#gideon the betrayer

[badassbutterfly1987]

ACIAG chapter 36

Thomas: "If this is going to work then I need to know what kind of magic games I'm getting into. I have no intention of being another Gideon the Betrayer."

Thomas: you know, the vampire wizard that's been half forgotten by history and remembered only as a traitor and problem causer? you're not trying to groom me into a Gideon 2.0 right?

Cousin Jameson: :/

[beedreamscape]

To pair my last post, but in happier tones.

Part of me thinks Kiriona was so set up on turning John back to mortal, after any Harrowhark intentions that overrule everything else, not because she has lofty plans of ruling over anyone but because if he isn't immortal anymore, he's not god anymore, and if he's not god nor the emperor, he's free to be just her dad.

I want the griddlehark drama and angst and romance for the next book, but I also want to see Gideon experiencing some, at the very least, normal times with an adult figure that doesn't hate her, that feels responsible for her, that might even love her, in an environment that isn't 'headquarters of an empire at war'.

Which alternatively could also be achieved with Pyrrha once they overcome the larger-than-life wall that is Wake between them, but that'd still be different than the father figure of John who, in his best days, has a personality that matches Gideon's so well and could very well offer the tenderness she's never been shown before, tenderness he's very capable of when he's not drunk in his own revenge plots.

[gotmolokoplus]

Hannibal is a show full of so much gore and violence that I hear the set literally started rotting from all the fake blood, but the only scene in it that I find truly upsetting is when Will takes Abel Gideon to Hannibal in season 1, and Hannibal just gaslights the fuck out of Will while Will begs him to stop and to help him.

It fucks me up every time.

[wouldtheybecomeafearavatar]

Would Sir Gideon Ofnir, the All-Knowing (Elden Ring) become an avatar for The Eye?

[harrowing-of-hell]

Per HTN when we learn of the fight Gideon and Harrow had before Harrow opened the tomb, the current theory for how Harrow got in is because she had Gideon's blood on her hands.

This explains how Harrow got in once. It does not, however, explain her other visits to the tomb.

Harrow says in both GTN and HTN that she visited the tomb multiple times in order to get past the traps. So unless bloodwards will continuously allow you entry so long as you've been able to past through them once, how did she get into the tomb those other times?

Because Harrow, even at the age of 10, definitely isn't dumb enough to leave evidence that the tomb was ever opened or tampered with. So the bloodward wouldn't have been tampered with at all (and presumably, she can't tamper with it because it's the magic of God, which we know from what Pyrrha says in NTN when Palamedes tries to mess with the God's magic holding Kiriona's body together).

This would mean the she not only opened the tomb and rolled the rock away once, but multiple times.

With that in mind, I genuinely still think that the bloodward was tampered with from the very beginning by Anastasia, which seems very likely since we know she helped create the tomb. Meaning that Gideon's blood was never the only way of getting into the tomb; the blood of the Tombkeeper would've also worked because the Tombkeeper line has Anastasia's DNA.

This would also explain how Anastasia's bones ended up in the tomb. We know she establishes the Ninth and has children, so she presumably wasn't sealed in the tomb along with Alecto.

This is still all speculation and I can't wait for ATN. I NEED to know more about Alecto and Anastasia's relationship!!!

[baladric]

highly recommend having a best friend in seminary while down the tlt rabbit hole

[sgrumby]

I'm coming round on the "Kiriona is Gideon after a Real Bad Day" stuff but. Why did Tamsyn go to such extents to show us how much Gideon hates God and Ianthe at the end of Harrow if she's just gonna undo it next time. It seems bizarre. Gideon is ready to die - and kill Harrow's body at the same time! - rather than swear fealty to him.

[death-rebirth-senshi]

"I know...in my bones...a man...cannot kill a god..."

"I am no man."

[puffywiz]

deeply enjoying the suffering in the tags over my last doodle :)

[astro-b-o-y-d]

I'd say I should pick a Henchmaniac to think about like the rest of the fandom, but I already know it's Keyhole

[badassbutterfly1987]

Summary: Justine plans for the fute while Thomas ends up looking back.

[avis-writeshq]

01 — better than revenge

summary: “she’s not a saint, no, she’s not what you think. she’s an actress.”  pairing: spencer reid x fem!reader genre: best friends to lovers, mutual pining, slow burn warnings: fluff, angst with a happy ending, Lila is a real piece of work here, VERY CANON COMPLIANT, Spencer’s a bit of an ass :( wc: 10.4k a/n: special mention to @astrophileous for beta reading MWAH SPARKS FLY MASTERLIST // MAIN MASTERLIST

“Hey kid, wheels up in thirty.” Derek nods towards you, dropping a case file on your desk. 

You raise an eyebrow, flicking open the case file to the first page. A small laugh of disbelief leaves your lips. “Ooh, Los Angeles, media capital of the world. What’s the occasion?”

“Three murders, all shot in the head executional style.” 

Your face falls into a grimace as you grab your go-bag and tuck the file under your arm, following the rest of the team to the jet. “Spence and Gideon are there already, right? Talk about timing.”

Elle can’t help but grin at your words, slinking an arm over your shoulder. “Looks like you’ll see loverboy a lot sooner than you think.”

A shriek of betrayal leaves your lips as you throw her arm off of you. “I have no idea what you’re talking about!”

“Sure you don’t,” JJ all but cackles as she boards the plane, grinning the entire way. 

“I’m gonna kill you,” you grumble, dropping your things on one of the seats in the jet. “Seriously, I mean it. I know how to get away with murder.”

Hotch raises an eyebrow at you, his gaze that of a disappointed yet amused father. “Not the brightest thing to say while you’re in a room full of FBI agents.”

Elle lets out a ‘hah!’ as she sits across from you, crossing one leg over the other as she grins. “Get comfortable, buttercup, six hour flight and you’re not going anywhere.”

“Assholes.” You roll your eyes teasingly, brushing a strand of hair behind your ear as you turn to your case files. “And it’s not like that.”

“Oh, of course not,” Elle snickers, “you’re just friends.”

You throw a pen at her and it bounces off her leg harmlessly. “I can smell the sarcasm.”

“You’ll be smelling more of it,” Derek laughs, ruffling your hair. “Sit tight, kid, we’re in for a long flight.”

Once everyone was settled and the jet was high in the air, the team began to look through the files with Garcia on speaker as usual. 

“First two victims, Wally Melman and Chloe Harris,” You recite dutifully, glancing over the grotesque crime scene images. “Seems like they were both killed in public places.”

“Chloe was killed while walking her dog on the beach in Santa Monica which she did every morning, and Wally was killed outside of a massage parlour,” JJ reiterates, sitting down with a cup of tea in her hand. 

“In Culver City,” Derek adds. 

“Which he went to every Tuesday,” Elle continues.

Derek looks to the rest of the team, a thoughtful look on his face. “Well, if he knows their schedules, maybe that means he follows his victims for a while.”

“And not a single witness. So we know this UnSub can blend in,” Hotch mutters. “Regardless of the location, he has the ability to hide in plain sight.”

“So, he’s meticulous.” Elle nods, her eyes drifting from Hotch to the case file. 

“The media is calling Natalie Ryan’s murder the biggest celebrity homicide since Sharon Tate,” JJ adds, looking through the images of the newspaper clippings that were sent to her laptop.

“Great,” You muse, although frustration is clear in your voice. “What does that mean for us?”

Hotch lets out a sigh. “That everybody will be watching.”

***

“This guy is an assassin?” Detective Kim asks with disbelief as the rest of the team reiterates their thoughts once they were in the police department. 

“When you look at the victimology, there’s no obvious links,” Morgan points out. “All the kills were clean except in the instance of the last victim, Jeremy Collins.”

You nod, tucking a strand of hair as you reference the case files. “There’s absolutely no evidence left at the crime scene. Labs have found zero DNA, no manifestation of psychosexual release, and from what we can tell there’s no detectable signature of any kind. These kills are straight forward, almost like he’s on a mission.”

“Remember, our profiles are formulated not just by what’s present at the scene but also what’s absent,” Gideon says to Detective Kim.

“From all the evidence that we’ve gathered, we believe you’re looking for a Type Four Assassin,” Elle explains.

“Type Four?” 

Spencer immediately jumps in to explain, gesticulating throughout his explanation. “Type One’s are political assassins like John Wilkes Booth. Type Two’s are egocentrics looking for simple recognition.”

“Type Three’s are psychopaths,” Hotch continues, “cold-blooded killers who leave far messier scenes. Type Four, our UnSub, suffers from a major mental disorder and is frequently delusional.”

“The closer we come to figuring out that delusion, the closer we’ll get to finding the UnSub,” Reid points out. 

Everyone is left to their own thoughts and you look over to Spencer, a soft grin on your face. “How was your father-son bonding time?”

Spencer gives you a pointed look, but a soft laugh leaves his lips. “It was… fine.”

“Fine? Out of everyone on the team, Gideon chose you to present a talk about behavioural analysis and profiling to the LAPD. You love conferences. C’mon, give me something!” You nudge his shoulder gently. 

