by 2036 all boys will realize theyre actually girls and all girls will realize theyre actually boys except ☝️those that realize they are neither. complete transgender world domination
Did a school visit today and asked a group of 8th graders if they could define the term "contemporary art" for me [for context, I work at a contemporary art museum], and one of them said "Is it art that's made with contempt?"
And unfortunately that's the funniest thing a student has ever said to me in 10 years of teaching
in which fem!reader has been gambling with her life and spencer reid is more than a little concerned
flangst, hurt/comfort
warnings/tags: passive suicidal ideation from reader, she keeps risking her life, that really grinds Spencer’s gears, established relationship, existential dread, existential euphoria, lots of stuff about grief and death and self worth, not advocating for this, pretension from the author, blasphemy probably?, reader gets fuzzy from prescribed painkillers, arguing, hospital stuff, mention of sleep paralysis involving spiders, reader gets shot but she’s fineee, I pander to intro to philosophy takers, bau!reader, neurodivergent coded reader, if she’s not exactly like you I’m sorry, bean soup
a/n: one day you’re in a writing slump literally the next you are in your notes app for six hours writing whatever the fuck this is but I think I love it even tho it’s weird and I hope u like it too!! btw this was gonna be called cotard's syndrome but then I never once talk abt cotard's but if u care that might be interesting context for the motif of not feeling human/alive, WC 3K
Spencer hasn’t spoken to you since the doctor left the room five minutes ago.
The air is antiseptic as you take it deep into the hollows of your lungs and trap it there for a moment, trying to optimize oxygen intake without actually having to breathe very often. Hospital smell is as universal as it is suffocating. It reeks of everything but death—flowers, blood, bleach, vomit. A humiliating, desperate scramble to defy the very thing that defines mortality. It’s pathetic. It reminds you of the worst instances of failure and loss and denial in your life. It curdles your blood. Literally rots you from the inside out.
You’ve had ample time to ponder that smell over the last few months because you keep ending up here, and some time ago you decided the institution of the hospital is inherently absurd. It’s stupid to think you could avoid the one absolute condition on your corporeal form: impermanence. It is the only thing that is promised, and people still waste their lives away running from it. It is the ultimate self-fulfilling prophecy.
So around the time you acknowledged that hospitals are simply monuments to the self-importance of man, you gave up on trying too hard to preserve yourself. You’ve seen death too much and too often. You’ve tried staving it off with prayer and the miracles of modern medicine, and it never matters in the end because it’s all magical thinking anyway. All the wallowing and the bargaining and pleading never got you anywhere.
You’ve accepted that from the moment you were born, you were marked for death.
But you’re not a complete nihilist. You’re not even totally resigned to the abject certainty of death—because you’ve found a loophole.
Everyone has as many chances at escaping death as other people are willing to offer them at the cost of their own lives. Not many people are willing to make that trade—someone else’s life for their own—but you’ve decided you are. Because if not you, then who?
It’s not that you don’t see the value in your own life, as Spencer keeps making it sound. It’s just the opposite. You understand that you’ve got an extremely valuable resource, and you don’t just have to sit on it. There are things you can do. Choices you can make. Ways to defy death.
Just… not yours.
Or maybe you’re just in deep denial.
Either way—this is a philosophy your boyfriend intentionally refuses to understand. He gets mad, or some kind of upset, every time you try to explain it. Usually he ends up leaving the room close to tears. You never feel good about it.
Right now he’s presumably trying to give you the silent treatment and not doing a very good job.
“Stop holding your breath. Why are you—stop that.”
Spencer’s frowning, skin sallow and milk-blue under fluorescent lighting. Purple seeps from around his eyes like spilled wine on a white table cloth. Your stomach turns.
“Sorry.”
He doesn’t tell you not to apologize. You don’t expect him to.
“Why are you doing that? Does something hurt?”
Other than your entire bicep being on fire due to the 9 millimeter Luger it recently came into contact with?
“Not really. I just don’t like the smell of hospitals.”
At that, he gets stony again. Like, Medusa stony. You feel a tightening in your chest that has nothing to do with a lack of air. His arms are crossed. A silk lined blazer drapes over your lap, and you wonder if he’s cold in just that white button up. It’s translucent in this light, like onion skin, or maybe something less organic—the folds and wrinkles look like fabric, but lots of things look like something they aren’t. In the Pietá, Jesus lounges dead on his mother’s lap, his cheek pressed to her arm like either of them have warm flesh, and her skirts drape from her knees and fall to the ground in delicate folds just like Spencer’s jacket and looking at pictures of it you swear you could find comfort there too—but if you wanted to make space for yourself next to Jesus you’d have to do it with a chisel and mallet. You’re starting to think that’s what it’s going to take with Spencer, as well.
“So stop walking into active gunfire. You’ll spend a lot less time here.”
