You have shown great characterisation and understanding of the characters through this.

Powerful stuff and spot on for Morgan - other then I am sure it was Jack Daniel not wine Rossi took to Morgan in 'Restoration"

Sorry it has taken me so long to read this story but what great characterisation. Looking forward to catching the other chapters.

A fascinating in-depth exploration of JJ’s psyche, tying an early case and background revelations to the increasingly traumatic events of more recent episodes.

I love the picture you paint of rural Pennsylvania, where she grew up, and how that informed the person JJ is today. That small town will always be a part of her personality. Her modest “mean girl” attitude is even small-town mean girl, leagues removed from the teens at Beverly Hills High. You seem familiar with typical teenage girls - “gossiping..., mocking some,... passing ridiculous drawings.” Your awesome powers of observation responsible, no doubt. (Just joking.)

Although she showed surprising familiarity with Rage Against the Machine in “Unknown Subject,” JJ liking the group seems so diametrically opposed to her public face. Did you mean this to shock? The lyrics of these songs seem so angry and antagonistic - and in “Killing in the Name,” even obscene. If, as you imply, her sister listened to this music, it makes sense that JJ would gravitate to it, too. I can understand her turning to this music as an outlet for her repressed anger and resentment at losing her sister. I like your simile between this music and pounding a punching bag. Yes, it would be a fitting accompaniment to letting out stress, anger, and fear - like the driving musical score behind a violent action movie.

I like how you begin with her sister’s suicide and circle back to it at the end of the story. You show how much heartache it caused, but also the resolve that resulted. From her sister’s weakness comes part of JJ’s strength. An excellent analogy, reflecting the ripple effects of life events. Effects we can only see in hindsight.

I did wonder again as I read this why JJ’s sister took her own life. I can’t remember that this was ever addressed. Did she have a depressive personality or did specific events finally prove to be too much? I am reminded of the mistreatment Reid received from his peers as a boy, but there is no evidence he ever contemplated suicide. Of course, he always had to consider his mother.

JJ wondering if any of her school friends had ever seen her in the news tickled me. Now that you mention it, JJ is probably something of a local celebrity. We would all like to brag that we are or were friends with someone who appears on TV.

Great line about JJ “bending over backwards to find some way to get out of her small town.” JJ’s drive has never been better depicted. But already I think we can see her becoming somewhat hardened by her ambition.

A welcome analysis of the girls in “North Mammon.” I quite agree that “they didn’t hold out too long.” What, as you say, “if they’d kept saying no?” There wasn’t much time given to this type of introspection in the episode. Yes, the girls were in a frightening and potentially deadly situation, but they so quickly turned into what the Unsub predicted they were. That makes it hard to feel genuine sympathy for them. In fact, it wouldn’t surprise me if the girls were charged with and tried for homicide - manslaughter, at the least. And how will they keep their scholarships when what they have done becomes known? Just thinking out loud.

I enjoy JJ ruminating about whether the reason “good guys” have for killing make sense. I think ultimately she has to agree that they do. But the images she has of her teammates actually killing - “even holding guns” - do seem incongruous. But, as we know none of them will hesitate when it matters.

Wonderful allusions to what the future we know holds for JJ. That incredible kill shot through the glass door at the FBI to take down Penelope’s assailant. Her romance with and marriage to Will. Her son, Henry.

Another sneaky allusion, this time to Facebook. Really? Facebook was new in 2005? It seems it has always been around. Yes, maybe she can look up her friends.

“Know Your Enemy” provides a clever reference to war and bombs and by extension to JJ’s experiences in Afghanistan. I am always amazed at your vast knowledge of music, and in this case, the ability to zero in on the perfect choice in lyrics.

So we return to the punching bag. Tragically sad line - “She’d have another child now if it weren’t for that damn bomb.” Creative way to foreshadow JJ’s PTSD with her spacing out here.

Okay, finally a logical explanation of why JJ returned to the BAU and why she did so as a profiler. Events at the State Department and overseas have changed her permanently and toughened her emotionally. I don’t buy all of it, though. I feel as if part of what JJ says is what she thinks Morgan wants to hear, specifically the line about wanting to understand the Unsubs better and trying to stop crimes from happening. I have to admit that I don’t quite understand how social media has made media liaisons somewhat obsolete. My ignorance of social media is probably to blame, no doubt. I do buy the parts about hating her job at State and having no control over her own life. And, remembering that this is in the time between Emily “dying” and returning, JJ does enhance the team’s ability to find Doyle.