“We uh.. we went to an art gallery the other day. We met a movie star, so that was cool…” his cheeks are dusted with a soft pink as he talks and your curiosity only increases. 

“A movie star, huh? Look at you, mingling with the high and mighty.” You poke his cheek with a laugh. “Tell me about them.”

He flushes at the contact, clearing his throat. “Um… her name is Lila Archer. Have you heard of her? She’s–”

“Reid, (L/N), we’re meeting with someone,” Derek cuts in, nodding towards the both of you.

You blink in confusion as you follow him to another room. “Suspect?”

“Someone received a note,” Derek says quickly, glancing over at the note in Elle’s hands. “On a newspaper clipping of the latest murder.”

“Lila?”

A blonde woman was sitting in the next room over, her legs crossed over as she waits. Her eyes light up in recognition and she stands up. You can’t help but be impressed as you give her a quick once over. She’s gorgeous, exactly what you expect from a famous movie star. 

“I’m Agent (L/N),” You say gently, moving from your spot next to Spencer and holding your hand out. “This is Agent Morgan and I’m assuming you already know Doctor Reid. I understand that you received a note this morning?”

She wearily shakes your hand, her blue eyes flitting between you and Reid. “Yeah.”

“We just have a few questions to ask. We know that these things are sensitive, but we promise we’ll try to make the situation as easy as possible for you.” You shoot her a kind smile, excusing her weariness for fear or anxiety. “Is that alright?”

“Sure.” She respond curtly, shooting a smile towards Spencer before walking past you.

“Uh… okay?” You let out a little laugh in confusion and Derek raises an eyebrow at you.

“What was that about?” He asks, frowning.

You shrug your shoulders, watching as Spencer leads her to an empty desk. “Trust me, I have no idea. Maybe she’s just nervous and wants to talk to a familiar face.”

Derek hums in thought. “Maybe. But usually victims like this are more willing to speak to someone of the same gender. It’s strange that she was so direct to you.”

“She’s been through a traumatic experience. If I got a newspaper clipping with a message written in blood, I probably wouldn’t be too thrilled meeting new people either,” You defend, pursing your lips. “She’s probably just… scared, right?”

He doesn’t respond, moving to follow Spencer and Lila further into the police department. A few questions were asks about her relationship with the other victims, only to find that she was in fact the connection between the other victims. Wally Melman was a producer who Lila met with a few times to discuss a role, only for him to cast Natalie Ryan instead. Chloe Harris looked an awful lot like Lila, so it was likely that the UnSub got rid of her in order to ‘ice-out’ the competition. 

“(L/N), may I talk to you for a moment?” Hotch asks quickly, waving you over. 

You blink in confusion but nod, walking over to where he stands by the desk. “Yeah, what’s up?”

“I want you to try and get as much information from Lila as possible.” He gestures to where Lila sits in one of the victim waiting rooms. “This is your area of expertise. Try and find out if there’s any distinct information that she’s given to anyone so that we can track the UnSub.”

“Got it.” You offer a smile, fixing your shirt as you agree. “I’ll update you if I get any new information.”

You make your way over to where Lila was sitting, trying to look as friendly as possible. “Hey, Lila. Are you alright? Can I get you anything?”

She glances over you for a second, looking you up and down before shaking her head. “I’m fine. Where’s Spencer?”

Your brows furrow at his words. “Doctor Reid…? He’s currently going through the timeline of events with our colleagues. In the meantime, I was hoping to ask a few questions, maybe shed some light on the entire situation.”

She raises an eyebrow before nodding. “Okay.”

“Alright…” you clear your throat, taking a seat across from her. “You mentioned that you receive a bowl of red anemones on the seventh of every month. Do you mind… telling me why you like those flowers so much?”

She shrugs dismissively, running a hand through her blonde hair. “They’re pretty. I like the colour.”

You nod slowly, writing that down in your notes. “Well that’s understandable; they’re very beautiful flowers. But they’re a little uncommon as a favourite flower, don’t you think? If you like the colour, a more common favourite flower would be poppies or roses… are you sure there isn’t another reason? The meaning behind red anemones is forsaken love and death… does that intrigue you at all?”

She scoffs, “are you trying to accuse me of something?”

“Not at all,” you say quickly, “I apologise if it comes off that way. I’m just trying to find out as much as possible about the entire situation. For all we know, those flowers could have been sent by the UnSub.”

A short silence lulls in the room as well as an awkward tension. So, you try to take things from another angle. 

“I love hydrangeas,” you say gently, a small smile on your lips. “I like the way they’re always bunched together and the colours are beautiful. Only a few people know that I like them though. My close friend and colleagues, my family… do you remember telling anyone about your favourite flower?”

She’s quiet for a moment before shrugging. “I don’t know.”

Your face falls and you press a little more. “Are you sure you don’t remember? Maybe… maybe your manager, or a friend of yours?”

“I said ‘I don’t know’, okay?” She snaps, her hands balling into fists as she glares at you. “God, it’s not that hard to understand.”

You lean back in your chair, your gaze hardening. “I understand that this is difficult for you, but any information–”

“I don’t have any information!” Lila huffs, her hands placed in her lap. “Are you stupid or something?”

“The likelihood of these people being murdered because of you is incredibly high,” You say sharply, shutting your notebook. “If you’re withholding information from us it could prove detrimental to the investigation. I’m only trying to do my job. Asking you questions is part of my job.”

Her lips twitch at your words and she scowls. “I already told you I don’t remember.”

“Not remembering and not knowing are two different things, Ms Archer.” You place your card on the table. “If you remember anything, please give me a call.”

You get up from your seat, heading to the door, only to see that it was wide open with Derek and Spencer standing at the doorway. In seconds, Lila’s gaze softens and she runs out of the room, sniffling as she does. Your gaze follows her as she runs out of the police station, a look of disbelief on your features.

“What the…”

“Seriously (Y/N)?” Spencer demands, a frown on his face. 

You gape at his words. “What are you–”

He cuts you off, running after Lila. Derek raises an eyebrow in their direction before turning to you. 

“You okay, pretty girl?” Derek asks gently, patting your shoulder. 

“Honestly? I have no idea,” You confess quietly, biting your lip. “I’ve never seen him get so…”

“Upset? Angry?” he finishes, a small laugh leaving his lips. “You and me both. Look, kid, it’s not your fault. She was clearly being dismissive of your questions and she needed a reality check.”

“It’s not like I’ve never spoken that way when interrogating someone before,” You point out, brows furrowed in frustration. “Even then, Spencer has never had an issue with it. I just– I don’t understand what’s got him so worked up.”

Derek can’t help but laugh. “You’re a profiler. Isn’t it obvious?”

You pause for a moment, thinking through their interaction. “He has a crush on her, doesn’t he? He likes her. Of course he does. Brilliant, now he’s involved.”

Derek pats you on the back sympathetically. “Come on, pretty girl. We’ve got a job to do.”

***

Despite your original hesitancy, Hotch asked you personally to go with the others, meaning that you had no right to refuse. Well, you could, but that would mean throwing Elle under the bus and she would be much more helpful at the precinct than on set. So, before you could fake being sick and bail the investigation, you,  Derek, and Spencer went to check out the set of Lila’s movie, hoping to better observe her interactions with her costars and the staff. 

The inside of Lila’s small trailer is hot. Incredibly hot but relatively empty. As you look around, you gather that she’s either a minimalist or just didn’t have to spend a lot time in the trailer at all. Lila sits in front of the little group, wearing a robe to cover her costume: a cyan sequinned bikini set that she looked absolutely criminal in. Her hair has been styled in a classic blowout and you wonder how much time it took to get it to look so effortless.

“I’m not stopping my life,” she says, her voice almost stern as she steps out of the trailer and back onto the set.

You purse your lips as you glance at the paper in the plastic pocket, now labelled as ‘evidence’. Apparently it was taped up to the door of her trailer. Your eyes shift to Spencer who’s gaze doesn’t leave the door that Lila just walked out of for much longer than necessary. Neither of you have spoken since yesterday’s incident.

You hum thoughtfully, as you pull out your notebook, glancing at the notes you’ve been making. “Well, I guess the only thing we can do is talk to the people on set. Maybe they saw something. I’ll see if I can find out who has access to Lila’s trailer.”

Spencer nods in your direction. “Yeah, that’s… that’s a good idea.”

One of your eyebrows quirk up. “Okay…? Why do you sound so surprised?”

He flushes under your scrutiny, clearing his throat as the three of you begin to walk out of the trailer and towards the set. “I’m not! I– I’m not surprised. You’re good at your job.”

“You didn’t seem to think that yesterday,” You respond lightly, your tone petty and passive aggressive, gaze flickering between the cameras and lights on set. 

Derek coughs awkwardly before excusing himself and entering further into the set leaving you and Spencer alone outside by a vending machine. Spencer falters at your words and he runs a hand through his hair. The harsh Los Angeles sun beats down against your skin and you fiddle with the notebook in your hands. In turn, he fixes up his sleeves, rolling them up to his elbow, giving you a clear view of his forearms and large hands. 

