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theliterateape · 1 year

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The Final Stage of Grief

by Don Hall

Prior to recording a recent Literate ApeCast, Himmel and I talked a bit about the Kubler-Ross Five Stages of Grief. In regards to the demise of my third marriager and subsequent demolishing of the life I thought I was living, it turns out that I have mixed them up some, skipped one step altogether, and am now in the final act.

The stages are Denial, Anger, Bargaining, Depression, and Acceptance. I think I went through Denial and Depression at the same time during the four months hiding in my one bedroom apartment in Vegas. I skipped Bargaining altogether and only recently got to Anger. So, what does Acceptance look like?

Before Apple got all on top of things photos-wise, I used Google Photos a lot. I got rid of it a few years ago because Google has become a predatory feature in the world of data sales but apparently had not deleted the cache of pictures taken over the years.

My iCloud only goes back as 2012 with exactly one photo of me getting a key lime martini in a high end bar with Vanessa Harris. I don't know why I kept it but I like the look on my face as well as the odd spectacle of having a bright green cocktail in hand. Looking at the shot reminds me of a day when Harris and I were wandering around together, telling stories, getting drunk in the day with booze and words. It was a good day and I suppose this one photo expands in my recollection.

The Google Photos account is less curated and more like a giant photo dump. A fair amount of duplicates exist in this digital desk drawer or suitcase and there are over 8,000 pictures of bits both large and small littered in the mix. The timeline went as far back as 2006. Eighteen years of my path suddenly thrust in my face.

As I did eight months ago when the sordid details of my third wife's secret life blew up in my face like sewage suddenly shooting straight up out the shower drain, I decided to cull every photo of her, of any hint we had been together, a purge of memories that revealed to me what a sham the whole thing was in effort to do something that felt like emotional chemotherapy. Kill the cancer, grow your hair back, reframe existence.

I used to keep screenshots of plane tickets as a backup and, in this moment, each represented the beginning of a hundred little getaways and vacations, holiday travel, and work related journeys. Before 2014, there were a lot of pictures of me. An embarrassing treasure of Narcissus, gazing into the pool of selfies, reveling in my transformative weight loss of that time when I dropped 80 pounds in 2007/2008. Also in tow were hundreds of inspirational phrases laid out on stock photos as reminders I suppose.

"It's not what you look at that matters, it's what you see." "Do no harm. Embrace possibility. Live to tell about it." "Live the Dream. Endure the Nightmare." and one of my favorites that seems to encapsulate both my desire for reminders to avoid being bogged down in convention and my tendency toward treating obstacles with unfettered aggression: "Life is Short. Can you really say you've lived if you haven't punched a stupid person in the face?"

A shot of my friend Matt sleeping on my couch the summer he crashed for three months waiting for his fiancé to return from France. Carl Kasell posing with a bunch of the Carl plush dolls I ordered to sell for Wait, Wait... Don't Tell Me!. A panorama shot of me standing on a Michigan beach taken by Alice.

Countless pics of performances of The Moth, BUGHOUSE!, LitMash, and the myriad events I produced for WBEZ all around Chicago. Family photos from Christmas and the Fourth of July—the shock of seeing my nephew (who died from a fentanyl overdose in 2020) when he was alive and happy was bittersweet but lovely. Joe and I roadtripping it to Kansas for my grandma's funeral.

Apparently, from 2008—2016 I had some bizarre desire to take brochure shots of bathroom graffiti in seedy bars all over Chicago.

Along the way I deleted photos of people who were friends at the time but ended up enemies. "It's not what you look at that matters, it's what you see." Up until 2014, I saw a lot of me, a lot of my friends, a lot of life as it unfolded in the form of events and shows and pledge drives and time in the gym. I had already culled through the Alice pictures but strangely managed to still have a few shots of Katie whom I only dated for six weeks.

Sunday, May 11, 2014 was the day things changed. All of the inspirational phrases, carefully set in creative fonts, became pronouncements of love.

"She's mad but she's magic. There's no lie in her fire." "And suddenly, all the love songs were about you." "What we find in a soulmate is not something wild to tame but something wild to run with." "You're kinda, sorta, basically pretty much always on my mind."

The tone shifted in the Google Photos slog through nostalgia. All of a sudden there were scores of pictures of her. The third wife. The fiancé after three dates. Out of the 8,000 stored images, nearly 5,000 were of her or us.

One of her quirks, I'll call it, was that she seemed to be living every one of her failed relationships as if each one had ended the day before. She was still angry at the high school boyfriend who dumped her, the blonde dreamboat who moved to D.C. leaving her behind, the porn photographer who "lost his sexual mojo." She would routinely rant about the frequently homeless guy she dated before meeting me who fetishized her, had a horse cock, and tried to smother her with a pillow once out of jealousy. The frustration of thwarted expectations sat within her all the time to be dredged up in random moments on random days to foul her mood and revisit that which still felt fresh and bleeding in her mind.

I never really understood this quirk as I can barely remember any of the bad times in my past relationships to the point that, when I do think about them, the simple narrative of why it worked and why it failed obfuscates any remembrance of anger or pain. The first ex-wife and I married too young and out of sense that that was what we were supposed to do. We did our best but, in the end, couldn't sustain it. The second ex-wife and I got married out of a transactional artistic arrangement and when I stopped producing shows for her to direct, she found someone else. Alice, while not a wife but a four-year off and on battle, couldn't get enough of sex with me but fundamentally didn't like me much. I stopped ruminating on the specifics of how's and why's and could see more good than bad within each failure.

My past is represented in scars, I thought. Hers are perpetually bleeding.

So I culled my Google Photos of the memories as thoroughly as I could. Countless pictures of the two of us on vacation—Jamaica, St. Thomas, New Orleans, Paris, London, Edinburgh, places in Michigan, Reno, Flagstaff, Harrisburg. Countless pictures of family holidays. Countless shots of her playing drums with various bands in various venues around Chicago. Poetry readings. Storytelling events. Medieval Times. Cirque du Soleil. Pub crawls with flights of beer. House parties.

There were at least several hundred pictures of her nude modeling she'd sent me. At least several hundred of the two of us posing for a couples selfie all over the place. An entire album of our Vegas wedding.

Through it all, I kept expecting to be overwhelmed by grief or anger or disillusionment. I wasn't.

On the day after we decided to divorce but the day before she confessed she'd been working as a prostitute for nearly three years, I told her that, while things didn't work the way we thought it would, ours was the best marriage and the most loved I'd ever lived. I meant it, it apparently meant a lot to her, and we both cried. The next day she unveiled the unthinkable and all of that sentiment was forgotten.

That's the thing about shock. If you're at least a little bit emotionally healthy, it wears off. Sure, it takes time to heal up, to get those bloody cuts to scab over and eventually scar, but it does wear off. "It's not what you look at that matters, it's what you see."

What I see was what everyone else saw. A strange but lovely couple. I was ridiculously and wholly in love with this woman. For five years in Chicago, we had an extraordinary partnership even with the personal quirks and curveballs thrown by life. What I see is a man in love and a woman doing her best to love him back. I see joy and laughter. I see mutual support. I see my family embrace her and she embrace them.

I see, for five years, between 2014 and 2019, the best marriage I'd ever had.

When my nephew died, I put together a video in memoriam for my sister. It included pictures of him from birth until shortly before he passed. One of the awful things I noticed in putting it together was that as his life got closer to the day of his death, his eyes started changing. He looked like someone going downhill. It was stark and obvious when no one really saw it at the time.

The Google Photos from the time we arrived in Vegas until the day I knew she decided to live her lie and then until we split reveal something similar. There are fewer pictures of her and the ones that were taken show her flipping the camera off or looking annoyed that I'm taking a picture at all. She starts wearing more and more makeup. Her clothing, which was always sort of a grunge 90's aesthetic, became more tattered and trashy. We took a day trip to Rhyolite, NV and there are forty pictures of the place and only three of her, six of me, and one of the two of us together. She looks unhappy in the four she's posing in.

Another quirk of hers was to subtly adopt the local accent of any place we visited. I first noticed it when we honeymooned in Jamaica. As soon as we got off the plane, her normal speech was suddenly musical in that Jamaican way. When she spoke to locals it became more pronounced. She did this in France and in London, too. Perhaps this assimilation was deeper than the accents but with the place. Las Vegas is a place of easy money, flexible morality, and an influx of tourists coming to have a fine, filthy time before going back to their homes and cubicles.

I'll never know what the truth was and it likely doesn't matter if I do. Getting rid of her photos from this specific digital dump felt more like packing up the clothing of someone who died to go to Goodwill. The woman for whom I collected hundreds of excerpts from Pablo Neruda and lovesick sayings died in February of 2020—I just didn't know until much later. I'll confess that I miss her but who she was rather than who she is and that's some Grade A mindfuckery.

I didn't see the change in her until it was long past the expiration date. I was looking but wasn't seeing what is now completely obvious through the photographs through our time together. I wouldn’t change a day with her for those first five years because I was in love and was with the person I was in love with. The person she chose to be once we got to Vegas is no one I ever wish to see again and so I delete all memory of her as completely as I can. I suppose that’s how all split ups are and the duality of our memories pervades the path forward.

Funny that, as I deleted thousands of reminders of her, I'm keeping all the inspirational sayings and even a few of the romantic ones because you never know who’s coming around the corner, right?

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winterscaptain · 3 years

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advocate.

Aaron Hotchner x Gender Neutral Reader a joyful future fic

a/n: the very first part of ajf! the beginning of our story! oh my goodness! this got a little long, but there was a lot i wanted to pack in here. thank you all for your patience as i worked through this <3 i’ve got some fun graphics in here for you - open them for best quality!

words: 8.45k warnings: language, alcohol use, canon-typical descriptions of injury and violence, mention of suicide

summary: “our ambition should be to rule ourselves, the true kingdom for each one of us; and true progress is to know more, and be more, and to do more.” - oscar wilde. au!july-september 2007

masterlist | a joyful future masterlist | ajf faq | requests closed!

“Director Shepard?”

You approach her, feeling very young, with a question and a smile.

She turns, smiling at you softly. “Yes?”

Her lecture was immaculate - she covered a broad swath of topics - being the first female director of NCIS, her history in international relations and liaison work with British and Israeli intelligence - all of which paved a bit of a roadmap for success in federal law enforcement.

You introduce yourself and shake her hand. “I’ve gotta tell you it was a challenge to choose between agencies in my applications, I admire your work both as an agent and director of NCIS and I was wondering…”

You lose your nerve a bit, but steel yourself again and ask.

“... Would you be willing to meet with me and talk about your career trajectory a little more?”

There’s a light in her eyes as she studies you with a kind of supreme benevolence and gentleness. “I would.”

+++

“Alright,” she says, setting her napkin in her lap. “What do you want to know?”

You laugh a little, “Is everything a good place to start?”

She laughs, and you’re immediately drawn to her warmth. There’s a kind of fire in her, and it doesn’t just come from her hair. “Not at all. Though I’ll give you some unsolicited advice now, to save some time. Find someone you can follow, someone you can learn from.”

She goes on to tell you about her mentor, still on the Major Case Response Team under her purview at NCIS. Though she’s his boss now, she tells you that she still goes to him for advice, for friendship.

“Trusting the people you work with always comes first. It’s not always possible, but when you can manage it. It makes everything better. Always protect them where you can, and don’t ignore the politics”

You do everything except take notes as she tells more stories, how she’s switched from “probie” to Agent to diplomat to Director, before she turns back to you.

“Do you know which unit you’re interested in, yet?”

You shake your head. “Not yet. I’m hoping I’ll have a better idea when the Quantico unit chiefs start coming in to lecture. I’m hoping one of them will catch my interest.”

“Great idea. When one of them does, give me a call. I think any unit could benefit from someone like you.”

+++

Agents Hotchner, Morgan, and Gideon have your attention the moment they step into the room. They’re confident, with a sharp kind of intelligence you admire.

The world of the BAU is fascinating. Serial killers, sex criminals, the very worst of depraved humanity is their everyday. While it sounds somewhat horrifying, it compels you.

Agent Hotchner especially catches your attention. He’s confident in a kind of serious, bladed way. Clearly intelligent, he commands the attention of everyone in the room and effortlessly wields his authority among curious students and his fellow agents.

You’d think Agent Gideon would be the obvious leader, what with all his years of experience and seniority, but even with his grasp of a field he shaped, he doesn’t hold a candle to Hotchner.

With your half-hour-old knowledge, you put together a quick profile of the remaining figure.

Agent Morgan, while strong and clearly an alpha male, brings a skepticism with him. It hangs in the air around him and seems to apply to both of his colleagues. There’s something about Agent Gideon that makes him uneasy, distrustful. He tends to shift his weight away from him when they get too close to each other.

He’s not overt about his skepticism regarding Agent Hotchner, but you get the idea there’s more under the surface you couldn’t possibly know just by studying his behavior in a lecture hall.

This is fun.

You hide your smile in your notebook, jotting down a couple of notes as Agent Gideon continues his “brief overview of profile-driven serial killer arrests.”

+++.

“Director Shepard’s office.”

“Hi Cynthia,” you greet her secretary. “Is Director Shepard in?”

