This, Every Day - Natasha Romanoff
pairing: Natasha Romanoff x Reader
summary: somewhere along the way, without ceremony or negotiation, the girls chose who they run to when something hurts — and you and Natasha learned to love what that meant.
tags/warnings: domestic fluff, soft emotional moments, mentions of missions / temporary separation, minor illness (fever), married Natasha, mom Natasha, established relationship, family dynamics, Natasha Romanoff Deserves Happiness.
author's note: hey loves! 💛 i know i said stay tuned… and here we are, very early actually.
i completely forgot i had this written, and then i stumbled across it earlier and just thought, why not post it today? it felt right. it’s soft, domestic, no big plot—just feelings. and honestly, i really loved revisiting this little family. you know I love my nat and reader wives so much.
english is not my first language, so please forgive any mistakes and be kind. the russian dialogue includes english translations so everyone knows what’s being said—but i obviously do not speak russian 😭 so if anything sounds off, please blame the translator and not me.
i always love reading your thoughts, so don’t be shy. your comments truly make my day 💛
There is an unspoken rule in your house that no one has ever admitted out loud, not once in all the years it has existed. If the world feels heavy — if something went wrong at school, or a friendship cracked down the middle, or you just feel stretched thin in that quiet, invisible way that's hardest to explain — you go to Mom and Mama's room. It doesn't matter how old you are. It doesn't matter if you're twelve or fifteen and have been spending considerable energy convincing everyone around you that you don't need anyone anymore. The door is never really closed. It never has been.
You and Natasha never planned it. You never sat down at the kitchen table and divided loyalties, never encouraged preference, never drew invisible lines between yourselves and hoped the girls would find their way to the right side. If anything, you both tried very hard to avoid it — or at least to keep things even, symmetrical, fair. But children are not interested in fairness when it comes to who they run to when something hurts. Somewhere along the way, without anyone announcing it, without ceremony or negotiation, the girls chose. It happened the way all quiet and important things happen: gradually, and then all at once.
Valerie has always gravitated toward Natasha. Even when she was little. Even when Natasha still carried that sharpness around her like armor, she hadn't yet figured out how to set down. Especially then, maybe, because Valerie is the kind of person who does not need softness when she's overwhelmed — she needs steadiness. She needs someone who will not overreact, who will not rush in with words before there is space for them, who will listen without flinching and answer calmly and directly. That is Natasha, entirely and completely. And Natasha — who spent the better part of her life believing she was built for destruction, not devotion, who never expected a child to look at her the way Valerie does, with that quiet and absolute trust that borders on reverence — never quite recovered from being chosen. You watch it happen sometimes, the small astonishment that flickers across her face when Valerie leans into her, and you think: she still can't believe it. You love her for that. You love them both for that.
Mila is yours. Entirely, effortlessly, without question. She does not think before reaching for you. If she is cold, she presses against your side. If she is tired, she leans her full weight into your shoulder without apology. If she is unsure, she finds your expression first before deciding how she feels about anything, using your face as a compass. She talks things out. She processes at full volume, out loud, in the middle of whatever room you're in. She needs reassurance in words, not just presence — she needs to hear it, hold it, turn it over. And you give it to her instinctively, patiently, without ever making her feel like too much. You catch Natasha watching sometimes, watching the way Mila fits herself into you like she was built for that specific space, and you can see Natasha still learning how to understand that kind of tenderness. Not jealous of it. In awe of it, more like.
It is most obvious at night.
Valerie does not announce that she's coming in. She knocks once — always exactly once, never twice, because she is fifteen and careful about her dignity even when she is not okay — and then opens the door just enough to step through. She walks straight to Natasha's side of the bed every time. If she had a long day, if something at school pressed too hard against her, if she argued with a friend or spent too long holding herself together in public, she doesn't say much. She just climbs in beside Natasha and rests her head against her shoulder, and Natasha doesn't ask questions immediately. She shifts onto her back so Valerie can tuck into her side, one arm coming around her automatically — secure, but not tight. Never tight. She learned the difference years ago.
Sometimes they lie there without speaking for ten full minutes before Valerie exhales the kind of breath that sounds like she has been saving it for hours and says, “Can I tell you something?”
And Natasha answers, without hesitation, every time, “Of course.”