“I’m sorry,” He says softly, chewing on his bottom lip. “I didn’t– I was out of line.”

“You were,” You agree, your gaze shifting between the chilled bottled drinks in the vending machine and him. “Buy me a drink and we’ll call it even.”

A boyish grin grows on his face and he nods, pulling out his wallet. “Yeah. Yeah, okay, awesome. Iced coffee?”

“You know me so well,” you respond with an equally large smile, poking his cheek. “Thank you!”

He presses a few buttons, grabbing a Cola for himself. You can’t help but laugh, giving him a pointed look. He quickly moves to defend himself, “It’s a hot day, okay? An exception.”

“An exception,” You repeat, trying to hide your smile as you crack open the lid of your drink and take a sip. “What happened to ‘Cola has 50 grams of sugar in it. That’s the equivalent of eating two full bars of milk chocolate’?”

He pouts at your words, opening his drink and you watch as a few bubbles rise to the top of the bottle. He takes a swig of his drink, sighing in content. “Shut up.”

You laugh again once you officially enter the set, nudging Spencer with your arm teasingly. He nudges you back, rolling his eyes and poking your cheek. You retaliate by doing the same, swinging your drink as you walk. 

Before you could do or say anything else, Derek taps your shoulder. “Hey, I need to talk to you about something.”

Spencer’s brows furrow. “Everything okay?”

“Yeah, just wanted to cross reference answers,” Derek dismisses. 

“Let me pull up my list,” You respond helpfully, grabbing your notebook. “Hey, Spence, do you mind canvassing the rest of the crew? See if anyone pays any special attention on Lila?”

He nods at your words, moving towards Lila, sipping on his drink. In the meantime, you turn towards Derek, a curious look on your face. 

“Little Miss Madonna has been glaring at you since the moment you entered the set,” Morgan says quietly, his gaze flitting to where Lila was making coffee. 

You practically snap your neck as you look up in her direction, watching as she quickly fumbles to make herself a cup of something. You turn away and you could practically feel her gaze burning against your scalp. A frown makes its way onto your face and you resist the urge to roll your eyes. You glance over to where she and Spencer were talking, blanching when you watch as she takes a swig of his Cola.

“You don’t mind, do you?” You hear her ask as she drinks and Spencer hurriedly shakes his head.

A quiet scoff leaves your lips and Derek nudges you with a look that reads ‘behave.’ You lift your hands in surrender and follow him over to where Spencer now stands by himself, Lila gone to talk to some other staff member.

“An exception, huh?” You ask Spencer, referring to his aversion to germs and sharing food. Your tone is mostly teasing despite the underlying bitterness beneath it. 

“Shut up.” He mutters quietly, cheeks hot from embarrassment of being caught.

Derek snorts, clapping his shoulder before moving on.

***

The next day, you were going over the evidence that was provided by the LAPD. Considering that it was a relatively young case, there weren’t copious amounts of evidence, meaning that there were still untied strings to go through. The entire situation proved more difficult than necessary; no one seemed to notice anything  amiss when it came to Lila and her relationships, and considering that the actress wasn’t very forthcoming with the information she knew, you were hitting dead-end after dead-end. 

Although geographical profiling was more of Spencer’s expertise than yours, you figured it wouldn’t do anyone harm by triangulating the previous three murders. He was standing beside you, his presence not unwelcome as he guides you step by step on how to plot an understandable and accurate profile. Hotch had asked him to coach you through the entire situation and explain his point of view, as well as his thought process when it came to geographical profiling. With a comfort zone now clearly expressed, you were discussing probable suspects on the phone with Garcia.

“Will Hunter… currently the town hermit, previous criminal record of armed battery and robbery,” Garcia recites, and you pull up his file.

“Mm… maybe? No, I don’t think so. His crimes don’t match the UnSub’s profile. He seems to be messier, uh, tending to use bats and knives than a clean shot to the head. And the profile suggests that the UnSub is able to blend in with the crowd.” You hum in thought, turning to Spencer.

“Hermits like Will Hunter wouldn’t be able to do that,” He explains to Garcia, putting his file into the ‘unlikely’ folder.

Garcia sighs in frustration and you can hear her furiously type away on her computer. “How about–”

“Hold that thought,” Elle says quickly, cutting Penelope off apologetically. “(Y/N), did you know Lila’s here?”

You blink in confusion, slowly shaking your head no. “She’s here? I didn’t get any calls from her.”

Elle shrugs at your words. “She looks like she’s going to burn a hole through your head.”

Your brows furrow and your gaze shifts to the blonde woman through the office window. She has her arms folded over her chest, a scowl on her face, before her cheeks burn in embarrassment of being caught. Spencer follows your gaze, his face lighting up at the sight of the actress. It’s almost as if he has selective hearing when it comes to his celebrity crush, clearly not hearing the part where Elle points out that Lila has been glaring at you the entire time.

“Can we talk outside?” You ask Elle quickly, getting up from your seat, not taking no for an answer.

Spencer opens his mouth to say something before he shuts it, watching as you drag your other co-worker out of the room. Your attention shifts between Lila and Elle, your brows furrowing. 

“What is it?” You ask, your back turned towards the actress. “Why is she here?”

“She gave me a list of people who know what her favourite flower is,” Elle says quietly.

Your ears go red at her words, your eyes practically bulging out of your head. “Excuse me?”

“She called me yesterday,” she explains, handing you the list of people. “She said that she remembers who they were and came in today to give me a list of people.”

You scoff in disbelief, throwing your hands up in the air in frustration. “I gave her my card.”

“She called and asked for me.” 

You scoff again, rolling your eyes. “Oh, so suddenly she can remember everything when she talks to you, but nothing when she talks to me? She’s not very slick.”

The door behind you opens, revealing Spencer who has been listening in the entire time. His jaw is clenched and a frown is etched upon his features as he looks at you accusingly. 

“Maybe she just didn’t remember,” he points out harshly as you and Elle re-enter the room.

An incredulous look makes its way into your face. “Excuse me?”

“She didn’t remember, and now she does,” Spencer says, and from the corner of your eye you watch Elle slowly leave the room once more. The door closes with a soft click.

“That doesn’t change the fact that she went to Elle and not to me,” you respond, trying to keep your voice even and your words clear. You take a deep breath in an effort to calm yourself down.

Spencer scowls at you. “Maybe she has every right to go to Elle after you snapped at her the first time you tried to talk to her.”

“Are you– are you being serious right now?” A humourless laugh leaves your lips as you glare up at him. “Look, Reid, I’m sorry that I’m not her biggest fan and that I don’t kiss the ground she walks on, but I was doing my job. A job that I believe I am quite good at. It’s not like speaking harshly is unheard of when it comes to the retrieval of information.”

He flinches when you call him by his last name but he stands his ground. “If you were so good at your job, you wouldn’t have to speak to her that way,” he argues, and you can see the vein in his forehead begin to protrude.

His words sting and bite you and suddenly you feel your resolve snapping. “You know what?” The words are slow and deliberate as they leave your lips, and you jab a finger against his chest. “I get that you have a crush on her and that you’re finally going through puberty but that does not mean that you can ignore the job you are currently on.”

He swallows thickly and he opens his mouth to retaliate but you push your finger against his chest once more.

“I am not finished.” Your voice is low with frustration and annoyance as you scowl, glaring up at him. “I don’t care who you’re attracted to or who you want to sleep with. I don’t give a damn if that someone is victim in the investigation because it’s not my problem. I do, however, have a problem when you undermine my ability to do my job and do nothing to fix it.

The worst part is the fact that you’re my friend. You’re supposed to be supportive and helpful and– and– and understanding.” Your mouth is moving quicker than your brain can register and you’re stumbling over your words as you snap at him. “I’m supposed to be able to go to you if I’m going through something. I should be able to talk to you if someone or something is bothering me, but now I’m just afraid that you’ll call me crazy and then criticise me all over again.”

His face falls and he looks at you like a kicked puppy as the words slowly sink in. He reaches out to you, his hazel eyes searching your face but the only emotion that you’re showing is anger. You push his hand away, the frown set on your eyebrows. It’s only then when you realise that Garcia has been listening into the conversation the entire time, your heart lurching to a stop when you hear her cough on the other side of the line.

“Um… is now a bad time to say that I didn’t get any other hits for the profile?” She asks tentatively through the speaker, and you feel your face burning.

“I need air,” you announce to no one in particular, before grabbing your files and storming out of the room.

Elle catches your arm on the way out, her eyebrows knitted together in concern. “(Y/N)-“

“Hey. Sorry.” You bite your lip, loosening the grip you have on your papers. “Where’s Hotch?”

“With Derek and Gideon,” she says gently. “Lila got another note and we’re going to check on her manager. Do you want to come with?”

You exhale before nodding. “Yeah. That’d be good.”

“Okay.” She squeezes your arm gently, her eyes flitting between you and Spencer who was inside the conference room, pacing back and forth. “Is… everything alright?”

“Honestly? No.” You offer her a wry smile, shoving your files into your bag. “But it’s fine.”