She connects you, and you ask about the BAU.

“Is Jason Gideon still the unit chief over there?” She asks. You can already hear her typing and you’re more than a little concerned about her tenacity in this moment.

“No, ma’am, it’s Agent Hotchner, now.”

“Perfect.”

+++

+++

You’re called into SSA Radner’s office the following Monday to “discuss some changes to your academy courses.”

That doesn’t sound good.

SSA Radner, an imposing and intimidating woman, is the SSAIC in charge of your NAT class - the person in charge of your collective fates.

No pressure.

She opens the door when you knock, gesturing to the chair on the other side of her desk. “Please, have a seat.”

You chuckle nervously. “Thanks, Agent Radner.” You note her little smile as she sits at her desk, and chance a question. “Have I done something, I dunno, wrong? We don’t seem to find much good news in the SAIC’s office at my rank.”

That pulls a laugh from her. “I wouldn't worry too much. I have a proposition for you. It’s...unusual, but not unheard of.”

Your brow crumples a little and she exhales.

“It might actually be better if - yeah. Hold on.” She clicks her intercom and her assistant chirps from the other side.

“Yes ma’am?”

“Please send them in. I’d like to do a joint briefing.”

Joint briefing? What is this, the third invasion of Iraq?

The door opens behind you and you whip around, finding Agent Hotchner and IOS Section Chief Erin Strauss.

What the fuck?

Either you’ve done something terrible or insane and you’re not sure which.

Chief Strauss addresses you first, shaking your hand. You introduce yourself for good measure but have a feeling she already knows who you are.

“It’s come to our attention that you have ambitious interests and are taking exceptional steps to make the most of your education and training at the academy. Is this a fair assessment?”

“Yes, ma’am.”

Agent Hotchner steps forward, sort of looming over you with something that isn’t quite a stern look. You take his hand when he offers, introducing yourself and ignoring the jolt of energy that shoots up your arm at his touch.

His handshake is firm, his hands dry and warm. He looks different up close, younger, maybe. There’s the barest touch of grey at his temples, the beginnings of lines around his mouth and eyes.

Not what I expected.

What did you expect?

How old could he be? Thirty-five, maybe?

Shut up.

He’s handsome.

Shut up!

His face relaxes a little bit before he speaks. “Director Shepard, a close professional colleague, has been a staunch advocate for you and your talents. She approached me about taking you on, giving you case hours in lieu of some coursework.”

“You’d have some catching up to do, as it’s already three weeks into your twenty, and we’d transfer you into the profiling classes,” Agent Radner adds. “But with your diligence, I doubt you’ll have trouble with the added workload.”

“No, ma’am. That should be fine. But,” you look between the three of them, “what does ‘case hours in lieu of some coursework’ mean, exactly?”

“You’d be on assignment with the BAU until you received your formal assignment following successful completion of the academy, with the possibility of assignment with the BAU as a full-fledged agent.” Chief Strauss rattles off the information as if it’s the thousandth time she’s said it.

It might be.

You can’t even fathom how much effort and time must have gone into this decision. The realization leaves you speechless.

She prompts you again. “Does that sound like an opportunity in which you’d be interested?”

“Oh, yes, ma’am.” You feel a little stupid, but you’re rewarded with a proud smile from Agent Radner.

You could also swear you saw a twitch of Agent Hotchner’s lips, but he doesn’t seem to be a man who smiles much.

+++

“So this’ll be your desk,” Agent Jennifer-but-my-friends-call-me-JJ Jareau says, pointing to one of the many desks in the bullpen.

You set your bag down with a little smile, feeling more than a little overwhelmed.

Agent Morgan pats your shoulder as he passes your desk. “You’ll do just fine, kid. Ready for a case briefing in ten?”

“Sure.”

His blinding smile eats up his whole face and you like him already. He’s different than you thought he’d be, but you still don’t think your preliminary profile was too far off.

Agent Gideon, still holed up in his office, has yet to acknowledge you.

Your eyes keep wandering to the open blinds, behind which Agent Hotchner and a woman you understand to be his wife have a quiet, apparently heated argument on either side of his desk. Except for the tight set of her mouth and the angry glint in her eye, she seems lovely.

Derek follows your gaze. “Wasn’t always like that.”

You look at him, a little furrow in your brow.

Should he be telling me this?

“She’s not always here either, but their son, Jack, has been sick, so it’s been… tense.” Derek shakes his head. “You wouldn’t catch me married in this job, not once.”

That pulls a laugh from you.

Emily, sitting at the desk beside you, turns in her chair. “Remind me to drink to that later.”

Derek snorts and picks up a couple of files, headed up to the round table room.

+++

Your first case briefing is, well...brief. The case seems fairly straightforward and you run through relevant vocabulary while JJ outlines the case details.

Preferential offender, keeps his victims for no more than three days, victims found in public places.

He wants them found, and fast.

Need-based, maybe? What are his priors?

You’re all dismissed with a brisk, “Wheels up in thirty.”

You pack your things a little slower than probably called for. Hotch disappears into his office again, closing the door behind him. When you pass the window, his wife is tucked under his chin.

Hotch’s eyes flicker to yours and you quickly train your gaze on the floor, hustling down the stairs.

+++

You land next to each other when you board the plane. You do your best to avoid taking anyone's assigned seat.

With a team of this size, you can only assume they have such things.

And they do.

Gideon, Spencer, Morgan, and Prentiss take a seat at the table while JJ perches on the arm of the couch.

Hotch settles at the informal “head” of the table, leaning on the chairs across the aisle. You take a seat in one of the chairs in the row next to him, trying to stay out of the way.

“C’mere, kid,” Derek says, beckoning you forward. “You’re on this team.”

You shuffle forward in your seat, leaning forward with your elbows on your knees and case file open in your hands. “I’m ready.”

JJ smiles at you, and you almost feel comfortable.

+++

You end up alone with Hotch in the precinct conference room after you land, unboxing files and sorting them for Spencer. Until you know enough to make yourself useful, you’ve made it your mission to handle the tedious and the clerical.

Hotch pauses every once in a while as if he wants to say something. You continue on your way. When he’s ready, he’ll stop you.

“I’m sorry about earlier. My wife, Haley, she -”

You look up, waving him off with a little smile. “It’s okay, Hotch. It’s none of my business.”

He looks at you for a minute, studying your face with a bit of a squint. “You mean that.”

It’s not a question.

You’re confused.

“Of course.” A nervous laugh leaves you. “I mean, you’re welcome to tell me if you want, but it’s nothing I need to speculate or gossip about or, God forbid, profile.”

The shock and relief war on his face until it settles back into something that looks like his usual severity, but a little softer. He doesn't say anything else, but you have the sneaking suspicion you passed a test neither one of you prepared for.

Spencer and Emily return from their trip to the medical examiner’s office.

“Who organized these?” Spencer asks, pointing at the neat piles you made.

“Me.” You look up from another box you’re working on. “Would it be helpful if they’re sorted another way? I went chronologically and then by number and type of offenses, with preferential offenders that match the M.O. on top, when possible.”

Emily, Hotch, and Spencer freeze, staring at you like you grew another head in front of them.

You’re suddenly and violently self-conscious. “What?”

Spencer snaps out of it first, shaking his head and picking up a stack. “Nothing that’s just...um…”

“Exactly right,” Emily supplies. She glances at Hotch before looking back at you. “Thanks.”

“No problem.”

Hotch is the last to break, but the curious little glances he keeps throwing your way always linger a little too long.

To your credit, you ignore them.

+++

“So, how are you liking it so far?” Derek slides into the driver’s seat and rolls out of the parking lot.

You’re headed to another witness’s house under direct orders to observe and as a few (carefully directed) questions. Derek insisted on bringing you himself while the others keep busy with something else.

“I’m liking it,” you reply.

He laughs. “Coulda fooled me.”

You screw up your face and look over at him. “What do you mean?”

“Well,” he says through a laugh, “when you’re not making yourself ridiculously useful, you look terrified.”

“I am terrified.”

“Nothin’ to be scared of as long as you keep asking questions,” he says.

It’s almost like he doesn’t know how ridiculous he sounds.

“You’re joking, right?” You turn to face him, shifting in your seat. “Agent Morgan -”

He cuts you off. You’re pretty sure that’s just how he is - he interrupts the other members of the team frequently and fearlessly. “- Derek. Or Morgan.”

“Fine. Morgan, you have to know that your team is legendary. I don’t even know why -”

“- Don’t say it.” He flags his hand before putting it back on the wheel. “You’re here for a reason, and none of us are going to let you fall so hard you can’t pick yourself up, okay?” He glances over, meeting your eyes. “We’ve got your back.”

You quirk a smile. “Thanks.”

“And,” he adds, “Hotch seems to like you alright. That’s half the battle.”

“What’s the other half?”

He snorts. “Gideon. And local law enforcement.”

+++

You settle in a little easier after that. JJ’s your next target as you help her make some calls to the D.A.’s office.

You hang up and take a breath, slumping back in your chair. It’s been a long day already and it’s not even lunchtime.

“Hanging in there?” JJ asks, smiling at you over her files.

You nod. “Yeah. Just a… different kind of energy than the academy, I think.”

“I felt that way when I got here, too. Gideon was unit chief back then and Spence had just started, too.” She huffs a laugh. “It was a little easier when there were more newbies, but then…” Her face clouds over and she shakes her head.

“Then...what?”

She looks up at you and her mouth twists. “Boston.”

+++

“Hey, Derek?”

“Yeah?” He keeps his eyes on the road, but he can hear the trepidation in your voice.

The dark interior of the car feels safe in the early hours of the morning, headed back to the hotel. “You said I could ask you anything, right?”

His eyebrows pinch. “Shoot.”

“What happened in Boston?”

Derek takes a breath and lets it out in a whoosh. “I wasn’t there. I was supposed to be there.”

You wait on him, watching him watch the road.

“Unsub holed himself up in a massive warehouse. Gideon called in all the support he could - A Team, B Team, SWAT, the whole nine. I was visiting my mom in Chicago for her birthday like I do every year.”

He stops at a red light, and you take a moment to look past him into the adjacent SUV, where Emily and Hotch’s profiles rest in a statuesque silhouette, backlit by the streetlamp.

“It was a trap from the start. Everyone pushed in on Gideon’s order and the whole thing just…” He tosses his hand up and it lands with a smack on the leather steering wheel. “It just went up. Boom. Six BAU agents in our unit, dead, just like that. Had to rebuild from scratch.”

You shiver, though the car is warm. “I’m so sorry, Derek.”

He shrugs. “Gideon took six months off, Hotch took over. Gideon came back, Hotch stayed up front.” He smiles a little. “Haley wasn’t happy, but that’s the job.”

Why does it always come back to Haley? To Hotch?

Because he’s the unit chief.

I know but…

Don’t read into it.

You decide to push, just because it’s Derek, because he seems to know, because you feel safe with him, because it might be a mistake. “Is that what you meant?”

“Hm?” His head turns just a little toward you, his brow furrowed.

“You told me on my first day ‘It wasn’t always like this.’ Is that what you meant?”

“No sane man would take on the unit chief position with a wife and baby on the way.” He shrugs and with a secret little smile says, “But nobody ever accused Hotch of being sane.”

+++

Aaron sits in front of his computer, the end of his pen tapping on the glossy wood of his desk.

Does he have feedback? He’s not sure.

Even with your limited knowledge, you’ve managed to optimize most of the administrative bullshit and political nonsense that clogs most local investigations. You bounce between acting as his shadow and JJ’s, making friends and soothing hurts when toes inevitably get stepped on.

You’ve immediately adapted to his style of criticism and correction, using Derek and Spencer as guide-rails when you’re not sure where you’re going.

There’s nothing to complain about.

But then again…

Feedback isn’t just about the negative.

If he’s honest with himself, he knows he won’t shower you in the glowing praise you deserve. Gideon never did for him or anyone that came after.

It’s not in their nature, or his.

He starts to type.

Glancing out his office window, his eyes find you hunched over your desk, poring over one of Spencer’s notebooks, a pinch in your brow as deep as the Grand Canyon.

You work hard, impossibly hard. You throw everything you have at your work in the field while managing your courses and keeping up with your classmates.

That in mind, he drafts an email to Jenny.

With a sigh, he sends it.

He’s still thinking of what you said on the last case, the genuine truth of it, and how many times he has done his best to preempt the gossip that plagues this office, no matter who it’s about.

This unit, as much of a family as it may be, constantly wraps itself in the business of everyone else. To know you couldn’t give less of a shit about his marriage when the rest of the team (save Gideon) probably has money on when Haley calls it quits is, admittedly, refreshing.

+++

After being in the field, classes take on a new kind of banality. You’re keeping up well enough, but watching Gideon and Derek quarrel over the details of a profile beats diving into the techniques - you guessed it - Gideon developed from cases past.

Hotch and Garcia were gracious enough to CC you on emails while you were grounded at the academy, but it wasn’t the same.

It was hard not to feel left behind, like the last kid chosen for dodgeball in PE class, watching the rest of the unit leave the office. You hung back in the bullpen as long as you could find something to do this morning, making it to class at the very last minute.

