and spun around, maneuvering around the boat in a way only a trained assassin could do.

“Oh my God, please! Please just put me out of my fucking misery! You’re killing me, cher.”

“What?” You gaped at him.

“Don’t act innocent!” Sam huffed, giving you a pointed look. “If I have to watch you two make googly eyes at you one more fucking day with neither of you doing anything about it-”

You rolled your eyes. “Oh come on, Sammy-”

“Don’t ‘come on, Sammy’ me! And don’t come at me with that ‘he doesn’t like me back’ bullshit. If you think for a second that boy wouldn’t follow you to the depths of the fucking ocean, you’re blind as a bat, woman.”

You shrugged, pushing up the sleeves of Bucky’s too big jacket. “It just…hasn’t come up.”

He deadpanned, shaking his head and standing up. “That’s it. I’m done. You two are driving me insane. I’m gonna lock you in a room until you have the conversation that needs to be had the next time either of you does something stupid.”

“Yikes. That’s gonna be quick.” At his look, your smile dropped and you nodded. “Okay, okay. I’ll…I’ll bring it up later.”

“Tomorrow or nothing.”

“Sam-”

Sam tilted his head, brow creasing. “Is it still Steve? Is that what this is still about? Because he’s gone, and he’s been gone and you need to get over it-”

“No. It’s not…” You sighed. “It clicked the other day. When we were hanging out. Steve left and, yeah, I might always love him, but Bucky…God…I love Bucky, Sam.”

The man grinned proudly. “I’m glad to finally hear you admit it. So what’s the problem?”

“It’s still complicated, right? I mean…he’s his best friend and I’ve never dealt with stuff like this before and-”

Sam’s smile dropped and he groaned again. “Imma head out. I can’t take this. Dumbass and dumberass. I swear to God.” You sniggered a bit as he grumbled, walking towards the ramp to climb off the boat, just as Bucky reappeared.

“Hey-”

“Nope! Not right now, Barnes! I can’t handle it! I can’t!”

Bucky gave you a weird look. “What’d you do?”

You chuckled, shaking your head. “Nothing.”

“Well, c’mon, doll. Sarah said she’s gonna make gumbo for us, whatever that is.” He held out his hand as you walked over.

“You’re such a city boy.” You teased lightly, taking his hand and letting him help you pull you onto the dock. You shoved the sleeves of his jackets up again since they slipped from the first time. “Let’s go get some dinner. I’m starving.”

******************

“We have the couch and a mattress we can pull out, I just have to make Sam get it from the attic-”

“That’s alright. The couch is fine.” Bucky waved dismissively while you nodded in agreement.

Sarah raised an eyebrow at you two. “For both of you?”

You blinked, exchanging a look with Bucky, before shrugging and turning back to her. “Yeah.”

“Don’t fight it, Sarah.” Sam peeked out from the hall. “They’ve got a weird relationship.” You stuck your tongue out at the man while Bucky rolled his eyes, dropping your duffle bag by the couch. “How mature, Y/N.” Sam mimicked your action.

“Uhm…okay. Let me set up the couch for you then.”

Once everything was set up, you and Bucky thanking her for dinner - delicious and you’d never seen Bucky smile so much, the boys having kept him highly entertained throughout the meal - and for letting you crash, Sam and Sarah headed to their rooms, the boys already having been tucked in for the night.

“Are you gonna sleep on the floor?” You asked quietly, sitting down on the couch and doing the things for your night routine you didn’t already do in the bathroom.

“I think I’ll be okay.” He sat besides you. “I’ve been doing fine the past week or so.”

You smiled at him. “That’s good. Alright.” You stood up and stretched. “Let me just make sure everything’s in the bag and ready-”

You yelped when his arm wrapped around your waist, pulling you into his chest, shifting down to lay against the couch’s arm. “Do it in the morning.” He yawned, looking up at you tiredly. “I wanna go to sleep.”

“Then go to sleep, Buck. I’ll be right back.” He shook his head, his hold tightening as he sunk deeper into the couch.

“No. I fall asleep better with you.”

You rolled your eyes but grinned, settling down with your legs between his, your chin resting on his sternum so you could still look at him. He beamed, but you could see the exhaustion settling in, and he grabbed the blanket Sarah left over the back of the couch and draped it across your back, over both of your legs, before his arms crossed snugly under the covers at the small of your back.

“Dinner was nice tonight. I haven’t had a meal cooked like that in ages.” You hummed.

He nodded in agreement. “I think that’s the first time I’ve sat around a table with a family since the 40′s.”

You raised an eyebrow. “Did you like it?”

“Yeah...kinda makes me wish I had my own.”

“Your own what?”

“Family.”

You bit your lip, shyly avoiding his gaze. “You’re my family, Buck.”

A light kiss was pressed to your forehead, his fingers bringing your gaze back to his. “There’s no one else I’d rather have.” The room lapsed into silence again, the clock ticking on the wall, the low sound of crickets outside.

“You have really pretty eyes.” You mumbled, tilting your head slightly as you studied them. They always held so much emotion in them, especially in contrast to when you first met him as Soldat. They matched the water you fell in, and you wouldn’t mind falling over and over into them.

“Yeah, well, you’re just really pretty inside and out, so I think you’ve got me beat, doll.” He whispered back.

“You know who else is pretty? Sarah.”

He nodded with a hum. “That’s true. But I meant what I said. You’ll always be my doll.”

“So you’re not gonna ask her out?”

He gave you a weird look as you traced his sharp jawline absentmindedly. “Nah, sweetheart. It’s just…some harmless flirting. Except on Sam’s part.”

You gave a soft huff of laughter. “Yeah…he’s gonna strangle you. It is nice to see you like that, though. Flirty. Relaxed. Happy.”

“You make me happy, sweetheart.” He hummed, nosing your temple. “The road trip helped. I’m learning everything from you. Maybe not the flirting, but the carefree part.”

You blinked at him, finger stopping for a moment as you thought. “Oh…”

You felt his fingers dance up your spine, making you shiver slightly. “What I would give to know what’s goin’ on inside that pretty lil’ head’a yours, doll.”

“I just think it’s funny you’re learning how to be carefree from me…when I just started learning how to do it myself.”

“Oh yeah?”

You nodded, your finger continuing its path down his jaw. “I think it started with the goats.”

“The goats?”

You nodded again, resting your cheek on his chest, watching your finger move up from his chin. Once you got to the end of his jaw, you lightly scratched his scruff. “In Wakanda. Our goats.” You weren’t looking at him, so you didn’t see the way he physically melted at your words, his eyes going soft, his lips turning up slightly.

“Our goats, huh?”

But your tired brain wasn’t really processing what he said, instead focusing on the features your finger was now tracing - over his lips, up his nose. “You’re pretty too, Buck. Did you know that? Inside and out.”

He craned his neck to kiss your forehead. “Go to sleep, cuddle bug.”

Nodding, you nuzzled into his chest, finger feeling over the bumps and indents on the dog tags resting near your head. You tried going to sleep, but you kept shifting, your mind not shutting off.

“Hey, sleepyhead, I’m trying to, you know, sleep.”

“Sorry.” You apologized meekly. “I just…I dunno. I can’t.”

“Are you comfortable?” He peeked open and eye to look at you questioningly. You nodded. “Is it too hot? We can take the blanket off. I know I’m a walking furnace-”

You shook your head. “No. I don’t know why. I just can’t sleep.”

He licked his lips thoughtfully, before cradling your head and guiding you back down to his chest. “Lay down, sweetheart. Relax.” He stroked your hair, moving his head down to rub circles in your back muscles, pressing down harder when he felt knots.

You hummed, your eyes closing. “That feels good.”

“Shshsh. Just go to sleep.” His lips pressed against your head once more, lingering a bit longer than they usually do, as you felt yourself drift off. You cuddled his side, throwing a leg over his waist, before nodding off, only barely hearing his words. “Attagirl. There we are.”

******************

“Doll?” You felt a shift underneath you and groaned, your eyes barely cracking open. “Hey, sleepyhead…it’s okay. I’m just gonna slip out from under ya, alright? Gonna go help Sammy with somethin’.”

You raised an eyebrow, letting him move you against the cushions as he sat up on the edge of the couch. “Sammy?”

“Yeah.” He bent over and kissed your cheek. You stretched out your limbs, about to rub your eyes, when he stopped you, kissing the inside of your wrists. “No. Not you, doll. Go back to sleep.”

“Bu’...’m gonna help.” You slurred out, looking at him with confused, squinty eyes.

He chuckled, shaking his head. “It’s okay. Rest. You can help when you wake up again. Okay?” You mumbled out an “okay”, bringing the covers up to your chin and snuggling deeper into the cushions. “There ya go, cuddle bug. Good girl.” There was another kiss, one to your temple this time, before you slipped back into unconsciousness.

******************

The next time you woke up was because of a clatter in the kitchen. You yawned and sat up, stretching, eyebrows furrowing when you realized Bucky wasn’t with you. It took you a moment to remember your conversation, which you half thought you dreamt.

“Boys!”

“Sorry!”

You chuckled at the shouts, rubbing your eyes. “I am so sorry!” Sarah apologized, looking over at you from the stove. Trying to make the boys breakfast before school. Do you want anything? Eggs? Cereal? Toast?”

“Uh, cereal’s fine.” You stretched out your back again, before throwing back the covers and standing up, a little shakily.

“You wouldn’t happen to know where Sam went, would you?”

You raised an eyebrow. “Uh, I think him and Bucky went to fix something on the boat. I don’t for sure, though.”

Sarah groaned. “He probably went to fix the stupid water pump which doens’t need fixing. Dumbass.”

You chuckled, padding over into the kitchen. “Yeah. I just work with him. I can’t imagine growing up with him.”

“Trust me; some days you want to throw him in a box and send him out to sea. Bowls are in that cupboard.”

You snickered, moving over to grab a bowl from the cupboard she pointed to. “That’s how I feel with Bucky. Sam is less often, but when those two get together…it’s a full zoo.”

She laughed at that, nodding as she got out the milk and a few boxes of cereal for you to choose from, handing you a spoon. “That I believe.”

“Thank you.”

“Of course.”

You started pouring your cereal, watching in slight amusement as she got the boys ready for school. “Bus is here! Get out the door! Bye! Love you! Make sure you take those extra lunches to-!”

“Yeah, mom! We know! Love you too!”

You gave a slight smirk as she huffed, looking around the kitchen at the pans and dishes left out. “Kids, huh?”

She gave you a smile. “Yeah. They’re a handful, but I wouldn’t trade them for anything. How about you? Any thoughts of kids?”

“Me?” Your eyes widened, nearly choking on your food. “Oh God no. Not right now, at least. I don’t even have a solid house right now. My life’s too off the walls for that.”

“And Bucky?”

You raised an eyebrow as she leaned on the counter. “Bucky? What about Bucky?”

“Does he want kids?”

“Uh…I dunno.” You shrugged, clearing your throat as you remembered your talk last night. “Kinda makes me wish I had my own.” You quickly pushed his words aside. “He hasn’t told me.”

“Wait, wait. You two…aren’t together then?”

You blinked, your eyes widening again. “Together? Me and Bucky? No…why? Did Sam say something?”

Her expression morphed into one of disbelief, crossing her arms. “Sam didn’t say anything. You guys did. Are you seriously expecting me to believe you aren’t together?”

“We’re not! I mean - he was flirting with you yesterday-”

“Right, okay. Honey, that’s flirting. And it’s harmless. The way he follows you like a puppy and you look at him like he hung the stars? That’s feelings. And that’s a lot more impactful than flirting.”

You frowned in contemplation. It was really that obvious? You were really that blind? This whole time? You knew Sam knew - but you just figured that’s because he’s been there since it started. And Sharon knew for the same reason. But Sarah? The woman you just met the day prior and had barely had a conversation with?

“It’s, uh…” You chewed on your cheek, swirling your cereal around. “It’s complicated.”

Sarah didn’t look impressed. “Do you like him?”

“I’m kinda in love with him-”

She shrugged, not letting you finish your bashful statement. “Then I don’t see what’s complicated about it.”

And that was that. She turned to clean up breakfast, leaving you alone with your thoughts.

You thought it was more complicated than that. I mean…you were in love with your best friend. Who left you. With the guy you had feelings for who just so happened to be your best friend/crush’s best friend. And now you were completely in love with your best friend’s best friend, but your best friend still had a piece of your heart.

But…you loved Bucky. And he was here. And Steve was not. And when you put it that way…you guess it wasn’t so complicated after all.

******************

You snickered as you walked up behind Sarah, the woman berating the men for not leaving the water pump along like she asked.

“Hi, Sarah.”

Sam shot Bucky a warning look, who grinned, but you were surprised to see Sarah ignore him, sending you a knowing glance instead, before turning back to Sam. “I told you specifically that the water pump was not the problem, and yet, here you are.”

“Yep, Samuel.”

You chuckled, Bucky shooting you a wink. “Yeah, Samuel.”

Sam narrowed his eyes at you, turning to Sarah. “In our defense, you were supposed to be done long before you woke up.”

You nearly facepalmed at his “defensive” and you were trying so hard to hold back laughing as she told Sam off, sending them away.

“I don’t wanna hear a peep from you.” Sam pointed at you, but that only made your chortles come out, and you didn’t even bother hiding them. “She’s a very mean person.”

“It’s tough love.”

You giggled as they started arguing, slipping an arm around their waists, their arms instinctually coming up to your shoulders.

“Oh my God. A prowess?”

“Yes, Y/N. A prowess.”

“You know, maybe if you someone let me help-”

“Hey, woah! You were tired! I let you sleep! I was being nice!”

“Too late now. I’ll be lucky if Sarah lets me within a hundred feet of it!”

“She got you so good, Sammy!”

“I agree with Buck for once! You’re too snippy right now! And c’mon man! Stop flirting with my sister!”

“It’s my natural charm.”

“Charm? What charm?”

“Ouch, doll! That one hurt!”

****************

“Okay.” You stepped out of the bathroom, walking over to the couch and setting the bag down on it. “I’ve got everything packed. We’ve got a little over an hour until we need to head out which gives you two time to go set something up for Sammy and maybe even a bit or training before we leave.”

Bucky frowned. “You’re not gonna come out?”

“I will in a bit. I just got a phone call I need to take.”

Sam narrowed his eyes. “Government call?”

You gave a mocking smile. “Can you guess what they want to talk about? It’s okay. I’ll survive. It’s only a phone call, so I can always hang up. Pretend I didn’t have good service. I do it all the time.”

“I’m sure you do.” Sam chuckled. “In that case, I’m gonna go grab some stuff and get the shield.” As he walked out, he made sure to mouth at you behind Bucky’s back ‘conversation’ making you swallow thickly. You were planning on talking to Bucky anyways, and with Sam’s insistence…

“Okay, so, I was thinking when we get back-”

“Can I talk to you?”

Bucky stopped digging through the bag, blinking at you in surprise at your sudden burst. “Uh…well, we already are, so yes.” He chuckled, straightening and crossing his arms.

“I wanna have the conversation.”

He was left stunned, once again, his mouth opening and closing and his weight shifting form one foot to the other. “Like…that conversation? R-right now? Are you sure?”

You winced at her nervousness. “Sorry, sorry. I know it’s kinda…I just…I need to talk about it. Now.”

“Okay, okay. No, that’s fine. Don’t apologize. I just wasn’t expecting it.” Bucky cleared his throat. “That’s all.”

“Okay…” You breathed with a small nod. You opened your mouth, but Bucky shook his head.

“I hafta say this first; I didn’t mean to hurt you by telling you about Steve. I-I dunno what I thought. That it’d give you closure or something. I dunno. But it hurt you and I’m sorry. That wasn’t my intention.”

“Buck-”

“I was jealous. And guilty. And mad. And upset. I still am. Kinda. I guess. I dunno.” Bucky shook his head, running his hand through his hair and all you could do was gape at him as he started confessing to you. “Remember when we danced? In Madripoor? Doll…I don’t wanna dance ever again if it’s not with you. I fucking love you, Y/N. And not in the way we’ve said it before. I’m in love with you. I have been for-for a while now. I just - you were Steve’s. Steve loved you and you loved Steve and that was that and I was just the broken childhood best friend. But Steve left and he told me to take care of you and I didn’t know what to do with that, because you still love Steve. I think. I dunno. And I didn’t want to break what we have because you’re all I have left of him. You and that stupid shield. You’re my family. My home. I really meant it when I told you that. And that’s why I couldn’t tell you. Because it means too much for me to break what we have because I fell in love with my best friend’s girl. You know?”

He looked at you with pleading eyes, begging you to understand, but your brain was still trying to process what he was telling you.

“Oh God…” He groaned. “And now I just told you everything and you’re looking at me like that wasn’t what you wanted to hear and now I’m thinking this wasn’t the conversation you were thinking it was going to be-”

You were moving across the room before you could stop yourself, pulling him by the teal Henley you knew was comfortable having worn it to bed before when you visited him in New York, and slanting your lips over his.

His breathing hitched and he froze, and for a hot second you thought you made everything worse, but then he was kissing you back and his hands were on your hips and he was pulling you closer and it felt so fucking good you didn’t want to pull back for air.

“Shut up.” You muttered when you finally did pull back, your forehead against his, your eyes clenched shut. “Shut up, shut up, shut up, shut up.” You pulled back to look up at him, chests heaving against each other, your eyes prickling. “I’m not good at this. I’m not good at opening up. I only ever was good at it with Steve but Bucky…I’ve been doing it with you. This whole time and I didn’t even realize it until the conversation in the car.”

He reached up to cup your cheeks, wiping away the relieved tears that were falling from the weight you were finally getting off your chest.