She chuckles a little in disbelief, leading you to the black SUVs outside. Derek and Gideon were already there, waiting patiently for the two of you while Hotch has already left in another SUV. Apparently the ‘no profiling each other’ rule was thrown out the window as soon as they saw the state you were in, and Derek quickly makes his way over to you.

“(Y/N), are you–”

“I’m fine,” you snap, before closing your eyes tightly and letting out a deep breath. “Sorry, Morgan. I’m okay, just had an argument with Reid.”

At that, his eyebrows shoot upwards. “Since when did you call him ‘Reid’? And what do you mean you had a fight with him? He literally can’t say no to you.”

“Yeah, that was before a Miss Archer walked into the room,” you mutter bitterly. “Shot a literal arrow through his heart. She put her name to good use. I never stood a chance.”

“Hey now, don’t say that,” Elle says, climbing into the SUV. You follow closely behind and she continues. “He’s just confused right now.”

You can’t help but scoff. “I really doubt that.”

Gideon starts the car, looking at you through the rear view mirror. “You’re a profiler. What do you really think?”

The words die at your tongue and you deflate into the seat of the car. You hate to admit it, but Gideon is right. You should be able to figure out exactly what Spencer is thinking. After all, he’s your best friend– you shouldn’t have to be worrying about guessing games when it comes to him.

Hotch is the first to arrive at the manager’s office, watching as your group pull up in front of the building. Once everyone clambours out of the car, they enter the building, a sigh of relief leaving them as they enjoy the air conditioned lobby. With a flash of a badge, the receptionist is quick to tell you which floor and room number Michael was in.

“Floor 11, Room 03,” you mumble to yourself as you scribble it down in your notes.

The elevator ride is silent and you rock back and forth on your feet as the lift begins to rise. Your head is spinning with thoughts and regrets as you consider the harsh words that you spat at Spencer’s face less than an hour ago. You must not have been hiding your frustration well because Hotch finally says something. 

“Is everything alright?” He asks, much like a father would when their child is having a tantrum. It’s fitting.

You shrug. “I will be.”

“Is it to do with Reid?” 

You cough awkwardly, glancing back at the notes in your hand. “That obvious?”

Derek snorts from behind you. “Yeah, a little.”

“Everyone knows you’re in love with him,” Elle adds, a teasing lilt to her voice.

“I am– I am not in love with him!” You all but shriek, shooting her a half hearted glare and you stutter out a response. “I mean, I– uh– I like him but–“

“You are a horrible liar,” Derek cackles and you groan. 

Hotch and Gideon watch amused at the interaction, and the latter finally pipes in.

“Profiling isn’t something you can just turn off,” he explains to you, his tone gentle. He reminds you of a grandfather giving advice to their youngest grandchild, and a small smile makes its way onto your face. He continues to speak, “it’s subconscious and it becomes a habit. The only time it stops is when you either need it most, or when you don’t want to see anything.”

The elevator comes to a stop on the eleventh floor and Michael’s office wasn’t far away. The writing on the frosted glass reads ‘1103, Michael Ryer & associates, talent management’ and Elle raps on the door.

“Hello?” 

“Mr Ryer?” Gideon calls.

She knocks a few times again before opening the door entirely. “Michael–”

You’re met with Michael Ryer, dead in his arm chair and shot to the head, just like all the other victims. Despite having faced these circumstances before, you still feel sick to the stomach as you stare at Michael’s lifeless body and soulless eyes. It’s unnerving.

“Up until now every victim was a person who could be perceived as a threat to Miss Archer,” Hotch comments as they enter the room, pulling out his phone.

“Yeah, but Michael was a friend,” Elle says with a frown.

You look up from your notes. “He was a threat to the stalker.”

In less than twenty minutes, the LAPD dispatched forensics and evidence teams to the office. Lila and Spencer were on their way back to her house, deciding that it was best to deny the stalker access to her. You rifle through Michael’s belongings: his schedules, his files… everything until you come to one particular manila envelope. 

“Morgan, Elle, look at this,” you murmur, pulling the photos out of the envelope. “Pictures of Lila… nude.”

A flash of a grimace passes along Elle’s face, but it’s gone as quickly as it appears. “He was probably paying someone to keep them out of the press.”

“The name on the file says Joe Martinez,” Derek mutters, turning the envelope over.

The name must have struck a chord, because Detective Kim’s head immediately snaps around to look at you. “Paparazzo?”

You blink. “You know this guy?”

“Yeah, I deal with him a lot,” Kim responds, his face stoic. 

“We should follow that lead,” You comment, tucking the photos back in the envelope and looking over at Detective Kim and Derek. “I’m ready to go when you are?”

After an okay from Hotch, you, Derek, and Detective Kim make your way over to the Joe Martinez’s place. After knocking on the door to his place multiple times, Derek decides to open it in the way he knows best: by kicking it down. You grip your gun, holding it out in front of you as you travel through the hallways. 

“Clear!” You yell out upon pushing another door open, seeing nobody inside.

“(Y/N), you need to check this out,” comes Morgan’s call, and you follow the direction of his voice

Pinned above a small desk are picture upon pictures of Lila Archer. When she has lunch, when she’s out with her friends… it’s almost as if this person has completely documented her life. It’s a little nerve wracking, knowing that someone could follow you and take photos without anyone even realising.

“Hey is that–” you pause, pulling a piece of paper off the wall. “This is Lila’s schedule.”

Derek blinks in surprise. “I’m guessing he’s not supposed to have that?”

“No,” Detective Kim responds, and your gaze shifts to the table.

“Hey, isn’t that–” you feel your heart practically stop as you see who’s in the photos. 

“That’s Reid,” Derek mutters.

Kim shifts through the photos. “There’s a whole bunch of them,” he says, pulling out at least five or six print outs. “Is he a target now?”

Derek scoffs, throwing the photos on the table and pulling out his phone, making a beeline for the exit. “Not if I can help it.”

You and Detective Kim follow him out, making your way to the SUV. 

“Reid? Hey, it’s Morgan. Listen, you gotta watch your back over there, we just found a bunch of close-up photos of you at this guy Joseph Martinez’s studio. It looks like he could be the UnSub.”

As he speaks you feel your heart pound in your ears. Your head is dizzy with fear and you’re following after Morgan who’s walking unbelievably quickly. 

“He has a ton of photos of Lila and Nathalie plus a call sheet for Lila’s show,” Derek continues, the speed of his walk not wavering. “(Y/N) and I are on our way right now but I need you to be real careful until we get there, all right?”

You look down to shove your notes back into your bag when you hear it. The distinct vrooming of a motorcycle engine. You don’t think too much of it, only turning your head to look over your shoulder, your hand finding the handle of the car door. That’s all it takes for the motorcyclist to drive straight toward you and the others, pointing an arm out.

“Gun!” You manage to scream, just before the UnSub open fires, hitting Detective Kim. 

You dive behind the car, grimacing when your knee collided roughly against the pavement. By the time you manage to recover and grab your gun out of its holster, the UnSub is long gone. You stare as Morgan fires a couple shots before watching the motorcyclist ride off into the LA traffic,  and you turn to Detective Kim.

“You got hit. Where?” You ask, shoving your gun back into its holster.

He grunts in pain, his entire weight on the car as he groans out, “yeah, it’s fine. Just my shoulder.”

“Derek, call for help,” you order, pressing firmly at the wound with your hand to lessen the bleeding. He lets out a cry of pain and you wince. “Sorry, it’s bleeding a lot. Gunshot wound to the shoulder, no exit wound. Seeing as you’re not already dead, I don’t think it hit any major arteries, but it might have busted your collarbone. You’re lucky if that’s the extent of the damage. The shoulder contains a bunch of important and major bloodlines, as well as nerve endings.”

Derek turns to you with a wry smile. “You’re starting to sound like Reid.”

“You spend four years with him, you’ll start to learn a few things,” you respond with a humourless laugh. You continue to press against Detective Kim’s wound, murmuring an apology. 

“You should talk to him,” Derek prompts.

You scoff, “we have a detective bleeding in front of us and the thing you’re worried about is my love life?”

“Isn’t the first rule of relieving pain through distraction?” He asks. You shoot him an unimpressed look and he quickly nods his head. “Okay, sorry.”

Ten minutes later, Detective Kim is hoisted into the ambulance. You cringe as you wash his blood off your hands, once, twice, then a third time to make sure everything is gone. Your shirt has a couple of blood spots and you can’t help but frown; you liked that shirt. At least the stain isn’t too big– just a few splotches here and there. 

“It’s a good thing you held the wound,” an EMT praises, working quickly to secure Kim’s shoulder. “He shattered his collarbone, but you seemed to have managed to control the bleeding.”

If it weren’t for the circumstances, you would have shouted a clear ‘I told you so’ to both Derek and Detective Kim, but you keep your mouth shut.

Hotch, Gideon, and Elle arrive moments later, speaking to Derek about the detective’s injuries. 

“You okay?” Elle asks gently, squeezing your shoulder. 

“Yeah,” you murmur, wringing your hands together. “Just a little jumpy. I’ll be fine.”

