Charlie's Angels - 1x15 'Angels on a String'

I'm jumping around, there's a lot more subtext in-between but I just had to do this one first.
***

Oh, the jealousy, oh how deliciously sweet the jealousy is.

It’s official, there’s no doubt about it, Sabrina and Kelly are most definitely girlfriends.

The Angels go off on a retreat to which one of Sabrina’s idols just so happens to be visiting at the same time. This is not just any idol, it’s a intellectual-crush on a Polish Professor in Politics. Kelly playfully, but with a note of frustration exclaims that “she’s got a crush on a sixty year old man!”. Her voice clearly indicates how absurd she finds both his age and gender, and as Sabrina’s ramblings just won’t stop, Kelly simply hits her over the head with a magazine to get her to shut up. It’s all very cute.

Through a coincidence Sabrina does end up sharing a glass of plum brandy with her big idol and gets downright giddy asking him questions about his work. That giddiness then spreads and afterwards she rushes to find her girlfriend. She finds Kelly showing off her rainbow coloured bikini to Jill and quickly grabs Kelly’s hand to get her closer, and possibly to stop her from flashing their friend (just cause Sabrina has a man-crush doesn‘t mean she can‘t get possessive). With a twinkle in her eyes she tells the relaxing Jill and the very annoyed Kelly about her meeting with the professor. Sabrina hands Kelly a single white flower, a gesture that momentarily takes the frown off of Kelly’s face. A frown that reappears and intensifies as Kelly realises the older man have been in “our room”, the our especially emphasised as she looks into Sabrina’s eyes. Kelly clearly does not approve.



[Gay Pride anno 1977]


[A flower for a lady]



Despite Kelly’s dislike of Sabrina’s gushing, she is not about to let Sabrina suffer from the Professors brush-off later on. The two are sitting alone at a table in the bar and drinking (whiskey and that ring!), when Kelly does her best to make Sabrina forget about it without losing the admiration she has for the man. Now that in itself is a very good indicator of the intimacy of their relationship, as well as the care. At that point one of the bad-guys interrupts by paying for their drinks.

Sleaze: This kinda scenery is rare around here.
Sabrina sigh/snorts.
Sleaze: May I?
Sabrina looks to Kelly who gives her approval with a shrug.
Sabrina: Sure go ahead.

The discussion continues and Sabrina realises the sleaze might be one of the bad-guys and ends up playing him.

Sabrina asking the man: What room are you in?
Kelly looking shocked.
Sleaze: Eight.
Sabrina: Eight? Eight is my lucky number.
Kelly’s look of shock turns into pissed off.

After some more conversation Sabrina goes off with the man to his room, Kelly looking appalled after them. Sabrina sneaks back to Kelly under the ruse of retrieving the bracelet she had intentionally left behind. When she on her own gets back to the table a clearly upset Kelly tells Sabrina, in what can best be described as a warning, “Eight is not your lucky number!”. Sabrina quickly explains the plan, and Kelly goes from fuming mad to simply frustrated over her girlfriends inability to let it go. It’s fucking brilliant. (If you want to see it for yourself, follow this link).

Then for the remainder of the episode there's some looking with intent and general random touching.



[General touching (and Kelly's shirt!)]


[Looking with intent (the shirt again!]


To summaries, these two are girlfriends. There’s really no other way of describing their relationship and their reactions. Kelly most definitely does not approve of playing second fiddle to Sabrina’s obsession with the Professor, but she will always stand by girlfriend, no matter how frustrating her behaviour. That said, I’m thinking the obsession, and the crack about the Professor’s son (end of episode) most definitely landed Sabrina some time in the doghouse.


Coming Up;
The one with all the sex.

Charlie's Angels - 1x04 'Angels In Chains'

Dear God, I’ve died and gone to exploitation -heaven and it’s full of homo-eroticism, and butch poses. Please let me stay.