“I love you. I’m in love with you. How could I not be? After all that time in Wakanda? I was never Steve’s girl, Bucky. I wanted to be. Dammit, did I wanna be, but I wasn’t. Not really. And he’s gone. But you’re not. And I don’t know why it took me so long to see that. That you’re the one in front of me. You’re the one who held me when I needed it once he left. You’re the one that would listen to my rambles that I’m just realizing was most of our phone calls. You’re not just the broken childhood friend. Don’t ever think that. I don’t pick up the phone at five in the morning after searching for a friend until two for just anyone. Even Steve’s best friend. And I’m such an idiot because I’ve been pushing away my feelings all these years for Steve and then I let them out with you at the wrong time, because I love Steve, Bucky, but I’m not in love with him. Not since I fell in love with you. And I know it doesn’t make sense, but Steve was the first one I cared about and that’s just how I feel and I can try to explain, but-”

His lips crashed onto yours again and you could taste the salty tears that were pouring down your cheeks, but you didn’t care. He was holding you and he was kissing you and it was even more perfect than you thought it’d be.

“You’re adorable when you ramble, but Jesus Christ, shuddup, doll.” He breathed. “Just tell me you love me. Tell me you love me just a fraction of how much I love you.”

You looked up into those ocean eyes, your own shining with earnest affection. “James Buchanan Barnes. I love you.”

“That’s all I need to know.” He murmured against your lips, holding your head against his, still wiping away your tears. It felt like with each one that fell, you felt lighter and lighter. Like they were taking away every fear and anxiety you held within you for the past six months.

“Alright! I was thinking we could just set up in these trees out here - holy shit! Is it done? Did you do it? Did I miss it? Has the conversation been had?”

Bucky chuckled as you giggled. “He has the worst timing.” The last two words were loud enough so Sam could hear, although the man heard the whole sentence.

“I’m gonna take that as a yes!” Sam cheered. “Halle-fucking-lujah! Finally! I was that close to locking you two in the attic.”

You shook your head at Sam’s personal celebration, drowning the rest of his words out as you looked at Bucky, who swept his thumb over your cheek catching one last tear, before pecking your lips.

“I finally get to kiss where I really want to.” He spoke softly, kissing your lips again. “Are you mine, doll?”

“I thought you said I’d always be your doll.” You answered cheekily. He grinned, kissing you again, pulling you against him by the hips.

“Okay, okay! That’s enough! We get it! You’re in love, finally, but I don’t wanna see it anymore! Now will you come help me with this shit?”

Bucky left one more lingering kiss on your lips, before you pushed him away reluctantly. “I’ll be right out.”

He nodded, moving over to help Sam carry the things he’d gathered.

You watched them put it all up from the window, gnawing on your cheek as you spun your phone in your hands. Coming to a decision, you tossed your phone in the duffle bag and walked out with it just as the boys finished.

“That was a quick phone call.” Sam raised an eyebrow.

You shrugged. “Didn’t call them. If they really need me, they’ll find me.”

Bucky grinned as you set the bag down under a tree, pecking your lips when you got close enough for him to grab by the waist to hold you against him. You rolled your eyes, shoving him playfully away and giggling as Sam let out a groan.

“Alright. Let’s see what you’ve got, Sammy.”

><><><><><><><><><><><><><><><><><><><><><><

Bucky knew he needed the tough love talk Sam was giving him. He needed to hear it. Because, deep down, he had known it all along, he just refused to believe it. He tried doing it. Making amends. He knew he wasn’t though. And of course he knew immediately who that one person would be.

“And hey.” Bucky looked at him. “Let me tell you what. Telling my girl all that you told her? That’s a good start. I’m proud of you. Both of you. You’re already happier. I can see it in your eyes.”

Bucky chuckled, shaking his head as he thought of the gorgeous woman he nearly let slip through his fingers. He looked over to the house, where she was inside somewhere getting ready after suddenly deciding she needed to shower before they left. “I was stupid.”

“Yeah you were. You both were. I’m so relieved it’s over.” Sam nudged him. “Treat her right, Buck. She deserves it.”

“I know…I just hope I can.”

Sam shook his head. “Uh-uh. Don’t do that. You were just starting to use that cyborg brain of yours! She chose you. And before you say anything,” Sam cut Bucky off from speaking as he opened his mouth to object. “She chose you before Steve left. It just took her dumbass this long to realize it.”

Bucky nodded, a small smile on his face. “Yeah…okay…” Before he could say anything, the goddess herself stepped out, jogging over, looking absolutely amazing in her jeans and his t-shirt. “Good talk.”

Sam laughed at his quick ending of the conversation as she came up besides them. “Talking about me?” She asked cheekily, eyes shining. Bucky couldn’t help but take her under his arm, pecking her lips. Now that he could, he didn’t think he could stop. He was addicted to say the least.

Throwing Bucky a wink, Sam shrugged. “Just all the things that get on our nerves.”

“Ha ha.” She rolled her eyes. “We better get going.”

Bucky and Sam clapped hands. “You know Karli won’t quit.”

Bucky smiled. “Ah. You call us when you have a lead and we’ll be there.”

Y/N stepped forwards to give Sam a hug. “Anytime, Sammy.”

“Eh. Anytime between noon and midnight.” Bucky corrected. “Or noon and ten. Noon and five…you better just call at noon to be safe.”

Sam rolled his eyes. “Sure, sure.”

“Not necessarily as a team.” Bucky continued, grabbing the bag, getting Y/N back in her spot at his side under his arm.

“Nope!”

“We’re not that good.”

“Definitely not.”

“We’re professionals.”

“Definitely.”

“And, uh, we’re partners.”

Sam snapped, pointing at him. “Coworkers.”

“But we’re also a couple of guys with a couple mutual friends.”

“Ones now gone and you’re dating the other.”

“So we’re a couple of guys…with a badass to help out.”

“I can live with that.”

“Perfect.”

“Oh my God.” Y/N let out that laugh Bucky could never get enough of, shaking her head at the two of them. “You forgot dumbasses.”

Sam shook his head. “Nuh-uh. That’s your couple name.”

“Dumbasses?”

“Oh yeah.” The three of them came to a stop, Bucky and his girl - God he loved confirming it now - facing Sam. “Thanks for the help, guys. Meant a lot.”

Bucky patted his shoulder. “Of course.”

Y/N shot him a wink. “Until we meet again, Sammy.”

“Until then, cher.”

Bucky couldn’t stop his grin as she wrapped her arms around his waist, the two of them starting to walk to the main road where she already ordered an Uber. He looked down at her, kissing her lips for the nth time in the past hour.

“I wish I didn’t wait so long,” he told her seriously. “But I’d wait a thousands more centuries if it meant I get to call you mine.”

She giggled, shaking her head. “You’re such a sap! But…” she moved up to kiss him and his heart stuttered. He knew he had a goofy grin on when she pulled back, but he couldn’t help it. Especially when she laughed again. “I have to agree with you on that, Buckaroo.”

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simoneashleydaily · 2 years

Text

Simone Ashley for the May cover of Elle USA

Simone Ashley Shines Bright in 'Bridgerton'

And spills all the tea on the popular period drama's steamiest scenes.

A. N. DEVERS AND PHOTOGRAPHED BY CHRISTINA EBENEZER. STYLED BY ANNA TREVELYAN

APR 19, 2022

Simone Ashley is waiting for me, perched serenely near the window of a Greek grocery shop just off the main drag of London’s Broadway Market. I’m not late, so that makes her early. Dressed in athleisure and tennies, she greets me with a relaxed hug like we’re old pals—surprising, since hugging strangers is not particularly English. I melt awkwardly into it like the American expat I am, thawing out after having avoided physical contact with other people for two years during the pandemic. It all makes more sense when she tells me that, despite being British, she’s a California girl at heart, having moved to Los Angeles as a teenager to pursue acting, which kicked off a decade of living between L.A. and London. “I love the ocean so much,” she says, pulling out her phone to show me a picture of her cocker spaniel frolicking on the California coast.

By now, several million Netflix subscribers have been introduced to Ashley, who stars as Kate Sharma in the massively anticipated second season of Bridgerton, but when we meet, the premiere is still a month away, and the 27-year-old’s anonymity is somewhat intact. She’s summoned me to this particular locale—a bustling street market where you can order fresh oysters on the sidewalk and idle away the day from stall to stall—because it’s where everything started coming together for her.

She spent her early twenties here, living with friends, going on dates, and trying to make ends meet as a young actress. “I got Sex Education living on this street,” she says, referring, of course, to the hilarious and raunchy Netflix show on which she plays mean girl Olivia Hanan. It was the first recurring television role she’d landed after several years of playing bit characters with one- to three-episode arcs. Decent work, nothing glamorous, but those early gigs gave her the space to live and learn, which, in many ways, is all you can hope for in your early twenties.

“This area reminds me of a really innocent time in my life,” she says. “The sun was shining, and I would ride my bike down the canal to the park. I’d go to the gym, walk my dog, wait for my agent to call. There were young artists everywhere.” Later, when we walk to a nearby bakery for cardamom and turmeric buns, she points to a window with a tiny flower box above a uniform supply company. “My best friend used to live there, and we would just smoke our cigarettes outside that window, watching the world go by and waving to boys.”

Between the pandemic and the prospect of joining a wildly popular streaming series, the past two years have been a time of significant growth, Ashley says. “When you get thrown into this industry, especially as a young woman, you’ve got to learn quickly how to take care of yourself—how to use your voice, how to set boundaries, how to speak up for yourself.” Kate has those qualities in spades, I offer, and Ashley agrees, adding, “Sometimes she has a bit of an imbalance of it. Sometimes she can be a bit too hard-core—not that I judge her.”

It’s a delicate affair, after all, to draw boundaries in a show like Bridgerton, a fantastical environment fixated on bodies, fashions, proclivities, and sex. Fans despaired upon learning that Regé-Jean Page’s Duke of Hastings—and his beloved backside—would not be returning. When I tell Ashley that several Bridgerton fans I’ve talked with independently volunteered that the Duke’s butt was their favorite part of season one, she laughs. “No way. The Duke’s butt? Oh my God, that’s so funny.” We joke about how it’s probably no accident that the first nudity in season two is the rear view of Jonathan Bailey, who plays Kate’s love interest, Anthony Bridgerton. Also clear within the first 15 minutes of episode one: Ashley has the acting chops for her role—and maybe more of Kate’s moxie than she realizes.

“I yearn for someone fresh, someone unexpected, to turn this season on its head,” says Golda Rosheuvel’s campy Queen Charlotte in one early scene, as she mulls over which young lady to designate as the social season’s most desirable match, or “diamond.” Shortly after, viewers catch their first glimpse of Kate, a mysterious woman in a black velvet hooded cape galloping fiercely across a meadow. Her morning ride draws the immediate curiosity of Anthony, whose assigned task this season is to find a wife. When Kate whooshes past, he trots off in pursuit, worried she might be in danger. Kate, who has borrowed the horse without permission from her hostess, Lady Danbury, becomes annoyed by this and swears in Hindi, her character’s mother tongue, before turning her morning ride into a sweaty horse race. A game is afoot.

Ashley plays Kate with a sharp edge—she’s serious to the point of stoicism. “I think she and Anthony mirror each other in that sense, because he’s always in charge, and then they kind of meet their match. I think a lot of people can relate to that type of relationship, where there’s a feeling so strong with someone, and maybe it initiates as, ‘Oh my God, I hate you,’ ” she says—adding that she “100 percent” pulled from her personal life to connect with her character. From the start, she felt aligned with Kate, an independent woman with a foot on two continents. “All I’ve ever really known is moving around and being on my own, but in the most positive way. I enjoy it. And I think that this character, in particular, has a life where she’s had to be on her own quite a bit.”

Shonda Rhimes, one of three executive producers for the show, says she knew Ashley would make a perfect Kate almost immediately: “We have incredible casting directors who search far and wide and listen to us about the way we see the roles. It was wonderful for Simone to be placed in front of us, as she was exactly what we were looking for.”

Bailey fell in love with the character of Kate while reading The Viscount Who Loved Me, the second book in the Bridgerton series, upon which the season is based. “And then meeting Simone, she made more sense as Kate than I even knew was possible,” he says. “She holds moments in such a composed way. And my gosh, her eyes can tell a hundred thousand stories.”

In some respects, it sounds like Ashley was plucked out of thin air, but that would do a disservice to all the groundwork she’s done: the learning curve, the experiences—good and bad—that come with starting out young in the entertainment industry.

Born in Surrey, England, Ashley grew up in a “very quiet household,” she says, but one that was filled with music. “We had a record player, and [my parents] would listen to Fleetwood Mac, Bob Marley, the Doors, the Rolling Stones.” She also recalls being raised on a steady diet of Disney classics until encountering Quentin Tarantino’s violent revenge fantasy Kill Bill in her early teens, which inspired her to give acting a try. Because she had grown up visiting family in California, Hollywood didn’t seem so distant.

By her late teens, Ashley had signed with a modeling agency. “I told them, ‘I don’t want to be a model. I want to be an actor,’ ” she says. So they got to work, helping her nab her first film role. “I was a blink-and-you-miss-me party girl in Straight Outta Compton,” she says with a smile, but she used the cameo to secure an acting agent and slightly bigger parts on shows like Wolfblood and Broadchurch, before landing her breakout role in Sex Education. The constant auditioning was stressful, she says, “but I was never fearful. I just always knew [acting] was something I was born to do.”

While Ashley’s provocative performance as Bridgerton’s Kate will likely make her a household name, her time spent playing Sex Education’s Olivia Hanan was excellent preparation for dealing with excruciatingly intimate sex scenes—both on set and, in some ways, in real life. “I was quite nerdy in school, or maybe innocent, in that I grew up quite slowly until I was about 15 or 16. I wasn’t part of, like, the cool mean-girls’ group,” she says, adding that she tried to bring that same vulnerability, or “clumsiness,” to Olivia. “I was portraying a 16-year-old, so there was a very different tone, more the comedic side of it all,” she says.

With Bridgerton, the mood is more “romantic and steamy,” she adds. “We didn’t have body doubles. We knew what we were getting into, but the scenes were beautifully shot, and we tried to portray female pleasure, seeing it from that point of view, which was really interesting.” It also helped that she and Bailey got along like gangbusters. “We encouraged each other to just take it all in, and [accept that] it’s never going to be the same ever again,” she says. “Having anonymity, and then filming a show this big.” Seeing the first few episodes affected her in a way she didn’t expect. “God, it just really captures your imagination, and it is a fairy tale,” she says softly. “As I watched the first dance with Jonny and me, I was just so emotional, I find it hard to admit.”

For Bailey, the scene marked the moment when he and Ashley stepped into the main love story and “existed in the space that I’d seen Phoebe [Dynevor] and Regé [-Jean Page] do so beautifully in season one,” he says. “We have this amazing team, but ultimately it comes down to just me and Simone. It was one of the purest moments between us—completely overwhelming at the time, and really moving to watch.”

Walking through the park Ashley used to bike to as a fledgling actor, she tells me she’s about to head back to California to take some meetings and maybe film a late-night appearance or two. “I do love it there and miss it a lot. I may bring my dog and stay for a few months,” she says. “I’ve got some really good friends [in L.A.] who aren’t a part of the industry, and we just drive in our cars and eat banana pudding and talk about boys.” She smiles, her cheeks reddening. “Well, you know, we talk about other stuff, too.”

Hair by Issac Poleon and manicure by Simone Cummings, both at CLM Agency; makeup by Porsche Poon; set design by Joanna Goodman; produced by Yasser Abubeker.

This article appears in the May 2022 issue of ELLE.

#simone ashley #kate sharma #bridgerton #bridgerton netfix #kate sheffield #bridgerton cast #jonathan bailey #olivia hanan #elle us #a. n. devers #christina ebenezer #anna trevelyan

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favefandomimagines · 3 years

Text

I Bought A Ring (e.b.)

Summary: Abby’s back and Buck doesn’t know how to handle the news. And neither do you.

AN: i’m still PISSED that abby came back even if only for an episode, my poor buck was so hurt ): this was something i had deep in my drafts and now that buck is blowing up it seemed like a good time to post it!

there is a buck fic similar to this and i just wanna say that i did not copy or steal the idea. i’ve had this in my drafts for months since season 3 ended so no one stole anyone’s idea! if you wanna check out their fic their username is @lotsoflovefromlea and the fic is titled ‘Second Best’ it’s really really good

You didn’t think you’d have to face the day when Buck’s past came back to haunt him. You were hoping it would stay in the past and you would be his future. But life has a funny way of putting us to the test.

After the train crash, and Buck saw Abby again, he had been acting distant. Distant enough for you to notice that something was wrong. It wasn’t hard to notice, especially when the two of you live together.

He would rarely talk when you had the same shift at the 118, there was no conversation during dinner and he’d come to bed long after you had already fallen asleep.

It had gotten to the point where you didn’t even remember the last time he kissed you or touched you. And you had enough of the maltreatment.

You exited the shower and saw him standing in the kitchen, leaning against the counter. You walked down the stairs and stood across from him, the tension between the two of you painfully obvious.

“What’s been going on with you?” You asked, breaking the ice. “What do you mean?” He asked, not meeting your gaze. “Seriously? Buck, you’ve been acting like I killed your dog for three weeks since the train crash. What the hell is going on?” You explained.

Buck sighed before looking up at you. He knew he couldn’t keep secrets from you. Including ones that could possibly change your relationship.

“Abby reached out to me. She wanted to meet up to talk.” He said. Buck could tell by the way your right eyebrow was raised and your eyes narrowed that you were not happy. “Really? And you went?” You asked. “Yeah.” Buck answered quietly.

You laughed bitterly before walking around the counter back towards the stairs. “God, you just can’t seem to let her go, can you?” You started. “It’s been, what? Two years? Two years since she left you for her ‘Eat, Pray, Love’ experience and got engaged? And who was the one who never left your side? Me. It was me, Evan and even now, you can’t seem to realize how terrible she was to you. Face it, you were her midlife crisis and you fell in love with her and never fell back out. All while making me fall in love with you.” You finished.

Sure you were a tad bit cruel, but it was what he needed to hear. No one wanting to be the one who had to pop his perfect bubble when it came to Abby.

“I stayed with you when you were suing the department for christ sake! And I can’t do it anymore, Evan.” You added. There it was again. His dreaded first name. The name you never used unless you were beyond angry with him. And he hated hearing it come from your lips. “Y/N, what do you mean?” He asked.

Fear was coursing through his body as he waited for you to finally leave him. After everything he put you through, Abby was the last straw.