Even after lectures, your classmates want nothing more than your attention. You’re suddenly consulting on three different practicals and never have a lunch to yourself.

Most afternoons, you sneak into the bullpen just for some peace and quiet.

You hear your last name and look up, finding Erin Strauss approaching you. You stand. “Ma’am.”

“What are you working on?”

You look down at your desk, finding practical and theoretical exam notes shuffled around next to mock consults and other nonsense Hotch dropped on his way to the jet earlier in the week. “Course work, mostly. It’s nice to… get away every once in a while.”

Erin nods with a little smile. “I’d imagine you’ve been pretty popular lately.”

You shrug, a little facetious. “You could say that.”

She pays your shoulder in a surprisingly maternal gesture, before wishing you luck and leaving you to your work.

At this point, you can��t even imagine just being an FBI agent.

+++

You’ve just closed your burning, tired eyes when your phone rings.

You answer, your last name a grumble into the mic.

“It’s Hotch.”

You sit up straight in bed, immediately awake. “Sorry, sir, I -“

“I should apologize. I don’t mean to interrupt your studying or wake you but I think I could use your opinion on this profile.”

You frown in the dark, flipping your desk lamp on. “My help, sir?”

“Yeah.” He heaves a sigh and you can almost see the fingers pressed to the bridge of his nose. “I’ve been looking at it too long.”

“Maybe Derek, can -“

“No. You. Here, listen -“

He rattles off the details of the case and you snatch your notebook and pen off the desk, jotting things down as Hotch continues through the case.

“Have you identified and contacted local individuals who fit the victimology, taken steps to protect them? He’s a preferential offender with a predictable cooling-off period, right?”

For some reason, this isn’t half as exhausting as the practical exam practice you’d been working on for the last five hours. You may or may not have written those exact questions about fifteen times, but it’s far less exhausting when directed at Hotch.

“Yeah. Two high-risk victims are in protective custody and JJ’s been in touch since this morning.”

You go through a few more basic questions, getting your feet under you, before asking the one you’re really after.

“Sir, why did you call me?”

“I needed another set of eyes.”

You huff a laugh. “No, I gathered that, but why did you call me? I’m in the middle of learning about something you’ve been doing for…” You search for a number, but your brain is fried.

“Too long,” he supplies.

“Sure. But my point stands.”

“That it does.” Something creaks in the background and you imagine he’s leaned back in his chair.

“Did I help?” You’re happy he can’t see your dubious, if not entirely doubtful, expression.

He’s happy you can’t see the little fond smile on his face. “Yes, actually. You did.”

+++

“Wheels up in thirty.”

You all stand from the table and start your routines. Emily and Spencer make a beeline for the coffee machine while JJ jets back to her office for contact sheets and files and all manner of coordinating materials.

Derek’s routine is simple enough - he already has his coffee and his go bag, so he’s answering a few emails before wheels up.

You never really know what to do during this liminal space, so you stick to classwork.

Much to your surprise, you’ve shot ahead in your classes on the shoulders of Derek and Spencer. They’ve been monumentally helpful with the history and application of profiling techniques (though much of Derek’s advice has been ‘just watch Gideon,’ you’re not sure how to watch a process that takes place entirely inside the man’s head).

You ride with Hotch to the airstrip, looking out the window most of the way. It’s only a five minute drive, but the tree-lined roads around Quantico are always lovely this time of the morning.

As always, you do your best to stay out of the way on the plane, taking up residence on Hotch’s right with your notebook and case file.

You offer some thoughts here and there, not pushing too much or saying enough to make an ass of yourself.

When Hotch calls break, the rest of the team scatters to their respective corners.

Gideon turns to you, gesturing with one finger. “Hey, ah…”

Spencer chirps your last name from across the cabin and you shoot him a grateful smile.

“Good job in the briefing, today.”

And with that, he disappears to the far side of the cabin, leaving you and Hotch alone by the table.

“Wow,” you say with a little smile. “I didn’t know he was aware of my existence.”

Hotch doesn’t say anything, but his lips twitch.

Success.

+++

“Welcome back, kiddo!” Derek offers you fist and you bump your knuckles against his on your way back to your desk. “How’d those exams go?”

You huff, playing at defeat. “Oh, you know.”

“Don’t worry about it. There’s always next time.”

Hotch, returning from a meeting with Strauss, hardly looks up from the file in his hand when he says, “Well done on your exams. SSA Radner threatened to hang your marksmanship targets on her wall.”

You hide a smile. “Thanks, Hotch.”

“Not fair!” Spencer says, tossing another Tums in his mouth. “I never passed those.”

“Then how on earth do you have that, Reid?” You point at his six-shooter, still clipped to his hip.

“Wait wait wait,” JJ says, dropping her files and crossing her arms. “You haven’t heard that story?”

Your eyes flicker from Derek, to JJ, to Spencer, and back. “...No.”

JJ settles in, regaling you with a wild tale of an L.D.S.K. -

“You remember what that stands for, right?” Derek points at you and you have a feeling this is about to become some kind of pop quiz.

“Yeah. Long Distance Serial Killer.”

“Good. Famous unsubs include…?”

You sit back in your chair with a little smirk on your face. “D.C. Snipers Muhammad and Malvo, active October 2002, seventeen victims total. Apprehended by agents from the FBI Baltimore field office -”

Derek holds up a finger. “And?”

“- and the BAU and the Maryland State Police.”

“Good.”

JJ waits for Derek to nod at her and she continues what you imagine to be a rather embellished version of a story in which Hotch and Reid save the day.

“...And then Hotch just starts kicking the shit out of Spencer -”

Hotch’s office door shuts and he sails down the stairs with one of those little secret smiles. “This one ends with Reid stealing my sidearm and shooting the unsub in the head.” He taps right between his eyebrows in the barest of pauses on his way out of the bullpen. “Dead center.”

Derek and JJ groan, both whining about how he ruined the punchline before devolving into a fit of giggles. You can almost see the smirk on his face as he pushes through the glass door and turns the corner.

You join in the mirth, ruffling Reid’s hair. He smiles widely at you.

Maybe you could just get used to this place.

+++

The second round of classes on top of added case hours (you’re traveling with the unit more often than not) nearly brings you to the brink.

On the plane back to Quantico, you realize you can’t remember the last time you actually had a full night of sleep.

The rest of the unit is out cold, curled into themselves or stretched out under blankets, save for Hotch and Gideon.

Gideon’s writing in that wretched notebook again, entirely focused on his work under the weak reading light.

Aaron sits beside you on the other side of the cabin, looking over a few files before returning home. You watch him check his watch, sigh, shrug, and pull out his phone. To your surprise, he doesn’t move to give himself space as he calls his wife.

“Hey, honey, it’s me… Yeah, we’re on the plane. Should be back within the next hour and a half... “

He sighs and tightly closes his eyes. “Haley, please… Yes, I know Jack’s already asleep… Are you implying I didn’t do my damnedest to - Then what’s your point?...”

His voice never once rises above a low murmur. It’s impressive.

“I’ll be home as soon as I can… No, I won’t pass ‘Go’ or collect two-hundred dollars or step foot into my office… Yes. Plane. Tarmac. Car. Home… Yeah… Love you too.”

He snaps his phone shut and leans back, tipping his head against the headrest.

You stay quiet, continuing your review of S.S.A. Bailey’s course on, ironically, conflict de-escalation.

Hotch takes a talking breath and you look over at him, keeping a kind of soft understanding on your face - really, shooting for anything that isn’t curiosity.

“I appreciate your…” He looks for a word. “Discretion.”

You laugh a little down your nose. “How many times do I have to tell you it’s none of my business?”

“How many times do I have to imply that a phrase like that isn’t in the vocabulary of this team, usually?” He shifts a little, and you notice his thumb, running along his forefinger like he’s searching for bone.

“Is it really that bad?”

Hotch raises his eyebrows, and you relent.

“Fine.” You drop your voice. “Do you want to know what I’ve seen?”

He shrugs. “An outside perspective might be nice.”

You keep your eyes on your book as you speak, keeping your volume low and your tone as neutral as you can.

“I’ve seen how Emily worries about fitting in - I can’t help but relate. This team is a family and it’s… hard to break through that sort-of-wall to the outside world.”

The prickly feeling of his eyes on you isn’t altogether unpleasant, but you still haven’t grown used to it.

“Derek and Spencer are worried about Gideon and,” you glance at him briefly, “so are you. Everyone seems to want to know why, but I don't think that’s always useful.”

Hotch hums once, maybe in agreement - you’re not too sure.

You are sure, though, that this was a test.

“How’d I do, Counselor?”

It’s never too early to invoke the J.D. hanging in a frame behind his desk. It was the first thing you noticed and suddenly, a lot more made sense.

You’re rewarded with a small smile. “Not bad. Though you did forget to drop in the little bit about my marriage.”

“I didn’t forget,” you assure him.

“No?”

“No. I figure if you have something to say, you seem like the kind of person who’d just say it. At least,” you shrug, “that’s my impression.”

He’s quiet for a minute before he squints and looks over your shoulder at your reading. His brown eyes track down the page before returning to yours. He’s close to you, but you’re not uncomfortable.

Hotch is...safe. Somehow.

“There’s a reason you’re the exception. Not sure what it is yet,” he says. “But there’s a reason.”

“What?”

He leans back, a cryptic little smile on his face, and says nothing else for the rest of the flight.

+++

“Hotch, are you sure it’s not a trick question?”

“The questions aren’t designed to trick you,” comes a voice from the doorway. To your surprise, it’s Gideon. “They’re designed to stretch and reveal your instincts. No right answer.”

The corners of his mouth turn down while his eyebrows rise in that kind of halfway-encouraging look he sometimes gets. “Just go with your gut.”

He disappears and you turn back to Hotch, scribbling away in a file.

“He’s right.”

Your brain feels less and less bound to your body as the days pass. “Am I nuts, or is that the most words he’s strung together since I got here, combined?”

What you now know to be a smile twitches at Hotch’s mouth. “You’re not nuts.”

You sigh and turn your attention back to your mock exam, twiddling your pencil between your fingers. “I’m sorry to keep bugging you with homework - it feels like cheating.”

He pulls his phone from his pocket. “Resourcefulness is not cheating. If it was, I’d have to go back and get my J.D. out of a Cracker Jack box.”

You muffle a laugh.

He checks his watch. “I have a check-in with the budget office in five minutes. You’re welcome to stay right where you are, but it’ll be boring and I plan to do a lot of pacing.”

You hold your hands up in surrender and settle in.

Friday afternoons in the office feel a lot like Saturdays in the office - which is to say, nothing happens at all. The rest of the team is catching up on paperwork while Gideon walks laps with his little notebook.

Not three minutes into his conversation, Hotch stands and begins to pace, as promised.

"No, we can't cut the technology budget... Because if the BAU gets called to a remote region, we need to have immediate access to satellite phones and our technical analyst… Yes… Send the budget to the Director, and I'm certain it'll come back approved without changes… The arrest and prosecution rate of this unit is -”

His desk phone rings and he gestures for you to pick it up.

“Agent Hotchner’s office,” you say with more than a little trepidation. You’re definitely not qualified to answer the unit chief’s phone.

“Goddamn it, Aaron why can’t you -” She pauses. “Wait. Sorry. Who is this?”

You introduce yourself. “I’m currently on-assignment with the unit. It’s… unconventional.”

“Hm. Why are you answering Aaron’s phone?” Her tone isn’t accusatory - it’s more curious than that. You’d imagine this doesn’t happen all that often. He’s either at his desk, or he’s not at his desk.

She calls him Aaron.

You’re not sure why that surprises you. They’re married, and he has a first name.

Taking a look across the room, you watch Hotch’s profile as he continues to defend the budget he submitted.

Aaron.

You make an attempt to see the man behind the suit, the man who goes home to his wife and son when he can.

“I’m using his office to study for my academy exams. I’ll see if I can reach Agent Hotchner for you. Just a second.”

She snorts something that could be a laugh if it wasn’t so sharp. “Thanks.”

Hotch looks over and squints at you, mouthing, Who is it?

You put her on hold and answer in a stage whisper. “It’s your wife.”

Hotch freezes for just a second - it almost looks like he’s rebooting.

He blinks three times in rapid succession before he pulls the phone away from his mouth. “Tell her I’m in a meeting. I’ll call her back.” You move to reach for the phone but he holds up a finger and you freeze. “Wait two minutes.”

You follow instructions, taking the time to answer a few more mock exam questions. You try not to think too hard about his avoidance. This doesn’t seem like a particularly pressing phone call - Hotch is in budget meetings all the time.

None of your business.

After about a minute and a half, you pick up the phone again.

Before you can say anything, she’s already back on her mini-rampage. About twenty seconds in, she pauses.

“I’m so sorry. I’m still not talking to my husband, am I?”

De-escalate. Disarm. Establish rapport.

You can do this.

You channel Derek, using a softer tone designed to distract. Maybe you’ll sneak some humor in there, if you can manage it.

“I’m sorry, Mrs. Hotchner, he’s not available.”

With a defeated sigh, she asks, flatly, “Where is he?”

Humor. Play off her disappointment.

“I assume he’s in a meeting or something - he likes to think he’s very important - but I can’t find him.”