Valerie tells Natasha things she doesn't tell you first. Not because she loves you less — you have always known that, have always been certain of it — but because Natasha meets her intensity with steadiness. When Valerie spirals, Natasha grounds her. When Valerie doubts herself, Natasha reminds her who she is without dramatics, without inflation, just clean and direct and real.
“You don't have to be perfect to be worthy,” Natasha tells her one night, voice low in the dark.
And Valerie nods against her shoulder like she is filing it away as law, like she will carry it with her into every room she ever enters.
Across the bed, you watch them and feel nothing but gratitude. That is the only word for it. Pure, uncomplicated gratitude.
Mila, on the other hand, has never knocked in her life. She wanders in and climbs directly into your side like gravity pulled her there, like there was never any other option. She curls into you, tucks her face under your chin, presses her knees against your thigh, and then she talks. About a classmate who ignored her at lunch. About the teacher who made her nervous in front of everyone. About how she is pretty sure she messed up the presentation even though she practiced. You stroke her hair and answer gently, patiently, giving her room to feel everything without minimizing any of it. Natasha listens from the other side of the bed, sometimes offering a quiet suggestion, but she understands this rhythm belongs to you. She does not interrupt it. She knows that Mila needs warmth first. Solutions later, if at all. And you provide it without even thinking about it, the way you breathe.
Saturday mornings are sacred in your house.
Natasha leaves early for the gym. She always does — the same quiet routine, boots set down carefully, a kiss pressed to your temple, a hand briefly over whichever girl has migrated into the bed and kicked her blanket off overnight. By the time she comes back, flushed from exertion, hair still damp with sweat, the scene is almost always identical. Both girls in your bed. Valerie pretending she's there just to talk, sitting up with her arms crossed, trying very hard to look like someone with a purpose. Mila not pretending anything at all — fully curled into your side, hair in every direction, barely awake, happy as anything.
You are lying on your back while they ramble about whatever is pressing that particular morning. Something from school. Something online. An argument that happened in the group chat. Something Mila read that she cannot stop thinking about. It is wonderful and completely unremarkable, and you would not trade it for anything. Then the front door opens, heavy boots set down in the hall, and Valerie hears it before you do.
Both girls sit up just slightly — a reflex, almost, like a shift in the room's gravity.
Natasha appears in the doorway in her workout clothes and just stops.
Three bodies tangled in her bed. The way the morning light is sitting on everything. The sound of the girls already starting to say her name.
Her whole face softens in a way she would never allow anywhere that wasn't home.
“Well,” she says dryly, “I see I've been replaced.”
Mila holds out one dramatic arm. “Mama, come here.”
And Natasha doesn't hesitate, she climbs directly onto the bed without caring that she's warm from the run, settling into the space that seems to appear for her automatically.
“You're sweaty,” Valerie complains.
“And yet,” Natasha says, wrapping an arm around her anyway, “you are not moving.”
Valerie absolutely does not move.
You watch them for a moment — Natasha in the middle now, Mila tucked under her arm, Valerie already leaning into her shoulder — and Natasha glances at you over both their heads. That look. Soft, grateful, almost disbelieving.
She mouths two words without sound: We did this.
And you smile back and think we did.
Weekday mornings are a different kind of beautiful.
Dinner is chaos. Beautiful, specific, yours. Valerie arguing her case for a later curfew next weekend, presenting evidence with the kind of precision that makes Natasha quietly proud even as she declines. Mila dramatically offended that the answer about adopting the cat she found online is still, inexplicably, no.
“Your argument,” Natasha says calmly, addressing Valerie, “is that you are responsible.”
“You left a towel on the bathroom floor this morning.”
Valerie sputters. “That's unrelated.”
Natasha raises one brow. “Is it?”
Mila points triumphantly across the table.
You are trying very hard not to laugh while serving food. Natasha catches your eye in that moment, and there is that quiet amusement sitting in her expression — she loves this, you can see it, the normalcy of it, the trivial arguments about curfews and bathroom floors and rescue cats.
Later, when the girls clear their plates with theatrical sighing, Natasha reaches for your hand under the table, and her voice drops low.
“Sometimes I still can't believe they're ours.”
You squeeze her fingers. “They are.”
And the way she exhales after that — like she needs to hear it said out loud sometimes, needs someone to confirm the reality of it — makes your chest ache in the softest possible way.
Mila is undeniably your girl. She doesn't try to hide it. She doesn't see any reason to.