I appreciate the reference in “Fistful of Steel” to suicide, the violence of silence, and “this game called survival.” All these reverberate in the context of your story.

I love your powerful description of JJ’s physical condition at the end of “200.” Rossi is so nice to drape his coat over her shoulders. Yes, a thousand thoughts would be going through her mind, and you run through them lucidly and thoroughly. The reactions of her teammates would be foremost, as you say. Aww. Now JJ wonders why she ever wanted to come back to the BAU, if it was worth it.

A brilliant look at the aftermath of the case in “The Forever People,” with JJ dealing with her demons. I think you hit on a key issue - how the various team members react to the Unsubs. Reid seems to be the only one who can empathize and humanize everyone, no matter how much injury they cause him or others. JJ seems to be rationalizing the fact that she truly doesn’t want to.

So why did Reid give JJ the file, and why did she read it? I like your trying out various explanations. You have probably settled on the best one. Yes, Reid would know better than anyone what memories (flashbacks) photos can bring. So was he expecting JJ to overcome them, the way the other team members have? I think he was giving JJ credit for being as strong as the rest of them. And I love the way you show her resolve to be just that.

Altogether an excellent portrait of JJ that succeeds brilliantly in generating understanding of and sympathy for her character. Thank you.

Had to chuckle in agreement on the very first line. Yes, our dear Boy Wonder doesn't fit in, and that's why we love him so!
I like the idea that his way of speaking isn't about sounding smarter, but rather assuming that everyone is just as smart and capable of keeping up with him.
And the entire exchange with Penelope and Spencer with newborn Henry-aww, warm fuzzies 8)
Reid's momentary panic over Henry's unrest is hilarious and adorable and gods, why wasn't this something we saw on the actual show?
I totally could kick Penelope for not bringing her camera, too. That photo needs to be blown up and framed and hung somewhere in the BAU where we can see it every episode.
And OF COURSE Emily had shown Reid A Clockwork Orange. Nerds. :)
As for Moonlight Sonata itself-such a gorgeously rich piece, and a personal fave of mine as well. Though I have (sort of) melancholic memories attached to it. I did a play "Dog Sees God" several years ago (it's basically the Peanuts gang as teenagers-except Charlie Brown is finding himself falling in love with Beethoven, who's the only "out" kid at school and is eventually bullied into committing suicide...yeah, it's way darker, obviously-I played Lucy, who'd been put in an insane asylum after setting Little Red Head Girl's hair on fire...a fun role, to be sure :) ). The production used Moonlight Sonata as the main piece of the play, and it's always stayed with me, the story of the play and how it touched the audience as well as the performers, and how my life has changed for the better because of it...the boy who played Beethoven is a brilliant actor and we're still close friends to this day. Lovely memories, albeit slightly sad, in a way.
And Reid, torn between being grateful for sleep and yet wishing he still dreamt of her always...aaaahhhhhhh WHY DO YOU DO THIS TO ME?
On a lighter note, I laughed out loud again at Reid's mental statement that "those damned bullets seemed to be creeping higher up his body over the years". True, true. Maybe it is time to bring out the bubble-wrap suit idea again...
The snarky tone in his "letter" to his mother was hilarious, even though you can feel the frustration and sadness underneath. Though you can't help but feel for him, playing the adult in the situation once again-not being able to tell his mother something like that, just because he feared her reaction. It's heartbreaking and so very, very Spencer Reid.
As for his worrying about if the rest of the team thinks he can't handle the job anymore-he should know by now that if there's an issue, they'll come out and say it directly to him, but it's still a very human thing to wonder if they are choosing not to in this situation, as if perhaps they're watching, and in a way, judging his actions, mentally weighing his behavior between "okay" and "needs to stop now". Obviously, those kinds of thoughts and fears are natural and human, and I hope at some point, Reid speaks them aloud (perhaps to JJ, who can then assure him that he should only be worried when he stops having such thoughts).
Again, perfect ending line. Great ending for a great series of great vignettes. I love the whole concept-original, yet based on actual moments from the show itself. And of course, I love the introspection and how something as simple as a song leads us into insights of our favorite characters, without becoming melodramatic or sappy.
I'm pretty sure I said this about "Tic", but I'll say it again-one of the strongest, best pieces I've read in a while. It's clean-cut, poignant, brief yet in-depth, and never off balance or out of character with the tone of the show and its characters. Brava, brava, brava!