To your surprise, she laughs a little.

You check with Hotch across the room. He rolls his eyes at you but continues his bickering.

Success.

“Can you just… I don’t know… Tell him I called, or something?”

You try not to think too hard about the defeat in her tone. “I promise I’ll badger him to call you back as soon as he’s back at his desk, ma’am.”

“Wow.” She sounds impressed, and you’re not sure why. You’re not left in suspense for long. She continues -

“You’re a way better liar than JJ. Also - please don’t call me ma’am. Makes me feel old. Haley’s just fine.”

“Of course.”

“You know what…” She asks for your cell number and you give it to her, throwing a glance at Hotch for good measure. He’s still pacing.

He presses his fingers to the bridge of his nose, but can’t say anything to you before he’s forced to respond to the poor budget clerk who drew the short straw. “No we can’t start sharing hotel rooms…”

Haley interrupts your momentary space-out. “Thanks, again. If he doesn’t have a chance to call me back, can you let him know I’m going to my sister’s for the weekend? With Jack?”

“Sure.”

That’s another question I’m not going to ask.

You hang up the phone and get back to your exam, trying not to feel comforted by the lull of familiarity in the room.

+++

For some reason, you keep finding yourself alone in police precincts in the middle of nowhere with Hotch sitting across the table from you.

“Hey,” he says.

You look up.

“Haley, she…” He heaves a sigh and trails off for a minute, frowning at a spot above your head. “I don’t know why I’m asking, what I’m asking.”

You keep your eyes on him. “Shoot.”

He takes another breath. “I don’t know how to make her happy anymore.”

This is above my pay grade.

“Everything I do seems to irritate her - trying, not trying, just surviving. I don’t know.” He shakes his head at your somewhat bewildered expression. “Sorry, I -”

“No, no, Hotch. It’s fine.” You search for his eyes. “What can I do?”

He shakes his head. “Any advice?”

Any advice? Definitely above my pay grade.

You also feel for him - he wouldn’t be asking if he wasn’t desperate.

Besides that, it almost makes sense he’s asking you rather than anyone else on the team. They’ve all known him too long, have been too close to see his struggles clearly. They need to see him as an authority, separate from petty squabbles.

Separate from the things that make him human.

He needs to be a superhero for this team, and then go home and be a superhero for his family. Both parts of his life exist with a wall between them - Agent Hotchner can’t be a husband and a father in the field, and Mr. Haley Hotchner can’t be an agent at home.

It must be lonely.

Everyone else knows about and ignores that necessary separation. He trusts them as his colleagues, people he can rely on professionally, but perhaps not personally.

Well, all except Emily.

You get the feeling that he doesn’t completely trust Emily yet, but you’re not sure why. That’s another thing to figure out about the walking enigma sitting across from you.

“Well… I’ve never been married, I don’t have kids, but I think…” You search for words.

It’s none of my business, is what you want to say.

Instead, you offer, “Why don’t you just ask her?”

His brow crumples. “What?”

“Ask her. You don’t know how to, I dunno, do it right on your own, it sounds like. But you’re a team, right? Just ask her.”

You duck down to your work, getting the feeling he’d rather not be observed as he processes. There’s a part of you that wonders whether his preference for privacy masks his fear.

Another part of you already knows the answer.

+++

Derek and Emily walk back into the precinct, spotting the pair of you right where they left you.

Hotch still watches you with a soft, curious frown on his face, like there’s a puzzle there he can’t quite solve. You diligently work away, sticking flags and post-its on cold cases for the board.

“What’s with that?”

Emily looks up from her phone. “What’s with what?”

Derek nudges his chin toward the conference room. “That.”

Emily’s brow pinches a little. “They seem to be getting along well.” Her mouth twists. “I didn’t think he’d warm up so easily. He didn’t with me.”

“He gets like that. He’s getting better, though, ever since you called him out.”

She snorts. “You’re kidding. I didn’t think he actually listened - I barely meant it.”

“No, you didn’t.” Derek raises his eyebrows and searches for her eyes. “And he heard you.”

Emily shifts her attention back to you, her posture softening. “Oh.”

“C’mon,” Derek says, tapping her upper back with a good deal of affection. “Let’s regroup and see what we’ve got.”

+++

Aaron sits up in bed, the harsh light from the hotel table lamp illuminating the ugly wallpaper and the case files on the equally ugly bedspread.

His fingers hover restlessly over the keys as he drafts his email, warring with himself.

Does he want you on the team? Permanently? He’s already shown too much of his hand, revealed too much of himself, grew too comfortable too quickly.

He’s not sure what it is about you that forced his guard down.

You’re not the first person he’s asked about Haley, though he must admit that Gideon was next to no help. Spencer’s offered him unsolicited statistics about marital strife on three separate occasions in the past three months.

Aaron presses his fingers to the bridge of his nose and squeezes his eyes shut.

I live in a circus.

He opens his eyes and reads over the email again.

Fuck it.

His cursor hovers over Send for just a moment before he clicks. The little whooshing sound seals his fate.

+++

You land in Arizona and Gideon’s already on edge. There’s already another crime scene by the time you get off the plane

“This one’s going to be bad, isn’t it?”

Derek sighs. “You’ve got good instincts. Stay close.”

You elect yourself Derek’s shadow at the crime scene, taking notes for him while he circles and observes the body.

Leaning close to him, you ask, “Isn’t the body positioning a sign of remorse?”

He looks over at you with a little smile. “Yeah. Good work.” He looks across the street to Hotch, speaking with the detective. “Do yourself a favor and note that to Hotch. Make sure Gideon hears you.”

+++

This time, you’re alone with Emily in the conference room, helping her pin and organize the board.

“Hey,” she says, something like hesitation in her voice.

You turn. “Yeah?”

“Did Strauss ever…” She trails off and looks over her shoulder as Hotch, Gideon, and Derek come back in from the Arizona heat. They’re on their way to the conference room.

“Did she ever what?”

Emily shakes her head and forces a smile, waving you off. “Nevermind.”

You’re not sure you get the confused look of your face before your colleagues walk through the door.

+++

“Where are they?” Hotch watches the monitor, his eyes flickering, searching for Derek and Emily.

You’re frozen, watching over his shoulder as the woman stabs the unsub, and then herself. Without knowing why, your mind wanders to that question Emily almost asked you the day before.

This isn’t good.

+++

The plane ride home is quiet, tense.

You sit next to Hotch again. There’s not much you can do, but you shoot a text to Haley.

5:42pm We’re flying back. Should be wheels down in Quantico in about four hours.

She texts back after a minute.

5:43pm Thanks.

There’s something off - you don’t like the look of that period, but you try not to read into it too much. You’re all feeling a little unsettled after that case.

Your eyes wander across the cabin.

JJ’s bottom lip is firmly planted between her teeth as she stares out the window.

Spencer’s sitting across from Gideon with a huge book in his lap, but he’s looking at Gideon more than he’s reading.

Gideon, for once, doesn’t have his journal in his hand. He, like JJ, stares out the window, his mouth pinched.

Emily’s eyes are restless, her breathing somewhat irregular. She’s picking at her nails.

“Emily.”

She looks up at you, and you tap the back of your hand with a finger. She looks down, finding her thumb and index finger close to bleeding.

“Thanks.” She looks away from you again.

If you didn’t know better, you’d think the view out the window was the most captivating sight in history.

You know better. It’s just clouds.

Your phone buzzes in your hand. Jenny.

5:58pm How’s it going?

You huff a little laugh down your nose.

5:58pm Rough day.

Hotch breaks his gaze from the window. “What’s up?”

“Just Jenny. She’s checking in.”

He shakes his head and you can hear the sarcasm in his tone. “Good day for it.”

6:01pm If you’re up to it, I’ll be in my office late if you want to swing by and talk about it. 6:02pm I also have booze.

You look up to find Hotch reading over your shoulder. He backs off. “Sorry. Didn’t mean to -”

“No, it’s fine.”

“You should go, if she’s offering.”

You snort. “Should I be job-searching already?”

“I wouldn’t worry about that,” he says with a little smile. “Jenny’s seen a lot. She’s a good resource.”

+++

The Navy yard is quiet as you drive across the campus. The NCIS building isn’t hard to find, but it’s still unfamiliar territory.

When you park and get cleared for access and up the elevator, most of the lights are off on the Major Case Response floor. There are still agents present, working under the warm light of their desk lamps.

A team of four takes up the middle of the bullpen, but they barely look up as you pass them and climb the stairs.

Cynthia isn’t at her desk - gone for the night - and Jenny’s office door is open. She also has her overhead lights turned off, giving her office a cozy, lived-in feel.

“Hey, you,” she says, looking up with a little smile. “Just got the scuttlebutt on that Arizona case. Definitely not ideal, I hear.”

You shake your head, collapsing into a chair on the other side of her desk. “Not ideal is a good way to put it.”

She stands and crosses the office, pouring two small glasses of some amber liquid you know is gonna burn like hell.

You take what she offers and hold in both of your hands, not really interested in drinking it, and follow her to the couch.

“What happened?”

You heave a breath. “Got the call - three murders already. Clearly a preferential offender. All the women were students, brunette, similar features. We already had another crime scene by the time we landed. We used the profile, got the guy.”

Jenny’s brow pinches. “Then?”

“Copycat. Even came with a note exonerating the suspect we had in custody. We had to let him go without a lead on the second suspect.”

She sighs and takes a sip of her bourbon. “Been there.”

“We were surveilling him, waiting for him to do something stupid - we knew he would. The copycat confronted him… She was suicidal. Stabbed him, then herself. We were too late.”

“Oh, my God.”

You level her with an exhausted look. “Yeah.”

“How’s your team?”

“Tired, mostly.” You offer a humorless laugh. “Maybe in a more existential way than a physical way, not that any of us have slept…”

The two of you chat into the early hours of the morning. She’s had more than one day like this, in more than one country.

“It’s days like this that make you question whether you’ve chosen the right line of work.” She looks over at a picture of herself in front of the Eiffel Tower, resting on her bookshelf. “But the good days…”

“They make it worth it, don’t they?”

The corner of her mouth tips up in a smile. “Yeah. They do.”

+++

You find a text from Haley when you get back into the car, not realizing you left it in the center console cup holder.

10:38pm Thanks for getting him home safe. Get some sleep.

+++

When you come in the next morning almost embarrassingly late, Gideon’s office is still dark.

You’re not even really sure you should be here in the first place, what with the major fuckup hanging over everyone’s heads. The last thing you want to do is go home to your room, back to those four tiny walls and textbooks, even after everything. The bullpen, this team, has become your safety net.

They should all be here, but there’s only one absence striking you as particularly odd. “Where’s Gideon?”

Spencer shrugs, spinning half-circles in his desk chair. He looks despondent, staring at the carpet. You don’t see Emily or Derek, but you assume they’re somewhere.

Weird.

You set your things down and head up the stairs, knocking twice on Hotch’s door.

“Yeah?” He looks up and sees you, relaxing a little.

You take a little breath. “Should I be here today?”

“Do you want to be here today?” There’s something behind his voice you can’t quite place. It almost sounds like insecurity, like he’s worried he’s scared you off.

Far from it.

“I do, sir. I want to be here.” You think of Jenny, and hope he can hear more than you can say. “It’s worth it.”

You think maybe you’re figuring him out a little more. He smiles more often than you’d think, but you have to know what it looks like. This look - the softening of his eyes and the corners of his mouth, the slight crease at the corners of his eye, the threat of a dimple - is just as big a smile for him as Morgan’s human-sunshine smile.

“Then stick around. I’ll have you work on some mock consults with Reid and Prentiss - you’ll be doing a lot of those in the next few months until you’re ready to take them on by yourself.”

“I’ll go pick them up from JJ. They’re in her office, right?”

He nods and you turn to leave, but you’re stopped by the sound of your name before you can get through the door. “Yeah?”

“You’ve performed remarkably well, no matter what happens after this.”

The side of your mouth twists. “Thank you, sir.”

+++

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rocknvaughn · 4 years

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New Colin Morgan Interview with Edge Media Network about Benjamin - UPDATED

I am reblogging this because, after the author was made aware of an error in the posting of his article (if anyone clicked through to read it on the site, there was a whole question and answer that was repeated), the error was corrected and another three questions and answers were added! I am correcting it here, but they were very interesting, so I suggest you read the full article again!

I shall post the link at the bottom, but I wanted to type it out so that non-English speakers could more easily translate it. (This article was listed in their “Gay News” section of the site, hence the focus on the gay roles.)

British Actor Colin Morgan: How the Queerly Idiosyncratic ‘Benjamin’ Spoke to Him

by Frank J. Avelia

In writer-director Simon Amstell’s sweet, idiosyncratic, semi-autobiographical comedy, “Benjamin,” Colin Morgan plays the titular character, an insecure filmmaker trying to resuscitate his waning career (at least it’s waning in his mind) after one major cine-indie success. Benjamin is also doing his best to navigate a new relationship with a young French musician (Phenix Brossard of “Departures”).