“I mean, maybe we should take a break. Until you figure out what it is you really want.” You answered. It wasn’t something you wanted nor did you think it would ever happen. “No. No, no, Y/N, don’t do this.” He begged, walking towards you. “I have too. Since she came back, this relationship has been one sided and I don’t deserve that.” You said.

“Please, Y/N, I love you.” Buck told you. “Do you? Because you have a funny way of showing it.” You replied. You swiftly grabbed your keys and your purse and made a path towards the exit. “So this is it? You’re breaking up with me?” Buck asked, causing you to stop.

“I don’t want to. But you seem to have unresolved feelings for Abby and you can’t claim to love one person wholeheartedly when you clearly don’t. Figure it out, Buck. But remember who was here when no one else was.” You answered before leaving the house.

You didn’t know where else to go after you left. So you decided to go to Bobby and Athena’s. Bobby was like a father to you when you joined the 118 and you trusted him more than you trusted most people.

After trying to straighten yourself up and wipe the tears from your face, you got out of the car and headed to the front door. You knocked a couple of times and waited for the door to open.

When it did, Athena’s face softened when she saw you and instantly knew something was wrong. “Y/N? What’s wrong? What happened?” She asked, ushering you inside. “I didn’t know where else to go.” You answered.

Bobby, wondering who was at the door, turned the corner and saw you standing in the entryway. “Y/N, what’s wrong?” He asked. “Buck and I got into a fight. He went to meet up with Abby and he didn’t tell meand I just, I just don’t understand why he won’t let her go. Am I not enough?” You explained.

Athena shushed you and pulled you into a hug to comfort you. She knew Buck was stubborn but not so much that you felt you had to leave. Bobby was furious. He hated seeing you so upset and he was frustrated with the young man for making you think you weren’t enough for him.

After a few minutes, Athena made up the guest bedroom for you and said you could stay as long as you needed. But you hoped it wouldn’t have to be for long.

Bobby arrived at the station in search for Buck and found him sulking while Hen and Chimney were grilling him about his mood. “What’s wrong with you today?” Chimney asked. “Him and Y/N got in a fight last night and she walked out on him.” Bobby answered for him.

Buck looked up at his captain with wide eyes, wondering how he knew about the prior events. “She stayed at mine and Athena’s last night.” He added. Buck let out a sigh of relief, mainly because he was worried sick about you. You didn’t answer a single one of his calls or texts and he didn’t know where you went off to.

“Why did she walk out on you?” Hen asked. “Because I may have went to meet up with Abby the other day. And apparently I had been acting distant towards Y/N and she confronted me.” Buck explained. “Seriously? You still have feelings for Abby?” Hen asked. “No, Hen-” Buck tried to explain but was interrupted by his coworkers.

“Y/N is the perfect girl for you and you’re throwing her away for someone who left you?” She continued. “Hen,” Buck started. “You’re stupid but not this stupid.” She said. “Hen! I don’t have feelings for Abby anymore. I wanted to give her a chance to explain why she left and to thank her. Because if she wouldn’t have left, I wouldn’t have met Y/N.” Buck interrupted.

“And I,” He started before he stopped himself, not sure if he wanted to tell everyone his secret. “You what?” Eddie asked. Buck looked up at his friends before sighing. “I bought a ring.” He answered. “Wait, what?” Chimney asked. “I bought a ring. I was going to propose but then I got all in my head after Abby showed up. I thought Y/N would say no and she’d leave me just like Abby did.” Buck explained.

The rest of the 118 crew was silent as they looked down at Buck. Hen sat down across from him before speaking. “That girl is head over heels in love with you, Buck. She has been since the first time she met you and the last thing she would do is leave you like Abby did. Though, because of Abby, she felt she had no choice.” She said.

“I need to get her back. I didn’t even know what to do this morning without her.” Buck said. “When does she come in for her shift?” He asked Bobby. “She was supposed to be here by now. She left before me.” The man answered.

Before anyone could form a theory about your whereabouts, the bell went off signaling they had a call.

They soon arrived to the scene of a car accident, one car completely flipped upside down.

The 118 stopped short, however, when they noticed who’s car was upside down. It was yours that was hit by a guy texting and driving and ran a red light.

“Y/N?” Buck called, running to the driver side door. “Buck, you’re too close to this.” Bobby stopped him. “We’re all too close to this, Bobby.” Buck rebutted. Bobby looked at Athena and gestured for her to keep Buck away from the scene. “Keep him away from her.” He instructed his. wife.

Eddie began trying to get the door off and Hen and Chimney noticed you were still conscious, struggling to get out and stay awake.

“Y/N, can you hear me?” Hen asked. “Yeah. I-I can hear you.” You stammered. “I have a piece of shrapnel between the third and fourth intercostal space. Mild to severe concussion and around three broken ribs, and a possible pulmonary contusion.” You told them.

Both EMTs were surprised that you could still diagnose and recognize your symptoms while having a concussion and actively bleeding.

Once the door was off the car, Hen and Chimney set down the backboard and Eddie began cutting your seatbelt.

“Where’s Buck?” You asked him. “Bobby won’t let him help. He’s too close to this one.” Eddie answered. “Aren’t you all though?” You joked. Eddie laughed dryly as the seatbelt was cut free. “Can you move?” He asked.

You looked down at the piece of metal from the seat and back up at him. “You have to pull it out.” You told him. “Y/N,” Eddie started. “Eddie, you have to pull it out or I won’t be able to move. I have a concussion, I’m already bleeding and in about five minutes I’m going to pass out. I will slowly bleed out from the inside if I don’t move. Pull the damn thing out.” You snapped.

Eddie looked at you for a moment before glancing over at Buck, arguing with Athena. As Eddie pulled the piece of metal out of your side, Buck broke free of Athena’s grasp and fell to his friend’s side.

“Y/N, baby, are you okay?” He asked frantically. “I’m going to pass out in a couple of seconds so I’m sorry, Buck. For what happened last night.” You spoke, your breathing becoming shallower. “Buck we gotta move her.” Eddie told him.

Your eyes fell closed slowly and the heart rate monitor attached to you started beeping rapidly. “We gotta get her out now.” Hen instructed. Bobby pulled Buck back as he watched in horror while his friends began giving you CPR once they pulled you from the car.

Your heart beat thankfully went back to normal and Chimney and Hen loaded you into the back of the ambulance.

Buck took the liberty of joining you considering he was your emergency contact, having no other family in LA.

Once the ambulance arrived at the hospital, Buck, Chimney and Hen were forced to stay at the ER bay, not being allowed to go with you.

Buck watched as the doctors took you away and this quickly became his worst nightmare. What if you didn’t make it? What if the last conversation you had was a fight?

Bobby’s hand rested on Buck’s shoulder as they all watched you disappear down the hallway.

It had been hours. Hours of the 118 sitting in the waiting room for you to come out of surgery. Buck was a nervous wreck and no amount of consoling from Maddie or Eddie made it any better. He knew she should have told you about meeting with Abby but he was afraid of ruining everything. But not telling you made it ten times worse.

“Evan Buckley?” A doctor called, alerting the entire crew. “Th-That’s me. I’m Evan Buckley.” Buck replied. “Y/N is going to be okay. We repaired the damage to her lung as well as the other internal damage she received from the car crash. She still had a major concussion and she’ll be out of commission for a while, but she got incredibly lucky.” The doctor explained.

Buck let out a very visible sigh of relief, as did everyone else. “Can I see her?” Buck asked. “She’s in the ICU so only a couple of people at a time.” The doctor said. “You go, Buck. We’ll see her when she’s moved to a normal room.” Bobby told him.

He nodded his head and followed the doctor to your room. He saw you lying in the hospital bed, multiple IVs in your hands and arms and an oxygen tube in your nose.

Your eyes were still closed but he could tell you were awake, though hearing the doctor’s voice alerted you.

“Y/N, someone’s here to see you.” You turned your head slightly and saw Buck standing in the doorway. “Hi.” You said quietly, your voice still hoarse from the breathing tube in surgery.

Buck sat in the chair next to you, his eyes red and watering. “I am so sorry, Y/N,” He whispered. “I should have told you about Abby but I met with her to get closure. And to thank her because if she wouldn’t have left me, I wouldn’t have fallen in love with you.” He added.

“It’s okay. I should have let you explained.” You replied. “I have something else to tell you.” Buck said. “Oh no, now what?” You joked. “I bought a ring.” He said. “Like, a ring ring?” You questioned. “Yes, a ring ring.” Buck laughed. “Where is it?” You asked.

Buck let go of your hand for a moment and fished the piece of jewelry out of his pocket.

“You have to put it on for me.” You said. Buck looked at you in disbelief as he smiled, sliding the ring on your left finger. “I’m assuming that’s a yes.” He said. “Of course it is. I’d be stupid to say no to you.” You told him with a smile.

Buck squeezed your hand gently as he looked at the ring on your finger. “I never want to come that close to losing you ever again.” He muttered. “You won’t. I don’t plan on leaving you for a long time.” You said. “Good. Because I really don’t know what I’d do without you.” Buck said.

He leaned forward and placed a soft kiss on your forehead as you looked down at the ring. ��You did a good job.” You commented. Buck laughed at your comment, causing a smile to grace your face. “Hen and Maddie helped.” He said. “I figured as much.” You replied.

The rest of the evening, or whatever time of day you thought it was, Buck stayed by your side. Even when the doctors were running their tests and looking over your condition. After almost losing you, there was no way you were going to get rid of Buck even for a moment.

#imagine #imagines #911 imagine #911 fox #911 lone star #evan buckley #evan buckley imagine #evan buckley x reader #evan buckley oneshot #oliver stark

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unfoundhoney · 3 years

Text

toe the line ; part three ↠

↠ slimecicle x fem!reader ; angst , the fluff will get here eventually i promise

↠ masterlist

↠ part one ; part two ; part three ; part four

↠ @ochabby @kiritokunuwu @pyrotechnics84 @nottheotheruser @d0vesatdawn @ashturnedtomist @bloopi @enderhoe @plaguenecromancer @prickypearpropaganda @phantom-aurora @starswspacey

It’s funny how true the saying “you never miss something until it’s gone” is. If Charlie had to describe how the last two weeks have been, it’d be like that. He didn’t think it was humanly possible to miss someone so much, to actually have every second of every day be taken up by the thought of you. He’d been trying to work but with a blatant lack of you, he hadn’t been able to focus and decided to take a walk to clear his head.

It wasn’t helping.

A man walks past with a big, floofy, white dog on a leash. You would stop to ask to pet it. You always loved dogs and Charlie has no doubt in his mind that if your apartment building allowed pets, there’d be at least one living with you and him.

There’s a bookstore on the corner of a street. You would poke your head in, look around for a while and buy some novel by an author you’d never heard of. It’d probably lay unopened for a couple months until you suddenly remembered it one day and binged it in under three days.

A street musician plays across the street in a park, improving on his saxophone over a jazzy backing track. You would insist on staying to listen, waiting until he finished this song, applauding, and giving him ten dollars or so. Charlie stuffs his hands a little deeper in his pockets and keeps walking.

What was supposed to be a head-clearing (and distracting) walk has turned into the exact opposite. Charlie knows he won’t be getting any more work done today.

It starts to rain as he walks but he doesn’t head back, instead walking farther and into a different park. As it rains harder, he finds a bench to sit on. The cold and wet he finds himself submerged in distracts him better than anything else has been able to.

Water drips inside his collar and soon he finds himself soaked through. Still, he just sits there, staring straight ahead of him and focusing on the uncomfortable feeling of being fully clothed and completely wet.

He doesn’t know how long he sat there. Minutes. An hour. Two hours. But suddenly the rain stops. He’s no longer being showered with water droplets, even as the rain continues pouring all around him.

“Charlie? You okay, man?”

Charlie looks up and funnily enough, there’s Ted. He’s holding an umbrella over Charlie, looking down at him in concern. He realizes how bad this must look, sat in the rain looking dead inside.

“What’re you doing?” Ted asks slowly.

“Just... chilling.”

“Yeah?”

“Yeah.”

“You good?”

“I’m doing great.” He gestures generally, tries to crack a joke. “Can’t you tell?”

Ted doesn’t smile. “Dude, seriously. Are you okay?”

Charlie swallows, smile fading. He wants so badly to say “yeah, I am” and be able to mean it. He’s the one who messed everything up; he doesn’t have a right to be feeling this bad with you gone when he was the one who chased you away. And yet here he is, sitting in the rain.

“No.”

“...let’s go back to your place.”

Ted walks Charlie back home, sharing his umbrella despite the fact that Charlie is already totally soaked. Ted doesn’t seem to mind too much when Charlie drips on him; he’s likely more worried about Charlie than his left side getting a little wet.

They get back to Charlie’s apartment and Charlie changes quickly into dry clothes before joining Ted in the living room. It’s painstakingly obvious when Ted unknowingly sits in your spot.

After several minutes of awkward silence and even more awkward attempts at small talk, Ted finally asks the question he’s been meaning to for two weeks.

“How’s um... How’s Y/N?” Ted tries tentatively.

“She’s okay. Sort of. I think.”

“You think?”

“She’s kind of been avoiding me. She’s been staying at Schlatt’s for the past eleven days.”

“She has?”

“I think she needed some space, but it’s been over a week now and I’m kind of deteriorating away in the silence of our apartment alone.”

“Have you tried talking to her about... it?”

“You mean her feelings for me that she’s had for years and I’ve never noticed and then accidentally outed in front of all our friends and neither of us are sure our relationship will recover because we don’t know how to act now that we’re both aware one of us wants more than platonic friendship?”

“...yes.”

“No, I haven’t.”

“It sounds really bad when you phrase it like you just did but there’s no way around this,” Ted says. “I know how much you two care about each other. You two would be miserable without each other.”

“We- We’d be... fine.”

“That was the most unconvincing thing I have ever heard in my entire life.”

“I-“

“Not to mention the fact that you are literally living proof that you are not fine without Y/N.”

“Doctor Ted PhD is making a reappearance,” Charlie weakly tries to joke.

“Charlie.”

Ted did just find Charlie having a rather severe episode of “main character syndrome,” so there’s really no arguing with him. He is not doing fine without you. It’s only going to get worse the longer he goes without trying to reassemble the shattered pieces of your friendship.

Charlie’s will finally gives way. “I don’t know what to do, man. I fucked up so bad and now I’m terrified I’m never going to be able to get back to where we were. Everywhere I go all I can think about is her and she just- I have never been happier than I am when I’m with her and I just-... I don’t know what to do. I don’t want to lose her.”

Charlie buries his head in his hands, heels of his palms digging into his eyes. He’s finally letting himself be distressed over the very real possibility of losing his best friend instead of ignoring the situation entirely.

Meanwhile, Ted is connecting some very obvious dots.

“She’s all you can think about?”

“Yeah, like, I’ll just be going to the store or something and it’s like ‘oh, she’d smell those flowers,’ ‘she’d drag me to try that restaurant,’ ‘she’d go to see that movie with me.’”

“And you’re happiest with her.”

“Yeah, man. I’ve had other friends, other best friends even, but no one compares to her and how she just gets me. You’ve seen it; we have this synergy that I have never gotten with anyone else.”

“And you are very worried about the possibility of losing her.”

“...yes. Are you just repeating what I’ve said?”

“Just waiting for you to figure it out.”

“Figure what out?”

Ted doesn’t respond, holding the silence patiently. Charlie continues to look at him, confused. The apartment is quiet, not quite in the unbearable way it is when he’s alone but it still doesn’t feel right without you here.

For eleven days, you haven’t sung in the shower. You haven’t made breakfast just how he likes it. You haven’t distracted him from work to show him a TikTok, not that he ever minded. You haven’t fallen asleep on movie night and he’d willingly carry you to bed if you asked him sleepily, kind of wishing you’d ask him to stay with you one night.

You would grab his hand and ask him to stay. He’d do so without hesitation. Curled together under the covers, you would be close and warm and intimate in a new but welcome way. He’d hold you tight, your breath soft against his neck.

Wait.

Charlie looks up in horror. “No.”

Ted narrowly stops the shit-eating grin from spreading across his face. “Yes.”

“No. No no no, shit.”

“I am so happy I get to be here for this.”

“Shut the fuck up, Ted,” Charlie cuts him off.

He’s angry. Not at Ted but at himself. He rushes over to the door, shoving his feet back into his still-wet shoes.

“I’ve fucked up so bad. Oh my god, this is all my fault.”

“Yeah, it is.”

“God, shut up, you are not helping.”

“Sorry, just telling it like it is.”

Charlie glares at Ted. “Show yourself out.”

Charlie takes off out of the apartment without an umbrella again, completely prepared to get another set of clothes completely soaked. He prays to whatever higher power may be listening that you have the ungodly amount of forgiveness that will be needed to forgive his stupidity.

#mcyt #mcyt x reader #dream smp #dsmp #minecraft youtubers #mcyt fanfic #mcyt fanfiction #dream smp x reader #mcyt imagine #slimecicle #charlie slimecicle x reader #slimecicle imagine #slimecicle x reader #slimecicle fanfiction #slimecicle fanfic #charlie slimecicle #charlie dalgleish #slimecicle oneshot

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uncpanda · 3 years

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The Ties that Bind: LDSK AU

AN: An AU version of the LDSK episode!!! I really love how this turned out.

Synopsis of series: Being the older sister of a literal genius? It’s not easy. Raising said genius from childhood on? An act of love. Uprooting your life again when he gets in over his head? A no brainer. Finding a new family and support system for yourself? Well, you suppose that’s just luck.

Master List

“Do you want me to kick his ass? Because I will fly to Virginia, storm the FBI and kick his ass.”

Spencer can’t help but smile. You’ve always been his knight in shining armor, never afraid to rush to his defense. “You know. . . for a teacher you resort to violence fairly easily.” There’s silence on the line, and he knows you’re glaring at the phone, “That was a joke. I’m fine. Morgan was just being . . . Morgan.”

“It was rude. You don’t kick someone while they’re down. When someone you care about is hurting you help them . . . like Hatch did.”

His brow furrows, “Hatch?”

“The guy who tried to help you with your shooting. He took you to the gun place?”