Yours,
the jolliest of Apes.
***
This week the Angels are thrown into prison, and yes you are allowed to moan, but don’t roll your eyes or you might miss all the sapphism. This really is an episode better watched than described, because so much of it is visual. Therefore, I’ve done my best to screen-cap for your viewing pleasure.

As the Angels are stripping down for their cavity-search and delousing (well they didn’t call it that, but I know one when I see it), not only are Sabrina and Kelly turned towards and watching each other throughout the stripping, it also looks very suspicious. The scene is strangely similar to exhibitionism and despite my stalker-tendencies I’d done the same thing as Jill and turned my head.








[Sabrina's raised eyebrows and the following smirk. Priceless visuals]

Not only do we get homoeroticism, but we get a look into the world of butch and femme. Sabrina’s got quite the attitude in this episode and pushes the buttons of one of the guards and gets smacked around a little. Immediately Kelly is at her side and refuses to let go of Sabrina’s leg. As Kelly then asks Sabrina if she’s okay she receives one of those deliciously gruff grunts of “I’m okay” (you know the kind Xena was an expert at). Kelly doesn’t reply but simply rolls her eyes at the gruff brunette and gives Jill one of those looks that obviously says “stoically stubborn butches --can’t live with them, can’t live without them”.

[Strike a pose and keep it butch]

[Holding on and not letting go]


[Strike a pose and keep it butch - take 2]




[How to do the femme/butch while looking beyond adorable]


One more scene to mention before I leave this haven behind. As the Angels are taken out into the country to get killed, the sleazy inbred deputy is talking nasty to Kelly about all the things he’d like to do to her before wasting her. The single-minded focus on Sabrina’s face as he threatens Kelly with rape speaks volumes in itself, she’s basically grinding her teeth. You can just imagine the discipline it takes for her to not lunge forward and try to rip his throat out. It’s sweet.

***
And I just have to mention it, completely unrelated, but they killed the Sheriff with potatoes! Potatoes caused a giant explosion! There are not enough exclamation points in the world for this show!

Coming Up:
The original hurt/comfort?

Charlie's Angels the Pilot

Sometimes I envy the view-point of those with a completely heteronormative perspective. When they watch a show they can focus on canon, they can so easily ignore f/f and m/m subtext, because they simply cannot see it. Not because they are ignorant or narrow-minded, but because it means nothing to them. It’s a blindness brought on by expectations, assumptions and experience. It doesn’t make their worlds any less colourful, it just makes them more…precise. Therefore I have decided to go about this Charlie’s Angels reviewing in a reversed heteronormative pov. I will disregard any episodes that deal with a possible male attraction and I will turn a blind eye to anything that does not support Sabrina/Kelly. I want to experience a black/white world for myself. Obviously this means I won’t be watching anything beyond season 3. It also means I start watching with the belief of them being lesbians, but due to place/age unable/unwilling to be out. In my mind there is nothing beyond a same-sex attraction and relationship, I will pretend that m/f does not compute in my brain. Men and women cannot be anything other than good friends or family. Or at least when it comes to the characters of Sabrina Duncan and Kelly Garrett.

On to the story -

Charlie's Angels
Subtext review of
episode no.1x00 Pilot
***
This is a story about three young women who left an unfulfilling life in the Police Force to join Charles Townsends’ team of Private Investigators. They are lovingly (or condescendingly) referred to as his Angels.

Whereas Jill Munroe’s (Farah Fawcett) hair stands out, the characters of Sabrina Duncan (Kate Jackson) and Kelly Garrett (Jaclyn Smith) are equally or dare I say even more noticeable. I hadn't even watched through an episode before I started falling for the two, and it appears as if they are falling for each other as well.


[The Angels. Kelly, Sabrina and Jill]

The episode starts off with playful flirting between Sabrina and Kelly, simple looks, smiles and light-hearted banter. The tone between them immediately sets them apart from both the actual character of Jill, but also Jill’s behaviour. When Sabrina and Kelly gain pleasure out of flirting with each other, Jill on the other hand turns the same type of attention to the disembodied voice of the patriarchal Charlie.