One afternoon she is at the kitchen counter doing homework, frustration building in waves — the pencil tapping, the eraser smearing, the pages turning with increasing violence.
“I'm stupid,” she mutters, under her breath, like she doesn't mean for you to hear it.
You walk over and gently take the pencil from her hand and wait until she looks up at you.“Look at me малыш.” Baby.
“You are not allowed to talk about my daughter like that.”
Something in her eyes softens immediately — completely, instantly, like a door opening. You pull her into your chest without ceremony, and she folds there the way she always has, the way she has since she was small, fully and without reserve.
“You're frustrated,” you say into her hair. “That's different.”
In the doorway, Natasha is watching, quiet, and the look on her face is something close to reverence. Because she sees it — you don't just love them. You build them back up in real time, piece by piece, without ever making them feel like a project. You do it the way people breathe.
Valerie's attachment to you is quieter, but it runs just as deep.
One evening she knocks on your office door.
She sits on the edge of the chair, fidgeting with her sleeve, and it takes a little while to get going.
“There's this thing,” she starts.
And then she finds her way into it. Something about a friendship that feels complicated, or something she's scared to name quite yet, or something that happened that she has been carrying alone all week.
You don't interrupt. You don't rush toward solutions. You just sit cross-legged on the couch and give her your full attention, all of it, and when she finishes, you say gently, “That makes sense.”
No judgment. No overreaction. Just — that makes sense.
Valerie exhales like she has been holding her breath for days.
“You're not mad?” she asks.
“Why would I be?” You reach out and squeeze her hand. “I'm on your side. Always.”
When she hugs you goodnight, she lingers a beat longer than usual.
Natasha notices. She always notices.
There is also the protective side of you that lives just underneath the warmth, and the girls have both seen it operate.
When a teacher misjudges Mila — calls her distracted in a tone that is dismissive rather than concerned — you don't raise your voice. You schedule a meeting. You sit across from that teacher calm and composed and completely unwavering.
“My daughter is thoughtful. If she's distracted, there is a reason. Let's figure out what it is instead of labeling her and moving on.”
Natasha sits beside you, quiet but imposing, saying nothing and requiring no words. The teacher backtracks in short order.
Afterward, Mila looks at you like you hung the moon yourself.
“You didn't have to do that.”
You don't hesitate. “Yes. I did.”
Valerie hears the story later and mutters, entirely casually, “Mom’s scarier than Mama.”
Natasha laughs out loud — genuinely, completely.
You just raise a brow. “Good.”
The affection is constant and ordinary and everywhere. You kiss their foreheads absentmindedly while passing through rooms. You text them during the day just to say thinking about you, and they respond with varying levels of teenage nonchalance that does not fully conceal how much it means to them. You remember everything — Valerie's exact favorite snack, the specific tea that helps Mila when she's anxious, the projects that are coming up, the friends whose names matter, the tiny details that add up to being known.
They gravitate toward you without thinking about it. On the couch they lean into you. In the kitchen they hover beside you. When you're cooking, Mila will wrap her arms around your waist from behind and just stand there — her chin on your shoulder, her arms loose — not saying anything, not needing to.
You cover her hands with yours and keep stirring the pot. Natasha walks in and just smiles. Because she knows what that is. That is safety, plain and total and unconditional, and you provide it the way some people provide sunlight — without ever seeming to try.
The language is its own thing entirely.
Natasha never forced it on them. She didn't sit them down with textbooks or make it a lesson. It came the way all the most important things came in your house — gradually, softly, without announcement. It came through pet names, first. Солнышко murmured into sleepy hair at bedtime. Моя девочка when she was proud. Котёнок when someone was upset and trying not to show it. The girls grew up hearing it like background music — familiar and warm, something that meant Mama is near and everything is fine. And then, without anyone noticing when exactly it shifted, they started giving it back.
Mila is the one who does it first on purpose. She is maybe nine years old, curled up next to Natasha on the couch while you move around the kitchen. Natasha is braiding her hair, slow and patient, fingers working carefully.
Natasha says, “Yes, малышка?” Baby.
Mila pauses, concentrating visibly. “Я тебя люблю.” I love you.
Natasha's hands go still. The whole room seems to hold its breath.
She answers immediately, voice softer than you have ever heard it. “Я тоже тебя люблю.” I love you too.