Ahhhh, you mean Hotch. He’s not going to correct you. Not yet. “Do you mean the shooting range?”

“I’m an English teacher, not an FBI agent. Sue me. But Yes. Hatch was nice. He was encouraging. I like Hatch. This Derek Morgan though . . .”

“Is nice. He’s just messing around. I’ll figure out a way to get back at him. I don’t need my big sister fighting my battles.”

“You’re tall enough now, that we could tag team.”

The two of you talk for a few more minutes, and by the time the call is done he’s feeling much better about things.

-----

He’s sitting in the back of an ambulance, his ribs are killing him, and he’s just killed a man. And then there’s Hotch. He can see the guilt written on the man’s face from a mile away. It doesn’t take long for his boss to make his way over, in fact he’s fairly certain Hotch is putting off boss duties to come check on him.

“You all right?”

Spencer can only smile, the look of concern on Hotch’s face reminds him of you. “I’ve had worse.”

Hotch winces, just slightly, at that, “I’m sorry I had to kick you, I needed to make sure you knew the plan. I didn’t hurt you too bad did I?”

A grins makes its way on to his face at that, “Did I ever tell you, I have a sister?”

Hotch leans against the ambulance, brow furrowed, as though he’s playing back past conversations, “No . . .I don’t think you have.”

“She’s five years older than me and . . . well it’s a lot. But we went to high school at the same time. It took me two years to graduate; her junior and senior year. And of course I was young and gifted and a very obvious target. I got picked on a lot, and for the most part it was just verbal and I could deal with that. But sometimes the jocks got involved, and one day Mark White, the running back, beat me up. Kicked me, hard. . . much harder than you, and stuffed me in a locker. My sister found me when I didn’t meet her to walk home.

“I broke down in tears from pain and embarrassment, and I remember my sister’s face just going blank. She grabbed my hand, and we walked just outside of the school’s boundaries where Mark and his buddies were loitering after practice.

“She looked down at me. Told me to wait where I was unless things got out of hand, in which case I should run. She dropped her bag a second later and launched herself at Mark White. And she did it with this crazy battle cry too. She took him down to the ground, and started wailing on him. She broke his nose. It took three of his buddies to pull her off of him, and she managed to bruise a few of them. They didn’t retaliate, they didn’t want to hit a girl. And Mark didn’t press charges because we could have pressed them back. He never bothered me again. He never looked my sister in the eye again either.”

Hotch has a smile on his face, “Is this your way of telling me you’re going to call your sister to beat me up in retaliation?”

“Pffft, no. She’d understand the situation, and be happy you got me out alive. I told you that, so you’d understand that I know the difference between someone hurting me, and someone protecting me.”

“Well your sister sounds interesting.”

“She is. She threatened to come and kick Morgan’s ass for the whistle thing.”

“And you told her no, right?”

“I told her no. She thinks your name is Hatch though.”

Hotch blinks at him several times, “Why does she think that?”

“She’s not good with names, she’s better with faces. Plus I didn’t correct her.”

“Reid . . .”

He smiles, “Don’t worry. I’ll correct her next time we talk. She likes you actually, since you tried to help me with my recertification.”

“You told her about that?”

“I tell her everything. She’s my best friend.”

For a moment he feels a stab of jealousy, a wish that he and Sean were closer, but he pushes it away. He has Haley and a baby on the way. He has a family. “Tell her I say hello the next time you talk.”

“Will do.”

A small grin makes its way on to his face, “Have the paramedics check you out one more time please.”

He turns to walk away, and stumbles ever so slightly when he hears Reid say, “Sure thing Hatch!” And then he laughs a little to himself and keeps going, because he owes the kid. Afterall he did kick him in the ribs, even if it wasn’t as bad as Mark White.

-----

You listen to Spencer recount the past few days and you try, very hard to not reach through the phone, and drag his ass back to California where you could see him safely employed at any university. Joel’s watching you with an amused smile, not focused on the book in his lap at all.

“And then I handed him back the whistle without a word. It was awesome.”

“You have the most twisted job in the world. In any other place of business, a boss kicking you in the ribs is grounds for a lawsuit.”

“I was a twelve year old prodigy in a Las Vegas Public High School. Hotch kicks like a nine year old girl.”

Your brow furrows, “I thought his name was Hatch?”

“Nope. Hotch. Short for Hotchner. His full name is Aaron Hotchner, but I don’t think anyone calls him that.”

You relax back against the sofa and gently place your feet in Joel’s lap. His hand encloses around your ankle, and he rubs his thumb against the bare skin.

“Weird, but that apparently goes hand and hand with your job. But how are you doing? And I mean how are you REALLY doing?”

There’s a pause before he says, “Okay. I think. I play it back in my head a lot. But Gideon and Hotch have both been there for me. So has Morgan. He and Hotch have actually been helping me practice at the shooting range. I’m getting better.”

You smile, “Well then, I suppose I should take Agent Morgan off my to beat up list.”

He hmms, “I would. He has my back. And he’s built like a linebacker. Mark White was just a running back.”

You roll your eyes and then you feel Joel’s fingers tickle your foot and you giggle.

“Is Joel missing your attention?” Spencer’s voice is dry and filled with sarcasm.

“Spencer.” It’s a warning.

“It’s okay. I’ve got to get back to work anyways. I’ll call you later.”

You don’t bother arguing, “Love you kid.”

“Love you too.”

You hang up the phone and stare at your boyfriend. He has that devilish look on his face, and he waits one, two, three seconds before launching himself forward and kissing you. And as you surrender to the kiss you can’t help but think, life is very good.

Tag List: (If your name is crossed out it won’t let me tag you out)

@hateinthemorning @nightressposts @bulldozed88 @toastedside @am3l1a-24 @wintelu @escapingthoughtsandsecrets @moonwarriorx3 @fallen-wolf22 @donttellanyoneireadfanfiction @kathleenjasmine @l-vvne @sekhmet5 @lil-frenchfri77 @prettylittlemoonlight @webreathfandoms @fandomsstolemylife00 @gracesd1ary @eli-side-blog @sleepy-time @bcarolinablr @acoolnight @violet-potter @ssavanessa22 @inlovewithhonestlyeveryone @louisaland @averyhotchner @lostinwonderland314 @prentisswrites @starandbooklover @vxxn128 @csloreen @srosegarden @zetasaturno99 @greenprisca @rouge-fandoms @fandom-oneshots-etc @elejah88 @cm-chaos @thestarssalign @gspenc @mochionly @Jinxy_175 @big-galaxy-chaos @princess76179 @unaware-dumbass-here @miahelen @baumarvel @sydbriann @cm-chaos @infinite-tides @rexit-mo @belledawnidk @rousethemouse @bluepvnkrocker @evans-dejong @pixietilly1924 @thewannabewriter @livinthesweetlife @simplysophi @crazymar15 @bestillmystuckyheart @jklemps @ghostklnk @sagittarianwolf @kittengirl998 @dontcallmekittens @eternalharry @xxxeatyourh3artoutxxx

@irrelevant86 @reichelhache @messedupmyfuckinglife @itsnottilly

#spencer reid #spencer reid x reader #spencer reid imagine #spencer reid reader insert #spencer reid and reader #spencer reid x sister!reader #aaron hotch x reader #aaron hotchner #derek morgan #criminal minds #criminal minds reader insert #criminal minds fanfic #criminal minds fanfiction #cm fanfic #cm reader insert #cm imagine #the ties that bind

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atpaftmoom-bily · 3 years

Text

Thoughts about Erik, why Wilhelm wasn't allowed to come out, and more.

Be warned, this is long, confusing, and I'm not even sure if I made any valid points. But I had thoughts on Young Royals, with no one to talk to, so here you go.

I've seen various different takes on Erik and what people thought his reaction would have been if Willie had come out to him, most of them being positive, and some as well saying how sad it was that Willie never got to come out to his brother. I have a different take, but bear with me it's gonna take a second to get there.

Something that I found interesting in the first place was that when August found out it was Simon and not a girl, he just seemed shocked, but not in a homophobic way that I had kind of been expecting.

Additionally, let's take a look at the comments on the video, I've split them up into three different groups. General comments (disbelief, surprise, pity, etc.), comments sexualizing them, and negative comments. (I've translated these as well as I could as they were not all captioned, but if I've made a mistake feel free to let me know!)

General Comments "OMG Have you seen this?? The Prince is gay!!!!" "Who's the other guy?" "I'm dead" "Finally some news to put Sweden on the map!" "Poor boys, I feel sorry for them" "So clumsy to get caught on film" "I know where he lives!" "I think the video is fake" "Love for the boys"

Sexualizing Comments "Royal porn" "Sexy" "Love" "Sexiest video ever"

Negative Comments "How will the monarchy survive this?" "The end of the royal family, time for Sweden to become a republic!" "Never been ashamed about being Swedish until now" "Class traitor! Your mother cries for your sins"

Now, there are quite a few things I want to point out about Sweden that I feel should be taken into account here. Of course, we don't know the exact dates that the show took place, but we do know it is modern-day, and though it is a work of fiction, I am going to assume that anything that is currently true in Sweden at the moment, give or take a few years, would also be true in the Young Royals universe.

The first point I would like to make is that Sweden is one of the most LGBT-friendly countries, even being named the most friendly country in 2019. Looking back in history, 1944 was when Sweden decriminalized sexual relationships between consenting adults of the same sex, though it was still thought to be an illness. However, in 1979 it was no longer considered an illness. Fun unrelated fact, but Sweden was the first country to legalize gender change in 1979. (If you'd like to read more on LGBT rights in Sweden here are some resources. One. Two.) If Sweden is that progressive and is that LGBT-friendly, then I wondered what the problem was with Willie coming out, so I dug some more.

I'm American, so my understanding of many parts of the world is unfortunately skewed or incomplete, but I'm working on changing that. However, because of this, one thing that surprised me in my research was that the monarchy in Sweden is more of a unifying symbol than anything else. They have no political affinity or formal powers, but rather "the King’s duties are mainly of a ceremonial and representative nature." Of course in the case of Young Royals, the Queen inherited the throne, and Wilhelm would after her.

Something else I found interesting about the monarchy in Sweden is that the current Queen, Queen Silvia, did not come from a line of nobility, so when Queen Silvia and King Carl Gustaf married in 1976, it was highly unusual. (See more on the Swedish monarchy here.)

There is one last thing I want to point out about the current King and Queen. "In summer 2000, King Carl XVI Gustaf and Queen Silvia of Sweden made history when they ate under the rainbow flag at Djurgårdsterrassen, a Stockholm restaurant owned by gay owner Arto Winter. At that time, the decision was seen as controversial, and played a valuable role in moving conversations forward – while making the royals’ position abundantly clear." (Source)

Now, of course, I understand the difference between a fictional work and real-life situations, but at least in my opinion, these same ideals should carry through to the show that we see. If the King and Queen in real life have been openly supportive of the LGBT community since at least 2000, then although specifics might not be the same, some of those ideals should carry through to Young Royals, so what is the problem, right?

I'm not trying to erase the reality of homophobia altogether, because of course, that exists. We even see in the show through comments that there are some people who are worried about the state of the monarchy, are disgusted, or downright still think that not being straight is a sin, but we also see other comments as well. If Wilhelm were to come out, what would happen? Would there be some backlash? 100%. Would there be people who would support him? Also 100%. Would it make his life harder? Probably, but would he be happier? In my opinion, yes, but I guess that's a question that Wilhelm would have to gauge on his own.

Now I want to look deeper at the conversation that Wille has with his mother, the Queen, in the car on the way home so he can give a statement to the media. Below is an excerpt from their dialogue.

---

Wilhelm: Why can't I just have a relationship with him? And not say anything. Just live a normal life.

Queen: You're the crown prince. And that's a privilege, not a punishment.

Wilhelm: Yes, but I didn't ask for this!

Queen: Well, nobody has ever, ever asked for this! You are the only one who can take over the throne after Erik. Don't you understand that? You are so young. When you're young, love feels like the most important thing in the whole world. When I was your age, I too had an unfortunate romance. That was before I met your father. What I mean is, is it worth it? If you feel that the attention you've been getting so far is unacceptable, it's nothing compared to what you will endure for the rest of your life. We have a chance to cover this up, I urge you to take that chance. You may not get another."

---

Something I find interesting is how much Willie just wants to live a normal life, which I get. He is under so much pressure, from being a role model, his brother's death that he hasn't even had time to process, preparing to be king someday, and (kind of) being outed to the entire world, but at least his school. It's enough to make anyone want to live normally. I think the biggest thing we have to think about here is the Queen's question as well. Is it worth it? She is right of course, the attention he will get will always be there, but I do think that Willie would be able to find a way to be happy along with being King. It shouldn't have to be a case of either-or, and ultimately I don't think it is.

Now I'm going to move back to Erik, and really, this ties everything back to the start where I mentioned I had a different take on Erik's reaction to Willie being not straight. I think that Erik already knew. It would make sense for a variety of reasons. In the show, it is obvious that the two of them have a good relationship. We also hear Erik tell Willie, "you can trust him, he's like a brother," in episode one when speaking about August, showing that trust is something strong between them as brothers. I'm not exactly sure how old Wilhelm is meant to be in the show, but I estimate somewhere around sixteen. I would like to assume that sometime before attending Hillerska, he may have had a crush or felt some attraction to a guy. We also can see from their phone call in episode three, that they're not afraid to joke around with each other about such things, meaning that Erik would most likely be the first person that Willie would go to about such things.

Another thing that makes me believe Erik already knew has to do with people assuming that Simon is the first guy that Willie has liked. Now, I know things are not the same for everyone, but if we consider what happens when the video is posted, and Willie had to deny it is him, we can conclude that being anything other than straight in their family is not okay, simply because they are royals, and the media attention will be too much. Imagine you've known your whole life, you can't be something, the first instance you encounter that, you're probably not going to give in right away. I'm talking at least some minor internalized homophobia here or something.

So put that into the context of Simon and Willie's first kiss in episode two. Simon kisses Willie twice before Willie says "Well, I'm not... I'm not... Stop! Wait, wait, wait!" and immediately pulls Simon back towards him. Let's reflect back to episode one where Willie says "I’m not… I’m not allowed to speak about political issues." I'm not allowed. Of course, there are TONS of restrictions on what he can and can not do, kissing guys, probably being one of them. But if he was going to say I'm not gay or I'm not like that, why would he instantly pull him back in, contrasting what he was just going to say. In episode three, Willie does say, "I'm not like that," which makes sense. He's had time to think and isn't in the heat of the moment. What other explanation can he give? Sure, he could say he's not allowed to be like that but saying that would admit that he is. It's a circle, a very messy circle, but it is a... loop.

Going back to what I'm supposed to be talking about here, Erik. This isn't Willie's first rodeo, but Erik was there for the first. One last thing I want to talk about is the phone call that Erik and Willie have in episode three. Below is an excerpt from their dialogue.

---

Erik: You've met someone.

Wilhelm: I, uh... Yes, okay, but I... I don't think we're a couple or anything. I don't know what it is but can we just...

Erik: I get it. I get it. You don't have to tell me any... I don't wanna hear any details. Hey. Willie, enjoy yourself. Soon enough people will start having opinions and-

Wilhelm: They don't care about me. 'Cause you're the Crown Prince that they have opinions.

Erik: I don't get it. Why are you sitting in your room sulking when you have a crush to hang out with?

---

Firstly, Erik refers to Willie's crush as completely gender-neutral. "You've met someone" could very easily be "you've met a girl". The same goes for "you have a crush to hang out with". Very well could have been "you have a girl to hang out with". Sure, it could be completely coincidental, but we live in such a heteronormative society that it would just make sense for Erik to use female-gendered words. Unless, of course, he knew.

Secondly, "Hey. Willie, enjoy yourself. Soon enough people will start having opinions". This sounds very much to me like, enjoy your time while you can be yourself without backlash because soon you won't have that privacy. While I feel that, yes, the same may happen with anyone Willie was to date, him having a same-sex partner multiplies that, by a lot.

In conclusion, Erik knew Willie was not straight, Willie should come out, but when he is ready, and August is a really deep character that people don't give enough credit to. Gosh, I hope I covered everything, I probably forgot so much, but it's fine. Please let me know your thoughts if you've made it this far into the post.

One last thing. I hope you'll notice how in this post, I never referred specifically to Wilhelm's sexuality, and I did that for a reason. I often see gay used to label him, and though I am unsure if that's being used as an umbrella term or specifically as in he only likes men, I think it's really important to realize that they're specifically making him unlabeled. In this youtube video Edvin Ryding, the actor who plays Wilhelm, says "What we're trying to do... We're not labeling Wilhelm's sexuality. I think that's good because it's like, it portrays that it's okay that way too. You don't have to. You shouldn't have to come out. It should be allowed to be a bit fluid, a bit out there." I just think that it is important as it's another type of representation that is not seen often.

#young royals #prince wilhelm #simon eriksson #wilmon #simon x wilhelm #young royals netflix #wilhelm yr #simon yr #august yr #erik yr #netflix #edvin ryding #omar rudberg #malte gårdinger #ivar forsling

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tricksters-captain · 3 years

Text

Bucky Barnes imagines - Some Sunny Day Part 2

AN: I’m splitting episode 3 into two chapters because so much happens.

Summary: Before the Blip, you and Bucky were close. After you both returning and Tony’s funeral, you decided to go back to your home town to spend time with your family. When duty calls, you return.

In this chapter: Despite your protests, Bucky seeks out Zemo (Based on S1 EP3)

(PART 1 HERE)

Pairing(s): Bucky Barnes x Fem!Reader, Sam Wilson x Platonic!Reader

Word Count: 5,196

Warnings: Spoilers for episode 3, violence, strong language.

You watched Bucky as he sat beside you on the aircraft.

“Do you mind?” Bucky’s side eye didn’t make you look away.

“I’m just trying to see what’s going through that head of yours.” You confessed. You were all on your way to Germany to visit Zemo. It wasn’t a plan you were happy with but it was the plan.

“Don’t bother.” Bucky frowned, looking down at his hands on his lap. “And don’t ask me if I think this is a good idea again.”