“We need to get to her house,” Gideon mutters, glancing at the group. 

Without another moment to lose, you’re clambering into an SUV, gripping the steering wheel until your knuckles turn white. Elle climbs into the passenger seat beside you, her brows knitted together in concern. She opens her mouth to say something but shuts it, watching as you start the car and speed off into the direction of Lila’s house. 

After slamming the door shut and gripping the gun firmly in the palm of your hand, you follow Derek through the back entry of the house. You weren’t even sure if it could even be counted as a ‘house’; the place looked like it had at least five bedrooms on both floors. Derek glances at you, signalling to be quiet, then another to keep your eyes on him. A quiet splashing in the pool alerts your attention, and despite his attempts of getting you to not look, you do. And as soon as you do, you really wish you hadn’t. 

You are met with the sight of Lila Archer in her bikini-clad glory, in the pool with Doctor Spencer Walter Reid. Doctor ‘pools are incredibly unhygienic, harbouring more than 50 million different types of bacteria’ Reid. And as if it couldn’t get any worse, you watch as their lips touch again and again, his hands cupping her face and her hands arms around his neck. 

Spencer pulls away from the kiss, his breath heavy and his head spinning. This is wrong. He’s not supposed to being do this. His brain is short circuiting and it’s even worse when he considers all the germs that could be in this pool. His head spins with the names of viruses and bacteria that could be festering in the waters he was currently in, and then he remembers he has more pressing matters to attend to. Namely the girl who was literally pressing her lips to his. 

He pulls away, stammering over responses. “We can’t– we shouldn’t. I’m a federal agent and you’re–”

Lila stares at him, amused, with her hands cupping his neck. “There’s no one here.”

“I’m supposed to be protecting you,” Spencer tries again, anxiety gnawing at his stomach. This is wrong. Unprofessional. Then his mind wanders to you and the nagging voice in the back of his mind urges him to do something. 

“There are police out front,” Lila says, kissing him again before continuing, “there are coyotes out back.”

“This is completely inappropriate,” Spencer stutters out, his hands reaching for her shoulders. Her skin is cold from the summer night’s breeze, even more so considering how they’re submerged in disgusting chlorine-filled pool water. 

“This?” She presses her lips to his once more. “What’s this?”

“This isn’t–” he swallows thickly, his cheeks flared. “No, there’s this thing called transference–”

Lila pulls away, her stare drifting from his eyes to his lips as she asks, “you don’t like me?”

Spencer blanches at the question. “What?”

“You don’t like me,” Lila repeats, more sure of herself now. “It’s because of her, right?”

He frowns at the insinuation. “‘Her’? Who’s ‘her’?”

“The other person on your team,” Lila says, her words bitter. “You like her don’t you?”

His mouth goes dry and he opens and closes it like a fish out of water. “What?”

“Let me change your mind,” she whispers, bringing her lips to his for the nth time. 

Spencer barely has time to react, his hands moving to the side of her face and he imagines that she’s you. But she’s not you and you would never kiss him in the middle of the pool. You would never pull him in by his tie and cut him off when he’s speaking. He pulls away. 

“Stop. Stop, Lila, I’m sorry, I have to– I have to tell you something.” His mind is blanking. Why is it that when he needs it, his brain shuts off?

“What?” Lila asks, her lips moving to his cheek and then to his jaw. 

“I didn’t want to tell you this before because I was a bit worried.” He’s screaming at himself in his head, kicking himself because ‘why the hell did he just say that?!’ Regardless of the way he wishes he could shut his mouth and run out of the pool, he continues, “I don’t know how to say it but I can’t not tell you.”

“What is it?” She finally pulls away and Spencer lets out a breath of relief.

The relief is short lived because he starts to blab, “Your manager, Michael–”

“What?”

“Gideon went to check on him but he got there too late.” Spencer thinks he’s going to hurl, his mind running a million times an hour and screaming, ‘No you idiot! No, no, no! Out of all the things you could say–’

Lila scrambles out of the pool, clearly distraught, and he reaches out to touch her arm… only to be swatted away with her sobbing and telling him not to touch her. He figures he deserves that and follows out of the pool after her. 

“How could you– how could you not tell me?” Lila demands, her tears mixing with the pool water already on her face. 

“I was afraid you’d be upset,” Spencer says lamely, water dripping from his trousers and he just wants a towel. 

“You– you knew what you knew and… how could you not…?” She’s on the verge of hyperventilating and she looks at him before looking away. 

“I’m sorry,” Spencer says quietly, not knowing what else to say.

Lila retreats into her house, shutting the glass sliding door behind her and Spencer can only watch as she throws a pillow at the wall before going up the stairs to her room. He stands there, in the cold, dripping wet from the pool water and he wipes his face with his hand. His gun sits on the table, damp, and he has the urge to scream. Before he could do something exceedingly stupid, the sound of footsteps alert him and he spins around. 

“Elle?”

“We found him in the bushes,” she says to Spencer, nodding to the guy being cuffed by Derek. 

“I told her she should cut those.” He says dismissively, wiping his gun with a towel. He looks at her and then at you. He swallows thickly, noticing the way your eyes look him up and down, the disapproval oozing in your stare. “I– uh– I fell in.”

“Yeah,” you respond, holding the camera up and a sarcastic smile blossoms on your face. “I’m sure there are plenty of photos of it.”

He sighs, “(Y/N)–”

“Hey, stop shoving me, man!” Joe snaps as Derek pushes him to walk forward.

“You’re a suspect in the murder of Wally Melman, Natalie Ryan, and Jeremy Collins.”

You watch as Joe’s face comically contorts from annoyance to confusion as he jumps to defend himself. “Murder? What? Whoa! Whoa, whoa, whoa–”

“Just shut up with the ‘whoa’. We know for a fact that you have hundreds of photographs of Lila Archer and Natalie Ryan on the walls of your studio. You have Miss Archer’s daily schedule on your desk. You’ve been stalking her.”

“Look, guy, hold up. Every paparazzi’s a celebrity stalker,” Joe says and the rest of the group turn to look at him incredulously. He continues to speak undeterred. “If you don’t stalk them, you don’t get the shot, and if you don’t get the shot, you don’t sell no pictures.”

“Yeah, well this one’s gonna cost you,” you hum, holding the camera in your hands and ripping the film out despite his yells of defiance.

Derek steps forward, pushing Joe to keep him walking. “Tell it to your lawyer.”

“Wh– I’m still being locked up?”

“That’s right, at the very least you’re trespassing.”

Elle and Derek walk Joe out of the premises, and you push the pulverised film against Spencer’s chest. He grips it in his hands, a soft ‘oof’ leaving his lips at the contact. 

“You’re welcome,” you mutter, albeit a little bitterly, as you turn to follow the rest of your team out.

“(Y/N), listen, it didn’t mean anything,” he says softly, squeezing the film in his fist tightly while the other hand reaches out to you. 

You roll your eyes, opening up the sliding door. “I told you, Reid, I don’t care who you sleep with.”

He splutters a little, pushing his hair away from his face. “We didn’t– I didn’t– we didn’t sleep together, you know that.”

“Even more reason why I shouldn’t care.”

His hand grips onto your shoulder, turning you around so that you’re facing him. “But you do. ‘Shouldn’t’? You care. You clearly obviously care, (Y/N).”

“I don’t,” you deny, pushing his hand away. “Reid–”

“Stop calling me that.”

“–it doesn’t matter. I don’t care. I’m leaving.”

He grabs onto your arm, stopping your retreat. “Why are you being like this?”

“I am not ‘being like’ anything!”

“(Y/N).”

“Doctor, this is highly unprofessional.”

He has to stop the frustrated groan that was moments away from leaving his lips as he stares at you. His eyes ghost over your frame, stopping directly at the dark red splotches on your shirt.

“What happened?” He demands, taking a step closer. “Are you hurt?”

“I’m fine.”

“Who’s blood is that?”

“Detective Kim’s.”

“What– were you shot at?” 

His hands fly to your face, trembling and cold, and you would have thought it was romantic if he didn’t do the exact same thing less than twenty minutes ago with another girl. 

“It doesn’t matter,” you dismiss quietly. 

“Don’t say that.”

“God, you act as if we’re dating or something!” You snap, pulling away from him. 

He stops short, his cheeks and ears reddening at your words. His mind goes blank and suddenly he feels very warm at the idea. Dating you? Every moment he had with Lila in that pool is nothing compared to the idea of dating you.

He watches as you roll your eyes before tugging your arm out of his grip. He wants to cry out again, to say something, but his head just seems to repeat the words ‘we’re dating’ over and over again. 

“Just forget it, Reid.” You look to the house and your gaze grows steely once more. “Your girlfriend is calling.”

*** 

“I want to try and talk to some of Lila’s close friends,” you say to the others after getting off the phone with Garcia. “According to Penelope, there’s a girl named Maggie Lowe on the list that Lila gave us and they’ve known each other since college. Apparently, they spent a lot of time together and Lila helped her get a job.”

“I’ll go with you,” Elle says instantly, climbing into the car. “Why Maggie?”