Every deep sigh (of which there have been several) calcifies you further. Ironically, you never feel less alive than you do in a hospital.
“I didn’t walk into active g—”
“I’m not debating it with you. It’s not a discussion.”
“So you’re just going to be pissed at me for the rest of forever? I mean, if it’s not a discussion—what are you gonna do? Break up with me?”
You feel yourself dripping poison in the well. Even as you say it. As his head tilts toward you slowly and intently from his spot against the wall, and his warning gaze is cold and unforgiving and weighs 3.35 tons.
“Don’t.”
“Don’t what? Talk?”
“Don’t try and manipulate me by implying that there are no options between permissiveness and dumping you!”
“I’m not manipulating you. And I don’t need your permission to do anything.”
The first part is an incredulous scoff as well as a blatant lie. You are manipulating him. Chisel and all. At least, you were trying to. It clearly doesn’t work very well. His jaw clenches.
“Is this worth it to you? Fighting with me like we’re children solely so you don’t have to take accountability?”
“Accountability for what? I made a choice. I don’t regret it. You’re upset because I did my job.”
A beat.
Silence always makes you feel the gravity of your words.
“Do you believe that?”
His voice softens so much, so quickly, it splinters down the middle.
You’ve never been known for your light touch. For someone who sees eviscerated bodies nearly every day, and prides herself on her evolved understanding of mortality, you often forget other people are not, in fact, impenetrable marble—they are flesh and blood and bone, and you’ve splattered yourself in the evidence of that.
“What?” You murmur. You easily turn timid, when you’re afraid you’ve been too heavy-handed. Spencer’s seen you sob over the birds who hit the windowpane and never reappeared from the shrubbery—their delicate wings, their little beaks—he didn’t mean to, Spencer, and now he’s dead! He’s seen you spend forty minutes catching a spider with a cup and an envelope rather than smush it, even though you have reoccurring episodes of sleep paralysis wherein a giant arachnid is sitting on your chest, hissing and clacking its pincers. He knows you are, at your core, kind and good.
It’s a little scary for someone to know that about you. It’s a little scary when you see your own vulnerability reflected in their eyes and the way they speak to you, the way you see it in him now.
“Do you believe that the choices you make regarding your safety don’t concern me at all?”
“They’re… my choices to make,” you whisper, but you’re less sure than you were a minute ago.
“I’m not talking about that—I’m talking about how it feels like you are trying to kill yourself every time we’re in the field.” His voice shakes. You swallow. “You have been hospitalized for four serious injuries sustained on the job in the past five months. Every time I bring it up, you—you talk about life like it’s optional for you. Like you’re not only willing to give it up but are actively looking to throw yourself in harm’s way every chance you get. You think that doesn’t terrify me?”
There’s a small chip in the paint on the wall next to him roughly the shape of Africa.
“It’s not like that. I’m… I’m just having an unlucky streak.”
He snaps.
“Luck isn’t going to get between you and a bullet. Ever.”
“It’s my job, Spencer.”
“No. It is a risk of the job. Not a defining feature or requirement. But you keep running toward gunfire like you have a quota to meet.”
“Spencer, I’m not doing it at you. I’m not trying to get myself hurt.”
“Well it doesn’t really feel like you’re trying to avoid it, either,” he shoots back immediately, and you feel the anguish radiating from him until it lodges in your own chest, like it was always yours. Maybe it was.
You want to make it better, but you don’t know how, and even if you did, he’s pushing off the wall and crossing the room toward the door.
“Where are you going?” You call, a little too desperately for your liking.
“You need to eat something.”
Which translates roughly to he’s pissed and upset and he needs to leave the room. You’ve done this song and dance before.
However, food and an absence of him are contenders for the absolute last two things you want right now.
“Spencer, please don’t—”
But the door is already whooshing closed.
You stare at the grey and white checkered floor. Light bounces off the waxen reflection—some sort of parallel universe you can’t reach, perhaps. The whole room is desaturated. A mechanical humming threatens to drive you insane. It doesn’t feel like a place for living humans. You’re not convinced you are one.
When he comes back, maybe ten minutes later, nothing’s moved at all. In fact you’re not even sure you’ve been breathing.
The door closes as quietly as it opens.
This time, wordlessly, Spencer comes to you. You see his shoes first—his serious adult shoes. You wish he was wearing his Converse.
Then you see the bottle of apple juice he’s cracking open for you. Blue lid. Same kind you always get.
“You didn’t bring food.”
“You wouldn’t have eaten it.”
Fair enough.
You take the bottle with your good arm and sip shallowly—all that adrenaline and the subsequent interpersonal strife has left you nauseous. The drink is too sweet. It clashes with the tang of metal in your mouth.