“I wasn’t going to ask that.” You turned away from the man.

“What was it then?” Bucky asked.

“I was going to ask if you were sure you wanted to do this.” It was another question you had already asked 20 times or more but you couldn’t shake the overwhelming feeling of anxiety about this trip.

“She has a right to be worried, Buck. The last time you were alone with Zemo, you ended up putting (Y/n) through three windows.” Sam reminded you both of what happened the last time you were in Berlin.

“It won’t happen this time.” Bucky tried to reassure you both but you still felt uneasy.

After another hour or so Sam announced that you were almost there.

It was a short drive to the prison from the airport but once you were inside, you felt your chest begin to tighten again.

“He’s just through that corridor.” The German guard gestured up ahead and that’s when Bucky stopped you.

“Alright. Give us a sec.” Bucky instructed the security guard before turning to you and Sam. “I’m gonna go in alone.”

“Why?” Sam asked,

“You’re Avengers. You know how he feels about that.” Bucky said as he looked between the two of you.

“It’s not like you two were known for frolickin’ in the sun together.” Sam felt he needed to remind Bucky of the past again. However, Bucky stood his ground.

“He was obsessed with HYDRA. We have a history together. Trust me. I got it.”

“Buck...” You started,

“I got it.” He repeated himself before you could say anything else.

You watched Bucky head through the doors alone.

“Let’s wait outside. This place gives me the creeps.” Sam encouraged you to follow him to which you didn’t do without hesitation.

Sam brought you a hot drink as you sat on a bench outside.

“I forgot how worried he can make you.” Sam admitted as he sat down beside you.

“I’ve seen what he went through, Sam. All of it leading up to Zemo. I just... I don’t want it happening to him again.” You knew you couldn’t explain the extent of why you cared for Bucky.

“You love him.” Sam said. It wasn’t a question but rather a statement. “I can see it clear as day. Anyone could if they stuck around long enough.”

“Why are you bringing this up, Sam?” You sighed, looking away from him.

“Because it’s also obvious that he loves you too. You run around driving each other crazy with worry but you have none of the good stuff that comes with being in love with someone.”

“What do you know about love, Don Juan?” You chuckled as you tried to lighten the tone.

“I know it when I see it.” Sam smiled but there was a sadness behind his eyes.

“Things are complicated, Sam.” You muttered, “You already know that.”

“Well I also think that if Bucky got some he’d be a whole lot less angsty all the damn time.” You knew Sam only said it to make you laugh but you still gave him a whack for the comment.

“Shut up, Sam.” You shook your head, trying not to smile at the inappropriate comment.

Sam kept you entertained by a couple of silly games of rock, paper, scissors before Bucky returned.

“Come on, I got some information. We gotta go.” Bucky hurried you and Sam along.

“Just like that?” You were surprised that Zemo even spoke to Bucky at all.

“A location. I’ll explain everything once we get there.” Bucky wasn’t giving you much information and it was making you a little suspicious.

“Hey, hey, hey...” Sam ran after Bucky, stopping him. “You gotta give us a little more than that.”

“Zemo agreed to help us after hearing that there were more super soldiers. It was his life ambition to stop the winter soldier programme and he’s given us a lead.” Bucky explained.

“And you’re just gonna trust his word?” You probed.

“There’s not much else we can do.” Bucky did make a point.

It didn’t take long to reach the large warehouse/garage that Bucky wanted to go to.

Bucky on the way had started rambling about breaking Zemo out of jail in order to help you guys which sounded ridiculous to you.

“Tell me you’re joking, Buck.” You pleaded, unsure whether he had lost his mind entirely.

“He’s our best shot at finding who is making the serum and he’d be a lot more useful out than in.” Bucky opened the door to the building and you followed him inside.

“What are you talking about? You wanna break Zemo outta jail? Where are we, Buck? Have you lost your mind?” Sam was just as lost as you were as he shot questions at Bucky.

“We have no leads, no moves, nothing.” Bucky sighed as you made your way in with your flashlights.

“What we have is one of the most dangerous men in the world behind bars.” Sam argued.

“We also have eight Super Soldiers that are loose.” Bucky retorted.

“Anyway, I thought this was a lead?” You tried to look around but the place was badly lit. There were mainly mechanic tools and lots of storage scattered around.

“It’s complicated.” Bucky frowned.

“What’s complicated is Zemo. He’s gonna mess with our minds. Especially yours. No offence.” Sam shone his flashlight at Bucky as he spoke.

“Offence.” Bucky didn’t look impressed as he found the light switch. “Super Soldiers go against everything he believes in. He is crazy, but he still has a code.”

“I’ve been on the wrong side of that code and so have you. He blew up the UN, he killed King T’Chaka and framed you for it. Did you forget that? You think the Wakandans forgot about it? It’s a rhetorical question. They didn’t. I know why this matters to you, but it’s pushing you off the deep end.” Sam stepped closer to Bucky. You couldn’t deny that Sam had a point. Zemo was the one who tore the avengers apart by framing Bucky. “We don’t know how they’re gettin’ the serum. We don’t even know how many of them there are.” Bucky couldn’t give up. “Let me just walk you through a hypothetical. Can I?”

“What did you do?” Sam narrowed his eyes at Bucky.

You were busy looking inside the car that was revealed by the lights coming on.

“I didn’t do anything.” Bucky shook his head before he continued with his ‘hypothetical’.

“The weakest point in any system isn’t the software, the hardware, it’s the meatware. The human element. Now, in this lockup, it’s nine to one, prisoners to guards. And if two prisoners start fighting, then the protocol says four guards have to respond.”

“So why would two prisoners randomly start fighting at that moment? Who knows?” Sam questioned.

“There could be many reasons…” Bucky shrugged. “But the point is, these things escalate. Lockdown procedures would have to be initiated, and with all those bodies flying around left and right, wouldn’t be hard to slip down a hallway or two.

At this point, you stopped looking around and looked over at Bucky with your arms across your chest. You weren’t liking how thought out this plan was sounding.

“And if the fire alarm got tripped while the prisoners were being separated someone could use the chaos to their advantage.” Bucky continued.

“I don’t like how casual you’re bein’ about this. This is unnatural. Are you… And where are we, man?” Sam gestured around the place with confusion locked on his face.

“Bucky, I’m with Sam on this one. I’ve got a bad feeling and–––” A door opening behind you cut you short.

You turned around to see Zemo walk through the plastic door curtains.

“Woah, woah, woah!” Sam jumped forward instructively. Bucky managed to stop him but he didn't stop you.

You rushed towards Zemo and held the tip of one of your knives to his Adams apple as he held his hands up.

“What are you doing here?” Sam shouted at Zemo before snapping back to Bucky.

“I didn’t tell ’cause I knew you wouldn’t let this happen.” Bucky admitted.

“What did you do?” Sam pointed at Zemo in shock.

“We need him.” Bucky stated to which you chuckled harshly, pressing your knife a little harder.

“You’re going back to prison!” Sam called over.

“If I may..? “ Zemo tried to speak but you all shut him up with a unanimous ‘No.’

“Apologies.” Zemo mumbled.

“(Y/n), put the knife down.” Bucky came towards you and wrapped his hand round your wrist. “Please?”

You did. Slowly.

“Look, when Steve refused to sign the Sokovia Accords, you both backed him. You broke the law, and you stuck your neck out for me. I’m asking you to do it again.” Bucky looked back and forth from you to Sam.

“I really think I’m invaluable.” Zemo spoke again.

“Shut up.” You rose the knife again to which Zemo took a step back and pretended to zip his mouth shut.

“Okay.” Sam sighed after a moment of contemplation. “If we do this, you don’t make a move without our permission.”

“Fair.” Zemo nodded.

“Bucky... You understand what this means right? If they find out we took Zemo, specifically you. We’ll be on the run again and I don’t know if there will be a pardon this time either.” The concern in your eyes made Bucky frown.

“It’ll be alright. He's the only shot we got to stop these guys.” Bucky wasn’t sure if he believed his own words but he was praying that this was the best thing to do.

“Alright.” You turned to Zemo. “So where do we start?”

Zemo gestured for you to follow him before taking you into another dark room. You kept your knife in your hand just in case.

He reached for the light switch to reveal a mass of classic cars.

“So our first move is grand theft auto?” Sam cocked his eyebrow at the impressive collection.

“These are mine. Collected by family over the generations. I spent years hunting people HYDRA recruited to recreate the serum. Because once it’s out there, someone can create an army of people… like the Avengers.” Zemo entered one of the cars and pulled out a bag. “I ended the Winter Soldier program once before. I have no intention to leave my work unfinished. To do this, we’ll have to scale a ladder of lowlifes.”

“Well, join the party. We’ve already started.” Sam told the man.

“First stop is a woman named Selby. Mid-level fence I still have a line on. From there, we climb.” Zemo took his bag and headed into another room.

“Jesus... How big is this place?” You looked around to see it was full of clothes.

“First I change and then we head to Selby.” Zemo placed the bag down before filing through one if the rails of clothes.

“How are we supposed to get anywhere with Zemo on our hands? We can’t exactly call Torres and ask for a ride but please ignore the fugitive that’s coming with us.” You looked between the boys.

“I will get us there.” Zemo told you.

“Great.” You pressed a fake smile onto your face which Zemo chose not to acknowledge.

Before you knew it you were at the airport at Zemo’s private jet.

“So all this time you’ve been rich?” Sam’s eyes went wide at the sight of the plane.

“I’m a Baron, Sam. My family was royalty until your friends destroyed my country.” Zemo spoke as if it was well known information. You felt a pang hit you in the chest, it happened every time you thought of Sokovia... it was guilt.

You watched Zemo greet an elderly man in a suit before you entered the jet.

You sat furtherest away from Zemo, still feeling very uncomfortable about him being free and under your custody.

You watched him sip on a glass of champagne like he had no worries in the world.

“You don’t know what it’s like to be locked in a cell. Oh. That’s right you do.” Zemo reminded you of the time Tony had locked a lot of the avengers up.

“Why don’t you tell us about where we’re going?” Sam suggested.

“I’m sorry. I was just fascinated by this. I don’t know what to call it, but this part seems to be important. Who is Nakajima?”

Before you could blink, Bucky had lunged forward and taken Zemo by the neck.

“If you touch that again, I’ll kill you.” Bucky kept hold of Zemo for a second longer before sitting back down. You had fought the urge to get up and take hold of his arm to calm him down.

"I’m sorry. I understand that list of names. People you’ve wronged as the Winter Soldier.” Zemo made no attempt at a sincere apology for the invasion of privacy.

“Don’t push it.” Bucky warned him.

“I’ve seen that book. It was Steve’s when he came out of the ice. I told him about Trouble Man. He wrote it in that book. Did you hear it? What’d you think?” Sam smiled as he thought back on the memory.

“I like ’40s music, so…” Bucky shrugged.

“You didn’t like it?” Sam seemed more shock to hear this than when he saw Zemo.

“I liked it.” Bucky proclaimed.

“It is a masterpiece, James. Complete. Comprehensive. It captures the African-American experience.” Even Zemo had to get involved.

“He’s out of line, but he’s right. It’s great. Everybody loves Marvin Gaye.” Sam turned back to Bucky after giving side eye to Zemo.

“I like Marvin Gaye.” Bucky repeated.

“Steve adored Marvin Gaye.” Sam couldn’t drop it but you didn’t bother getting involved.

You looked at the book in Bucky’s hands. You knew Steve had given it to him before but seeing it again after all this time brought up a hundred thoughts. You remembered the many things you had told Steve to watch or eat or listen to like ABBA, Mochi ice cream and pranking him by suggesting the twilight movie as must see.

“You must have really looked up to Steve.” Zemo mentioning Steve made you look up again. “But I realised something when I met him. The danger with people like him, America’s Super Soldiers, is that we put them on pedestals.”

“Watch your step, Zemo.” Sam warned him.

“They become symbols. Icons. And then we start to forget about their flaws. From there, cities fly, innocent people die. Movements are formed, wars are fought. You remember that, right?” Zemo looked over at Bucky. “As a young soldier sent to Germany to stop a mad icon. Do we want to live in a world full of people like the Red Skull? That is why we’re going to Madripoor.”

“What’s up with Madripoor? You talk about it like it’s Skull Island.” Sam asked but you already knew of Madripoor. Anyone with links to the underworld of crime knew of Madripoor.

“It’s an island nation in the Indonesian archipelago. It was a pirate sanctuary back in the 1800s.” Bucky informed him.

“It’s kept its lawless ways. But we cannot exactly walk in as ourselves. James, you will have to become someone you claim is gone.” Zemo looked down at his duffel bag of clothes that you had watched him pack before.

“What do you mean by that?” You finally chimed into the conversation.

“James will have to retake the person of the Winter Soldier. You both will have a role to play also.” Zemo explained, turning to face you as you sat in the chair by the back wall of the jet.

“Bucky, can I speak to you privately?” You looked past Zemo to Bucky. Bucky gave you a look to ask where would you go so you stood and opened the cabin toilets door.

Bucky huffed before following you in.

“Bucky I’m not okay with this.” You whispered as you pressed yourself up against the wall so you could try and fit both you and Bucky a little more comfortably.

“This isn’t up to you.” Bucky sighed.

“Everything about this situation is making every nerve in my body scream this is a bad idea.” You folded your arms across your chest as you stared up at Bucky.

“How many times do I have to tell you that this is the only plan we got?”

“I don’t trust him.” You kept your voice low as you threw your hand up in the direction of the door.

“Do you trust me?” Bucky asked.

“I’m starting to question it.” You muttered.

Bucky just stared at you in response.

“Yes, I trust you.” You grumbled, caving in.

“Anyway I have you if things go bad.” Bucky tried to make light of the situation but you weren't impressed.

You left the bathroom and remained silent until you drew closer to Madripoor.

Upon your arrival in Madripoor, you were handed some clothes to change into.

“You’ve got to be kidding me?” You held up the small material dress that you were meant to wear.

“I had to choose a disguise that would cover your face. Too many people here would know you from your days before the avengers and after.” Zemo defended his choice of ‘costume’ for you.

“So I’m assassin barbie?” You scoffed before taking to the bathroom to change.

You slid on the black leather playsuit and boots, along with the mask that Zemo gave you.

You felt exposed and uncomfortable. You managed to hide a few knives in your boots and you slid on a thigh holster to hold some more to make you feel like you were protected at least.

“Loose the knives.” Zemo instructed.

“Are you serious?” You were growing more agitated by the minute with this man.

“You are playing an escort. You can’t have knives on show.” Zemo pointed to your holster.

You bit down on your cheek as you removed it.

“Fine.” You then left the plane to Sam and Bucky waiting outside. Bucky’s eyes went wide at the sight of you but he tried to hide it by clearing his throat and looking away.

“We have to fix this. I’m the only one who looks like a pimp.” Sam was wearing a red patterned suit and chains. He didn’t look too bad in it either.

“Only an American would assume a fashion-forward Black man looks like a pimp. You look exactly like the man you’re supposed to be playing. The sophisticated, charming African rake named Conrad Mack, aka the Smiling Tiger.” Zemo handed Sam his phone revealing a picture of Conrad Mack.

“He even has a bad nickname. Hell, he does look like me, though.” Sam took the phone and looked down at the picture.

“(Y/n) is playing your partner for the night. Conrad is known for his appreciation for the finer things in life and often has a woman on his arm Therefore, (Y/n), you must be attached to Sam’s hip the entire night.” Zemo filled you all in on the reason behind your disguise.

“Excuse me, what?” Bucky almost choked at the idea of you having to be Sam’s woman for the night.

“Well it is the only disguise that makes sense. She can’t be your girlfriend as you are the Winter Soldier. She can’t be mine as everyone knows I am loyal to my wife. She has to be the smiling tigers current whore.”

“Watch your mouth.” Bucky hissed.

“We all must play a part.” Zemo defended his choice of words. “You smell this?”

“Yeah, what is that? Acid?” Sam asked.

“Madripoor. No matter what happens, we have to stay in character. Our lives depend on it. There’s no margin for error. High Town’s that way. Not a bad place if you wanna visit, but Low Town’s the other way.” Zemo gestured across the city as a car approached you all.

“Let me guess. We don’t have any friends in High Town.” You sighed as Zemo opened the car door for you.

“Not if we want the answers we are looking for.” Zemo climbed into the car after you and then the boys followed.

It didn't take too long to find the way to low town. You had been to Madripoor before but it had been years ago.

You did as you were ordered when you all exited Zemo’s car. You stuck by Sam, walking in the middle of Sam and Bucky.

The air wasn’t cold but it felt thick, you could feel it sticking to your bare skin which gave you the desperate urge to take a long shower.

“Here we are.” Zemo had brought you to a bar. It was busy and filled with a lot of men.

“Ready to comply, Winter Soldier?” You heard Zemo ask Bucky in Russian.

You heard whispers around you questioning if Bucky was who everyone thought he was. It made your gut clench with nerves but you didn’t let it show.

“Hello, gentlemen. Wasn’t expecting you, Smiling Tiger.” The bartender greeted Sam and Zemo but barely brushed a glance over you.

“His plans changed. We have business to do with Selby.” Zemo spoke for Sam. You then felt Sam wrap his arm around your waist. You leaned into him, batting your eyelashes first at Sam and then the bartender.

“The usual?” The bartender asked Sam. He nodded, afraid that if he spoke then it would give away the facade.

You were thankful you were wearing a face mask when you saw the drink made for the Smiling Tiger. You grimaced at the dead snake being cut open and then again when one of its organs was dropped into Sam’s shot.

“Ah, Smiling Tiger. Your favourite.” Zemo picked up his own drink as he looked down at Sam’s.

“I love these.” Sam forced himself to speak.

“Cheers, Conrad.” Zemo and Sam touched glasses before Sam hesitantly shot back the drink. You could tell Bucky enjoyed watching that.

“I got word from on high. You ain’t welcome here.” A man suddenly approached from behind and tapped Zemo on the shoulder. You felt Sam’s grip on you tighten protectively.

“I have no business with the Power Broker, but if he insists, he can either come and talk to me...” Zemo held his hand out to show his new bodyguard.