Again, I say, good detective work! When I read the intro between Blake and Reid, I was like "damn, this girl is good." Let no one EVER say that you don't do your homework when it comes to character development and research!
I cackled out loud at the thought of Morgan's expression while listening to "teenybopper pop"-the incredulity, the distaste, the "why the hell are we listening to this and what's wrong with you to make you *want* to listen to this?" so evident upon his face XD
I have to say, Morgan's issues with the genre are the same as mine. Sometimes I can listen to a rap station on Pandora, and it's great motivational music, to be honest. The beats are great for setting a good pace when you're building or painting furniture (one of my hobbies, yes), and I'm always impressed by anyone who can spit out lines like that literally at the drop of a hat. I'm a singer, but I'm not a rapper, and I have an awe-inspired respect for people who are and who do it well. But on the other side, you have the misogyny that is more than just a small part of the genre, along with violence and drug usage. For the most part, I don't even mind the violence and drugs-I'm an adult, I'm not going to be influenced into thinking these things are "cool" or whatever. But the misogny often gets me. Because I've known men who truly think and feel that way-and listening to music that supports that only increases their outlook. Like, do these rappers think their songs won't sell if they don't treat women like sex-to-go with legs, objects for their use and disdain?
But Morgan has a point, in how other genres have the same issues but don't bear the same weight of social scrutiny (sociology on race and class 101, here we go!).
On a lighter note-again, laughing out loud at Morgan and Reid riding to work together. Reid's dissection of the song, Morgan's desire to severely beat his head against the steering wheel-classic Morgan/Reid dynamics, and I'm always up for more of those two!
"How many more times do I have to tell you this today? Don't. Profile. The musicians." I can totally hear Morgan's exasperated tone (also, I love the whole "today" part-because apparently they've had this discussion before, many, many times).
The whole interaction between Reid and Morgan at the end of that section, with Reid quietly admitting the UNSUB didn't get the point of the song-can we just have an entire side-show of just these two?
Morgan's dilemma over wanting justice and yet being glad that Buford is gone-oy, I feel for him. I get that. Back in my college days, we had a class on criminal law, and in it we often discussed justice versus vengeance, and how that carried over into the law. Sadly, we say we want justice, but really, we want vengeance. Justice is impartial, vengeance is personal. And while justice may be served, victims are sometimes left feeling empty and let-down, because it didn't give the closure they needed or wanted.
The image of Morgan's old PD badge next to his father's is a wonderful touch.
Love the exploration of how in many ways, Morgan's an outsider for both sides of his life, personally and professionally. It feeds back into why he's so hesitant about trusting people and opening up. He's used to living in the land of misunderstanding between his past and his present, used to be stuck on the line between both groups and feeling out of place in both, at times. However, knowing he can still do good in the world definitely helps. And he truly is surrounded by people who love and understand him, even if they don't fully understand certain aspects of his life. And the fact that he can still dream and see his father's proud smile...what a wonderful, hopeful note to end with. :)