Still, you drink enough to satisfy him, and then you’re tossing his jacket aside before balancing the bottle between your thighs so you can screw the lid back on. He doesn’t go back to the couch or his spot on the wall.
Spencer doesn’t pull away when you lean into him, but it does take him a moment to reciprocate. You’re still grateful all the same when he cradles the back of your head to his stomach like you’re made of porcelain.
“I don’t think you understand how upset I am,” he says quietly.
Only Spencer Reid could be furious with you and still hold you like this.
“I’m sorry,” you murmur.
“That’s not good enough. You need to stop risking your life like that.”
He doesn’t get it. Your brows flutter as they try to furrow but even holding that expression saps you. Maybe the pain meds are finally kicking in.
“I just wanna help people.”
“That doesn’t explain to me or justify your urge to do it at the cost of your own life. We all want to help people, angel. The whole team. That’s why we do what we do. But we don’t run into shootouts. We don’t split off and provoke people with guns when we’re unarmed and unprepared.”
“But it worked. She got away.” You feel a spark of fulfillment at the memory of Gloria Sanchez in JJ’s arms just before the ambulance doors had slammed you into your first cage of the night.
“We don’t know if he was going to kill her. He might not’ve fired at all if you didn’t go running toward him. That wasn’t strategic, it was reckless and irresponsible and you know that. I know you do. So something else is going on.”
The pressure in your nose that usually precipitates tears comes as a surprise.
“I just—if that’s how I can save someone, why shouldn’t I, you know? Why do they have less of a right to live than I do just because they’ve been deprived of the choice? If I have a choice, and they don’t, I should choose to… to help them. That’s my job.”
For a long moment, you listen to your own breath, muffled by Spencer’s shirt, and the mechanical humming, and something dripping, and the low, buzzy chatter of nurses far down the hallway.
When Spencer next speaks you get the sense he’s holding a lot back. His voice is taut enough it wavers slightly. Taut enough that if he weren’t speaking so quietly he might be yelling. It’s like pinpricks all over your body—not enough to hurt, but enough to make sure you’re paying attention.
“You can’t help anyone if you’re dead. Do you understand me?”
And yes, in theory, you do. But that doesn’t negate your original point. It only takes one life or death moment for you to utilize the most valuable resource you have. What happens after is no longer your concern.
“On the psych evals you helped develop it asks if you think it’s appropriate to sacrifice the one to save the many. The answer is supposed to be no. If you say yes you get flagged. The FBI frowns upon… lever-pullers. And that’s exactly what I’m doing if I let one person die when I could’ve potentially saved them.”
“Protecting your own life is not pulling the lever. What you’re doing isn’t smart or morally righteous. You’re just throwing yourself across the tracks, too. If you were to fail a psych eval right now it would be because you’re passively suicidal. And you know what? The FBI also tends to frown upon self-immolative delusions of grandeur and girls who like to play sacrificial lamb.”
“’M not a… sacrificial lamb…”
“No,” Spencer agrees quietly, stroking your hair. “You’re not.”
And you can’t react to the fragility in his voice, or the content of his words, and the fact that when he says it he means something different—you can’t do anything about it. You can only catalogue it. You can only know that he loves you, and feel a little guilty about it.
Some time passes. You don’t know how long he remains standing so you can doze against him. He does not smell like the hospital. He’s the antidote for whatever grief they distill from widows and orphans before aerosolizing it through the whole place.
“Baby?” He asks eventually. You know the lilt of it. He’s been thinking.
“Hm?”
He hesitates.
“Can we talk about you maybe taking some time off of work?”
“You heard the boss,” you mumble. “I can’t come in for at least a week.”
“I mean beyond that.”
You intend to respond, but by the time you open your mouth you’ve lost the prompt in all the brain fog.
“You’re so comfy,” you murmur dreamily. “Thank you for being mad at me.”
If he responds, you miss it.
You’re imagining the bed waiting for you at home, once the doctor is done observing you—warm, neatly made. Blankets woven with soft fibers. A mattress that will sink under your weight. You think of Spencer, who’s shaping himself to you, Spencer, who intentionally inhales when you exhale at night to make room for the rise and fall of your chest against his. You think of the imprint of his buttons on your cheek. You are both flesh and blood and bone.
Strange, pill-induced half dreams and visions and memories take over. You’re in that alleyway again. That man fires. You don’t blink or scream or feel.
Just before the bullet makes contact you’re standing in front of the Pietá. It’s massive. Spencer is there, too, holding your hand.
You can’t actually see him, only, you know he’s there. You feel his warmth, his presence, when he leans over to whisper in your ear. The way you know him goes beyond sight.
The Pietá—meaning the pity, in English—is 6’7” and six feet wide. It weighs 6,700 pounds. Michelangelo had to quarry the block of marble himself. He was only 25 when he finished. The Basilica keeps it behind bulletproof glass.