You start the ignition, backing out of the driveway and onto the main road, following the GPS directions. “They spend almost all of their time together. I mean, she must have noticed something off, you know?”

Elle nods slowly in understanding. “She knows about the red anemones, right?”

“Yeah. And she was the one who found the note taped to the door.” You pause, thinking through the evidence again. “Her apartment is right in the middle of the comfort zone.”

“You think she could be the UnSub?”

“It all seems too convenient. But then again, we didn’t profile the stalker as a woman. There have got to be some inaccuracies or things we overlooked because of the gender,” you murmur, stopping at a red light. “Call Garcia for me.”

The phone rings once before Penelope’s unmistakable voice chimes through. “Speak my pretties, and you shall be heard!”

“Hey, Pen, can you check what vehicle is registered under Maggie Lowe’s name?” You ask into the speaker, parking in front of the apartment.

“Checking, checking… aha! It’s a Honda Motorcycle, she just got it serviced six and a half months ago.”

“That’s the vehicle that the UnSub was driving when they shot at us,” you mumble in realisation. “Call the others, the UnSub might be Maggie Lowe. We’re checking the apartment now.”

“Gideon and Derek are at the art gallery to talk to Parker Dunley,” Elle points out. “I’ll let them know we’re at her apartment.”

There’s a typing on the other side of the line and Penelope chimes in once more. “Bad news, my loves. The cameras report Lowe’s motorcycle leaving the apartment complex half an hour ago.”

“Garcia, call Reid and tell him what we know. Elle and I are going into the apartment. We might find evidence or clues on who the next victim might be.” 

With that, you hang up, getting out of the car and running up the stairs with Elle hot on your heels. 

“Maggie Lowe?” You call through the door, knocking once then twice. 

You’re met with silence and you grimace, deciding to do Derek’s favourite move: kicking the door down. With a crash, the door slams open and you grip your gun a little tighter in your hand. Bathroom, clear. Kitchen and pantry, clear. Lounge, clear. Bedroom, clear– you stop short. Pictures– framed pictures– of Lila hung around the wall. A cork board with newspaper clipping and magazine cut outs were pinned meticulously to the cork backing, each one with Lila’s face and name circled with bold red marker. 

“Holy shit…” Elle whispers, holstering her gun and staring at the wall. “This is… this is beyond obsession.”

“You’re telling me,” you respond, putting on a blue glove and flipping through the cork board. “Call the others, Maggie is definitely the UnSub. Someone this obsessed must have…” you pause, filing through the desk on the other side of the room, “… a diary. Each murder was described to detail in each entry, as well as her feelings towards Lila.”

Elle grimaces as she looks over your shoulder to read the diary entries. “Grim.”

You huff out a laugh. “Yeah.”

Above her desk are images of Lila. Every single show she’s been in since Julliard, every time she was mentioned in an article, posters, newspaper clippings of the murders… the entire ordeal makes you feel sick. 

Elle sucks in a breath, staring at the desk. “She’s got Lila’s entire life documented.”

“And she’s probably already at Lila’s house,” you mutter, grabbing your phone. “We need to get over there, now.”

*** 

“The city of angels everything you thought it would be?” Derek asks amusedly, leaning against the wall of the jet as he watches you pour your third cup of coffee in the past three hours. 

It’s a couple days after Maggie Lowe was apprehended and the team were on the jet home getting some much needed rest. The aircon was put on full blast and you couldn’t be more grateful for it, enjoying the coolness on your skin in contrast to the hot Los Angeles weather. 

“I’m never coming back here,” you quip, your gaze shifting to where Spencer sits. He’s reading a book but he hasn’t turned a page for the past thirty seconds. “If I were to overthrow America, Los Angeles is the first place to go.”

Derek snorts, his eyebrows raising. “You don’t mean that.”

“I do,” you huff, finally looking at him. “I’m serious!”

“Sure kid. Totally believe you.”

He’s teasing, a knowing smirk on his face as he watches you chug the coffee with a grimace. Your tongue burns and you fill the cup with water and chug that as well, ignoring the amused look Derek keeps sending you. From the corner of your eye you see Spencer reading his book. At least, it would appear that he was reading to someone who didn’t know him. But you know him. He’s been staring into the pages for the past minute now and that alone was enough to let you know that he was paying more attention to your and Derek’s conversation than to the words on the page. 

You resist the urge to roll your eyes as you sit beside Elle who is already fast asleep. You envy her for a moment as she leans against the plane window, blissfully unaware to your mental torment. Stupid Spencer and his stupidly pretty face. From where you’re sitting you can see the back of his head and you glare at that the ridiculous mop of brown on his head. 

The rest of the plane ride is uneventful and by the time you make it back to the office it’s already late. It’s nearing one in the morning and everyone begins to head home. Derek is yawning as he leaves the office and Elle has a look that screams ‘Don’t talk to me’. Gideon is long gone and Hotch was in his office, packing up the last of his papers and files. 

Spencer is sitting at his desk, combing through the paperwork and stashing a couple pages into his satchel. He bids farewell to Derek and the others before shoving his train pass into his pocket. 

“You’re taking the train?” You ask, finally speaking to him.

His eyebrows raise in surprise and he shifts on his feet, gripping the strap of his bag. “Um, yeah. I took the train here, so...”

“Oh.” You nod, glancing at the clock. “No you’re not.”

He huffs out a laugh. “What?”

“You’re crazy if you think I’m letting you get onto a train at one in the morning,” you say, pointing with your chin to the elevator. “You might be a man and all, but it doesn’t change the statistics.”

You know his weakness. Statistics. Facts. Spencer hates the fact that you know him so well. 

He relents, getting into the elevator with you. “I thought you were mad at me.”

He hears you scoff, pressing B1 on the elevator. “Just because I’m mad at you, doesn’t mean that I’m going to let you do something potentially dangerous.”

He hates the way your words makes his heart flutter and he continues speak. “I didn’t mean to make you upset.”

“It doesn’t change the fact that you did,” you respond curtly, watching as the elevator doors open. “Come on, my car is that way.”

Spencer flinches at your tone. “I’m sorry.”

You laugh. “You don’t even know what you’re sorry for.”

“I–” the words die on his tongue as he wracks his brain. “I thought it was because you didn’t like Lila.”

“That’s true,” you murmur, unlocking the car. “Look, Reid–”

“Please,” he cuts you off, his voice cracking as he practically begs. “Please stop calling me that.”

He doesn’t miss the way your eyes flicker to him as you tug the car door open. “You want me to stop calling you by your name?”

Spencer’s nostrils flare as he gets in the car. “You know that’s not what I mean.”

You laugh again as you start the engine, glancing at the mirrors. “Everyone calls you Reid. It shouldn’t be any different for me.”

He huffs. “But it is different. You’re… different.”

“How?” You challenge, backing out of the parking spot and getting onto the main road. You’ve memorised the route from Quantico to Spencer’s apartment in DC– an almost one hour drive and you understand why Spencer hates driving to and from work. 

He falters before shaking his head. “It doesn’t matter. Just please don’t call me by my last name again.”

“Spencer,” You try again, missing the visible relief in his eyes, “I’m not mad at you because of something as miniscule as a girl. You’re entitled to your own relationships outside of work.”

“I don’t under– oh.” The realisation dawns on him when he recalls all the words you threw at him at the precinct. “I wasn’t a very good friend, was I?”

“No, Spencer, you weren’t.” You don’t hesitate to say it and Spencer winces at how quickly you agree with him. “You were unfair and let your emotions get in the way of the case. You criticised me and undermined my authority and then you had the absolute nerve to act as if nothing was wrong.”

“I’m sorry,” he croaks out, the lump in his throat getting bigger. 

“It hurt, Spencer,” you say, and your voice cracks as well. “It hurt because you’re my best friend and I would have supported you through everything. You know that. And I get that friends fight, but I thought that we wouldn’t fight about something as stupid as who you hook up with.”

“I didn’t hook up with her,” Spencer says quietly, and he thinks he might cry. “I’m serious, (Y/N), I didn’t hook up with her. She kissed me–”

“It doesn’t matter.” Your gaze shifts to him for barely a second before it’s back on the road. “Like I said, it doesn’t matter who you’re attracted to. I just didn’t think it would effect our friendship.”

“I’m sorry,” Spencer says again, holding onto his bag. 

You’re quiet before continuing, “ I know you are. I know that. I’m sorry that you thought that you needed to justify your feelings to me.”

He swallows thickly, watching your face carefully. You didn’t do anything to make him feel like he had to justify himself. If anything, it was Spencer’s conscious that made him feel the need to explain himself. The guilt that he felt after kissing Lila was enough to get him to feel sick. The guilt that he felt after knowing how badly he hurt you was enough to make him want to grovel at your feet. 

“You didn’t do anything wrong,” He mumbles, wetting his bottom lip. “You had– have– every right to be upset.”

“I don’t want to be upset anymore,” You say as you continue to drive down the freeway. 

He’s quiet before he finally says, “I miss you.”

“I miss you too.”