To further set the characters apart, this time not only in the way they act, but the way the world perceives them, we have a scene in which Kelly in a black leather jacket rides up to a mansion on her motorcycle (!). Not knowing who the impressive figure with the black helmet and jacket is, the people coming out of the house politely asks her, “Can I help you, Mr?”. Two scenes into the episode and series and we’ve already established how S/K interact, but also how they are set apart from the other characters.


[Kelly. Motorcycle. Leather. 'nuff said.]

Furthermore, as Sabrina joins the con they’ve got going, the first question out of her mouth is, “How’s Kelly?”. Simple, but effective to show the importance of Kelly’s welfare on Sabrina. In relation to this scene, when the two meet again for the first time without having to play their parts in the con, they immediately grab hold of each other and briefly, but oh so tellingly, hold hands. It should also be pointed out that Sabrina does appear to naturally fall behind Kelly and rather protectively peek out from behind her shoulder.


[Physical contact, the foundation of any good relationship]

Before I leave the first episode behind it needs to be mentioned that during their role-playing, Sabrina stated that she thought Kelly was “very pretty”. It's such a random throw away comment I'll accept it as the truth and nothing but the truth, despite their act. And one final cap to close on.


[The ring! The dykey-bike ante has been upped.]

Who knew lesbianism thrived on television thirty years ago and under the rule of Aaron Spelling (again with the exclamation point!), but judging by this -- it most certainly did.

***

Coming Up:
Chains, Butches and delousing.

Subtext Review of "The Quill Is Mightier" [X:WP G/A]

I'm back with another subtext review, though this time it's an Gabrielle/Ares review of "The Quill Is Mightier".

***
“Stories can be anything you want them to be”

A comedic episode turned into serious subtextual canon of the Gabrielle/Ares relationship.

The episode starts with one of Aphrodite’s temples having been vandalised by kids “worshipping” Xena. A fuming Aphrodite is visited by Ares who takes the opportunity to manipulate, but also to project some of his own problems onto her. He manages to convince his sister that Gabrielle is the true problem behind her new-found vandalism problems. During their exchange it is heavily implied that Ares has in fact read Gabrielle’s scrolls, “Have you read some of her so called stories?”. Talk about having an impressive audience. Clearly it’s not just Xena that fascinates him, Gabrielle has caught his attention enough for him to “research” her.

When Gabrielle is describing herself in her scroll she uses the term “lone warrior”. By doing so she links herself with the head of all warriors, the God of War. It’s a brief link, but it should be emphasised. Furthermore while she is fighting the Barbarians it is clear that she is enjoying herself, the smile on her face is a mile wide and as the fight is finished she’s experiencing the rush of battle lust. Perhaps that link to Ares is stronger than we think?

As she accidentally strips Ares of his powers her immediate response is to try to restore them. At first something very close to fear appears on her face only to quickly be replaced by a determined look and enough confidence and attitude to order Ares around to her liking. Still she never falters in her aim to restore him to his full powers.

Ares first response to Aphrodite in regards to Gabrielle’s new-found powers is highly interesting, “You’ve given her powers of destiny!?”. Is it his belief that given the power of destiny Gabrielle would bring them together and take away his power? From a psychological point of view this is glorious. Subconsciously he fears that it is his destiny to lose his powers to this mortal woman? Not only is it sweet subtext, but prophetic as well.

It’s a brief moment of nothing in particular, but as Gabrielle sends Scabardus to the caves Ares mentions with a voice dripping with sarcasm that “Those caves are gonna start gettin' pretty full”, he winks at her. Simple, but sweet.

Ares and the three go-go!Gabrielles is an entire chapter in itself. However it is better watched than describes, but before you pop the dvd into the player I’ll point out some things to keep an eye on. First we have the obvious pleasure on his face, then there’s the straightforward bum-looking where he compares the dancing ones with the original. Furthermore throughout the entire scene keep watching Ares eyes and hands. They way he’s holding (read squeezing) his sword…yeah, just have a look. Also there’s some beard/moustache stroking which could be submitted to a Freudian oral analysis. I shall refrain, but…think about it.