Thanks to the truly endearing, multifaceted talents of Morgan, Benjamin feels like an authentic creation--one that most audiences can empathize with. Sure, he’s peculiar, has a legion of self-esteem issues and an almost exasperating need for acceptance as well as an inconvenient talent to self-sabotage the good in his life. But who can’t relate to some or all of that?

“Benjamin” is one of the better queer-themed films to come out in recent years, in large part because it eschews emphasis on the queer nature of the story. Instead, the film is a fascinating character study with Morgan slowly revealing layers and unpacking Benjamin’s emotional baggage.

Morgan is a major talent who has been appearing across mediums in Britain for many years. His London theatre debut was in DBC Pierre’s satire, “Vernon God Little” (2007), followed by the stage adaptation of Pedro Almodovar’s “All About My Mother” (2007), opposite Diana Rigg. Numerous and eclectic stage work followed (right up until the Corona shutdown) including Pedro Miguel Rozo’s “Our Private Life” (2011), where he played a bipolar gay, Jez Butterworth’s dark comedy, “Mojo” (2013), Arthur Miller’s “All My Sons” opposite Sally Field (2019), and Caryl Churchill’s “A Number” (2020), to name a few.

His TV work includes, “Merlin” (playing the wizard himself), “Humans” and most recently, in a very memorable episode of “The Crown”. Onscreen he can be seen in “Testament of Youth”, “Legend” with Tom Hardy, “Snow White and the Huntsman” and Rupert Everett’s take on Oscar Wilde, “The Happy Prince.”

He’s played a host of gay roles in the past on stage, screen and TV.

EDGE recently interviewed the star of “Benjamin” about the new film and his career.

Why Benjamin?

EDGE: What drew you to this project and were you part of its development?

Colin Morgan: It’s always the strength of the script for me on any project and Simon’s script was just so well observed, he managed to combine humor and poignancy in delicate measure and when I first read it I found myself being both tickled and touched. Then reading it again and from “the actor” POV... I knew it would be a real challenge and uncharted territory for me to explore. I auditioned for Simon and we tried it in different ways and then when I was lucky enough for Simon to want me on board, we began to work through the script together, because it was clear that this was going to be a very close working relationship... it was important for the level of trust to be high.

EDGE: I appreciated that this was a queer love story where the character’s queerness wasn’t the main focus. Was that also part of the allure of the project?

CM: I think Benjamin’s sexuality is just quite naturally who he is and therefore that’s a given, we’re on his journey to find meaning and love and there’s certainly a freshness to what Simon has written in not making sexuality the main focus.

Great chemistry

EDGE: Can you speak a but about the process involved in working with Amstell on the character and his journey?

CM: Simon and me worked very closely over a period of weeks, at that time prior to shooting I was doing a theatre project not far from where he lived so I would go to him and rehearse and discuss through the whole script all afternoon before going to do the show that night, so that worked out well. It’s so personal to Simon, and to have had him as my guide and source throughout was fantastic because I could ask him all the questions and he could be the best barometer for the truth of the character; a rare opportunity for an actor and one that was so essential for building Benjamin. But ultimately Simon wanted Benjamin to emerge from somewhere inside me and he gave me so much freedom to do that also.

EDGE: You had great chemistry with Phenix Brossard. Did you get to rehearse?

CM: Phenix is fantastic, Simon and me did chemistry reads with a few different actors who were all very good but Phenix just had an extra something we felt Benjamin would be drawn to. We did a little bit of rehearsal together but because it was a relationship that was trying to find itself there was a lot of room for spontaneity and uncertainty between us, which is what the allure of a new relationship is all about, the excitement and fear.

Liberating process

EDGE: Did your process meld with Amstell’s?

CM: I’ve said this a lot before and it’s true, Simon is one of the best directors I’ve worked with. Everything he created before shooting and then maintained on set was special. We always did improvised versions of most scenes and always the scripted version too. It was such a creative and liberating process. That is exactly the way I love to work. And for a director to maintain that level of bravery, trust and experimental play throughout the whole shoot stands as one of the most rewarding shooting experiences I’ve had.

EDGE: When I spoke with Rupert Everett about “The Happy Prince,” he very proudly boasted about his ensemble. Can you speak about working with Rupert as he balanced wearing a number of creative hats?

CM: Again, this was an extremely rewarding project to work on and quite a similar relationship as with Simon in the respect that Rupert was the writer/director and Oscar Wilde is so personal to him. And then we also had many scenes together in front of the camera, so Rupert and me had a real 3D experience together. It was a long time in the making. I was on board, I think, two years before we actually got shooting so I had a lot of time to work with Rupert and rehearse. He really inspired me, watching him wear all the different creative hats, such a challenging and difficult job/jobs to achieve and he really excelled--plus we just got on very well.

Playing queer roles

EDGE: You haven’t shied away from playing queer roles. Do you think we’re moving closer to a time when a person’s sexual orientation is of little consequence to the stories being told, or should it always matter? Or perhaps we need to continue to evolve as a culture for it to matter less or not at all...

CM: That’s a hard question to answer, I think certainly the shift in people’s attitudes has changed considerably for the better compared to 40 years ago, but there will always be resistance to change and acceptance from individuals and groups whether it be sexuality, religion, race, gender--we’re seeing it every day.

Evolution is, of course, inevitable, but if we can learn from the past as we evolve that would be the ideal. Unfortunately, we rarely do learn, and history repeats itself.

EDGE: You were featured prominently in one of my favorite episodes of the “The Crown” (”Bubbikins”) as the fictional journo John Armstrong. Can you speak a bit about working on the show and with the great Jane Lapotaire?

CM: I had an exceptionally good time working on “The Crown.” Director Benjamin Caron, especially, was so prepared and creative, and made the whole experience so welcoming and inclusive. It was an incredibly happy set, with extremely talented people in every department, and I admired the ethos of the whole production and have no doubt that’s a huge ingredient to its success, along with Peter Morgan’s incredible writing.

I was also a fan of the show, and it was an honor to be part of the third season. And I can’t say enough amazing things about Jane Lapotaire. We talked a lot in between filming, and I relished every moment of that.

EDGE: You’ve done a ton of stage work. Do you have a favorite role you’ve played onstage?

CM: I’ve been so lucky with the theatre work I’ve done, to work with such special directors and work in wonderful theatres in London. I’ve worked at the Old Vic and The Young Vic twice each, and they’re always special to me. Ian Rickson is a liberating director, who I love. It’s hard to pick a favorite, because the roles have all been so different and presented different challenges, but, most recently, doing “A Number,” playing three different characters alongside Roger Allam and directed by Polly Findlay, was a really treasured experience, and I never tired of doing that show, every performance was challenging as it was.

Miss the rehearsal room

EDGE: You were doing “A Number” earlier this year. Did you finish your run before the lockdown/shutdown?

CM: Just about! We had our final performance, and then lockdown happened days later. I feel very sorry for the productions that didn’t get the sense of completion of finishing a run. I mean, finishing a full run leaves you in a kind of post-show void anyway, even though you know it’s coming, so to not know it’s coming and have it severed must be even more of a void.

Memories of performing just months ago seem like such an unattainable thing in this COVID world right now. I can’t tell you how much I’m hoping we get back to some semblance of live performance.

EDGE: What was it like to appear onstage opposite Dame Diana Rigg in “All About My Mother?”

CM: Well, I think “iconic” is an apt word for both the experience of working with Diana and the lady herself. In between scenes backstage we used to talk a lot and we got told off for talking too loudly, so Diana began to teach me sign language and we would spell out words to each other, maybe only getting a couple of sentences to each other before she was due on stage and I had to get into position for my next entrance-- we did a radio play together two years ago and she remembered, she said, “Do you remember A-E-I-O-U?” signing out the letters with her hands.

EDGE: None of us knows the future in terms of the pandemic and when we might return to making theatre. I’m a playwright myself and find it all supremely frustrating but I’m trying to remain hopeful! Where are you right now in terms of the standstill we are in and what the future might hold?

CM: Yes, I’m so worried for theatre. It’s a devastating blow. I’m sure as a playwright, you know that the creative spirit in individuals hasn’t been diminished by this virus. People are creating important art in this crisis but we need the platforms to present it and bring people to some light again out of this really scary period, but it needs to be safe and it’s a worrying time. The virtual theatre approach must be looked at I think. We need to experiment and find new paths at least for the time being. I’m involved in developing some things right now and how we can work on things in both an isolated and collaborative way. It’s entirely counterintuitive to what the family-feel and close bond of a group in a rehearsal room is like-- I miss the rehearsal room so much!-- but we can’t sit still, we must create and we must act.

What’s in a role?

EDGE: Looking back on the great success of “Merlin,” what are your takeaways from that experience?

CM: Some of the most treasured memories of my life will forever be connected to “Merlin,” the cast, crew, production, everyone! The invaluable training of being in front of a camera every day! The chance to inhabit a character and live with him for five seasons! There’s too much to list and words probably won’t do justice anyway, but I’m truly grateful for everything the show gave me.

EDGE: How do you select the roles you play?

CM: I guess they select me in a way. I can’t play a role unless it speaks to me and provokes me in some way, but ultimately it’s the characters that I have a fear about playing, not knowing how I’m going to enter into the process of living them, when I don’t have all the answers it’s a good indicator of a character I must play. If I have all the answers, there’s less scope for exploration and discovery which isn’t as interesting for me.

Link here

#colin morgan #interview #14 july 2020 #edgemedianetwork #benjamin #transcription

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jessicalynnhepner · 3 years

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What Every Parent Needs to Know About Child Sex Trafficking

For most police officers, this scene is a familiar one—a young kid gets mixed up with the wrong person and finds him or herself on the wrong side of the law. In virtually every case, this would be the end of the story. The young girl would get a slap on the wrist and be released into her parents’ custody where they could, presumably, set her straight. And, at this point in our story, Officer Scott was prepared to do just that—to trust the overwhelming testimony of prior experience and process this girl out so that he could get on with his shift. But, something was different this time… Discerning the SignsAs Officer Scott sits down to file his paperwork, he’s reminded of last Tuesday’s roll call. His Sergeant, having recently attended a training seminar on human trafficking, used that day to teach his officers how to identify potential trafficking situations. All of a sudden, alarm bells start going off in Scott’s mind: The Fear — Sure, a kid’s going to be afraid of the consequences. But, this girl seems to fear for her physical safety. She’s acting like there’s something worse waiting for her than an angry mom and dad at home. The Stolen Merchandise – Why did she need a Red Bull and a pack of condoms? Scott recalled that traffickers use starvation to control their victims. Usually, their only choice is to steal the bare necessities. The Boyfriend – Per the owner’s description, this guy was at least 10 years older than she. What were they doing there together in the first place? A New ApproachWith these things in mind, Scott calmly invites the young lady out of holding and brings her to a quieter part of the station, away from prying eyes and menacing glances. She looks cold, so Scott hands her a sweatshirt. As he does, he notices a small tattoo of a crown with the name ‘Hugo’ scrawled beneath it—likely a brand to show who ‘she belongs to.’ They start to chat. This time, he speaks less like a cop and more like a friend. Clearly, she hasn’t had anything to eat for quite a while. Moments later, a female officer appears with a bag from McDonald’s. The three make their way to a private lounge. As they talk, the girl lets her guard down. Scott listens as she describes her broken home life, struggles with friends at school, and her constant search for belonging. All the while, her phone continues to buzz. “Your boyfriend?” “Yes. He just wants to make sure I’m ok.” He really is a great guy, she explains. He’s been there for her when her parents weren’t. He shows her the affection and attention she needs. She feels protected. He loves her……only, sometimes he makes her do things—things she would ordinarily never do. TrustHaving earned at least a glimmer of trust, Scott asks if she would slide her phone over. Reluctantly, she does, and he begins to scroll through the text messages. Wisely, Scott checks his emotions before he begins to read. It doesn’t take him long to realize these are not the supportive words of a loving boyfriend. No, they’re the verbal assaults of a degenerate thug bent on belittling her into submission. Scott does his best to hide his disgust as he reads about threatened consequences for ‘missed quotas.’ Horrified, he sees insults that no human being should ever have to endure, capped off by threats against her little sister for talking to the cops. Officer Scott thanks the young woman for her trust and politely excuses himself to make a call. He can read the writing on the wall: this girl is clearly a victim of trafficking. She needs someone with much more experience than him to help regain her freedom. He picks up the phone, dials his Sergeant, and together, they get to work. What Made the Difference?This story, though generalized in some ways, is rooted in the accounts we hear from police officers every day. The first part of the story is common enough. But, what about the second when, in Scott’s eyes, the girl goes from ‘shoplifter’ to ‘trafficking victim’? Not so much. So, how do we get from A to B? How do we help police officers learn

