PLEASE CONSIDER FOR ME:
Half the BAU are hard of hearing after all the explosions they've gotten caught in. Reid, Garcia, Prentiss, and Hotch are all autistic and occasionally go non-verbal. They all know and use ASL frequently. JJ and Garcia are the only two without much hearing loss and often translate what others are saying for their teammates. JJ signs in all her press releases/media appearances. Everyone keeps noise-cancelling headphones, aac books, and a few different things they know are comfort/regulatory items for their teammates in their go bags. The plane is stocked with weighted blankets and sensory friendly snacks at all times. After especially long amd/or hard cases, they all stay at Rossi's house for a few nights and eventually, they all kinda just end up with their own rooms there even if they almost always end up the living room to cuddle. (Rossi pretends to be annoyed but they all know that he actually loves to have them there.) Rossi often comes home to find one or more of his teammates just hanging out in his house even though he could swear that he never gave any of them a key. (They'll often come to his house if they're having a bad day. The most frequent perpetrators of this are Reid and Prentiss. Spencer picks the locks and Emily jimmies her way in through a window. Garcia made a copy of his key the one time he asked her to water his plants while they were away on a case, Morgan kept breaking the door down until Rossi started leaving random doors unlocked for him and a note with which door was unlocked for him that day under a rock by the front door after having to replace said door four times, Hotch does actually have a key that Dave gave him, but more often than not he'll just knock and then wait patiently on the porch swing for Rossi to get home and let him in even though Rossi always insists 'you have a key, Aaron, you know you're more than welcome to use it and just come in', JJ usually calls first and he'll tell her whatever door he'd left unlocked In Case of Morgan, and you may be wondering, why doesn't he just give all of them keys after this happens a few times? And to that I say, what, and deprive them of their fun? Come on.)
When they stay at Rossi's house after a long/hard case, JJ calls Will as soon as they're on the ground and he meets them there with the boys. Hotch calls his sister (or whoever he's got watching Jack) and she'll meet then there with Jack. Rossi cooks them all dinner and once everyone else has gone to bed, he sits in the living room, sipping on a glass of wine (or scotch, depending on the case), and waits. One by one, the others shuffle into the living room.
Reid is usually first, trudging into the room rubbing his eyes (its adorable, but dont tell anyone Rossi thinks that, he has an image to maintain) and he'll curl up impossibly small on the couch next to Rossi and put his head in the older man's lap. Rossi will run his hands through Spencer's hair and hum quietly. Garcia comes next, wrapped in a long, silky robe that billows as she moves because it's dramatic and she loves it, and she'll slip onto the other end of the couch to lay her head on the arm as Reid stretched out just enough to brush the soles of his feet against her thigh. Then comes Morgan quickly after his baby girl and pretty boy have disappeared, and he'll have a blanket wrapped around his shoulders as he drags an already inflated air mattress behind him that he drops in front of the couch. Reid drips a hand off the edge to brush against his shoulder and Garcia stretches out her leg until she can nudge his with her toes. Prentiss comes trudging in next with JJ hanging sleepily off her and Will right behind them with the boys on his hips. Will settles with the boys on the love seat and JJ and Prentiss curl up on the floor at his feet. Hotch is next with Jack asleep on his shoulder and he settles into the chair beside Rossi with Jack on his chest. By this time, Rossi has finished his wine and he reaches out to clasp Hotch's hand in his own and they fall asleep like that, surrounded by their family and taking comfort in the fact thay everyone is there.
This got a little bit away from me. Oops.
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Do you have any marlene mckinnon hcs you'd like to share? xD
yes yes yes! here's a randomly assorted list of some of my faves:
she's a chronic nail biter. never seen without her chipped black nails
falls down the stairs regularly because she's 'too cool' to do up her laces, and always finds new mysterious bruises and scrapes when she changes
she cuts and dyes her own hair and it's so dead and so choppy but she manages to pull it off
she's a sports lesbian ™️ (everyone knows at least one sports lesbian™️, and if you don't know one, you may have to accept that perhaps YOU are the sports lesbian here)
incurable youngest child syndrome
she makes horrible jokes and then laughs so hard at them she starts choking on air
gets drunk after a singular shot
her love language is being so kind and so mean to you at the same time so it 'balances out'
has done the same exact eyeliner every day since she was thirteen and she doesn't let anyone see her without it because she feels naked
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My Man Jeeves vs. Carry On, Jeeves: A Choice On the Basis of Charm
So as I was having a go at putting the letters together with Mr. Wooster, I realized that the versions of the early New York saga on Standard eBooks, where I sourced the text, were taken from the 1919 collection My Man Jeeves, rather than Carry On, Jeeves - the latter being how I presume the majority of fans read the stories. Naturally, I figured that I really ought to get the most recent public domain versions of the stories, to best represent the current nature of the series. So I had a look at Carry On, Jeeves, curious about the differences therein. And the ones I found were... kind of disappointing.