[Infamous bum-looking]

This would be the stretcher (even in my book), but as Gabrielle wakes up with the necklace on her chest her eyes immediately look in the direction of the sleeping Ares. Was that her first thought? Did her eyes betray a hidden wishful thinking?

Then there’s the infamous bonding-scene. On the surface this plays at their joint fascination of Xena. However if you approach it from a subtextual angle this all of a sudden becomes such honest and beautifully insecure attempts at closeness. As they’re hunting down the peddler and scroll Ares asks Gabrielle where she’s learnt to read trails like that. This is the God of War (even though he at the moment happen to be mortal) what possible interest could he have in from where Gabrielle has learnt tracking skills?! No, this is Ares showing an interest in her, the mortality has gotten to him and he shows a genuine interest in her. He does bring up Xena, but what he does is to brag about what he did for her. He’s sharing his abilities with Gabrielle, wanting her to look up and respect him despite his mortality. He’s using Xena to puff up his feathers. The easy bantering/small-talk continues between them, both of them smiling and sharing easy laughs, up until he voices what they both felt, “We were starting to-- warm up to each other there, weren't we?”. Something that scared them both enough to take a step back. If there had been no honesty in it there wouldn’t have been a need to take that step back.


[Bickering]

As Xena returns we have one of those honey-dripping emotional scenes between Xena and Gabrielle. In the middle of Xena giving Gabrielle the puppy-dog eyes Ares interjects into their seemingly private conversation, drawing their attention back to him and away from each other. Jealous perhaps?

During the finale we have Ares working as Gabrielle’s eyes as to what she should be writing. As she begins discussing the literary qualities of the language, one look from Ares has her submitting to the simpler language. It’s not intimidation, it’s merely him giving her a strangely familiar look of “not right now”. It’s one of those moments that send chills down your G/A shipping spine.




[Doing a good impression of a married couple]

Finally Ares’ powers are restored and while he tests them by torturing the soldiers a little Gabrielle is watching him, smiling and laughing at the look on his face. She finds happiness in his enjoyment. That’s not lust for a God, that’s something more. That’s actual concern and emotion. Also note Gabrielle’s raised eyebrow, faint smile and “hm” in reply to his “I’ve still got it!”.


[He's still got it]

As they then are to part we have one moment of looking deeply into each others’ eyes. Gabrielle obviously affected by the power he once again was oozing, but there was a hint of honesty in Ares eyes. However neither of them was ready for anything more and Ares showed incredible compassion and concern by taking the step back and turning it into a silly joke.


[No smoke without fire?]

It should also be pointed out that during the entire episode Gabrielle and Ares kept close to each other. From the second half of the episode, during which the “bonding” took place they never leave each other’s sides with the exception of a brief moment during Xena’s return. Plus never once during the episode does Ares question Gabrielle. Sure he’s snarky and sarcastic, but never questions her course of action. They’re behaving strangely similar to an old married couple.


[I've tasted blood and I want more]

***

I’ve always thought that G/A works best when you play with the entire angst, deity and forbidden love angle, but at the moment I’m questioning that. In an alternative universe this could actually be a surprisingly sweet love story between a former god and a mortal.



Have I ever mentioned I love overanalysing?

"Criminal Minds" Subtext Season 3, No.13-15

No.13) Episode 3x18 The Crossing
Don’t know if it’s subtext or not, but where’s the necklace JJ’s been wearing? The one she kept playing with every time she got nervous?

This is the episode after JJ “came out” as a Will lover. Her secret has been revealed, should she not be happy? Shouldn’t having told Will she loved him be bringing a shine to her eyes, a lightness to her steps? Instead she spends the entire episode as close to Emily as she possibly can (“JJ pulled me in early”).