to look at each ‘punk kid’ as a potential victim, to ask deeper questions, and find the real story lies beneath the surface? Just as in Officer Scott’s story, that turning point comes when an officer recognizes the signs, trusts his or her gut, and decides to unravel that thread. It all starts with that one officer—a soldier on the front lines of the underground battle to set captives free. This can only happen when officials at every level of law enforcement learn to detect the signs and receive the tools they need to bring trafficking victims out of the cruel darkness and into the liberating light of day. National Human Trafficking Law Enforcement Training ProgramAt ERASE, one of the most impactful things we do is train police departments so that they produce more officers like the one in this story. It’s our mission to educate officers to detect the warning signs, identify potential victims, and safely lead them to freedom. Your donations make this possible. Source Child Sex Trafficking-Not My Child Mom shakes her head and Dad raises his voice. Their 16-year old daughter storms up the stairs. As the bedroom door slams, she collapses on the bed with phone in hand. She’s ready to vent her frustrations one status update at a time. With every angst-laden tap of the keyboard, she lays bare her soul: “Nobody here gets me.” “No one understands!” “I feel unloved.” 📷An hour later, a boy from the next town over reaches out. She doesn’t know him, but they’ve got a few mutual friends, so it’s probably no big deal. He’s cute and thoughtful. And, he seems to understand what she’s going through better than anyone else. For the next two weeks, they exchange messages every day. He’s sweet, a digital shoulder to cry on when nobody else seems to care. They decide to meet up in person, so she borrows Dad’s car “to meet some friends at the mall.” That night, Daddy’s little girl doesn’t come home for dinner and Mom sits up all night. The next morning, they call the police. An officer searches her computer and finds evidence of the girl’s new relationship. Turns out, the boy she thought she knew didn’t exist. And, just like that, she’s gone.Reality check about child sex trafficking At ERASE, we hear heartbreaking tales like this all too frequently. Stories from average families dealing with everyday stresses when out of nowhere, their child is lured right out from under them. Whenever we tell these stories, the most common response goes something like this: “Child trafficking is something that happens to those types of kids out there. We live in a great community and our neighbors are good people who look out for one another. Something like that could never happen to one of my children.” This is the kind of response that makes us cringe. If only parents knew what we know, they wouldn’t be so quick to ignore this real and pervasive threat. Sadly, that very ignorance is what traffickers count on most when looking for children to target. The danger is far more imminent than most parents recognize. If we’re going to protect our children, we need to be clear on the real threats child traffickers impose. Traffickers are Smart, Motivated, and Tech-SavvyA dark and horrific market has grown up around the purchase and sale of human beings. Researchers estimated that, in 2007, Atlanta’s underground sex economy alone brought in $290 million. Even in a far less “saturated” market, sex trafficking in San Diego enables a pimp to pull in over $11,000 per week. Fast forward 10 years and there’s no reason to think that number hasn’t grown. Innocent children aren’t given a pass here. Instead, the most vulnerable among us are routinely bought and sold like property—many of them up to 15 times a day. With business booming, traffickers are working harder than ever to keep up with demand. Leaving no stone unturned, they use social media platforms like Facebook, Twitter, Instagram, and Snapchat, to research, target, and groom children for sexual exploitation. In fact, 77% of sex trafficking victims

report having been initially approached online. Just as a skilled marketer uses sophisticated keyword searches to identify his audience, traffickers monitor social media for anything at all that would suggest an easy target:Children with social media profiles open to public viewing Teenagers posting introspective status updates about feelings of insecurity Boys and girls who are venting about arguments with their parents Like a lion crouched in his thicket, a predator will scan through lines of text looking for vulnerable children to drag off into the tall grass. How many of those lines will have come from one of your children? Yes, your child can be a victim of sex traffickingThe children that traffickers rip from their happy homes aren’t pretend characters on television or disembodied faces from the evening news. They’re our kids, the ones we work hard to raise and the ones we hope to see grow up happy and healthy. They’re the kids we teach to be smart, to mind their surroundings, and never talk to strangers. And yet, we give them free reign to explore every dark corner of the internet via their cell phone. We must do betterLittle more than half of parents closely monitor their children’s online activity. So, when a stranger asks to connect on Snapchat, it’s nearly an even shot that no one will be looking over that kid’s shoulder. You can count on a child trafficker to take that bet. Do you know which platforms your children are using or who they connect with online? Do they have any secret accounts and how would you find out if they did? If someone asked to meet in person, would they do it? Can you be sure? These questions may seem intrusive and even overbearing. However, considering the reality of child trafficking in the United States, we have to ask these questions. Every day, thousands of children disappear into slavery. We’d like to hope our kids could never be victims but the facts simply don’t allow us that option. Understanding the facts of child trafficking is the first and most important step in prevention. There is HopeGood people around the world are standing up and fighting back against this great moral evil. You don’t have to live in constant fear for your children. The story we shared at the beginning of this post doesn’t have to be your story. And with some common sense and the will to step intentionally into your kids’ digital lives, you can protect them from becoming a victim of sex trafficking. The question is: will you? At ERASE, we want to educate parents on how best to protect their children from online predators. Please take a look at our tips and best practices pages to see how you can teach your children to be safe online.Juvenile Delinquent or Victim of Human Trafficking? Blog Story of a Human Trafficking Victim It’s midnight. Officer Scott pulls his patrol car into the lot of a small, 24-hour convenience store. As he approaches, he peers through the decal-laden glass door to see a middle-aged man struggling to restrain an agitated 16-year old girl. The store owner had caught this young woman and her boyfriend stuffing items into a small handbag. Her companion—a ‘white man in his late 20’s’—had bolted out the door without so much as a backward glance. The last thing on Officer Scott’s mind was “human trafficking victim”. Scott had seen this before. Some young teenager, looking for thrills, decides to pocket a few items from the local bodega and gets grabbed by the watchful owner. As he escorts the girl to his police car, Scott’s treated to an earful. She can’t stop going on about what a jerk he is, how he had violated her rights, and how much trouble she’d be in if he didn’t let her go right away. “Just wait until I call your parents,” he thinks. 📷 The Same Routine When they arrive at the station, Scott walks this young woman to his desk. She can hear the snide remarks of a few men handcuffed to chairs nearby. As they leer conspicuously at her, she shrinks further into herself. Scott starts in on his typical line of questioning: name,

age, address, and so on. The entire time, her phone buzzes with one text message after another. She begs Scott to let her reply, but he refuses. “There’ll be plenty of time to talk to your parents later.” “I’m not worried about them,” she snaps back. “They don’t give a crap about me, anyway. They’re too busy arguing to even notice I’m around.” Not sure what to make of that outburst, Scott begins to sort through the items she had attempted to steal: a sleeve of Hostess Cup Cakes, a Red Bull, and a box of condoms. “Must be one heck of a boyfriend to leave you there like that, huh?” “You wouldn’t understand. He loves me. He takes care of me.” Angry and frustrated by this girl’s bad attitude and ignorance about that poor excuse for a boyfriend, Officer Scott escorts her to a holding cell and prepares to process her out.Is This the End of the Story?

https://whateveryparentshouldknowaboutcps.blogspot.com/2020/08/what-every-parent-needs-to-know-about.html

#Child Sex Trafficking

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the-necessary-unnecessary · 4 years

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hey, can you tell us a bit about racism in Spain? I'm incredibly uneducated about it, and I don't know much about Spanish history especially racism wise so it would be really nice to get an insight from you about it.

this is a big question, since Spain’s relationship with xenophobia dates back centuries and I’m neither the most qualified person to take you through it nor someone who has suffered from Spanish society’s racist tendencies. However I’ll try to piece a bit of something together and maybe other people can add on if there’s other stuff to include. Also, this is mainly Spanish history from a racism perspective, there are many other positive things in other areas that I haven’t included (patriota pero no mucho)

So basically, up until the 15th century, Spain (in its then form) was a relatively harmonious melting pot of different cultures. With the Roman invasion, settlements and a Visigoth takeover (Germanic population) thereafter, Christianity was pretty firmly established in the country/iberian peninsula by the 2nd Century AD. In 711 AD the Moors, who had control over Islamic Africa, invaded the peninsula and established a Caliphate named Al-Andalus which had a particular stronghold in the south: in Andalusia and their Córdoban capital. Rule was stronger or weaker depending on the region but largely Islamic rule was established and Jewish and Catholic people were treated as second class citizens. Córdoba became the wealthiest, largest and most sophisticated city in Europe by the end of the tenth century, with trade and rich intellectual North African traditions forming a unique culture in the region.

There is a strong historical basis that during a lot of this period there was pockets of ‘La Convivencia’ ie. the co-existence of Jews, Christians, and Muslims. Like for example, around Toledo where in universities the three backgrounds contributed to tremendous amounts of sharing of knowledge etc.

However, from about the 9th century onwards the Catholics who still held strong points right in the north, begun ‘la Reconquista’, the “reconquest,” where they began chipping away at the Caliphate’s dominance. By the early 11th century they had gained more land than was held by the Muslims and 1492 is where we set our next scene.

This is probably one of the biggest and most path changing years in Spanish history. Most known for being the year when Columbus landed in America, this enabled the start of Spanish imperlism which would extend to almost 5 centuries afterwards, conquering territories in South America, Africa and Asia and subjecting them to imperialistic rule and policies of white totalitarian dominance.

The second important happening in this year was the fall of Granada, the last remaining territory the Caliphate had in Spain, signifying the end of Muslim rule in the country. They were, as expected, thrown out of the country in their droves and many others were forced into hiding being subject to situations that would only get worse with the Inquisition in full swing.

The third, and last, big event in this year was outlined in the Alhambra Decree where the expulsion of all practicing Jews was announced. Now this had already followed the forced conversion tens of thousands of Jews had been subjected to in 1391 and 1415 (ie. crusades and masacres against them). As a result of the Alhambra decree and the prior persecution, over 200,000 Jews converted to Catholicism and around 160,000 were expelled.

This ended religious diversity in Spain, the Inquisition sealed this fate. If you’ve heard of one thing about all of this I’m sure it’s the spanish inquisition. Primarily set up to identify heretics among those who converted from Judaism and Islam to Catholicism and ensure the establishment of the Catholic monarchy, it became a method of torture, fear and murder for those who were perceived to cause any threat to the Spanish catholic order. The effects of the Inquisition are widely debated, with some saying the death toll and magnitude has been blown up by the Protestants in other European countries at the time and does not show the full picture of the hundreds of thousands of converted jews and muslims who remained and overtime became integrated into Catholic society. Whilst others remaining firm to the devastating measure of these actions and the ‘pure blood’ mentality it created. What’s for certain though, is that by the end of the Inquisition in 1834 very little religious nor ethnic diversity remained in Spain.

Jump forward about 100 years and the Spanish Empire is no more after the 1898 crisis, there’s a weird back and forth period with Republics and Monarchies and dictatorships until the Civil War broke out in 1936. It lasted until 1939 when the Nationalists, led by Franco, took total control of the country and submitted it to a dictatorship that would last until his death in 1975. I don’t even know where to begin with a period that many people see as rosy and many others ignore completely whilst Historians have now gone so far as to call the 1940s and 50s the ‘Spanish Holocaust’. However I’ll break it down to one or two main things that have predominantly spurred on today’s racist attitudes.

During the Civil Rights movements of the 50s and 60s Spain was largely immune to the winds of changes due to their isolationist policies and dictatorial power holds. We didn’t take part in any of the dialogue nor go through any racial reconciliation, at least to much a lesser extent than most other countries. It’s quite a common thing to say that what much of europe did in 70 years we’ve only had time to do in 45, and there’s much of a grain of truth in this.

A famous conservative spanish politician called David Aznar defended these views and can be extrapolated into the sentiment that existed to facilitate the transition to democracy and still remain today: "In the democratic transition there were implicit and explicit agreements. One was that we Spaniards don't want to look to the past. Let's not disturb the graves and hurl bones at one another.” As a society, we hate to think about the past, it’s just not widely done. There’s ONE museum solely dedicated to the Civil War, the Historical Memory Law passed in 2007 to try and increase the rights of victims and their families was met by so much opposition and is devastatingly underfunded etc etc. This still translates to spaniards’ views on racism, saying it just doesn’t exist here and moving on. There’s a refusal to confront this and microagressions are ingrained in the culture.

As I’ve kind of mentioned before, issues of race extend much further than towards just black people which is why the US BLM movement cannot simply be traced onto Spain. People who are originally from Latin America face extreme stereotypes and varying forms of discrimination against them as do Arab populations and other people who have immigrated from MENA countries plus the large Roma communities.

The refugee crisis has further perpetuated the stigma around African immigrants in the past years, whilst the social effects of the 2008 Financial Crisis and beyond also continue to contribute to a xenophobic and nativist perspective where true spaniards should be prioritised with jobs, opportunities etc. For example, the alt-right wing party Vox that’s blatantly racist, anti-immigrants etc posted something with the slogan ‘Spanish Lives Matter’ the other day. They are purposefully incendiary.

Anyways, hope this was a suitable start for you, you can’t summarise millennia worths of history into a few paragraphs but I tried my best. Also there are obviously many who stand for none of these values, politicians who have tried to right these wrongs, activists who keep fighting the fight, people who have broken down barriers and areas where there’s complete coexistance. However the fact remains that these views and ideas are ingrained in people’s minds, theres blatant job discrimination and a lack of equal opportunities despite laws that may have been put in place.