“New haircut?” The stranger looked Bucky up and down.

“Or bring Selby for a chat.” Zemo gave him the other option. The man retreated.

“A power broker? Really?” Bucky spoke once the stranger had left.

“Every kingdom needs its king. Let’s just pray we stay under his radar.”

“Do you know him?” Sam asked.

“Only by reputation.” Zemo admitted honestly.

“In Madripoor he is judge, jury, and executioner. You can’t visit low town without appearing on his radar.” You spoke up as you let yourself look around the room and take in just how many threats were around.

“And you know this why?” Sam looked down at you. He must've forgotten your past.

“I was a free agent before the Avengers. I've been here undercover a few times especially when I was a young teenager. Surprise Surprise evil guys like little girls.” You kept quiet in case anyone around was listening.

Zemo suddenly spoke a command for Bucky in Russian once again and that’s when another stranger put his hands on Zemo.

You watched Bucky follow orders and he didn’t hold back.

He grabbed hold of the strangers wrist and pulled him off Zemo before attacking him and several others around.

You took notice of those around with their phones out. Cameras...

You went to step forward when you felt Sam squeeze your side. He gave you a look that told you no.

“Didn’t take much for him to fall back into form.” Zemo muttered to you and Sam. You wanted to punch him.

Bucky slammed another man onto the bar and that’s when you heard the wave of guns cocking.

Sam took hold of Bucky’s arm when Zemo told him to stay in character.

Instead Zemo told Bucky to stand down once you were informed you could see Selby.

Sam took hold of you hand and dragged you along side him as you all left the bar.

“She isn’t welcome.” One of the guards stopped you before you could enter the room.

“Excuse me?” Sam scoffed at the guard. “She’s with me and so she is welcome.”

“Let her in!” You heard an English accent call from ahead.

“You should know, Baron. People don’t just come into my bar and make demands.” Selby was an older woman with a white pixie cut and a sly grin. Sam remained stood and so did Bucky but Sam had commanded you to take a seat next to Zemo.

“Not a demand. An offer.” Zemo was impressing you by how cool he was playing this. It also worried you.

“A lot has changed since you were here last. By the way, I thought you were rotting away in a German prison. How did you escape?“ Selby asked.

“People like us always find a way, don’t we? I’m sure you’ve already figured out what I’m here for.”

“You’re taller than I’d heard, Smiling Tiger.” Selby ignored Zemo as she eyed up Sam.” What’s the offer?”

“Tell us what you know about the super-soldier serum. And I give you him, along with the code words to control him, of course. He will do anything you want.”Zemo had risen from his seat and held Bucky by the chin.

“Now that’s the Zemo I remember. I’m glad I decided not to kill you immediately. Yeah, you were right to come to me. Arrogant, but right. The super-soldier serum is here in Madripoor. Dr. Wilfred Nagel is the man you wanna thank...Or condemn, depending on what side of this you’re on. The Power Broker had him working on the serum, but… things didn’t go as planned.” Selby fed you what she knew.

“Is Nagel still in Madripoor?” Zemo questioned.

“Oh. The bread crumbs you can have for free, but the bakery is gonna cost you, Baron. And before you get all cute, don’t think you can find Nagel without me.” Selby pushed herself from her seat and walked across the room.

That’s when Sam’s mobile went off.

“Answer it. On speaker.” Selby ordered. The gun behind Sam made him pull out his phone.

“Hello?” He answered.

“Hey, um, we need to talk about this situation. It’s been drivin’ me nuts.” A woman’s voice came through.

“What situation exactly are you talkin’ about?” Sam tried his best to keep up his persona.

“Are you high? You know what situation, it’s the only situation me and you have.” The woman’s attitude was not helping Sam’s case.

“What situation, Sarah? Say it.” Sam demanded.

“The damn boat. And watch your tone. Okay? I let you slide at the bank.” Sarah snapped back.

“The bank. Yeah. Laundered so much...” Sam chuckled. “Yeah, they’ll come around.”

“If that was the case, then why’d they dog you out, Big Time?” Sarah asked.

“Yeah, you damn right I’m Big Time. You’ll see when I have that banker killed.” Sam tried to seem intimidating but at that moment you knew you were screwed. You reached down into your boot to take a knife just in case.

“Cass! What’d I tell you about the Cheerios? I don’t have time for this! Sam, I’m sorry. I’ll call you back.” Sarah had used Sam’s name and that was the end of it.

“Sam? Who’s Sam?” Selby looked pissed. “Kill them!” She ordered but before her hired men could react, a bullet came through the window and shot Selby down.

You snatched two knives from your boot and sent them into the guard behind Sam.

Bucky immediately reacted with taking out the other guard.

“They’re gonna pin this on us.” You took the knives from the body as the boys took the guns.

“We have a real problem now, so leave your weapons and follow my lead.” Zemo’s order made the boys put their guns down but you just wiped your knives and placed them back in your boot.

You left the club in a hurry. Text chimes went off around you and you knew the power broker had seen what happened.

You were well and truly fucked.

“This is not good.” Zemo’s last words before the shooting started.

You took off alongside Bucky and Sam, cursing the fact that Zemo had put you in the most uncomfortable shoes on the planet.

“I can’t run in these heels!” Sam shouted which almost made you laugh.

“Down here!” You took a turn into an alley to get off the road as two mopeds appeared behind you.

Before you could spin around to fight, a shooter had taken them out.

“You seem to have a guardian angel.” Zemo looked just. as confused you felt. You weren’t aware you knew anyone who was in Madripoor at the moment.

“Well, this is too perfect. Drop it, Zemo.” A familiar face soon revealed itself from the shadows.

“Sharon?” Sam furrowed his brow at the woman.

“You cost me everything.” Sharon ignore Sam as she spoke to Zemo.

“Sharon, wait. Someone recreated the super-soldier serum and Zemo had a lead.” Sam stepped ahead of Zemo to protest him.

“That explains why you guys are here. And Selby’s dead.”Sharon glowered at the four of you.

“So what are you doing here?” Bucky asked the question on everyones mind.

“I stole Steve’s shield, remember? I also took the wings for your ass, so that you could save him from him. I didn’t have the Avengers to back me up. So I’m off the grid in Madripoor.” Sharon informed you.

“Don’t blow smoke. Both (Y/n) and I were on the run, too.” Sam didn't bother with feeling pity.

“Was. Is. Big difference. I don’t speak to my family anymore. I can’t. My own father doesn’t know where I am.” Sharon shot back.

“Listen, Sharon, we need your help.” Bucky interrupted her before she could say anything else.

“Please.” You added. You and Sharon were friendly for a time before the world went to hell. You figured she’d help you at least.

“This isn’t over. I have a place in High Town. You’ll be safe there for a while.” Sharon sighed, giving in and lowering her gun.

“Thank you.” You pressed a small smile onto your face but Sharon didn’t reciprocate.

She managed to get you to a car safely and you headed out of low town for the night.

(PART 3 HERE)

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babymetaldoll · 3 years

Text

DIWK - Chapter one: "Yes, I'm a genius"

Word count: 10,5 K

Warnings: Cursing, but it's mostly a fluffy nerdy start to our story. Mentions of the L.D.S.K episode (Season 1, E06) and A real Rain (Season 1, E17).

Summary: Spencer meets the BAU new member, a young S.S.A. who happens to be just as nerdy as he is. (Y/N) is excited to join her dream job finally, but she is decided to create an imaginary barrier between her personal life and her job 'cos she doesn't want to make the same mistakes her father had done.

A/N: It's happening!!! I'm so excited!! I'm sorry it's gonna be long, so I hope you enjoy the ride 💕. Let me know what you think!

Series Masterlist

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Spencer's point of view

I remember everything that happened the day (Y/N) first arrived at the BAU. It was Monday, November 7th, 2005. Morgan had teased me for a whole week already, as soon as Hotch told us a new member of the team had been selected.

I first saw her when she had her last interview with Aaron and Gideon. My eyes were glued to her from the moment she stepped into the bullpen, and of course, Derek saw me.

- "What caught your eye, kid?"- he asked, walking to my desk. He sat on it and cut me one of his smirks, telling me he knew something was going on. I cleared my throat, trying to turn to my pile of paperwork, going through the papers, and narrowing my eyes, pretending to read.

- "What?"- I know I couldn't fool him, but at least I tried.

- "Do you know her?"

- "Who?"- Morgan looked at me in silence. He knew I knew what he was talking about- "The... no, Hotch is talking with someone..."

I was completely flustered.

- "That I can see, do you know her?"

- "No..."- I whispered and looked over again, this time staring at the scene inside the office, trying to figure out what they were talking about.

I could see (Y/N) smiling at Hotch, and he... smiled back, which still surprises me. Our Unit Chief never smiles in the office, and somehow, (Y/N) always manages to make him grin and express tenderness. I guess that's one of the things about her I love, the way she always manages- somehow, I still don't know how- to make everybody around her happy. Especially me. I had never been as happy as I've been since I met her.

- "Hey, Hotch!"- Morgan waited until she was into the elevator to call Aaron and start asking questions- Who is she?

- "That's Supervisory Special Agent (Y/F/N) (Y/S/N) (Y/L/N), and she is going to be part of the team, starting next week."

My heart stopped. (Y/N) was gonna work with me. I was never going to have another intelligible thought or idea if she was going to be around. Of that, I was sure.

Derek turned to me with a grimace of taunt as I tried my best to look away and hide my red blushed cheeks. Damn it. I hate it when he makes me feel like a kid. He did that then, and he still manages to do it now, even when I'm already thirty years old.

- "Did you hear that, pretty boy?"- I was so glad it was just him and Hotch. I didn't want anyone else to listen to that conversation- "You are going to get many chances to talk with that pretty girl."

- "We are going to have to go through the fraternization policy then."- Hotch joked. Yes, he joked and smiled as he walked away.

I could barely talk or even look at her during her whole first day. I was so embarrassed that week 'cos I had just failed my firearm qualification, and I knew everybody was judging me. At least that's how I felt. It didn't work that Morgan welcomed me that morning with a freaking whistle. I felt like the mockery of a Supervisory Special Agent of the FBI, and of all days, (Y/N) had to arrive that morning.

We had a long briefing that day, JJ catching (Y/N) up with a few cases we were reviewing, and Hotch gave her the proper induction to the team. Penelope loved her. It was friendship at first sight.

- "I'm so happy you are here to stay! There aren't enough girls here at the BAU!"- she nearly squeaked as soon as we left the meeting room- "I want to know everything about you! We are going to be best friends. I can feel it!"- (Y/N) smiled at Garcia and nodded.

- "If you are a cat lover and a sucker for nerdy things, then I guess we are already family."

Her answer made Penelope shriek in excitement as I walked back to my desk quickly. I knew Derek wasn't going to waste the chance to embarrass me in front of her, and I needed to avoid it no matter what.

- "Considering it's your first day, and so far we haven't got a case, I say we should all have lunch together. There's a small place nearby"- Morgan smiled sweetly at (Y/N), and she nodded.

- "I'd love to."

- "Spencer here was just telling me how he wanted to know how you got to the BAU so young; he is excited not to be the team's baby anymore"- I turned to Morgan slowly. I swear he could feel the daggers from my eyes.

- "How old are you?"- she asked, and her smile left me speechless. I tried to answer, but I couldn't make any sound but an awkward stutter.

- "He's twenty-four"- Elle had to answer for me, 'cos I had literally lost all my verbal abilities- "His birthday was a few weeks ago."

- "Congratulations! I'm twenty-four too! I'm so happy I'm not the youngest! My brother teased me about it for the last couple of days and got me all freaked out."

She looked so happy to be there. When you spend day after day surrounded by the worst of humankind, you seem to enjoy and appreciate the little gentle things in life. Her excitement was one of those. It was refreshing.

- "That's..."- it was so hard to pronounce any word at that moment. I was flustered and mortified 'cos I was making a fool out of myself.

- "That's great."

That was all I managed to say. Then, I looked down at the papers on my desk, doing my best to avoid any conversation. JJ and Elle talked to her for a few more minutes before returning to their duties, and Derek tapped my back as he walked to his desk.

- "Way to go, Romeo."

- "Shut up."

We never made it for lunch that day, 'cos we were called for a case in Illinois, and I was embarrassed in front of (Y/N) for the very first time. The first of many.

(Y/N)'s point of view

I could never forget the day I met Spencer. We were just kids. We were both twenty-four, and that was the first thing that caught everybody's attention on my first day at the BAU. We were the youngest, though he was a genius. I was an average kid who graduated high school at sixteen, got good grades at college, and got into the academy at twenty. Somehow I managed to kick ass until I got the position of my dreams in the Behavioral Analysis Unit. I felt too young and inexperienced to be there, but seeing Reid's face made me feel a little better.

Hotch introduced me to everybody: Morgan, JJ, Elle, Penelope, Gideon -the legend- and Doctor Spencer Reid. He didn't shake my hand, explaining he has a "germs thing." I waved and said I understood him because I've always had a "hug thing," so we are both on the same page.

- "I don't like people touching me if we are not close friends or family."- I explained, and he smiled right away. That smile. It lit up my days for years to come.

- "Me neither, so don't worry, I'm not gonna try to touch you"- I bit my lips as I nodded, and his cheeks turned blood red with embarrassment immediately

- "Sorry, I mean, I'm not going to do anything that might bother you, like hugging you or..."

- "Don't worry, Dr. Reid, I understood what you were trying to say"- he kept nodding and excusing himself, and I tried not to laugh. He seemed to be so nervous it was endearing.

- "You... you can call me Spencer, or Reid"- he added- "You don't need to call me doctor."

- "You can call me (Y/N)"- and he nodded again, looking like a ten years old kid.

I remember clearly that second, right away, I thought he could be my new best friend. There was something about him that made me want to get closer to him.

- "Great! Now we've got two weird kids."- Morgan quickly said, chuckling, and I frowned at his words. I wanted to give him the snarkiest answer, but I remembered it was my first day, and I was still trying to give a good impression to my new coworkers, so I just stared.

- "You know, treating them like kids won't make you look wiser."- Elle whispered, though I heard her perfectly, as Hotch called to the briefing room.

- "I'm just joking with them! Don't you get a joke?"

I thought it was rude to joke around with someone you had just met, but soon after that, I realized Derek Morgan meant no harm. He was like that. And soon, he became the older brother I never thought I was going to need at work. After all, it was my first official job, and it was a very stressful one.

My first case was nerve-wracking. Gideon snapped in front of me, and I felt I wasn't helping at all catching the sniper. We are not supposed to use that word, but fuck it. Besides, Spencer and Hotch were kept hostage by the unsub. And Aaron had to beat the shit out of Reid to save all the hostages. Reid was so embarrassed, and I was so scared.

Scared of looking weak in front of my team. Afraid of not deserve being at the BAU.

I remember Elle brought me a coffee on the jet on our way back and said the words that resonated in my head when she left.

- "No one expects you to be perfect at what you do. We just need someone who gives the best every day."

I looked into her eyes and nodded. That was one of the few intimate conversations we had. Elle wasn't the one to open her heart and share her feelings. But she was always someone who could tell you the truth and support you when you needed it.

- "Hey! Reid!"- I waved at him from my car as I stopped next to him outside the BAU. It was already two in the morning, and he was outside the main building waiting for a cab.

- "Hey (Y/N)."- he whispered as I rolled up the window and looked at him.

- "Do you need a ride?"

- "No... no, thank you"- he hesitated and waved- "I already called a cab."

- "Are you sure? it's gonna start raining any minute now."

And just as I predicted, a few seconds later, Spencer's glasses were covered with tiny drops of water. He smiled and took a step closer to the car, opened the door, and got in.

- "Th... thank you"- he whispered as I smiled

- "It's ok, I couldn't let you there, on your own, waiting for a cab, not after coming back from a case."

- "I'm ok..."- maybe he thought I was implying the beating he got from Aaron earlier that day, so I did my best to tell him otherwise.

- "I bet you are, but it's fucking freezing, and we are all tired. There's no way you are waiting for a cab if I can drive you over... what about your car, by the way?"

- "I'm not a fan of driving; I take the subway to work every day."

- "Really? Why not?"- I was surprised by his answer, but I was way more surprised we were talking, finally.

- "I don't know, I don't feel comfortable driving... the guys say I'm weird."

I turned to him, raising an eyebrow. He looked so nervous it made me feel bad. Maybe I had done something that had bothered him and never noticed it.

- "That's not weird"- my voice was soft, trying to calm him down. Spencer looked like a scared kitten sitting on my car's passenger seat.

- "If you don't like driving, that's ok... I don't like talking on the phone with people. It makes me anxious for no reason."- I confessed, keeping my eyes on the road. But I know he turned to me and nodded.

- "That's completely normal. It's called "telephone phobia" or "phone phobia," which refers to the irrational fear or discomfort with speaking over the phone. Psychologists believe that this condition is related to social anxiety, which causes a person to avoid situations where they will need to act. Making a call is essentially a performance, and some people dread making a mistake, freezing up, being ridiculed, or not being able to perform in front of an audience."

- "Really?"- he just nodded and kept his eyes on the road- "I didn't know it had a name! My insurance should cover it."

And he finally laughed, which made me feel he was maybe a little more relaxed around me.

- "This is me."- he announced, and I parked outside his building. It was a nice place, and conveniently, it was very close to my house.

- "Great! I live just a few blocks away. I can give you a ride to work whenever you want"- I might have sounded a little more excited than I should have, but I wanted to be friends with him. He was the closest in age with me at work, and he looked so shy and friendly. He was a magnet. Spencer Reid was calling for my friendship. I could feel it.

- "Th.. thanks"- he stuttered and nodded as he opened the door and step out of the car- "Thank you, again."

- "You are very welcome!"- I answered with a big smile. He stared at me for another second and waved before turning around, basically running into the building.

I wish I could go back in time to those days. Everything was more uncomplicated, we were getting to know each other, and everything was brand new: Reid's rambling, my bad jokes. I miss that. I miss us.