Jesus and Mary behind bullet proof glass.
God. Who’d try to kill Jesus a third time? He’s already dead.
Besides—they’re both made of stone. Bullets would probably just ping right off of them. Or maybe they’d shatter just like you did.
Probably not though. You’re not actually made of marble. You’ve no idea what it feels like to be a statue and get shot at. You sure know how it feels as a human, though—and it feels like shit. You don’t really know why you keep doing it. None of your reasons are good enough for Spencer, and he’s, generally speaking, pretty smart about some things.
Maybe you’re tired of being human.
Maybe you’re tired of sleeping on your arm funny and waking up to a hand in your bed that doesn’t feel like yours and remembering all the hands you’ve held moments before they couldn’t hold yours back. Or tired of those moments where you are being held and it’s so unbelievably perfect and then someone has to let go, or when someone you love hugs you goodbye and you realize that there will always be a final I love you, or simply getting older and watching potential life paths fall away like rotten fruit to the ground. Maybe life is sometimes so good it hurts and you can’t bear it. So you tempt fate. You walk a tightrope because even if you fall and it can’t ever feel good again—at least it can’t hurt either. At least you won’t lose anymore.
And yet.
It does feel good, sometimes. Sort of often, actually. Even when it’s awful.
Dead Jesus and Mary, with their marble skin and their bulletproof glass and their holiness and their virginity and all the other things they have that you don’t. Nobody can hurt them anymore. Not ever.
Maybe that’s something you envy.
But you doubt they’ve ever been so terribly, wonderfully alive as you’ve been, or as comfortable as you are like this, leaning into Spencer’s warmth and his softness, in the hospital, or the Vatican, or your dreams. Your bicep was ruined but it’s healing. You are capable of ruin and rebirth in the same lifetime. In the same day, in the same hour.
You doubt that in 520 years, behind bulletproof glass and unyielding, eternally flawless skin, they’ve ever felt as invincible as you do now.
so much of why trinity is the way she is is because she grew up a gymnast. specifically, because she grew up a gymnast prior to safe sport.
at its core: gymnastics culture is the embodiment of achieving an impossible standard of perfection. it gives you an incredible work ethic but more often than not (especially in the 90s-early 2010s) is so damaging.
it means trinity grew up with 8am saturday practices, having to wake up at 5:30am for all-day competitions every other week, 4 hour long practices after eight hours of school, and then staying up all night to finish homework before doing it all over again the next morning
it also means being in an environment where if one kid gets caught cheating on conditioning - the entire team is punished for it with more reps
essentially throughout trinity’s entire childhood — she was held to a higher standard of discipline and responsibility than most of the adults in her life are now
so of course she thinks langdon needs to repent by telling everyone what he did. because gymnastics culture teaches you that the failure of one person is meant to be seen by the collective.
beyond this, so much of pre-safe sport gymnastics was about force. it was having your coach sit on your back to push you into a middle split, or press on your shoulders to force an over split. it was being made to train & compete on injuries, regardless of how much pain the athlete is in, because winning is more important than recovery
naturally, this is going to stunt trinity’s capacity for empathy. how would she know how to care that langdon is struggling with addiction, or coping with chronic pain, when she was doing high-intensity work outs every day for 10+ years on sprained ankles, pulled muscles, and possibly even broken bones?
if she was expected to suck it up and push through at twelve, then in her eyes — he can do that with his back pain at 35. especially because trinity is most likely dealing with chronic pain too, she is just ignoring it
beyond this — competitive gymnastics makes you so hyper aware your body. many gyms don’t allow their gymnasts to wear shorts over their leotards during meet season to prepare them for competition, so every day for 4+ hours — trinity would be wearing nothing but a skin tight bodysuit. meanwhile, she’d be surrounded by other girls with bodies she believed were better than hers, while hearing constant comments like “i can see your lunch” , “tuck in your belly” and so on
all of this ties into the perfection element — as aesthetics are crucial in gymnastics. there are so many rules about competition looks to the extent where deductions are written into the code of points regarding misplaced hairs, a visible bra strap, or visible underwear line
every single element of gymnastics is calculated and that obsession with control & perfection doesn’t leave just because you’ve retired
so of course as an adult, trinity is obsessed with being the best. of course she’s she using over confidence to mask her insecurity. if she lets it slip that she isn’t actually as good as she wants to seem — she’s vulnerable for attack
and if there is one thing that gymnastics has taught trinity, it is that if she wants to protect herself as an adult — she always has to be on the offense.
however, going into how the foundation of competitive gymnastics in trinity’s era was fully built on systemic abuse & how that impacts her characterization now, would have to be a whole other post.
briefly taking my phone out at work and looking at images of my favourite character like im a soldier in the trenches looking at a picture of their loved one back home
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