I’m going to point anyone who has got this far to a couple of articles about racism from an Anglo-Saxon perspective below, racist football culture is almost always mentioned. Being a black traveller in Spain; Same Spanish Holocaust link as before but an extremely important book review read; Irish perspective on the Enigma of Spanish Racism; Racism? What Racism? Asks Spain; Opinion: Racism Is Alive and kicking in Spain

#almost a decade of ciencias sociales and cono lessons pulling through #anyways there's a lot here so maybe dont read it all by id recommend having a good skim of it!#i tried ny best to condense almost two centuries worth of histort into one post lol #blm #black lives matter #racism #spain #españa #history #og #the asks #*not two centuries lol two millennia im out here discrediting myself and everything i wrote

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365days365movies · 3 years

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March 11, 2021: The Seventh Seal (1957) (Part One)

Well, I did Cocteau this month already, so...time for another big boi director, I guess.

I’m sorry for me, too, because this one scares me a little more than Cocteau.

Ingmar Bergman. One of the greatest directors of all time, and the only prominent Swedish director that I’ve ever heard of. Also someone whom I’m DEFINITELY not qualified to judge, but here we are anyway.

Best known for Persona, Fanny and Alexander, and...one more movie, Bergman was an EXTREMELY prolific director, and far more influential on global film than you or I know. Seriously, dude influenced everyone from Martin Scorcese to Terry Jones to Peter Hewitt in one way or another. He’s passed away, as of 2007, at the age of 89. And speaking of Death...

There have been a LOT of incarnations of Death in media. Hell, we literally looked at one two movies ago, in Orpheus. You could argue that Ugetsu also revolved around death, but I’m talking about Death, the physical embodiment of the concept.

Now, the most common incarnation seen is the Grim Reaper (pictured above), but there are MANY other well-known versions. Here, have a few different versions, just for taste.

Yeah, that’s a lot. Kudos if you knew all of them! But that last one...I mentioned Peter Hewitt earlier. He directed Bill and Ted’s Bogus Journey, and in it, the two meet that films version of Death, a Swedish-accented ghoul. And if you’ve ever wondered about that, or about this joke from the opening song of Muppets: Most Wanted:

...Well, keep reading. Like I said, Bergman was influential, and perhaps NONE of his films was quite as influential as The Seventh Seal or Det sjunde ingelet. Welcome to a show about Death.

SPOILERS AHEAD!!!

Recap (1/2)

ONCE AGAIN, The Criterion Collection logo brings us in, followed by the opening credits and music from that should accompany a Dark Souls boss, followed by a quote from Revelation 8:1-6, about the opening of the Seventh Seal. Roll credits?

Well, no. Instead, on the shore of the Atlantic Ocean, we meet a knight, resting there and praying to God, as his horses drink from the salt water. This is Antonius Block (Max von Sydow), a knight who is resting here with his squire, Jöns (Gunnar Björnstrand). As Block takes out his chess set, he is joined by...

ALREADY?

Holy shit, I didn’t expect this scene to happen FOUR MINUTES IN??? Dear Lord, if this is happening now, what the hell is the rest of this movie? I am afraid of that answer now.

Anyway, yes, this is Death (Bengt Ekerot). And yeah, dude is indeed a CREEPY motherfucker. He’s been at Block’s side for a long time, but has now finally come for him, at last.

However, Block, ever clever knight that he is, capitalizes on rumors that he’s heard about the character, and challenges him to a game of chess. They start, with Block playing white and Death playing black.

But as they’re about to begin, we cut to Block and Jöns leaving the beach. Huh. OK then, I guess we’ll get back to that, huh? Jöns speaks of ill omens, and they see a pair of corpses, rotted after a long time dead. As their journey continues, we shift focus from them to a small group of actors in a caravan.

One of these actors - Jof (Nils Poppe) - sees a vision of a woman walking with her infant child, as angelic music plays in the background. He runs back to the caravan, where he wakes the sleeping Mia (Bibi Andersson), his wife. He tells her that this was the Virgin Mary and her baby boy, Jesus. Um...wow. Holy shit, my man.

Mia takes her husband’s vision as his active imagination, while he takes it as pure fact. Apparently, he’s very prone to having these kinds of visions. Mia warns him to tamp those visions down, or people will think him a fool. All of this rouses both fellow actor Jonas Skat (Erik Strandmark), and Jöns and Mia’s infant son Mikael (a cute chubby baby).

The troupe is on their way to Einsmore, performing for a group of priests. They will perform in a play about Death, once again making me think about Beetlejuice the Musical, which is really need to watch.

Block and Jöns arrive at a church, where real-world painter Albertus Pictor (Gunnar Olsson) is painting a Danse Macabre. Jöns asks why paint something so...well, macabre, and Pictor notes that it’s not a bad thing to remind people that they will die. This is especially as the Black Plague sweeps across Europe. YUP. IT’S THAT TIME PERIOD.

The two speak more on the absolute HORROR of the Bubonic Plague, a topic that clearly bothers Jöns. Meanwhile, Block goes to pray in a confessional, where he reveals that he doesn’t truly understand the point of prayer in this world. He’s clearly struggling with his faith, which must be HELL for a knight. And he delivers these confessions to his ever-present companion: Death.

Block wants God to speak to him directly, and questions whether or not God truly exists. He wants to do one last, meaningful thing before he meets his inevitable end. Block hasn’t yet realized that he’s speaking with Death, and openly talks about the chess game they began that morning. Death replies that they will continue their game in a nearby inn. This is how Block intends to prolong his own life.

He goes back out to meet Jöns, who’s still speaking with the painter, and the two leave the church. Directly outside, a woman is in the stocks, and is preparing to be burnt at the stake for learning carnal knowledge of Satan. She’s also being blamed for being the cause of the Black Plague itself. Just gotta say, big if true, goddamn. Black wants to know if she’s met the Devil himself, but she’s not quite all there.

Block and Jöns continue their journey, making their way from farmlands. Jöns goes into one of the barns in a village, where a dead body lies. He then hides as another man enters, and steals jewelry from the woman’s corpse. This is Raval (Bertil Anderberg), and he’s quickly caught in the act by a mute woman (Gunnel Lindblom).

However, before he can do anything to this poor girl, he’s stopped by Jöns, who recognizes him from the seminary, ten years prior. He tells him to shove off, and offers the mute woman a place as his housekeeper. And, uh...yeah, Jöns is kind of a dick, but more of a cad, y’know? He’s not likeable, but he also isn’t hateable.

In town, the actors’ troupe is performing, and the leader of the troupe - Skat - is seduced by a woman during the performance, and they have sex in the bushes behind the stage. As all of this is happening, the performance is interrupted by a group of flagellants, extremist priests that whip themselves and parade through the town, showing their extreme devotion to their faith. Fuckin’ yikes, this is a thing that ACTUALLY HAPPENED.

And as these people, devoted in their faith and pain, march through the town, the townspeople are moved to tears by this act. And this act has real blood, sweat, and tears poured into it. The head priest of the parade then gives a fatalist sermon to the townsfolk, noting that death will come for them all with the plague, and berating them for their seeming ignorance of their fate.

And dude is MEAN. He mocks people’s appearance, and screams to all of them that they’re doomed, and will die painful deaths. Watching on is not only the actors’ troupe, but also Block, Jöns, and the mute girl (yeah, she never gets a name, goddamn it). The pain parade moves on, singing their solemn hymns all the way. And I’m not gonna lie...it’s intense. Especially knowing that this shit actually HAPPENED? Damn.

Once they pass, Jöns notes his disbelief at this display, never believing how far people will go, or the stories that they’ll tell. He’s interrupted by blacksmith Plog (Åke Fridell), who’s looking for his wife. Meanwhile, inside, a group of townspeople talk about the spreading plague, and wonder if this is the end times indeed. Plog comes in and asks Jof where his wife is. He also doesn’t know, but it’s revealed that this is the woman that Skat ran off with in the bushes. The conversation is joined by thief Raval, who outs Jof as an actor, and a friend of Skat.

Raval and Plog both threaten him for information on Skat and Lisa’s whereabouts, and humiliate him in front of the entire tavern. It’s actually quite hard to watch as well. This poor, poor guy, who seems like a nice enough dude, is essentally tortured for the transgressions of his asshole friend. But it’s interrupted by Jöns, who stops Raval in his tracks, and slashes his face, which he said he’d do if he ever saw him again.

Excellent spot for Part 2, I think! See you there!

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feminist-propaganda · 3 years

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Single Mothers Will Probably Cry During Every Episode Of Queen’s Gambit - Episode 3

In the first two episodes of Queen’s Gambit, Beth first learns to look for a field that she can become an expert in and later understands the powers of dissociation. What Beth doesn’t share with us in these episodes, probably because she isn’t connecting to that part of herself, is what her life was like before the car crash.

The only memory we know about, which precedes the orphanage era, is the traumatic memory of the car crash, and the couple of seconds leading up to it. Because we don’t see anything prior to the car crash; our opinion of Alice (Beth’s mother) is based off of her actions that day. We know she voluntarily crashed the car (she admits this when she tells Beth to “Close her eyes”). We don’t really know what Beth’s opinion of her mother is.

Lesson 3: Your Biggest Enemy Is Yourself

In Episode 3 however, we are invited into an earlier childhood memory of Beth. She sits with her mother, by the lake. She reaches out to touch her mother’s hand. Her mother carresses her cheek. Her mother gets up, takes off her clothes and jumps into the lake. Beth’s face looks worried as she watches her mother disapear into the water. Beth cries out for her. Her mother finally emerges on the deck, far way, and waves. Then, Alice swims back to the shore and hugs Beth. The young girl looks happy. This seems to be a strange memory. It starts with a peaceful moment by the lake, then her mother does something that scares Beth, then it ends well and we are relieved that Beth feels relieved.

The episode is called “Doubled Pawns”, which refers to a position in Chess when two pawns are placed behind one other on the same file (column). The position is a weakness because the pawns cannot defend each other, and therefore cannot attack.

The episode starts in Cincinatti where Beth and Alma arrive to play a tournament. They enter a nice hotel room, in a luxurious venue. The room has twin beds. Alma sits on her bed and says in a contained voice “I asked for a pleasant room and I believe they gave me one”. Beth then jumps on her bed and giggles.

All through the episode we see references to a doubled self, an other that is in fact a version of us.

Let’s analyse this scene. We see that Alma adopts this calm, collected voice when really there is a part of her that wants to jump on the bed. Beth is the opposite: she can’t wait to jump on the bed, but she needs some sort of permission, a green light from Alma before she can do it. They both feel pleased to be a in a pleasant room, but like the two sides of a same coin, they express it differently. And like two entangled photons, their projections are related. If one is contained, the other is extroverted.

This duality, appears many more times during the episode.

Indeed, later in the hotel lobby of the Las Vegas venue, Beth encounters Townes, a chess player she met a the State championship in Lexington. They both seemed extremely pleased to meet again. Townes makes a comment about how Beth has grown up. He informs her he is covering the event for a newspaper. Then invites her to his hotel room to take pictures of her. Beth seems very comfortable with him. She sits next to the bed and looks at the Board. Townes takes pictures. Right when he is about to get close to her, maybe even intimate, a man barges into the hotel room.

This man has some tight swimming pants on, an open shirt, a shaved chest. We understand, that this man is Townes’s lover. That they share this hotel room. That they came together to this place. The mood is a bit ruined. Beth is upset, she has feeling for Townes and he isn’t available.

This man is Towne’s “evil twin”, an other him, a “doubled pawn”. Which he forgets to watch out for, and which has become a weakness for him, rather than a position of strength. Townes doesn’t openly propose a three way to Beth, or a menage a trois. That would’ve been an aggressive, probably succesful approach. Instead he invites her in, and does not mention his other lover. The other lover appears at the worst moment and weakens Townes’s position rather than strengthens it.

Finally, in this episode Beth meets her match, Benny. He is a charismatic Chess Player. What is special about him is the same thing that makes Beth special. He does not look like a typical Chess Player. By this I mean that he doesn’t look socially awkward, he isn’t introverted, he doesn’t wear glasses. He is the U.S. champion. She first meets him in Cincinatti where he tells her it isn’t interesting for him to play Opens, “It can only hurt him”.

His character seems to reveal to Beth that there is another world beyond these American tournaments. He is an international player, he gets invited to Europe. But also, he is her match in other ways. He is passionate about Chess, yes. But he talks about it in a fascinating manner. His style is very unique. He wears all black leather outfits and a black cowboy hat. He carries a knife strapped around his leg. He stands out, just like Beth stands out in the Chess World.

Beth has to play Benny to win the US Championship in Las Vegas. She loses.

After the match, we listen to Beth tell her version to Alma. Even though Alma understands practically nothing of the game, she listens attentively and asks questions. She is there for Beth. And at the end of the episode, Beth takes her hand in the car.

Beth tells Alma that what Benny did was “Something she did to others”. What she means by this is that he played her, made her believe that her strategy was working, that he wasn’t seeing her coming, when in fact he had it all mapped out. And he brutally defeated her.

When you are a single mother, you are terrified of dying. Not so much because you’re living an extremely fulfilling life that you don’t want to let go of. Not because you are afraid of the abyss. You are afraid of dying because you are afraid of what will happen to your children if you die.

To manage this risk, single mothers could meet with lawyers and make plans for what would happen to them if they were to die. But we know that single mothers are often times isolated and cast away by their families. So maybe imagining a plan is alreayd a problem for them.