It wasn't easy to get close to Spencer. It wasn't easy to get close to the team, probably 'cos I was overthinking every single thing I did. In my first couple of weeks, I was as friendly as I have ever been and made my best to be the (Y/N) I had to be as an FBI Agent. I was making a tremendous effort to fit it. I was nervous and walking on eggshells the whole time. Every time Hotch talked to me, I was sure he would tell me I was fired. When Gideon looked at me, I was sure he thought I was the dumbest agent he had ever met. And every time I spoke at the morning briefings, I just could feel Spencer thinking I was stupid.

- "(Y/N)! (Y/N)! I was looking for you!"- Penelope ran into me outside the lady's room and jumped on my face, making me scream- "Sorry!"

- "It's ok, you just almost killed me of a heart attack, but that's ok... I'll survive."- I joked as I kept feeling my heart jumping in my chest.

- "Sorry, I'm just excited 'cos everybody is in for a little gathering tonight at my house. I need to give you a proper welcome! You've already been here for nearly a month, and we still don't get to know much of you."

Hanging out with my coworkers outside the office was strange. Not that I didn't want to get to meet them, it's just that... they were FBI agents. Sure, so was I, but it was my first official Supervisory Special Agent job, and I was only twenty-four. There were so many of my teenage days I still wasn't ready to let go. And so much of it, I didn't want them to know.

- "Sure!"- I replied and smiled at her face lighting up. You could tell Penelope was excited to host a party at her house.

- "Great! Tonight! my place! I'll text you the address! you have to be there!"

- "I will, I swear!"

Spencer's point of view

Oh, man! The first time I actually talked to (Y/N) was on a get-together Penelope organized at her apartment a few weeks after (Y/N) joined the team. Garcia made an effort to make her feel welcome, she even invited Elle, and we all knew those two weren't incredibly close.

Derek drove Elle and me to Penelope's, and I was mortified every minute I spent in that car. He wouldn't stop teasing me, and Elle asked over and over if I had a crush on (Y/N).

- "No! I don't have a crush on her! can you knock it off?!"- I finally snapped as I got off the car outside Garcia's building.

- "Just because she is my age doesn't mean I have or should have a crush on her! she is our new colleague! so please! Stop!"

I slammed the door and walked inside. Did I make an unnecessary scene? Yes, but I couldn't handle anything better at that moment. They were driving me crazy.

- "Welcome! Welcome!"- Penelope opened the door and invited us in. (Y/N), and JJ were already there, holding a beer and laughing. I stared at the two of them and knew I wasn't going to say a word the whole evening.

Back then, I still had a small crush on JJ. We had a terrible date after Gideon gave me tickets for a football game with her favorite team. That was his way to encourage me to ask her out, which I did... but apparently, I sucked at it, 'cos she never got it was a date and invited Penelope to come along. Worst date of my life. But still, I got flustered around her, and my mind kept coming back to her from time to time.

- "So, pretty girl, why did you want to be part of the FBI?"- Morgan asked her after a while of small talk. She was sitting on Garcia's coach, next to our host and JJ. I turned to look at her from my chair, and I swear I felt Elle's eyes on me for a few seconds.

- "Do you usually call girls names?"- (Y/N) answered the questions with another question and frowned at Morgan. He just wide opened his eyes and smiled, surprised.

- "He calls everybody names."- JJ replied, chuckling

- "Hey! he calls me sweet names! Just me!"- Penelope got all jealous and possessive right away.

- "Did you know according to some studies, the reason people in relationships use pet names for their partners is that they're harking back to their own childhood experience and their first love, which usually relates to their mother"- facts came out of my mouth faster than I noticed. I didn't have a chance to stop myself.

Derek frowned right away and (Y/N) bit her lips, trying not to laugh. Elle lost that fight and let out a burst of loud laughter along with JJ.

- "Are you trying to tell me I've got mommy issues, Reid?"

- "No, no, of course not!"- my voice was agitated as I shook my head and hands frenetically. If there's one thing I never want to do is get Morgan mad. He is scary when he is crossed, and back then, we weren't as close as we are now. Let's say I was a little afraid I might say the wrong thing. I always said the wrong thing... I don't know when to stop.

- "I call people pet-names too, once I get to know them, so don't worry"- (Y/N) smiled at turned to Derek with a smile- "And to answer your question, why did I join the FBI? I guess I tried to follow dad's steps. He is chief of police here at Quantico... and my older brother is a detective at NYPD, so... I guess I never really thought about it. I knew where I wanted to be."

- "I bet they are proud"- JJ smiled at her, and I held my breath for a second. I don't know why I did it; I just remember feeling overwhelmed all of a sudden. Not because of JJ, but because I wanted to learn more about (Y/N). I wanted to know everything, but I had no idea how to ask her anything.

- "Well, my brother is very jealous since I joined the BAU"- she chuckled with a playful smile- "Now I'm dad's favorite."

She told us about her academy experience, and we all told her a little bit about ourselves. Morgan was nice enough to tell her everything about my degrees and IQ because, well, my IQ dropped to twenty when it was my turn to talk to her.

I found out she has a MA in Linguistics and was considering doing the DA, which she did. That's when I managed to speak, and we talked about our college experiences for a while.

- "Oh, no! I wasn't popular at all. When your dad is a cop, kids usually don't wanna talk to you or invite you to parties."- she explained as we stood at one side of the room. Talking to her on our own was a little bit easier than doing it with everybody else watching. I don't know why. So I took my opportunity when Derek was out getting more beer with Elle, and JJ and Garcia were in the kitchen.

- "Being fourteen and riding my bike to college didn't make me very popular either."- I confessed, and she chuckled

- "Sorry."

- "Don't be"- I smiled and looked down at my shoes- "I guess at a certain point in our lives, we have to start laughing about some of the bad things that happened to us"- her cellphone rang that second, and she looked at the screen with a small smile.

- "Sorry, I have to answer this, it's my boyfriend."

Boyfriend. I should have seen it coming.

I walked to the kitchen, defeated, and sighed. I left my empty can of Coke and looked at my friends.

- "I think I'm gonna go home."

- "What? No! It's too early, Spence!!"- JJ argued right away- "You never want to hang out with us outside work!"

- "Yeah!! Don't you want to have fun with us?"- Garcia begged and pouted. I wasn't sure I wanted to be there. I was very uncomfortable 'cos social gatherings weren't my thing (they are still not my thing anyway) until I heard her voice.

- "So, what are you guys doing?"- (Y/N) walked over and stood next to me

- "Who were you talking to?"- Penelope asked right away with a wink.

- "My boyfriend"- she was joyful, I could feel the happiness in her voice- "He just wanted to know if I was ok."

- "Boyfriend?"- JJ smiled, and I could feel her eyes glance over me.

- "I need to know everything!"- and Penelope hyperventilated right away- "How long have you been dating? Are you getting married soon? Is he the love of your life?"

- "Who's getting married?"- Morgan walked in and wide opened his eyes as he questioned the room.

- "(Y/N) is getting married!!"- Penelope nearly shrieked as (Y/N) shook her head laughing.

- "I'm not getting married! Paul and I started dating just a month ago; it's nothing serious."

I took a sip of the beer Elle gave me and sighed, staring at the bottle. I made my best not to look at Derek for the rest of the night. I didn't want him to give me any sorry glance or anything that might make anyone believe something that wasn't real.

It was a fun night, after all. After my beer, we talked; I felt a little looser and managed to ask (Y/N) about herself and told her I had overheard her telling Garcia she was a sucker for all nerd things.

- "Yeah, I'm a huge nerd"- her cheeks blushed with her confession.

- "I bet you can't beat baby genius here"- Morgan chuckled and tapped in my back, making everybody laugh... at me.

- "I've got the feeling I can top him... you have no idea the kind of geek I am"- she looked straight at me- "How many Star Wars conventions have you been to this year?"

- "Just one, you?"- I raised an eyebrow and watched her chuckle.

- "Five... last two I was in make-up and custom"- I wide opened my eyes as she bit her lips nervously.

- "And Doctor Who conventions?"- I asked her, way more intrigued than I had been about her before.

- "Only two this year, the academy and school got in the way of most of my fun..."

- "Do you have a favorite doctor?"- I had to ask

- "From the new series, ten, the classic Doctor who I have to say four."

- "Tom Baker is by far my favorite doctor of the whole series."

- "But you can't overlook the fantastic job David Tennant has done! He is the one who managed to charm a whole new generation with the show!"

- "Yeah, he is excellent! but he ain't no Baker"- I loved that conversation

- "Baker's popularity is 80% because he had Sara Jane, who is by far one of the best companions the doctor has ever had. She made him human and relatable"- she had a point, but I needed to argue with her. I opened my mouth to answer, but I couldn't because Morgan's voice was louder than my thoughts.

- "Ok, geeks, you can ramble about your tv shows and nerd things some other time, now let's make a toast. To our newest member, we hope you feel welcome working with us, 'cos you are gonna see us way more than you see your boyfriend"- she chuckled at those words and nodded.

- "Thank you, guys. You have been so nice to me these couple of weeks. I've got the feeling we are gonna get along."

- "Do you need a ride?"- (Y/N) turned to me as I grabbed my satchel, and she put on her coat.

- "Thanks, but Morgan is gonna take me home."- I whispered, scared to be alone with her again.

- "Actually, kid, I was planning to hit the club right now, it's still early, and we don't get many free nights, so..."- he looked at us and shrugged.

- "You don't mind?"- I asked her, and she gave me the warmest smile.

- "I just offered to do it, of course, I don't mind at all."

- "Thank you."

I didn't know if I wanted to kill Morgan or thank him. Either way, (Y/N) waved goodbye to everybody and walked out of Garcia's with me, after thanking everybody for the hundredth time for everything.

- "Are you tired?"- she asked me as we both sat in her car. She started it, and the music that came from the radio was so loud, I nearly covered my ears- "Sorry! Sorry! I was rocking my favorite album on my way over."

She quickly turned off the radio and gave me a guilty smile

- "It happens when you drive alone a lot."

- "Did you know listening to loud music helps you liberate stress?"- I started rambling- "There is a direct connection between your inner ear and the pleasure centers in the brain. Shortly explained, when you listen to loud music, endorphins are released, that act on the opiate receptors in our brains, they reduce pain and boost pleasure, resulting in a feeling of well-being."

If I was going to work with her, I had to find a way to talk to her. Even if that way was to ramble facts over and over again. Anything was better than silences, I guess.

- "Yeah! and it also works like a stimulant, which I needed after the week we just had..."- I chuckled, and she looked at me for a second- "By the way, I noticed you have a problem with coffee and sugar"

- "I don't have a problem with coffee!"- I felt nearly judged by her statement.

- "And sugar!"- she added and snickered

- "You know you shouldn't profile other profilers"- I made my best to make a joke, and I guess I nailed it, 'cos she chuckled.

- "That's hardly profiling, Reid! that's just watching you prepare your coffee every morning"

- "Have you been spying on me?"- I could help but to chuckle at that conversation. I was having fun.

- "No way on earth! I just happen to like to drink coffee too, which leads us to the question I wanted to ask, it's still early; Morgan was right, do you want to have a coffee or something... I'm in the mood for something sweet."

- "And you were judging me for my coffee with extra sugar!"

- "I'm not judging you! I'm just pointing out that I noticed what you are doing and wondering how many cavities you already have."

I laughed. An honest, real, pure laughter. She has always made me laugh as I've never had. Like there are no problems, no worries, no traumas. Nothing bad.

- "I have no cavities, thank you very much!"

- "Fine! and are you in the mood for a late coffee and cupcake with me?"- I stayed quiet and looked at her- Don't feel pushed to do it just because I'm giving you a drive

- "No, no, it's not that. I just don't wanna bother you"

- "If I am inviting you, Reid, it's because I want to do it, not because I'm feeling forced to do it"- she kept her eyes on the road, but her voice was so reassuring I couldn't doubt a word.

- "Wouldn't your boyfriend get mad or something?"- I whispered the question 'cos I was scared of the answer.

- "Why should he?"- she looked shocked by the questions- "If he gets jealous, then he is not the guy for me."

I cut her a short smile and nodded. Her personality was so different from mine. It was exciting to have her around.

- "I could eat a donut"- and she clapped at my answer, thrilled with the plan.

- "That's the spirit! I know just the place!"

We talked until four in the morning that night. I don't know how I managed to do it, not because I was tired, but because I was very nervous. Well, I was at the beginning, but talking with (Y/N) has always come easy to me, somehow. To the guy who was never able to speak in public or with any girl, spending three hours in a cafeteria talking, eating donuts, and drinking coffee in the middle of the night was the most significant achievement.

(Y/N)'s point of view

- "How do you know a place open at this hour?"- Spencer asked me the very first time we were out together for coffee. It was already close to four in the morning, and I had started yawning, 'cos even with all the sugar and caffeine I had consumed that night, I was weary.

- "Sorry to break the news, doctor, but are not the only one with a sugar problem"- I licked a little frosting from my finger and grinned- "Sometimes after classes, or when I was too stressed studying, I would come here, get a coffee, a cupcake and just... do nothing for a while, just to let my brain rest I guess"

- "That makes total sense. The brain needs free time to process new information and turn it into something more permanent. Though the amount of time a mind needs to construct a durable memory probably varies from one person to the next, it also depends on the complexity of what that person is trying to learn"

- "Well, believe me, it felt like I needed two weeks to process all the information, but I only had half an hour if I was lucky"

- "Then you are already trained for this work. We don't have much time to do anything when we are on a case"

- "That's what I've seen so far... but at least you all get along. It would suck to be stuck in a team that fight egos and divisions."

- "Yeah, you are right, we are lucky to have very nice people working with us... everybody brings something different to the team"- I nodded at his words and looked down at my fingers as I tried to wipe the leftover sticky glazed with a napkin.

I had been working there for four weeks already, and I still felt like I didn't belong. Honestly, it was such hard work being there, not because they weren't a great team, but because it was more challenging than I ever imagined. Profiling and traveling all over the nation catching serial killers was... stressing, to say the least.

- "You bring a completely different point of view in every case"- he continued speaking and looked down at his cup- "And your knowledge in Linguistics adds more information to the profiles, which helps working faster and better."

I held my breath at his words. I knew he was just polite, just trying to make me feel better about my job performance these weeks.

- "I can assure you, you have been an incredible addition to the team"- he stayed quiet for a second, still just staring at his cup.

- "Thank you."

- "It's true; I'm not telling you this 'cos I think you need to hear it. I wanted you to know 'cos that's how we all feel."

I know I was blushing. I don't know how to take a compliment. Not that I get many, but it's always weird to hear someone telling you so nice things about your work.

- "Thank you, Spencer"- he finally looked at me and nodded. We stayed in silence for a few minutes. I didn't know what else to say, and he seemed to be embarrassed.

- "Thank you, actually"- he finally whispered.

- "Why? I didn't do anything"- I was confused, but he was earnest about his words.

- "Thank you, 'cos you have been very nice to me, even though I am a barely tolerable person."

- "What? Barely tolerable? What the hell are you saying?"

- "I mean, I know I drive people crazy 'cos I am always rambling and giving unnecessary facts all the time"- I narrowed my eyebrows, not getting why he was saying those things.

- "You do not do that."

- "Maybe you haven't been here long enough to realize I am always giving facts, and..."- he was honest. He actually believed people were annoyed by him. It hurt me to know that's what he thought of himself.

- "I realized that within the first three hours into the job, but I think that's amazing."

- "People would always say it's annoying."

- "Why would they say that?"

- "Because... I know they do."

- "Well, whoever says or thinks that are assholes, I like your rambling."

Reid snorted, and I hit his arm with my knuckles softly. I really felt bad he was so insecure, and most of all, he thought everybody hated him.

- "I mean it, Spencer, I wish I knew half the things you know, and if being with you means having to listen to your rambling, I think it's incredible, 'cos it gives me the chance to soak some of that knowledge."

The way he smiled, it was like his whole face lit up. He blushed, obviously embarrassed, and it also blushed me, 'cos he was gorgeous when he smiled.

- "So please, don't stop the facts, not with me"- he nodded and sipped what was left of his coffee.

After another few minutes, we left, and I drove him home. We were in a small sugar rush; we were too tired to have a full effect. I knew all I wanted was my bed and sleep the whole weekend.

- "I had a great time tonight"- I parked my car outside his building and smiled- "At Penelope's and with you"

I was so excited we had finally talked and gotten closer. I wanted to be friends with him so badly. Why? I don't know. I just knew I needed him in my life, from that minute on.

- "I had a great time too"- he smiled and held his satchel- "See you Monday"

- "Yeah! See ya!"

- "Drive safe!"

- "I will!"

I got home that night and laid on my bed, fully dressed. I barely took off my shoes and fell asleep right away. I was too tired to think, too tired even to put on my pajamas. But I wasn't too tired to remember Spencer's smile while he ate donuts. His dorky glasses, the way he gesticulated everything he said when he was excited about a subject. I was glad I had finally gotten to talk to him for once. And I couldn't wait to do it again.

Back then, Paul and I had just started dating. I wasn't in love with him, but he was a nice, funny guy I loved spending time with. I met Paul a couple of months ago at a friend's party. He was fun to be with, and we had a lot of things in common. We were both into music. He had a band, I didn't back then, but eventually got mine over time. He was like me, nothing like my friends at the BAU.

I thought that was cool, 'cos he represented a part of me I didn't want to lose working at the FBI. I was terrified I was going to lose myself in my new job. I saw how it affected dad's and my brother's life, how they were consumed by it in almost every single way. It was why my parents got divorced. It was why my brother couldn't keep a girlfriend for longer than a few months. 'Cos work was first, and their job was everything. The crazy hours, having to answer every call, no matter how busy you were. I thought it was sick how work could be your whole life. I was decided not to let it happen.

Yeah. I had no idea what I was getting into.

Soon after I joined the BAU, the nightmares began. I guess nothing prepares you to see so many people die. And nothing prepares you to kill someone, no matter if that someone is a child abuser.

I took the shoot, didn't even hesitate. It went right between his eyes. It was him or me, I know that. He was going to kill me. But still, it was hard.

Derek turned to me as I stayed still, in shock. It took me a few seconds to even breathe. I had just killed a person. It wasn't just some random thing.