OK, so this is definitely a close second in the fave department.
First, good detective work, on pulling up the Siouxsie reference! Obviously, Hotch and Rossi's musical tastes were pretty easy to find, but I was wondering how you'd finish the rest of the team.
I seriously laughed out loud at the line about "absolutely under no circumstances would Morgan ever be allowed to see the picture"-because I KNEW why he couldn't! He'd never never NEVER let her live it down. And I can even see Hotch walking by very quickly, lowly intoning something like "jet leaves in 20, Siouxsie", much to Emily's mortified dismay :).
I love that you chose moments from Emily's story that don't normally get a lot of press time, as it were-most of the time, we focus on the dramatic moments, like "Minimal Loss" or "Demonology" or the Lauren storyline. Little moments of reflection like this get tossed in the back seat. Which is sad, because there's still such great material here.
Case in point-Emily's thoughts during the flight home after Carl Buford. It's eerie, how deeply Emily understands the way Buford operates. The line "there was always a limit to the niceness" just really stood out to me. Makes you wonder how she knows this so well (obviously, based on certain things she's said, like in Demonology when she tells Rossi that she would've "done anything" to fit in as a teen, you know she's been taken advantage of by people, but still...it's heartbreaking to realize just how well she knows the truth of her statement). And the thought of her wanting to go over, to offer some kind of comfort, but realizing that she didn't have much to offer or that Morgan just didn't want anything from anyone at the time-can I hug both of them? My poor babies!
Seeing Tsia's dramatic and playful side is fun. As is Emily's interaction with her. I can totally see these two going out from drinks and having a grand ol' time. :)
I'm with Emily-I'd want to know the details of my persona's death. I mean, Emily *was* Lauren for a long time, even if she thinks of her as just a character, it's still a character who was a large part of her life. It's the same way with actors (particularly theatre actors, in my expereince). You play a role for weeks or months or sometimes even years (TV actors, in that case), and then you're just supposed to walk away and move on. And yes, that was never really "you", but you did pour a lot of yourself into that role, in ways that make you grow and change with the character. It's hard to put them on a shelf after that.
The fact that Tsia says she'll have to discuss with Clyde before revealing the details of Lauren's remains and burial-jesus, as Emily, I'd be thinking "dear god, what did you DO to me?" I mean, if there's that level of secrecy, it'd definitely make a person squeamish.
And awwww at the idea of Emily making sure Lauren had two loving and present parents who cared about one another as well, and a sister so she wasn't always alone...can I just hug her, pleeeeease?
Interesting and almost unsettling, reading Emily think about Lauren in third person, almost as if she were a good friend instead of herself or her own alias. The part about wondering if she suffered-so perfectly Emily, worrying about someone who technically never existed. And it's a bit heartbreaking, listening to her wonder if anyone had truly mourned her passing, if her (albeit fake) existence had left any memories behind, any mark that she'd been here at all...that's a concern that I think Paget Brewster really brought to Emily, especially at the end. Part of spending an entire life drifting without roots, I suppose.
And the last line. So heartbreaking, so very Emily. Brava.
OK, so yeah, this is definitely tied for favorite chapter so far. Can't wait to see what the next one holds!

Ah, gee, you mentioned I "might like" this particular chapter...hmmm, I wonder why? :P
First of all, let's just all admit that Rossi has wonderful taste in music. Even at a glance, you can definitely see how this influenced him throughout his life.
And awww, sweet, darling Rossi, admiring his dad so, only to see how much he disappointed him with his marriages, and how his father just didn't understand his writing (which, I truly think was/is Rossi's one way of truly dealing with the work he does, his one slim hold on sanity-"exorcising demons through the pen", as it were...I've been there, in various ways with my family, too, and it's not fun, realizing that a large part of your life and personality is completely misunderstood and dismissed by the ones you love most, mainly because they don't even want to take the time to *try* to understand).
Love the mental image of young David crooning while his parents danced around the house. Great look into his current personality, and how it was shaped.
And OF COURSE he would still have photos from his wedding to Carolyn, and OF COURSE he would have brought one out after she'd told him about her illness. So touching, so sentimental and sweet and utterly Rossi, despite his best attempts to pretend otherwise.
The idea of him "cautiously" letting his mind drift back into memory...can I hug this poor man, please? It's understandable, of course-but when you think of how many other painful memories he has waiting back there, too, you can't help but wonder how he allows himself to remember at all. Obviously, that caution comes from a place of knowing. He's opened those mental boxes before, and the results weren't always warm and fuzzy. Again, I say, can I just hug him?
And his musings about Emma, wondering if she felt the same, if she'd asked the same "what if" questions...aaaahhhhhhhhhh WHY YOU DO THIS TO ME? Based on every relationship this man has ever had, he's forever destined to be the star-crossed lover, regardless of who the other person is in the equation. Poor, poor Rossi.
Though I must add, that might be part of the reason that he is so soppingly romantic-he has this feeling that it isn't going to last (he learned that the hard way, so many times), so he just tries to make it was wonderful as it can be, for as long as it can last. Both tragic and beautiful.
And let's not even pretend like we don't know which part of this chapter is my favorite. ;)
"Yep, he could officially confirm it. Erin Strauss would indeed be the death of David Rossi." The equal parts endearment and surprise and frustration in that statement is pretty much the epitome of their relationship.
And Erin, pretending to follow along, only to flip the script at the end-I could totally see her silently laughing at his surprised expression ("what, you really thought I was gonna let you lead the *whole* time?"), and him just shaking his head, knowing it had been too good to be true.
The whole bit about him trying to get her to break is hilarious and cute too-it's their previous relationship, on a much nicer level. Rossi annoying her, trying to get some kind of reaction, and Strauss steadfastly trying to ignore him. But I love how in the end, they both admit loving how their give-and-take works. ( that whole "but you love it" "I do" bit-I can totally see them almost talking in code, Rossi meaning "me", instead of "it", and Strauss responding to the same, but neither brave enough to say it just yet).
Typical Erin, worrying if they can be overheard. Typical Rossi, teasing about it.
And Erin's thoughts and hopes at the end...it's so bittersweet and hopeful and wonderful and now I need to go write yet another strongly-worded letter to Erica Messer for taking away a perfectly wonderful storyline.
I'm pretty sure it goes without saying, but this is my fave so far!
But on to more!