Mila beams like she won something enormous. Later, she tells you she practiced that sentence for two days.
Valerie's version is subtler. She is too self-conscious for full sentences, at least about it, at least out loud. But when Natasha comes home from a mission and Valerie wraps her arms around her in the hallway, there is usually something muttered into her shoulder, almost too quiet to catch.“добро пожаловать домой, мама.” Welcome home mama.
Natasha always squeezes her tighter after that, without comment, without making it a thing.
Or sometimes in the early mornings, when Natasha is already in her jacket and boots and Valerie appears in the doorway looking half asleep, Valerie will say, casual as anything, “Будь осторожна.” Be careful.
She says it like it means nothing.
Natasha hears everything in it.
Mila uses Russian when the feeling is too big for English. When she's sick and half asleep and the fever finally starts to break, she will whisper, “Мама,” in a way that sounds smaller and more fragile than the English version, like the word itself is made of something more tender. When she's overwhelmed and Natasha is holding her, she will murmur, “Неуходи,” Don’t go. not dramatically, not even always consciously, but Natasha catches it every time.
She answers in the same steady, low voice, “Я никуда не уйду.” I’m not going anywhere.
Even when she has to leave later. Even if it's only for a week. In that moment, it is true, and Mila knows it is true, and that is enough.
At dinner, in the middle of an ordinary Tuesday, Mila will toss out a random word mid-sentence and not notice she did it.
“Мама, where's my phone?”
And then, Valerie: “Moooom, Mila took my blanket, это нечестно.” That's not fair.
Natasha never corrects the code-switching. She smiles faintly, that private smile that she doesn't always let people see, like she is holding something precious between her hands.
The first time it happens in public is almost funny. You're in a grocery store. Natasha is comparing prices, focused. Mila tugs on her sleeve.
“Мам, можно это?” Can I have this?
Natasha doesn't even blink. “Нет.” No.
Valerie snorts audibly. The cashier looks deeply confused.
“She said no,” Mila rolls her eyes.
Natasha leans down slightly and says, quiet and entirely serious, “I always say no in Russian. It sounds softer.”
Valerie looks at her. “It doesn't.”
She is smiling when she says it.
When Natasha is gone, the language sleeps. The girls don't use it as much — it belongs to a frequency that requires her presence to transmit properly. But it slips out at the edges. Mila texts her, “Спокойной ночи, мама.” Good night mama.before bed, and Natasha responds every time. Valerie, before a weekend mission, left a sticky note on Natasha's pillow: Возвращайся домой. Come back home.
Natasha kept it in her wallet for months. You found out when it fell out at the grocery store and she picked it up quickly, almost embarrassed, and you looked at it and looked at her and said nothing because there was nothing that needed saying.
You don't feel left out. You never have. You love watching it because you understand what it is. It is not exclusion. It is inheritance. It is Natasha giving them a piece of where she came from — not the violence, not the parts she has spent years trying to reckon with, but the language. The softness hidden inside it, underneath everything she was made to be.
And sometimes, when the house is quiet and the girls are asleep and it is just the two of you in the dark, Natasha will pull you close and murmur against your hair, “Моя любовь.” My love.
You understand that one perfectly.
The hard moments come quietly.
Natasha has been gone four days. A short mission, not dangerous, not dramatic — just long enough. Long enough for the house to feel slightly uneven, like a table with one leg a little shorter than the others. Long enough for Mila to start sleeping with your pillow tucked under her chin because it smells like both of you and that specific combination is the one that means home, completely.
You are at the kitchen table on FaceTime, the connection flickering a little with the distance, but Natasha is there — alive, real, smirking at something you said. Mila is standing around the corner, listening. You can see her shadow.
“Come here,” you call gently.
Mila shakes her head quickly. “She's busy,” she whispers.
Natasha hears it anyway. “Mila.”
Just her name, just that — and something in the way Natasha says it breaks the dam. Mila walks into the kitchen slowly, trying to look composed, trying to be twelve and brave and fine.
Natasha's expression changes the instant she sees her. Completely.
Mila's mouth trembles before she can stop it. “Hi.”
“You're not coming to say hello?” Natasha asks, mock offended.
Mila steps closer. “I didn't want to bother you.”
Natasha goes still. “Bother me?”
Mila shrugs. “You're working.”