As Carrie (the victim) rushes into JJ’s office Emily gets this adorably confused and slightly protective look in her eyes and the way she acts. It continues for the rest of the episode.


[To Protect and to Serve]

Emily’s concern for JJ is damn sweet throughout the episode, and I especially get a kick out of the scene where they are discussing the bureaucracy of taking on the case and JJ calls Emily by her first name. No pretences, no Prentiss, just Emily.

And throughout the episode JJ looks sad and is behaving generally lost. Something the others pick up on;

Morgan; “JJ okay?”
Emily; “Yeah, she will be”.

Isn’t it glorious how Emily is automatically supposed to know how JJ is.

Then finally the pregnancy news. JJ’s pregnant, and the look on her face when she tells Will (over the phone) is as enthusiastic as she was over telling her friends about their relationship.


[JJ celebrating her pregnancy]

(and if you're interested there's some more Rossi/Hotchner subtext in there)

No.14) Episode 3x19 Tabula Rasa
Nothing special, but now two episodes in a row Emily and JJ get to work together. Which is noticeable cause they are usually never out in the field together.

No.15) Episode 3x20 Lo-Fi
My prophecy is coming true. A marriage?! If they kill Emily I think Rob Tapert should sue. And it should be pointed out that JJ is once again less than brilliantly enthusiastic about Will, and this time about the prospect of marrying him.

Local police dude flirting with Emily; “So profile me, what am I thinking?” he says with a slightly lecherous smile.
She laughs and replies; “It’s never going to happen.”

***
Thus concludes the subtext in season 3. The story of a straight girl with an intense girl crush and a deeply closeted gay girl who’s in denial. It’s such sweet melodrama, if you care to see it. JJ falls for Emily, she flirts and the feelings grow, up until the moment where they actually scare the hell out of her and she then goes down the expected path when Emily shows no signs of reciprocating the feelings. Emily on the other hand is obviously gay, but as the good diplomat’s daughter that she is, she knows how to keep her private life far removed from her professional. As a proper lesbian she also knows to stay away from the straight girls and does her best to be nothing more than a supportive friend to JJ. However every now and then flashes of something else (fear, envy, longing, regret, wishful thinking...) appear on her face indicating that she probably does have a thing for JJ, but she refuses to acknowledge it to anyone, herself included.


[Emily and her reaction to Will in one brief unguarded moment (look at her eyes)]

The subtext truly exploded in this season and I’m now afraid I will be witnessing a backlash with season 4. There’s a baby on the way and the writers have already done the broken family with Hotchner, so I’m thinking they’ll try to paint white picket fences all around JJ, Will and the baby. It does not automatically remove subtext, but I’m afraid that they will be changing the characters previous behaviour (ie JJ will all of a sudden be thrilled about marrying Will and having his baby) in order to fit better with the new direction they’re taking it in. But as long as they don’t give Emily a token boyfriend (lets keep some of that ambiguity please) I think I will continue to enjoy the drama.

***


(enhanced screencaps from Oracle of Quantico)

"Criminal Minds" Subtext Season 3, No.12, a-k

This is where subtext fails. Not because of the re-introduction of Will, because damnit if not each and every one of JJ and Will’s interactions held JJ/Emily subtext. No, but because of the unequal nature of same-sex relationships in relation to straight ones. Subtext and homosexual undertones might be burning so bright it’s a little blinding, but unfortunately heterosexuality will always trump it (in today’s mainstream media). Heterosexuality does not need a leading up to, it does not need to show compassion, it’s supposed to steamroll over any possible ambiguity with explicit representations of “intimacy”, and this type of visual confirmation is supposed to be absolute truth. And there’s no way to fight back, because a same-sex couple isn’t allowed to engage in the same activities on prime time (unless it’s a supporting character, then only extremely rarely). The story of the episode (In Heat) is the reality of media made into fiction and personalised through one character. The gayness is there and is allowed to work as plot, but he can’t allow himself to kiss or engage in any romantic activities with men other than brief touching. It’s an acknowledgement and a refusal to act all wrapped into one. One hand caressing, the other slapping, very conflicting messages about alternative sexualities.