Because single motherhood is felt to be a negative situation, most single mothers isolate themselves. They are riddled with shame and prefer to keep to themselves to not look at the disapointment or pity in the eyes of their friends and families.

They also might have conflicts with their families or their children’s father’s families which may prevent establishing a plan in the event of their death.

Finally, single mothers are most often times over worked. They often work full time to support their families, and when they are not working out of the house, they are doing housework in the home which we all know is an unending, tedious, monotonous, repetitive, mind numbing task.

This leaves little space for planning and strategizing. And in the event of an accident, some of these mothers might not have had time to make a plan.

If they did some research, like I just did, they might see that they really ought to make a solid plan for the aftermath of their deaths.

Indeed, a Swedish study from 2000 found that:

"We saw that [single] mothers demonstrated a nearly 70% higher risk of premature death than coupled mothers," study author Måns Rosén, PhD, tells WebMD.

The article continues:

“According to the findings, which were published in the journal TheLancet, the single mothers had twice the risk of suicide of mothers with partners, three times the risk of violent death, and two-and-one-half times the risk of alcohol-related death.”

The anxiety that Beth felt at the lake is what all children of single mothers feel when they watch their mothers engage in risky behavior. In Beth’s young mind, swimming in the lake is risky behavior, perhaps because she does not know how to swim. Maybe this particular lake is dangerous, I am not sure. But the emotion she feels is real regardless.

She knows that she is just a child, that she cannot swim. What will she do if her mother drowns? Watch her? Who will she call for help? There doesn’t seem to be anyone around them.

The name of the episode is Doubled Pawns, and this matters to my argument. Indeed, the Doubled Pawn position as I mentionned above is a weakness because the pawns are unable to protect themselves.

They are the same piece on the chess board, and they can move in the same way. They have the same power to attack, to defend and the same weaknesses. To be efficient they need to be on different fields, which are the columns on the Chess Board.

The same goes for single mothers. They need to watch out for danger; but the nature of the danger is the same essence as what they’re trying to protect themselves from. In other words, their biggest enemy is themselves.

Kanye West, who has probably been the most influential rapper and producer of the 2010s, was raised by a single mother, a woman named Donda, mostly in the suburbs of Chicago. It is no secret that Donda’s death in 2007 profoundly changed Kanye as well as his music. He wrote the album 808s and Heartbreak in the aftermath of her death. Donda died because of a plastic surgery procedure that didn’t go well.

Adams gave Donda West liposuction, a tummy tuck and a breast reduction in November 2007, but she died the following day, after reporting pain and tightness in her chest. A coroner found “no evidence of a surgical or anaesthetic misadventure,” and said “the final manner of death could not be determined. Multiple post-operative factors could have played a role in the death. The exact contribution of each factor could not be determined.”

Donda’s law, which was passed in 2009, “targets the aggressive marketing of services that make the risks “seem almost nonexistent,””.

On the track “Amazing” from 808s & Heartbreak, Kanye sings “I’m the only thing I’m afraid of”, which seems to summarize the learnings of Episode 3.

The article above explains to us that the biggest threat to single mothers is suicide, violent death and alcohol related deaths.

As Alice swims in the lake, she is indeed adopting reckless behavior. She forgets she is a single mother, and there is no one around to help her if she drowns. Yes, she comes out alive, and hugs Beth. But in case of an accident; she could’ve died.

Benny is Beth’s doubled pawn, her evil twin, so to speak. He beats her at her own game. And in this Episode, Beth learns from her mother that she needs to watch out for herself, from herself.

#feminism #single mom #the queen's gambit

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thisyearingaming · 4 years

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1997 - This Year in Gaming

Muggins here was born in ‘97, and can’t really remember much of it, natch. But there were some good things released this year - I’ve played every one of these, and have missed so many more.

Diablo - Windows, January 3rd

We start with dungeon-crawl-em-up and well-loved out of season April Fool’s Joke, Diablo. I’ll be totally honest - I don’t like Diablo that much. It’s absolutely fine, I just can’t get into it. The writing, setting and characters are all very good especially since this year only marks the beginning of games being seen as a bit more adult and intelligent. Check out this gameplay from Hour of Oblivion on YouTube, and marvel at the faux-Scottish accent on Griswold the blacksmith.

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Mario Kart 64 - Nintendo 64, February 10th

Compared to its more recent versions, Mario Kart 64 is a veritable bloody relic of the past - solid controls and a quirky style mean it’s still a crowd pleaser to this day, but you’d be hard pressed to find anyone right now that would die on the hill of it being their favourite single-player racing experience. It’s also got some of the deepest, impenetrable lore in any medium known to the human race - why exactly is Marty the Thwomp locked up here?

Blast Corps - Nintendo 64, February 28th

February’s position as most boring month of the year is shaken up a bit by having a uniquely designed Rare game slammed into its 28-day long face. Blast Corps is the puzzle-action game where you take control of several vehicles to destroy homes and buildings in order to prevent a nuclear warhead exploding in the coolest incarnation of Cold War politicking ever seen in a video game. Calling Blast Corps a “hidden gem” these days is like calling Celeste a hidden gem - it impresses nobody and makes you look like a dick.

Turok: Dinosaur Hunter - Nintendo 64, March 4th

The N64 was home to a surprisingly large number of above-average shooters despite its muddy graphics and small cartridge space - Turok is one of these, a great FPS game where you shoot the SHIT out of dinosaurs. Brett Atwood of Billboard said it was like Doom and Tomb Raider mixed - Doom Raider, if you will. I say it isn’t - there’s no demons, and there’s no polygonal breasts to poke dinosaurs’ eyes out with!

Castlevania: Symphony of the Night - Sony PlayStation, March 20th

What is a retrospective? A miserable little pile of opinions. I’ve only recently played through SotN for the very first time on a TOTALLY LEGITIMATE copy with a CRT filter. Bloody good (geddit?) game, that takes the repetition of its predecessors, improves on it in basically every conceivable way, and combines it with special effects and graphics that even 23 years later had me going “ooh, that looks quite good!” Symphony’s music and audio design are wonderfully paired with a deeply enjoyable experience that’ll have you saying “mm, maybe just one more room?”

Tekken 3 - Sony PlayStation, March 20th

Also releasing from the Land of the Rising Sun that day was Tekken 3, which many believe is still one of the best fighters ever made. Tekken 3′s combat is so fast and responsive that it’s better than some games made today. T3 is also the best and easiest way to knock seven shades of absolute shite out of your friends without risking a massive head injury or a trip to the headmaster’s office... where you could also challenge him, but only if he plays as my favourite Not-Guile-or-Ken character in gaming, Paul.

Sonic Jam - Sega Saturn, June 20th

The moment Sega realised that re-packaging old Mega Drive games would net them serious cash - although unlike later collections, this is a strictly Sonic affair, and has a neat little 3D world to run around in as a sort of hub world. Sonic X-Treme proved that Sonic Team would have to work hard at getting the fastest thing alive into 3D space properly: Jam is the sort of test ground for it too. It features some genuinely good emulation work for 1997, although it’s basically the gaming equivalent of going round to your grandparents at Christmas only for them to give you the exact same gifts you got in 1991, 1992 and 1994 but wrapped in a bow to make you think it’s different. What are you lookin’ at, you little blue devil?

Star Fox 64 - Nintendo 64, June 30th

So there’s this German company, right, called StarVox. Nintendo look at Europe and say “shit, we don’t want another lawsuit... after all, we’ve done three this year!”. So they give us in the PAL region the exciting title of Lylat Wars which as far as I know means absolutely fucking nothing in the context of the game. They’re still called Star Fox in-game too so what was the point? Anyway, fun 3D shooter with graphics that’ll make you do a barrel roll off the sofa and onto the power button to make the brown and green blurs a little easier on the eyes. Hello 2007, I’ve come back to make old references with you!

Carmageddon - Windows, July 30th

The game so scary it was BANNED in the UK! More like the game so fucking shit it was banned. Carmageddon is so deeply boring to play on PC that I can only imagine that Stainless Games made it tasteless by 90s standards simply to ramp up demand - much like another game we’ll be covering soon.

Herc’s Adventures - Sony PlayStation, July 31st

“And they said Kratos was the best hero? Shish... they got it wrong, sister! Hercules is clearly better... he even has a coconut weapon.” A surprisingly fun overhead action game that most people only know for... well, I’ll just embed it.

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Mega Man X4 - Sony Playstation, August 1st

A few years ago I tried playing every Mega Man game there is - I gave up at X3 because I was getting bored. Even still, Mega Man bores me - but at least the level design is good. Stay away from the Windows port. Pictured: me in the background yawning.

GoldenEye 007 - Nintendo 64, August 25th

The name’s Intro. Overused intro which I also managed to fuck up twice through the deeply editable medium of text. GoldenEye is like the Seinfeld of console shooters - playing it nowadays you’re unlikely to be amazed but holy shit there’s some absolute greatness in this game. Every sound and every piece of music in GoldenEye is permanently seared into my brain - sometimes I’ll just hear Facility or Frigate in my head alongside the door opening sound and the gentle PEW of the PP7. I mean come on, fucking listen to this and tell me Grant Kirkhope isn’t cool as all hell.

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LEGO Island - Windows, September 26th

The first open world experience I ever had was LEGO Island. It’s still quite good today, utterly deranged animation from the likes of the Infomaniac and Brickster - a cautionary tale for children that giving pizza to high-profile criminals is disastrous for the human LEGO race.

Fallout - Windows, October 10th

War never changes, but franchises do. Fallout’s legendary status in the industry is exemplified in how different it feels. Yes, we had the game Wasteland nine years prior, but until September 97 there was nothing quite like Fallout. From the chilling introduction sequence showing the ruins of the United States to the tragic ending, Fallout is an exercise in pure human misery with the brightest spots of hope it can possibly muster thrown in for good measure. What begins as a tedious isometric point-and-click RPG ends as a minigun-wielding power fantasy, before your entire worth is stripped from you at the finish line. You have 500 days to find a water chip before it’s too late, but you’re constantly being fought by terrifying Super Mutants, irradiated animals, and the biggest monster of all - humanity. See what I did there? If anything, humanity in Fallout’s setting would be the greatest unifying force possible against the horror of the outside world. But how is it? It’s dull, it’s sluggish, and it’s really hard to get into even if you’re already a fan - but push through that and it’s worthwhile to see exactly how far the series got before Todd Howard said “eh fuck it” and had the whole thing dipped into an FEV vat.

Grand Theft Auto - Sony PlayStation, October 21st

To put it simply, the first in the GTA series is now nothing but a novelty. It has an irritating camera, wonky controls, poor graphics and deeply repetitive gameplay. But thank fuck it exists, because without it the Rockstar story may have been very different indeed. It’s quintessential cops and robbers gameplay, spanning across Liberty City, Vice City and San Andreas in one game, but with maps so far removed from their modern incarnations they may as well be named “Not New York, Possibly Bristol and Orange Town”. People really fucking hated Hare Krishnas in the 20th Century, didn’t they?

Crash Bandicoot 2: Cortex Strikes Back - Sony PlayStation, October 31

A hard one to talk about, honestly - it’s more Crash and better than the first one. It looks great, and Crash controls so well compared to his first outing. It’ll also keep you playing for 100%, fiendishly addictive and unashamedly difficult. Had a weird cover that moved with your head.

PaRappa the Rapper - Sony PlayStation, November 17th

Type type type the words into the box! (Type, type, type - uh oh - the box?)

PaRappa is a gorgeously stylised rhythm game about rapping to steal the heart of the girl of your dreams - which involves learning karate, getting your driver’s license, selling bottle caps and frogs, making a cake, desperately trying not to shit yourself, and finally performing live on stage. Every one of its segments is so well-produced that they’d genuinely sell like ghost cookies in this era of shite rap. Notable for producing the greatest Jay-Z backing track ever made.

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Sonic R - Sega Saturn, November 18th

Sonic R is absolutely FINE with vibrant textures, interesting levels, neat gimmicks and decent controls. But I’m gonna talk about its fucking AWESOME soundtrack by Richard Jacques and T.J. Davis, an eclectic mix of Europop and New Jack Swing - even thinking about it is bringing tears of absolute joy to my eyes hearing Super Sonic Racing in my head. You’ve got the main theme, Living in the City, Can You Feel the Sunshine, Back in Time, Diamond in the Sky, Work It Out and Number One - all of these are absolute club bangers and genuinely wouldn’t be out of place in a 90s disco.

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Tomb Raider II - Sony PlayStation, November 18th

Lara Croft returns to single-handedly endanger every species on Earth. TR2 is really good, the exploration and puzzle-solving aspects of the first game expanded upon here and the gunplay remaining just as punchy. Lara’s got a fully-functioning ponytail which absolutely boggles the fucking mind - a lot of work went into Lara’s hair for the 2013 reboot, so I can’t imagine the amount of man hours it took to get fluid(ish, come on, it’s the PS1 we’re talking about) hair movements in 1997.

And really, that’s all I played from 1997. I’ve left out big hitters like Quake II, Gran Turismo and Diddy Kong Racing, but I simply haven’t formed an opinion on them yet. Maybe in a future post.

Thanks for reading.

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