Natasha leans toward the camera, voice dropping to something careful and absolute. “Listen to me. There is no universe in which you bother me.”
Mila presses her face into your side.
“You miss me?” Natasha asks softly.
Mila nods without lifting her head.
“I miss you too. Terribly.”
After the call ends, Mila does not let go of you for a long time.
The fever comes in the middle of the night, the way the worst things do.
You wake to the sound of coughing — the deep, chesty, miserable kind that pulls you out of sleep before you are even fully conscious of it. Natasha is gone. Three days into what is supposed to be a routine, safe, short trip. You are already out of bed.
Mila's light is on. She is sitting up when you come in, hair plastered to her forehead, blanket tangled around her legs, eyes glassy.
You press your palm to her forehead and she is not fine.
She insists it's just a cold. Her voice is small and thick, and she lets you take the thermometer from the nightstand, which tells you everything you need to know about how bad it is.
“Don't tell Mama.” She says quickly when you check the reading.
“She'll worry.” A pause. “She can't come home.”
It is not dramatic. It is not a tantrum. It is just a twelve-year-old being practical about the people she loves, trying to protect her mother from worry the way Natasha has spent years trying to protect her from everything else, and it hits you somewhere right in the center of your chest and stays there.
You spend the rest of the night in her room. Cool cloth on her forehead, medicine measured carefully, soft murmurs when she drifts in and out. Around three in the morning she shifts restlessly and finds your wrist in the dark.
A long pause. And then, so quietly you almost miss it, “I want Mama.”
She sounds ashamed of it, which breaks your heart completely.
She presses her face into your stomach the way she did at five during thunderstorms.
“She would sit with me,” Mila whispers. “She does that thing with my hair.”
Your throat tightens. “She still can. Just from far away right now.”
Mila shakes her head weakly. “It's not the same.”
In the morning, Valerie appears in the doorway. She tries to look composed, which she mostly fails at.
“Did you call Mama?” she asks you quietly.
Mila grips your shirt. “Don't.”
Valerie frowns. “Why not?”
“Because she'll feel bad.”
Valerie goes soft immediately.
“She always feels bad,” Valerie says quietly. “That's kind of her thing.”
There is no resentment in it. Just understanding. Just knowledge of the person they share.
Natasha calls around noon. You answer in the kitchen.
A fraction of a second's pause before you answer, and Natasha catches it before you can smooth it over.
She listens. There is a silence on the other end that hums.
You hold your ground firmly. “You are not. It's a cold. She needs to know you'll always come back — and you will.”
A long exhale. “Put me on speaker.”
When Mila hears Natasha's voice she tries to sit up straighter.
“Hi, my sick little bird.”
“I'm okay,” Mila says quickly.
“I know you are,” Natasha says, and the tenderness in her voice is almost unbearable.
“I didn't want you to worry.”
“Mila.” Natasha's voice drops, careful and precise. “If you are sick, I want to worry. That is a privilege.”
Mila's eyes fill before she can stop them.
“I miss you too,” Natasha says immediately. “Every minute.”
“I want you to sit with me.”
On the screen, Natasha closes her eyes for just a moment.
“Then I will. We'll stay on the phone. I'll sit right here.”
For forty-five minutes, Natasha talks softly — she tells stories, rambles about small things, drifts into the memory of when Mila was a baby and refused to sleep unless Natasha hummed the same off-key lullaby every single night for almost a year.
Valerie eventually climbs into the bed too, pretending she is just checking on her sister. She stays.
“Both my girls in one bed?”
“Shut up,” Valerie mutters.
She is smiling when she says it.
The fever spikes that night. Mila gets clingy in a way she hasn't been in years, openly and without embarrassment, and you welcome every inch of it.
You don't hesitate. “Of course.”
She curls into your side immediately, forehead against your collarbone, fingers hooked into your shirt.
In the dark, barely audible, “Mama would've carried me.”
You press a kiss into her hair. “I can carry you too.”
She shakes her head slightly. “It's different.”
It is. Natasha carries like she is shielding the world from them — like her arms are the last line between them and anything that would dare. You carry like you are holding the pieces together, like your hands are what keeps everything from scattering. Both things are necessary. Both things are love.
Natasha comes home two days later.
The fever is gone but Mila is still pale, still slow, still wrapped in three layers of blanket when she hears the door. She freezes at the top of the stairs. For a moment she just stares. Then she runs. Not with her usual wild energy — with relief.