He swallows the lump in his throat and he presses the pads of his fingers into the corner of his eyes. “I’m so sorry.”

You finally park in front of his apartment, leaning against the chair. “I know. I know, I’m sorry too. I said… a lot of things.”

“I deserved it,” he says, a small laugh leaving his lips as he finally looks at you. “You’re right, I wasn’t being fair.”

You hum, leaning over the console to give him an awkward hug. He presses his nose into your shoulder, breathing in your vanilla perfume. His arms wrap around your middle and he realises how much he missed this. How he missed being close to you. 

“I won’t do it again,” he promises. 

“I know.”

“I really am sorry.”

“You need to stop apologising.” Your words come out like a laugh and he realises how much he misses that sound too.

“I’ll make it up to you,” he says into your shoulder. “Coffees for a month. I’ll even get you those croissants you like, even though they’re really overpriced.”

You laugh again and he smiles. 

“You apologising is already good enough,” You say, squeezing his arms. “Now go get some rest, Spence.”

His smile widens at the nickname and he finally pulls away. “Good night. Thank you for driving me home.”

You smile back. “Good night. Don’t mention it.”

The next morning, you find a steaming coffee on your desk and a freshly baked croissant in a brown paper bag. Spencer waves at you and you can’t help the goofy grin on your face as you take a bite into the croissant. 

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[phoenixkaptain]

I love it when pre Original Trilogy era shows how much effort went into making the Death Star. It took decades, literal decades, and it took so much money and so many people and it was such a secretive thing and it’s staffed by millions because it’s the size of a small moon.

I cannot express how much all of the added information makes it so much funnier that Luke blew it up.

Luke destroys literally everything Palpatine built. He blows up the Death Star, which was referenced in universe as early as the second movie. He blew up the weapon of mass destruction twenty years in the making. And he blew it up pretty much directly after it’s first and only successful attack. It was operational for fifteen minutes, fifteen minutes that Palpatine had the thing he’d been building for longer than Luke has been alive, and Luke blows it up. First day retirement, but first hour retirement.

Luke convinces Darth Vader to turn back to the light side, a feat thought literally impossible by literally everybody. Sidious clearly doesn’t see Vader’s betrayal coming. Vader’s betrayal was not in his plans, nor was it something he was prepared for. Sidious is a powerful Force user with all four limbs while Vader is a man in the tin can Palpatine put him in. If Palpatine had seen Vader turning coming, he would not have allowed it to happen.

Luke literally should not even be alive. Palpatine almost definitely got Padme out of the way on purpose, and he almost certainly was trying for her unborn child as well (there was way too big of a risk that a cute liddol bebe would bring some humanity back to Anakin, and Palpatine did not want Anakin to have any humanity) Luke living is literally the first step in Palpatine’s ultimate downfall, especially once Vader finds out that Luke is his son. His very alive son. His son that is not dead, despite Palpatine claiming Anakin killed Padme. Implying that Anakin killed Padme and she posthumously gave birth. But, she didn’t give birth on Mustafar, which was the last place Anakin interacted with her. And once the mother dies, you have to get those fuckers out fast or they die too.

I imagine Darth Vader piecing all of this together is that meme with all the math floating around his head, because how could Padme have died by his hand and then given birth like two hours later?

Luke killing Palpatine is what ultimately leads to the dissolution of the Empire as an omnipotent entity. Luke killed the Empire. Luke spends a good amount of his adult life killing Empire remnants. We see that in the Mandalorian, since he’s so recognizable that Gideon immediately knows he’s fucked just by seeing an X-wing. We read it in Legends’ continuity, where Luke terrifies Imperials because he can walk into their changing room and stand in their for a minute and they don’t even notice.

Luke destroyed Palpatine’s life’s work. Everything Palpatine spent his whole life working towards, and Luke kills all of it. He blows up not one, but two Death Stars (he may not have pulled the trigger on the second Death Star, but without him, it never would have been destroyed). He convinces not one, but multiple Sith and Dark Jedi to return from the Dark Side. He is the only reason that Obi-Wan Kenobi, the biggest pain in Palpatine’s ass ever born, lives long enough to make it to the Death Star.

Palpatine went through so much effort. And just when he had finally won, when he finally had a weapon capable of destroying entire planets with a single blast, making it impossible for any planets or peoples to go against him, Luke shows up nineteen years late to the Jedi party with space Starbucks and a droid twice his age and almost singlehandedly destroys everything Palpatine ever had a hand in creating.

Luke manages to become even worse than Obi-Wan Kenobi, the ultimate thorn in the side of politicians, and Luke doesn’t even understand any politics. He wasn’t trained in diplomacy like Obi-Wan and Leia, no, he’s a farmboy who left home for the first time in his entire life, just this morning. And he is the one to destroy the Empire.

If they rewrote Star Wars and had it entirely from Palpatine’s perspective, Luke Skywalker would be his greatest foe. Luke Skywalker would be the final boss. Luke Skywalker is the antithesis of everything Palpatine believes in and he is the one character that Palpatine cannot predict. He isn’t as moldable as Anakin, he doesn’t respond to threats very well, he’s apparently impossible to kill via Force lightning (still the funniest scene of all times, the progression of Palpatine’s face falling and him looking like “what the fuck??? Is this kid rubber??? I’ve electrocuted him eight times???”), his unwavering faith in his father’s goodness makes Darth Vader want to be a better person, Luke Skywalker is the big bad of Palpatine’s story and—

There is nothing in this world that is funnier than someone’s biggest antagonist being Luke fucking Skywalker. Luke Skywalker, who saved the galaxy with the power of love and who shouldn’t exist, by Jedi rules and by Palpatine’s own attempts, and whose best friends are literally droids, which Palpatine canonically hates!

Everything about this is hilarious, this is the funniest thing in all of media, Palpatine loses absolutely everything to some backwater farmboy who fucking likes droids.

[dabblingreturns]

Was thinking about the cannan house trials and the houses and the "circumstances of birth" of the necromancer......

Judith was a strange sort of miracle baby, born improperly off planet but still in a bed of Martian dirt and still a necromancer. But her parrents took the risk....

Ianthe was born by cecerian with her sisters ambilical cord wrapped around her throat. And her family "risked intersession" which might have weakened her nevromantic powers....but her parrents took a risk....and thebrisk payed off

Poor Isaac, born after his father was already dead.....well that risk had already been taken and his whole existence was a debt to pay off.

Abigails birth is never addressed, though her mother's manged the feat of producing not one but two necromantic heirs....it would not shock me if the fith used adoption as a method of insuring a competent leader but no one wanted to gossip about the 5th in gideon or harrows hearing.... still the fact that abigail's heir is her younger brother is really impressive.

The wardens birth isn't notable, but the circumstances are....both plamedes parrents appear to be scholars of the 6th. Meaning that his avaliable gene pool, though very carefully monitored, was also pretty darn shallow....but he turned out both smarter and pretty than your average spanish hapsburg so the risk paid off.

Dulcineas birth was undisclosed though probably not uneventful, after all they were trying to make a viable baby with cancer....

Silas was 20 years of planning even before his conception, and I would imagine that he, like Isaac was decanted rather than birthed.

Even Gideons live birth in the back of a shuttle took years of betrayal to orchastrate.

Anyways my point here is all these hectic births really put the warcrime of harrows creation into context..... yes, what the reverend parrents did was very bad, but they don't have the monopoly on questionable ways to get a house heir.....

[genericnam]

Why, out of GF, Amphibia, and TOH, only Luz didn't have to leave her new world behind:

I've seen people complain about Amphibia and to a lesser extent, Gravity Falls, for having their series end with a goodbye; the main characters having to leave their found families and this world they've grown to love and return to regular life. But the thing is, the three shows all have MASSIVELY different morals, that each fit in with how the goodbyes (or lack thereof) work into the finales.

Gravity Falls has a large theme of temporary goodbyes and reconciling. Stan and Ford being the primary example. But there are others: Soos and Melony, Wendy and Robbie, even Dipper and Mabel to an extent. The show builds upon this with Gravity Falls being a VACATION, they aren't trapped there, they could theoretically go home at any time. Episodes such as Summerween and Dipper and Mabel Vs. The Future also build on the tone, telling that it's okay to both grow up and move on, but you don't have to leave behind what you once loved in doing so.

The final conflicts (Wierdmaggedon) are caused because of characters not being able to let go. Stan couldn't let go of Ford, Mabel couldn't let go of Gravity Falls, Gideon couldn't let go of Mabel.

Gravity Falls teaches the viewer that even if you love something, you have to let it go, and eventually it will return. In the words of Bill Cipher: "We'l meet again. Don't know where, don't know when. I just knew we'll meet again, some sunny day."

Amphibia has a similar theme of Gravity Falls, but it takes it further. Amphibia tells you that if you don't let go, sometimes things will only get worse. The primary example for this is the show's catalyst event: Marcy getting Anne to steal the Music Box. Marcy chose to go to Amphibia, rather than move away, and she dragged her friends into it with her. Instead of having a long distance friendship with Sasha and Anne, she took them to an alternate dimension in order to spend eternity on a massive adventure, and it got her killed. Marcy and Anne died and Sasha tried to kill herself.