Annnd finally I have a chance to sit down and read this in its entirety!
First, love how you've showed just how someone as straightlaced as Hotch would end up a Beatles fan-the idea of him collapsing on the couch after a long day and unwinding to White Album is nice, because the poor man definitely deserves it. It's also an interesting look into a man who isn't known for being particularly nostalgic (the complete juxtaposition of his personality in "Route 66" comes to mind, though).
"Her voice sounded small on the other end of the phone, but what it lacked in volume it more than made up for in attitude." I love this entire sentence, for so many reasons. First, it's just an interesting contrast-Haley's obviously tired and just as heartbroken as her husband, but at the same time, she's always had this almost-vehement jealousy towards his commitment to his job (understandable, honestly), and no matter how worn down or upset she is, she's not letting go of that. Second, I could totally hear her exact tone when reading it. It's spot-on Haley.
And poor, poor, poor Hotch. Obviously, hindsight's 20/20, and we all know how this particular story between him and Haley is going to end, but that just makes it all the more poignant.
His desperate clinging to the words "soon" and "if" and telling himself it was something worth hopping for-way to twist the knife, aggh!
And I can totally see how amusement parks wouldn't be Hotch's "thing". :)
Interesting side note about the whole helter-skelter ordeal, and Manson's rampage-Terry Melcher, the man who'd rented the house before Shannon Tate, had gone out to hear Manson and his "followers" sing. Actress Candice Bergen actually talks about it in her autobio "Knock Wood" (she went out to the ranch as well). According to Bergen, Manson expected Melcher to give the group some kind of record deal-however, he didn't, and a few weeks later, the Shannon Tate murders happened. Though Manson later admitted that he knew Melcher was no longer living at that address, it still makes you wonder...was he trying to get a message across?
Love the idea that Hotch's love fort his album, followed by his incomprehension of Manson's reaction to it, is what started him down this path, so many years ago. It makes sense (and makes me wonder if that's why the writers chose to make that Hotch's favorite album...I'm pretty sure they simply listed it because it was "surprising" or "out of character" for Hotch, but still...I'd like to think they put that much effort and thought into it, giving us a story without actually telling the story, if that makes sense). I'd never considered the connection, but honestly, there's no other way to look at it now.
That last line. I don't even have a way to describe how haunting and defiant and perfect it is. Couldn't think of a better way to end this vignette.
And on to the next chapter!

I love each of these vignettes on their own, but most of all I love the relationship between Reid and music. It suits him in a way that many other things do not, maybe because of the relationship between the math and music parts of the brain, who knows?

I liked the contrast between how he dealt with the perceived loss of Emily and the actual loss of Maeve, and the growth in his own musical ability in between. Loved the scene of Henry snuggling against Reid, and the vision of the petrified godfather being afraid of that little, tiny baby-until he remembered their shared love of music.

And, going backwards, that whole introductory section was wonderful. Your analysis of how and why Reid uses his ramblings to interact with people was spot on.

AHHHHHHHH! I loved this. You captured the very essence that is Reid so well. And I love your song choices. The Beethoven "Moonlight Sonata" is one of my favorites! I teared up when I read how that made him think of Maeve. *Sighs* This chapter was amazing. I loved how you tied in the Season 9 finale as well. Perfection as usual. :D

It is so satisfying to learn that Spencer finds solace in music. I loved this observation - "Reading and listening to music were very intimate activities. ..Anyone who connected with Reid over either of those activities had forged a solid, lifelong bond in the process." That is the Reid with unplumbed depths that we have come to love. And so few people have shown him the affection and respect of trying to forge that intimacy. But how rewarding that would be!