Natasha catches her easily and lifts her without hesitation despite the extra height, holding her tight, cheek pressed to her temple.
Mila buries her face in Natasha's neck. “I wanted you.”
Natasha closes her eyes. “I know.”
Valerie joins the hug from the side, quieter, her arms going around both of them. You wrap around all three of them. A mess of limbs and love that doesn't fit neatly together but fits anyway, the way it always has.
Later that evening the girls are settled on the couch — Mila half asleep against Natasha's chest, Valerie leaning into her shoulder, the television on but no one particularly watching it.
Natasha looks at you over their heads.
“You didn't,” you answer steadily. “She knew you were there.”
Natasha presses a kiss into Mila's hair. “She'll always be my baby.”
You smile. “They both will.”
The moment with Valerie comes on a different kind of night.
You're folding laundry on the bed. Natasha is in the shower, steam curling faintly under the bathroom door. The hallway light shifts — just a shadow, just for a second — and you think someone is walking past. Then it stays. Still.
You open the door and Valerie is standing there in oversized sleep shorts, arms crossed, working very hard to look casual.
She shifts her weight. Doesn't quite meet your eyes.
“I was just — I don't know. I couldn't sleep.”
You open the door wider. “Do you want to come in?”
“I mean,” she says quickly, defensive before anyone accuses her of anything, “I know I'm kind of old to just — you know.”
The bathroom door opens before you can answer. Natasha steps out, towel over her shoulders, hair damp. She reads the scene in one glance — Valerie's posture, the set of her jaw, the careful way she is trying to make herself small.
“Why are you standing in the hallway?” she asks. Genuinely confused.
“I was just going back to my room.”
Natasha crosses to her without hesitation. “You were not.”
Valerie braces — but instead of correction, Natasha places a hand at the back of her neck, the same way she did when Valerie was small and overwhelmed and furious at herself for being overwhelmed.
“If you want to be in here, you come in,” Natasha says. “There is no expiration date.”
Valerie's face does something complicated. Relief and embarrassment and relief again, tangled together.
“I just didn't want to be annoying.”
Natasha's brows pull together. “You have never been annoying for needing us. Not once.”
You step closer and wrap an arm around Valerie's shoulders and she melts — immediately, completely, like she has been holding herself together with tape and someone finally said it was okay to let go.
That night she sleeps on Natasha's side, head tucked against her mama's chest, and Natasha runs her fingers through her hair long after Valerie is asleep.
Later, in the dark, Natasha whispers across the pillow, “Who told her she has to outgrow comfort?”
You think about it. “No one. The world does it quietly.”
Natasha's exhale is sharp and certain. “Not in this house.”
Some nights both girls end up in your bed, and the alignment is always the same.
Valerie at Natasha's side, head against her chest, arm slung around her waist in a way that is too big and still unmistakably childlike. Mila pressed into you, fingers hooked loosely into your shirt even in sleep. You in the middle of it all, feeling the weight of four bodies sharing a mattress that was never meant for this and was, somehow, always meant for this.
Natasha's hand finds yours over Valerie's shoulder. You squeeze gently. Neither of you speak.
One night — both girls heavy with sleep against her — she turns her head and says, barely above a whisper, “She trusts me.”
You know which one she means.
“She always has,” you say.
Natasha looks at Mila curled into you, then back at Valerie, then at you.
“I don't know what I did to deserve this.”
You reach across the tangle of blankets and take her hand and hold it.
“You stayed,” you tell her.
And in this house, in this family, in this life you have built inside these four walls — that has always been enough.
On the couch, a Sunday, late in the afternoon, no particular event: Valerie laughing at something on her phone, Mila on the floor surrounded by homework she is barely doing, Natasha beside you with her feet tucked up, your hands loosely linked between you. Nothing is happening. It is completely ordinary.
Natasha goes still for a moment. Her eyes move between the girls, slowly.
“They're everything,” she says quietly.
She doesn't finish it. She looks at you instead, and you look back at her, and the sentence completes itself in the space between you where all the most important things have always lived.
“Are you two being gross again?” Mila demands.
“This is my house,” Natasha says solemnly. “I'll be gross if I want.”
You laugh. The house fills with it.
Not because of the noise.
Because every room has love in it, and neither of you — not for one day, not for one moment — take that for granted.