- "(Y/N), are you ok?"- he landed a hand on my shoulder, and I quickly nodded.

- "Yeah, I'm ok... that was fast"- it was all I could say and turned to him. He gave me a short warm smile and wrapped an arm around me. I flinched at his touch right away and held my breath again. I don't know if he felt it, but still, he didn't let me go.

Derek has that thing when he doesn't care if you want it or no; he will give you his love and friendship when he feels you deserve it. I guess I'm lucky to call him my friend. And he really pushed that hug thing I still have.

- "Are you ok?- Spencer's voice was a sweet whisper. He sat carefully next to me in the jet and gave me a warm cup of tea- "I made you the one you like"

Of course, he had noticed my favorite brand, 'cos that's what Spencer does, he takes mental notes of everything and never, ever forgets. I wonder if that's a good thing or not. I guess it depends on what you remember.

- "Yeah, just tired"- working at the BAU, you can hide any kind of feeling behind the "I'm so tired" excuse. Mostly because we are indeed tired the whole time.

- "It was an extreme case"- I sipped my cup of tea and nodded at his words- "Do you..."

- "No, I'm ok, I don't wanna talk about it"- he bit his lips as he smiled. We both stayed quiet for a while. He read (somehow, at a relative normal peace), and I drank my tea. I couldn't concentrate on anything, so I just looked outside and tried not to think about the unsub's face and how he looked when I killed him.

- "How was your first time?"- I finally asked him, and I think my question caught him by surprise, 'cos he nearly jumped on his seat- "Not your first time in the sack, the first time you had to..."

- "No, I got it, I got it"- he was already blushing, it was adorable- "My first time was actually the first time you drove me home"

- "Really?"

- "Yeah"- he made a pause and gathered his thoughts, I guess- "I didn't really go out to the field a lot before 'cos I didn't have my firearm qualification"

And suddenly I remembered how embarrassed he was about it on my first day at the BAU. Derek made sure everybody knew about it 'cos he thought it was hilarious. And I thought he was a jerk for making fun of him.

- "And did it affect you?"- it was a stupid question. I knew Spencer was a sensitive person; of course, killing someone was going to affect him in many ways- "I mean, how did it affect you?"

- "I couldn't feel anything at first"

- "Shock?"- he nodded and sighed- "Gideon said that maybe I didn't know what I felt and that's why I thought I didn't feel a thing, but that wasn't it, it was like I was numbed inside... but then when it hits you"- he murmured- "And you can't stop thinking about it"

- "I think it hit me sooner than I thought"- I closed my eyes and sighed, but even then, I could feel those empty dead eyes staring at me.

- "Wanna know what helped me?"- Spencer's voice was velvety and soothing. It felt relaxing talking to him.

- "What?"- I whispered and turned to look at him

- "Remember two things: you did what you had to do"- I sighed at that with a small smile. It didn't sound like something I could believe at that moment.

- "And the second?"

- "A lot of kids are alive and safe because of you"

Now, that made me feel a lot better. Reid was right. I did what I had to do to help people. That guy wasn't going to stop.

- "Thanks"- I managed to give him a slight smile, and he did the same.

- "I'm here to talk if you want to"

It felt like he was really making an effort to say those words. I didn't know why it was still so hard for him to talk to me. Maybe it was still a sensitive subject for him, so I did what I do best: I joked about it.

- "Thank you... I'll try to avoid the issue as much as I can, but when I collapse under the pressure, I promise I'll come to you"- he chuckled at my answer and nodded right away.

- "Great plan."

And a few days later, I couldn't sleep anymore. I kept waking up to those eyes. I kept feeling guilty for killing a child abuser who was trying to kill me. I relived in my mind that moment over and over again.

- "Babe, come back to bed"- Paul found me sitting by the kitchen island staring at a herbal teacup at two am. It was my third insomnia night.

- "Yeah, I'll be right there"- he turned to walk back to the room but hesitated and looked at me again.

- "Do you want to talk about it?"- I shook my head, still not taking my eyes from the cup. He slowly walked to me and held my hand - "Come on, babe, everything looks worse at two am."

And he was right. Everything seemed to be worse when it came to my mind in the middle of the night. But it didn't get any better during the day either. He cuddled with me in my bed and fell asleep soon after. I just stayed there, feeling his chest moving softly with his soft breathing, thinking I had killed someone, and it wasn't going to be the last time I was going to face something like this.

Spencer's point of you

Do you want to know something sad? I was excited we had an unsub in New York 'cos I had never been there. Back then, I didn't know my colleagues were going to tease me about it. I didn't give it too much thought. I honestly wasn't good at leaving my house when we weren't in a case. Most of my traveling had been due to work, and other than La Vegas and Pasadena, I hadn't been to many cities just to sightsee.

Why am I thinking about that right now? 'cos we were in New York the day (Y/N) gave me her first gift.

Everybody had made fun of me during dinner because I didn't know how to eat with chopsticks. JJ tried to teach me, which also caused hours of Morgan's teasing for the rest of the trip. Thankfully, they dropped the jokes when we went back to the police station to take one last look at the profile after we got a call out unsub had killed a cop this time.

But after two hours of thinking, neither of us was honestly able to give any new idea to the case. Hotch insisted we head back to the hotel to have some rest. (Y/N) was one of the last ones to leave, along with Gideon and me.

- "Stop looking at the board"- she said, standing by my side, bag in hand- "Let's go. Your big brain needs to rest."

- "I won't be able to sleep knowing I'm missing something"- I answered, not taking my eyes from the board

- "Come on"- (Y/N) playfully hit my arm- "You need your eight hours of sleep to be a fully functional genius"

- "You should try to get a full night's sleep as well"- I turned to her and watched her eyes widen- "What? Do you think I didn't notice you haven't been sleeping?"

- "No, but I thought you were going to wait until I had a mental breakdown to force me to talk about it; that was the plan, right?"

I tried not to laugh, but it was hard; she is so funny, though I knew that was a sensitive subject, it had been weeks since the incident, and it was clear (Y/N) wasn't processing everything right. If anything, her jokes were a coping mechanism to avoid talking or even thinking about what had happened.

- "We can also talk about it, just... talk"

- "I know what happens with me, Reid"- she whispered and looked around. Gideon was outside, no way near us, but still, she kept her voice low. It made me see she was scared he would hear her, 'cos she didn't want him to think she was weak.

- "I guess I just have to make peace with it. It was gonna happen, and it will happen again, it's my job, it's part of what I do, end of it."

I looked at her and nodded in silence. There was so much I wanted to tell her, but I couldn't shake the thought she was going to laugh at me.

- "Do you want to?"- I made a pause and took a deep breath. Yes, I was very nervous- "Do you want to walk back to the hotel? it's just a few blocks and maybe... fresh air can help you relax?"

I didn't mean to hesitate so much, but it was scary for me to ask her to spend time on our own. I don't know why. It wasn't just with her; it happened with everybody at that point in my life. I was sure no one wanted to spend time with me. Why would they?

- "Can we have a midnight cupcake?"- she asked and smiled. I bit my lips and pretended to give the idea a lot of thinking, though I was craving donuts ever since we didn't have time for dessert at dinner.

- "Just one, and no coffee"

- "What are you? The sleeping police?"- she teased me and led the way. We waved at Gideon and walked outside the police station.

For a rainy night, it was freezing. But I didn't care much. I was too busy looking around, it was technically my first night out in New York, and though I was just leaving work and walking back to the hotel, it was the biggest adventure I have had there so far.

For the first couple of minutes, we walked in silence. (Y/N) looked at her feet, hands stuffed in her pocket as I walked next to her, holding my umbrella for the two of us. I tried to take in everything that was going on around us. It was exciting, being there, alone. I was a twenty-four-year-old Supervisory Special Agent of the FBI, and I was excited to walk with a friend in the New York city streets. No wonder why Morgan called me "kid."

- "Did you know more than 800 languages are spoken in New York City? that makes it the most linguistically diverse city in the world"- I had to start rambling facts after a while because I guess I couldn't help it.

- "Vraiment?"- she answered, and I chuckled. Of course, Master in Linguistics.

- "Oui"- I thought we could have a whole conversation in french; it would have been fun and fascinating, but my French was very rusty, and I didn't know if she was fluent or just learned a few things.

- "When I was a kid, I dreamt about living in New York. I was obsessed with it"- she kept looking down at her feet as she spoke, and I turned to look at her for a second. She looked sad somehow, or that's what I read from her. I've always done my best not to profile profilers. It's harder than you imagine.

- "Why?"- she chuckled at her thoughts and kept her eyes on her shoes.

- "You know how they always make you feel no matter how weird you might be, you are still going to fit in New York?"

- "You are not weird"- I couldn't help but frown and look at her- "You are..."

- "I am weird, we are all weird, that's what makes us great"

I loved that thought. That's why I've never forgotten it. Lie, I can't forget. I remember everything we've said to each other because I want to, not because I have an eidetic memory.

- "But when you are in school, everybody is trying to fit it and be normal, and that wasn't me at all..."

I didn't see that coming, and I have to admit it, I loved it. I often felt I was an outsider at the BAU. Hotch, Gideon, Morgan, Elle, JJ, they all fit in everywhere we'd go. Meanwhile, everybody looked at me, wondering what the hell am I doing there. I could read it on their faces. The fact the team had to introduce me as "Doctor Spencer Reid" is a sign they are making an effort to make me look older and more experienced. Reliable, even.

- "Why would you say you are weird?"- I had to ask- "You look very normal to me, I mean it"- she raised an eyebrow and didn't say a word. She just pulled my jacket and dragged me to a coffee shop.

- "Cupcakes, Reid, you can't expect me to tell you embarrassing facts about my life without a cup of coffee and a mountain of sugar."

JJ always said I ate like a kid, too many pastries and candy, no salad. Meanwhile, (Y/N) kept pushing sugar into my body. I liked that. They were both so different. JJ treated me like I didn't know how to deal with life. (Y/N) treated me like I could help her deal with life. JJ wanted to help me grow up. I could feel (Y/N) wanted to be my friend, and I loved that. I had never felt someone longing for my company. It was always the opposite. I usually felt people were stuck with me.

For months I kept comparing the two of them in my head. JJ had such condescending manners, it sometimes made me think she might actually have feelings for me. Other times, Morgan would call her my mom, which took all the hopes from my mind.

- "What do you do in your free time, Reid?"- (Y/N) sat in front of me in a booth. Right in between us, a table with two coffees, a red velvet cupcake, and a chocolate frosted donut with sprinkles.

- "I read, study..."- I didn't give much thought to my answers- "I also write a letter to my mom every day"

- "That's so cute"- I felt how my cheeks turned blood red, and she smiled at me sweetly.

- "Thanks..."- I sipped my hot cappuccino and winced as the coffee burned my tongue, and she chuckled.

- "Slowly, doc, or are you in a hurry?"

- "Definitely not, I have no other plan, I mean, I could sleep, but I know I won't, and, and I know you won't sleep either, so"- the words left my mouth at such a fast pace, not even I got them all. (Y/N) nodded and started taking apart her cupcake, little by little.

- "That's awesome, 'cos I like hanging out with you, and I don't feel like hanging out with Elle tonight. We are sharing rooms."

- "You don't like her?"- now that was breaking news- "I thought you two got along"

- "Don't get me wrong, I like her. I just don't feel like being the version of myself I am when I'm with her"

I looked at her, not sure of where she was going. She took a piece of cake and ate it slowly.

- "You lost me"- (Y/N) sighed and ran a finger around the edge of her cup.

- "Are you really you the whole time when you are at work, Reid?"

- "Well, yes?"- I wasn't sure that was the answer she wanted, but it was the only one I had- "I don't know how to be anybody else"

That was the whole truth. That's still the truth. Maybe that's why I have never been popular. People say I have no empathy, that I can't read any social cues. If I knew how to be someone else, I would probably try to change that and be a Spencer that's entirely sympathetic and social, like everybody else. But I can't force myself to act differently.

She stared at me, and I could feel the frustration piling behind her small smile.

- "Do you want to know something weird?"- her eyes shone as she stared into mines asking the question

- "Always"

- "You are the only person at the BAU I feel I can be myself with"- she whispered and sipped her coffee again.

- "Thanks?"- I was confused- "But... you are not that different with me than you are with the rest of the team"

- "Well, I am... I don't share who I really am at work because I am afraid"

- "Why? What scares you?"- she sighed and laid back on the seat. I kept my eyes fixated on her until she furrowed her brows, staring back at me

- "Are you trying to profile me, Spencer? 'cos we are not supposed to profile each other. I'm pretty sure it was in the contract I signed"- I smiled, busted, and nodded.

- "If it makes you feel any better, you are hard to read"

- "I'm a good liar, don't tell anyone"

She was proud of her answer, and I guess she should have been. You have to be an excellent liar to catch unsubs, get in their head, play with them when you have to make them talk. I guess she was ahead of me in that area.

- "Well, If it makes you feel better, I feel more comfortable around you than most of the team"

I closed my eyes as I spoke, and I knew my voice had been so low and soft, it hadn't been surprising if she hadn't been able to hear me, but she did.

- "Is it because I don't like touching people either?"- she joked, and a small smile stretched across my lips

- "It is because you"- I stopped and rearranged my thoughts. You could tell she was eager to hear the rest of my answer, and I was making sure not to make a fool out of myself.

- "It's because it feels you don't judge me for being me"

- "That's exactly how I feel, Spencer"- her smile was so big it made mine grow bigger as well.

- "But, why can't you be you with everybody?"- (Y/N) took a big bite of her cupcake, feeling more confident about our conversation and nodding.

- "Mmm, this is so damn good, you should try it, Reid"

- "Answer the question, (Y/N)"- I ignored her random comment and asked again- "Why can't you just be you?"

- "There are two answers to that question, and both of them are real"- she finally confessed and bit her lips, playing again with a little piece of cake on the dish.

- "I'm waiting"

- "You know, for someone who said has all the night off, you are indeed in a hurry now!"- she snickered and stuck out her tongue at me.

- "Fine, here's the truth: I don't want to share my whole real me at work because I am scared people will judge me and think I'm weird and too immature for the job, but at the same time, and this is the second reason, I don't wanna show my whole me at work 'cos I am afraid I'll lose it along the way, I am worried the FBI will take that weird part of me and will turn me into an SSA."

- "You are an S.S.A., (Y/N)"

- "I know, but I'm afraid I might end up being an ASS, Reid"

Her joke made me laugh so hard, tears fell down my cheeks. And she looked pleased to see me laughing.

- "See? That's me, the girl telling weird jokes the whole time 'cos can't stand a serious "grown-up" conversation. Can you imagine this (Y/N) talking with Hotch? Seriously, Reid, can you imagine?"

- "No, I can't"- I shook my head, still chuckling, and took a bit of my donut- "But I would definitely love to."

- "Do you want to know what I do in my free time?"- my mouth was still full, so I just nodded, feeling a little guilty I hadn't asked about her when she had asked about my hobbies.

- "I ride my longboard and play bass, do you think an SAA should be doing that? Do you think Elle does it? JJ? they are the perfect fit for the role. I am that kid at the back of the class who got a stroke of luck and managed to hang out with the cool kids"

- "Am I one of the cool kids?"- I had to ask

- "Yes, Reid, why?"

- "I've never been one of the cool kids before"- she gave me a severe look and sipped her coffee.

- "Here I am, pouring my heart and soul out for you, and all you care about is being one of the popular kids. That's being a lousy friend, Reid."

She was joking, and we both chuckled, but my chest tightened at her words, and the smile on my lips grew wider. She called me her friend for the first time that night.

- "I think you are overthinking this whole thing, (Y/N)"- she sighed at my words and finished her coffee- "We are all weird, you said it yourself"

- "Some on us more than other"

- "Yes, but that's what makes us great and unique. I told you, your vision brings a whole new point of view to the profiles, and I know what it's like to feel insecure people will judge you for being too young"

- "I know, that's why I'm glad you are here"

I am sure I was blushing, and I am absolutely certain she noticed because I heard her giggle as I looked down at my empty dish and fidgeted with my cup.

- "And... are"- I stuttered and narrowed my eyes. I knew I had to stop being so nervous around her; she was my friend, she had said it herself- "Are you ready to talk about your nightmares?"

- "Are you profiling I have nightmares?"- she raised an eyebrow and questioned my question

- "I am staring at the back rings under your eyes. It's clear you haven't been sleeping and considering we both know you went through a traumatic incident, to call it that way, you are clearly going through night terrors or nightmares"

- "Did you go through the same?"

- "Yes, I did"

- "And how did you overcome it?"

- "I haven't. I just made my peace with it"- you could read the deception on her face. That wasn't the answer she was waiting for.

- "They will be more sporadically, I promise, (Y/N)"

- "That's what's scares me too"

- "What?"

- "That one day I won't have the nightmares 'cos I'll be used to seeing the darkness and horror around me."

When we left the cafeteria, it was two in the morning, and the night was freezing. It was no longer raining, and the cold wind could freeze your skin in a second. (Y/N) looked at me as I shivered and opened her bag.

- "Here, put this on"- it was a purple scarf.

- "Thank you"- I was so cold I didn't hesitate. The wool was warm, soft, and it smelled like her- "It's pretty"- I felt I had to compliment it, 'cos she was too nice with me.

- "I made it myself"- you could tell she was proud. I tightened it around my neck and continued our way back to the hotel.

I hadn't felt I could count on someone at the FBI as I did with her. She wouldn't think I'm a kid; she wouldn't be forced to hang out with me. It felt pretty good to have a friend again. Ethan had been the last one I had lost. I always lose the people I love.

- "Thank you"- we were standing outside (Y/N)'s room back at the hotel. I took off the scarf and tried to give it back to her, but she didn't let me.

- "Keep, it's a present for being my first and best BAU friend"- I felt profoundly flattered, and I'm pretty sure I giggled, blushing- "Besides, purple looks good on you"

- "It's my favorite color"- I confessed- "And I'm not saying it just to make you feel good"

- "Then you have to keep it. It was made for you even when I didn't know it"- she smiled one more time and opened the door- "Good night, Reid."

- "Good night, (Y/N)."

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Series Masterlist

Chapter two

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