And that's only Marcy. Sasha was a control freak that bordered on yandere at the height of her villain arc. Sasha couldn't accept that Anne was beginning to move on from the toxic friendship that the Calamity Trio had locked themselves into.

The trio were horrible to eachother, pre-character arcs, and they needed to focus on self improvement before they could even hope to be good friends. In the time between 'All In' and the epilog, the Calamity Trio would not have actually been able to be good for eachtoher. They say they forgive eachother, but that was forgiveness given during a WAR. Post show, the real feelings would start to bubble up. Anne's resentment for the betrayals, Marcy’s abandonment issues, Sasha's definite self hatred. The trio HAD to split up to have any semblance of a friendship.

Amphibia tells its audience that not all good things can last, and if you obsess and force it to stay, it can destroy you.

The Owl House has a completely opposite moral. It tells you to find your people, and fight for them.

Luz lived in the Human Realm, but it was never her home. Her home was with Camila and Manny, but when Manny died, Camila and Luz's relationship began to falter. That world wasn't her home. When Luz found the Boiling Isles, she was always supposed to be able to leave. This wasn't a summer trip she didn't want at first, or a one way portal. The Boiling Isles was HER choice.

Luz picked Bonesburrow. Luz picked Hexside. Luz picked The Owl House. Her home was always meant to be The Boiling Isles. She only started trying to find a way back to Earth because the choice was taken from her. Luz no longer had the choice to go back to the Human Realm. In fact, the only time Luz chose Humans over Isles was when she was PUNISHING herself for helping Belos.

Luz got to stay in the Boiling Isles because TOH tells its audience that where you start isn't where you should always stay. Find your place and find your people. And when you do, hold it dear and never let go. "Us weirdos have to stick together."

[katakaluptastrophy]

What do Captain Deuteros, the Princesses of Ida, the Baron of Tisis, the Lady of Koniortos Court, the Duchess of Rhodes, the Master Templar, and the Reverend Daughter all have in common? They almost certainly own slaves.

Ok, not "slaves". As I'm sure Housers would be the first to tell you, they do not have slaves. Gideon herself explicitly establishes this in chapter one:

I’m indentured, not a slave.

But functionally, what does that mean?

We don't get a definition of what Gideon means by a slave, or how this word is used in House (do the Houses also have slaves? Are slaves something other, uncivilised people have in the benighted darkness beyond the light of Dominicus and the empire?). Gideon is an unfree person who is subject to violence and exploited for the financial gain of her masters, but it means something to her that she is not, in some economic or legal sense, a slave. So what is an indentured servant?

Gideon's status is referred to using several other terms over the course of GTN, primarily by Silas Octakiseron. While Silas is not an unbiased commentator, it's interesting that his objection to Gideon is not just because she's Ninth, but because she has usurped her social position:

“Thrall,” said Silas. “Serf. Servant... Villein,” continued the necromancer of the house of the Eighth, warming to his thesaurus. Colum was staring at Gideon, almost cross-eyed with disbelief. “Foundling. I am not insulting you, I am naming you for what you are. The replacement for Ortus Nigenad, himself a poor representative of a foetid House of betrayers and mystics.”

We don't know the exact connotations of these words in House. But a "serf" historically was a sort of feudal peasant tied to the land of a manor. Unlike a slave, a serf usually couldn't be bought or sold as an individual, but could be transferred wholesale with the land. Generically speaking, serfdom involves a tie to the land, an obligation to generate income/goods for the feudal lord of the land through labour and/or rents, and a lack of freedom of movement. It could be from birth or a voluntary indenture.

The contextual information that we get about Gideon's status backs up this very feudal image:

Gideon is, as Crux repeatedly reminds her, in some way the property of the Ninth. She wears a security cuff, and her attempt to run away is described as theft and misuse of House goods. In a typically House way, it is not just that she owes them her labour - she owes them her body once she dies. (What's interesting is that this part isn't specifically tied to her status as an indentured servant, but it fundamentally colours how it is understood in world.)

"You talk so loudly for chattle, Nav... You chatter so much for a debt. I hate you, and yet you are my wares and inventory."

Crux is Harrow's seneschal. And it would seem that at least on the Ninth, this role is very much the same as its medieval feudal equivalent: the official in charge of the management of the estate's goods and labourers.

Gideon is a legitimate subject of violence in House law: Harrow talks about how it would be "master's sin" if she "employed unwarranted violence" against her. Which means that some degree of violent punishment of indentured servants is legally permissable.

She is meant to be a financially useful asset: regulations exist governing indentured people joining the military, where they can generate revenue for their House. However, Harrow warns Gideon that "the Cohort won’t enlist an unreleased serf" - because the movement of a serf is at the discretion of her Lady, not something over which she has free choice.

The description of how Gideon came to be of the Ninth is particularly interesting in shedding some light on the institution of indenture in the Houses:

The Ninth had historically filled its halls with penitents from other houses, mystics and pilgrims who found the call of this dreary order more attractive than their own birthrights. In the antiquated rules of those supplicants who moved between the eight great households, she was taken as a very small bondswoman, not of the Ninth but beholden to it: What greater debt could be accrued than that of being brought up?

Medieval serfs too had no freedom of movement; they required a license from their lord to spend extended time away from the manor.

It's easy to forget, when the Houses themselves likely range in scale from the size of Los Angeles to Aotearoa New Zealand, that legally they seem to understand themselves to constitute feudal households. Those born in each House are part of - or in some cases it would seem, property of - the House. We see discussion in the Sermon on Necromancers and Cavaliers of the heirs of cavalier lines being traded between Houses for political capital. Necromancers, meanwhile, are apparently such a political or reproductive asset that they are usually not allowed to marry outside their House. Obviously, these are examples of people at the top of House society, whose movement brings with it political power, or financial assets, or reproductive capacity. Where does that leave a more ordinary person who lacks those desirable assets? It would seem that they can be their own asset, granted access to another House on a debtor's bond - it's not clear in the House context whether this is typically an exchange of people already debt bonded to their House, free people entering into such bondage to secure a right of passage to another House, a combination, or something else entirely.

But it speaks to a much more ancient understanding of how people are tied to lands and lords, alongside the Houses' very different attitude to the value of human lives:

“You’re no slave, but you’ll serve the House of the Ninth until the day you die and then thereafter"

One could infer, since we've encountered nobles and serfs, that the Houses have something akin to a three-tier system like many historical European feudal systems, with nobles, freedmen, and serfs.

The medieval European feudal system was primarily a function of the management of land - serfs and freedmen's statuses were a result of their relationship to obligations to the land - requirements of work, or rents to their lord, who ultimately controlled and profited from that land. This is where the tricky difference between serfdom and slavery tends to arise.

But the Houses are not a European medieval feudal kingdom. They are not, presumably, a primarily agrarian economy. So what use might such bondspeople be? What does that society look like, outside of its highest nobles investigating each others' murders and its strangely incestuous demigods?

There must be some agriculture and industry. Given the trying conditions of living in inhospitable space environments, that there might be some class of labourers fundamentally tied to their Houses, perhaps initially stemming from the order or situation of their ancestors' resurrection, isn't impossible to imagine (after all, ruling families and cavalier lines also trace their status from the Resurrection). From the information about the rules governing movement between Houses, perhaps there are also people living in dire conditions on remote moons willing to sell their freedom for a chance at slightly better conditions, or a new start in a different House. Most Houses do not have the necromantic capacity to create skeleton constructs on a scale to manage most of their labour - in The Mysterious Study of Dr Sex, it's clear that the Sixth has a finite supply of skeleton constructs that they would require Ninth input to overhaul. We have to assume most labour on most Houses in human, and some portion of it at least in some way unfree.

But the Houses are a spacefaring society with a large, centralised military and an economically complex empire. It does not function entirely like a medieval kingdom, however much it may sometimes look like one. Much of its imperial structure seems to be on a much more 19th or 20th century model.

And the Cohort is one area where we can see some non-medieval, but awful implications to the Houses' practice of serfdom. Consider the commission that Harrow offers Gideon:

It purchased Gideon Nav’s commission to second lieutenant, not privy to resale, but relinquishing capital if she honourably retired. It would grant her full officer training. The usual huge percentage of prizes and territory would be tithed to her House if they were won, but her inflated Ninth serfdom would be paid for in five years on good conditions, rather than thirty.

Gideon is not being promised as canon fodder - this is a promise of officer training. And yet, Gideon is a serf - and that officer training would be an investment in financial returns from her involvement in the bloody machinery of empire.

How many people in the Cohort are not free? Are serfs released from their usual obligations in the House to which they are debt bonded to instead generate income for their House on the battlefield or die trying? What proportion of the Cohort are functionality enslaved children, sold a dream of glory by smutty comics and released by their Houses because their eventual deaths will be more profitable to their Houses than their labouring lives?

And fundamentally, if the Houses are in some way substantially reproducing aspects of medieval feudalism, there's only one person who can be responsible for that...