Heterosexuality is like imperialism, it comes bearing a flag, plants it with no regard to the natives or their history, and we are then supposed to accept it. What do we know about Will other than JJ doesn’t like to take a shower with him? Nothing, no hints, no indications, no nothing. I’m supposed to forget all the hints, all the subtext just because I’m given a boy/girl make-out session? It doesn’t work that way, but what it does is to bring some harsh truths into the light of day.

Romantic subtext and ambiguity would be a truly glorious thing if it weren’t for the basic inequalities between gays and straights. It’s like a race between Michael Phelps and a dwarf missing two limbs, it’s just not fair. I really wish the world was equal already so I wouldn’t have to be reminded of the inequalities and could just enjoy my subtext in peace.

Rant finished, I shall move on to the bountiful subtext moments of this episode.

***

No.12) Episode 3x17 In Heat
Will, a police officer from New Orleans who showed an interest in JJ when their paths crossed in season 2, appears once again. It is also quickly revealed that he and JJ have been in a “secret” relationship for quite some time. Throughout the episode JJ refuses to acknowledge their relationship to the team and looks all around uncomfortable. However one has to wonder if she is not struggling with more than her relationship with Will.

Here’s the list of moments;

12.a) The look on Emily’s face as Will shakes JJ’s hand. It looked like she stopped breathing for a sec. Your reasons for why are as good as mine.


[Emily spots Will]

12.b) Asked whether or not the team knows Will, JJ quickly replies, “Professionally”. And for some reason adds a nod towards Emily.

12.c) After having met up with Will and when the team are on their way inside, Emily is the first one in and up the stairs. Quickly removing herself from Will and JJ’s presence.

12.d) When Will briefly touches her at a crime scene JJ snaps, “Don’t!” And looks around her paranoid someone saw it.

12.e) In one scene Emily brings JJ a bottle of water. They complain about the heat and do the small talk thing. Emily makes a comment about Will being pleasant on the eyes. JJ looks completely stunned and incredulous.

[Lets do a little compare and contrast.]

[Above; JJ's reaction shot to Emily's comment about Will being good looking]

[This on the other hand is the way she looks at Emily]

[And just to drive the point home]

12.f) Not directly related to JJ or Emily, but well worth mentioning. Will’s friend who had just been killed, turned out to be homosexual but was so deeply closeted he had a fiancée. Will then asks Hotchner; “How did I not know Charlie was gay?” Who replies; “Because he didn’t want you to know”.

Appearance is not everything. You can live a het-life, but still be gay. The lengths to which some go in order to cover up their sexuality and true feelings are amazing.

12.g) JJ and Will argue about her not wanting the team/her friends know about Will. He says; “It doesn’t take a profiler to see who’s got one foot out the door in this relationship”. And when he continues pushing her, asking what she wants, she breaks up with him.

12.h) Right after having broken up with her boyfriend JJ finds Hotchner and delivers this insight into the gay unsubs mentality; “What if he let his guard down because he could finally be who he was. No judgements, no fear...What if the unsub is seeing freedom in his victims that he wishes he had for himself”.

12.i) After JJ’s said goodbye to Will and is ready to let him walk away Emily pops up at her side. What does she do if not tell JJ; “You should go for him”. A piece of horribly misguided advice that JJ takes. – Emily what have you done?!

12.j) JJ’s line; “When it becomes real people get hurt”. This from the woman who appeared to have no problems subtextually flirting with Emily, but as soon as Emily acknowledged her, she began to pull away.

12.k) At the end of the episode where we get a JJ/Will liplock, Emily, Morgan and Reid watch them. In a somewhat chipper tone Emily says; “I thought she was never going to admit it”. The cheerful tone somewhat contradictory with the look on her face and the fact that she can’t wait to get away from there. Reid and Morgan have no problems watching the kiss, Emily on the other hand walks away while they’re still talking to her.