Given Reid's upbringing, it is natural that he would appreciate classical music. I can imagine him being fascinated with early music and the instruments it was written for, such as the harpsichord and organ, because his mother's specialty pre-dates the more "modern" composers of the 18th and 19th centuries. Some of this early music would be church music, even chants. I think he would appreciate these pieces even if he isn't particularly religious, even if only in a scholarly way. The Latin of the chants would be almost an intellectual exercise for him.

I do like how you recognize that classical music "expressed emotions without words getting in the way." Perfect. Yes, for Reid, with his difficulty in expressing emotions, classical music would be ideal. And you are so right when you recognize that song lyrics will seldom exactly match a person's feelings, unless that person is the songwriter. Reid would want exactitude.

Reid is so mature, valuing the good that comes from his favorite music even when it revives painful memories. You express this beautifully. Any reminder of Maeve, for example, that might come from a snatch of a song or shared love of a classical piece would indeed allow him to remember her. And I am happy that he finds reassurance and incentive to carry on from music.

A lovely scene with Garcia and Reid as brand-new godparents being entrusted with the care of the newborn Henry, if only for a few minutes. Both of them have so much to adjust to. I thoroughly agree with Reid that intelligent conversation can only improve a child's verbal skills and that you can never start too young. Of course, he would be tongue-tied when asked to demonstrate, ha. But without Garcia making him self-conscious, Reid is perfectly capable of starting that soon-to-be-lifelong conversation.

Okay, Reid's first challenge as a godparent - figuring out what Henry wants. Time to apply his profiling skills perhaps? I love that he begins singing. I love picturing that. I don't doubt he will add to his repertoire. That is a great song for a toddler, when you can act it out holding the child, by the way. What a lovely solution and how charming the scene Garcia walks in on. Reid, of course, knows all about the piece, including the German translation. Reid covering Henry with a blanket and adjusting the volume is precious. He will make a wonderful godparent.

Thank you, thank you, for showing us Reid with his piano keyboard. After seeing him play with Sammy, then watching him walk down the sidewalk with his new purchase, I dearly wanted to see him learning and playing. That he would play to cope with his grief over Emily seems so logical. Choosing a dark and depressing piece may seem fitting, but as you show, it doesn't help. And it reminds him of Emily. Not even the association with Henry makes it bearable so close to the event. Great recall of the reference to Beethoven and "The Clockwork Orange" on the show. So Emily watched that movie with him, but as you note, he never had the chance to see "Solaris" with her. Didn't you enjoy how he asked Emily to that movie because they both knew Russian?

Who knew that Reid was playing romantic music on the way to his first date with Maeve? I appreciate your showing that side of Reid.

Thank you again for giving us the genius Reid who can learn to play classical music as well as, if not better, than concert pianists. Probably by ear, while listening to a piece on the radio, as you write. We all know there is nothing Reid can't do if he sets his mind to it. And happily, his playing relieves stress. And so much stress and loss and danger. Good grief! Who, you write, will be next? Almost unbearable to contemplate.

So glad to hear Reid is still playing chess. We haven't seen that in years. What friends is he planning to visit? Friends outside the BAU would be nice.

Even injured, Reid is thinking of others, reminding himself to find out what is troubling Blake. And his thoughts turn to his mother. How natural that Bob Dylan would be the music of choice here, given Diana's obsession with his lyrics. And pure genius to pick "Knocking On Heaven's Door"! What could be more appropriate? Even the mention of a badge. Oh, the idea of Diana having only Spencer's badge to hold onto after he dies in the line of duty! And does Reid now seem to believe that is his destiny? Such a string of terrifying and painful events could easily lead him to a form of weary acceptance. As you write, "One more pain to deal with, physically, emotionally, and mentally." So fatiguing, it must sometimes seem easier to give up.

I wondered about the details of Reid seeing the light when he died at Hankel's hands. It was surprising when he confessed that. He didn't see anyone he knew, you say. But he did have "intense feelings of love and warmth." That's a comfort.

Terrific job of summarizing the team's reactions to Reid being shot and in the hospital once again. So true to how it played out. And seizing on how former teammates managed to carry on. A mental lifeline. I really like that.

This collection of stories continues to be inspiring and endlessly riveting and reflective. I am immensely grateful.