So, if you haven't read the stories, or just aren't bally interested, then I'll just say that I think the versions present in My Man Jeeves are an awful lot more fun than their rewrites, and am making the executive decision as Woosterian Substack Secretary to use the old instead of the new. For those who are bally interested, I'll chat a bit more under the cut.
All in all, the differences aren't extreme. None of the plot elements have changed, most of the lines haven't changed, and really, if you know one version of the story, you won't have trouble conversing with someone who knows the other. But I find the changes made in the nature of baffling. Some are very tiny changes, but odd nonetheless. Here's Bicky in "Hard-Boiled Egg", talking about why he doesn't want to go in for ranching, in the original My Man Jeeves.
And here's the same passage in Carry On, Jeeves.
Why cut the line about Bicky hating horses because they bite? It gives a more interesting context to why he doesn't want to ranch than the one in Carry On, Jeeves. He doesn't just not want to do the work out of laziness - he's afraid of horses! It's an unexpected and interesting thing for him to say, and it builds a sort of unique speech pattern of short, snappy sentences that fire one after another. It's such a tiny thing that I'm not even sure why it was deemed necessary to cut, unless there were length requirements, but it sands Bicky down a bit.
However, some of the other changes are much more considerable. Take the intro to "The Aunt and the Sluggard" in My Man Jeeves...
...and compare it to the intro in Carry On, Jeeves.
Not even close! What possessed anyone - Wodehouse or editors - to make this sort of cut? On some level I suppose I could understand it if it were purely for the sake of not needing to introduce the character partway through a book, when you'd certainly need to in a magazine, but clearly My Man Jeeves didn't see a problem with having Bertie repeatedly introduce Jeeves this way - and as a reader, neither did I! It's a very charming paragraph full of Bertieisms, and the nervous sort of hesitation upon wishing to call him a friend is even more endearing. Sure, the "guide, philosopher, and friend" quote is later used in the first chapter of 1923's The Inimitable Jeeves, so I can see why Wodehouse and/or editors might have thought the sentiment too repetitive to stick in a collection published afterwards, but the two are subtly different. Here, Bertie is unsure that he can call Jeeves a friend, but in The Inimitable Jeeves below, he says it with surety.
It's especially sweet with the knowledge that My Man Jeeves was published before The Inimitable Jeeves, because that shows this as growth! He's more willing to let himself acknowledge their friendship, and that's a wonderful thing! And even without that linearity, it's just so much weaker of a start. You aren't as drawn in by the significant blander intro as you are by the acquainted birds of poet Johnnies, or the "guide, don't you know" that Bertie relies on at every turn. It's more conversational, engaging, and just plain fun.
But that's not even really the most egregious removal. No, the biggest difference is the excising of the entire intro to "Leave It to Jeeves".
This whole section, which later segues into a sum-up of the events of "Extricating Young Gussie" and a description of New York, is just plain gone in "The Artistic Career of Corky", which this story has been renamed in Carry On, Jeeves. No "Melonsquashville, Tennesee", no horses named Banana Fritter, no Bertie trying to give Jeeves racing tips because he's fond of him. It's peak Bertie silliness, and I remember that I really loved reading it. And yes, again, maybe it was cut just because it follows "Jeeves Takes Charge", which already introduces the character, but I certainly don't see a reason why none of it could be kept - especially since the conceit of the series tends to read as if being told aloud to someone else, and thus it makes sense to repeatedly introduce the character in such a way to new listeners and audiences. Instead, we are given this by way of introduction.
This goes straight into the "Gussie" sum-up and the description of New York, as well as the subsequent description of Corky. All that fun before, reduced to a paltry bit of introductory exposition before the exposition that already happened in the original. Was it cut merely for length? Why else could this possibly have happened? Why remove all that delightful humor and prose in favor of something so much weaker and less interesting? It boggles the mind - boggles it.
In short, I've decided to keep the My Man Jeeves versions of these stories as they are. While some of the changes I saw weren't bad - saying that Rocky's poem went on for "three more verses" got a chuckle out of me, I will say, and the connective tissue with the other stories wasn't bad, either - it was not enough to sacrifice all this. Bertie's narration is always a delight, and I think that delight should be preserved. But if anyone has rebuttals as to why they think the Carry On, Jeeves versions should be used instead, I'd honestly love to hear them!
Thank you for reading!
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