This is my favourite chapter so far. I loved the choice of music and scenes for Reid and it was beautifully written. The section with Henry really made me smile and the part after Emily's "death" was heartbreaking. The emotions come across so clearly in your writing. Can't wait to see what else you do with this series :)

I'm old enough to remember Bob Dylan the first time around. His music made one very introspective. Nice take on Reid. The poor boy, now man, has had so many disappointments. Hopefully, soon, he'll have something to be happy about.

It makes perfect sense that Morgan would gravitate to hip-hop and rap given his childhood and early adult career in the inner city. I agree he would defend the genre. And that it would speak to him personally in many instances. Certainly he would have friends or have met people who actually lived the grim, sometimes criminal, lifestyle described by the lyrics. I really liked how Morgan ruminates about Rodney Harris and his "here but for the grace of God go I" realization. You create a lot of sympathy for Morgan by having him empathize with Rodney and how they were both just trying to survive and were more similar than Morgan grasped at the time. I'm sure guilt is influencing Morgan's reasoning here, when he thinks he should have tried to help Rodney. This was probably never realistic, given how focused Morgan probably was with his own college studies and later his determined rise up the law enforcement ladder.

You completely absorbed my attention at the opening by laying out the pros and cons of hip-hop and rap as seen from different cultural perspectives. And by comparing it to other genres that are not as "pure" as their fans would have you believe.

This may not be an appropriate forum to say so, but I do think your discussion of the genre is particularly timely in light of recent current events in Ferguson, Cleveland, and other cities. I heartily approve of Morgan's (your) plea for respecting the genre and trying to understand the urban conditions from which it arose. So again, I must thank you for sending me out to research "Illmatic" in particular and to listen to the lyrics. The originality, wordplay, and rhythms are impressive. Nas is quite a poet. I would agree that these are works of art. However, I am not quite ready to call it "music." I admit to being of the old school that expects instrumentals and a tune. Sorry.

I can so agree with your picturing Morgan as an easygoing guy when it comes to music. He is pretty tolerant in many respects. As a music lover (always with the headphones on in the plane), he probably has wide-ranging tastes in any case. Any music would be better than no music to him, I would think.

I enjoyed the scene with Morgan and Reid in the car, Reid spouting analysis and Morgan saying, "Don't. Profile. The musicians." Loved, loved that line.

I also enjoyed Morgan squirming a bit, worrying that he has upset Reid when faced with the silence he wanted and Reid's "inscrutable" face. Reid is probably never going to show resentment at being cut off in mid-sentence or seeing a childish display of exasperation on his team mates' faces. He seems to be above that. But you have to think that sometimes those reactions do hurt his feelings, even if he keeps it strictly to himself.

I read that someone considers "Life's a Bitch" to be the saddest rap song. So it is entirely appropriate for the horrific crimes committed by this serial killer. Love that Reid can finish the quote - he seriously listened to and memorized every lyric. That means Morgan's opinion matters greatly to him.

A little action here, Reid in danger. Admittedly one of my favorite types of scenes. Of course, Morgan would save the day and take down the unsub. Reid need not have worried.

Nice to set the "One Love" segment at one of Morgan's renovated homes. And to add to our liking for Morgan's character by telling us that he does it to give something back to people and protecting them in a domestic way. I like the shout-out to the scene with Rossi visiting one of these houses on the show. And it does my heart good to have Morgan savor Rossi's gift of wine. It always disturbs me on TV shows when someone appears with a bag of food or a bottle of liquor, and then no one ever gets around to eating or drinking. Someone says they're not hungry or they get a call and have to hurry away before they can enjoy it. I guess you now know where my interests lie. Nothing would stop me from partaking.

What a wonderful scenario you have envisioned for "Represent," with the three badges. A terrific visual. Witnessing the murder of his father must have been incredibly traumatic and the event must still be vivid even after so much time. As usual, you excel at introspection. I love being privy to Morgan's memory of being a cop in his old neighborhood and then imagining how much more they would denigrate him for being in the FBI. I agree that the rest of his team mates can never truly understand the point of view and attitudes his upbringing instilled in him. Of course, by the same token, he can never truly understand them. So much goes into shaping our personalities, characters, and opinions about other people and life.

It is wonderful that Morgan can imagine how proud his father would be of the work he has done. Rightly so.

Thanks for continuing these marvelous musical associations.