[Excuse the fuzzy caps, but Emily's reaction to the kiss. Look at Spencer and Morgan's reactions as well]


***
As for whether or not this is the death of subtext on the show? Who knows, but what I do know is that it’s just been bumped from sweet fun care-free subtext into a tragic love story of missed opportunities. As the angst fan I am, I couldn’t be more pleased. I’ve enjoyed watching the subtext between JJ/Emily, but not until this moment have I actually shipped them. I most definitely do now.

***


(enhanced screencaps from Oracle of Quantico)

"Criminal Minds" Subtext Season 3, No.8-11

The subtext has evolved. It was there and it helped build a foundation. Now it’s extended into that phase where things just catch my attention. Not because they are subtext in themselves, but because they provide opportunities to imagine what goes on behind the scenes. So from this point onwards I’ll be mentioning things worthy of attention as well as proper wholesome subtext.

***

No.8) Episode 3x12 3rd Life
Nothing really, but it’s interesting to note that as the team are rushing a building weapons drawn and vests on, JJ once again fall behind Emily. Coincidence most likely, but it makes great building material.

No.9) Episode 3x13 Limelight
Not subtext persay, but I got a total kick out of Emily storming into the local office where JJ and a female agent were talking.

No.10) Episode 3x14 Damaged
This is another weird one. It’s not the type of scenes you normally see, it’s like a soap, slippery to hold onto. I can’t quite get a grasp of it and what possible meaning there could be behind it. I just know that it’s excellent material to build that alternative story from. Penelope who’s dating a fellow analyst (Xander!) goes to see JJ to ask what she’s to do about it; “Were not supposed to date fellow Bureau employees”. JJ on the other hand does not appear to be particularly worried about it and tells Garcia to don’t sweat it. The discussion then turns into joint showers (of the romantic kind, not the after PE kind) and JJ states that they are highly overrated and much better in theory than in practice... Can you feel it? The potential is giving me goosebumps.


[Bangs?! C'mon! Even the stylists are in on it.]

["I have the gift of prophecy" - I am now expecting a marriage, the return of an abusive boyfriend and then ultimately Emily’s death.]

Then at the end of the episode there was this little outburst by Emily; “Just when I thought nothing scandalous was ever going to happen around here”. As if JJ's reluctance to joint showering wasn't enough of a fanfic prompt you have this sentence that practically begs to be made into a gritty little piece of femslashfic.

No.11) Episode 3x16 Elephant’s Memory
Texas brings out the swagger in Emily.

Plus that final shot gliding through the plane. Everyone relaxing, Emily leaning back reading her book. JJ across from her basically laying down in her seat. It’s not that much leg space in a plane that small. I'm just saying.


***


(enhanced screencaps from Oracle of Quantico)

"Criminal Minds" Subtext Season 3, No.6-7

No.6) Episode 3x09 Penelope
In queer culture, or to be specific lesbian culture, the hand (next to the tongue) is perhaps the most prominent body part in relation to sexuality. It’s not just a part of flesh and bone, it’s a symbol. Therefore hand- holding/touching takes on a whole new level of importance in a budding relationship. I could write a small essay on the meaning and symbolism, but lets just say that if you don't feel it, then you probably should look for another type of subtext than the femslash version.

If you doubt it's relevance, I leave you with this;

Exhibit A) Xena/Gabrielle


Exhibit B) Willow/Tara


Last but not least.

Exhibit C) JJ/Emily


And this was no exception, it was a truly sweet moment. Emily squeezing JJ’s wrist and JJ opening up her hand into which Emily slips hers. Sugar sweet. Also take a close look at Emily’s nails, their short shortness is yet another in a vast sea of hints/indicators to Emily’s possible sexual orientation, but let’s leave that for another day and post.

It's really interesting to note that the both times Emily looks sad and worried in this episode neither is directed directly at Garcia that's been shot, but towards JJ. First at the hospital when she grabs a visibly upset JJ's hand in order to comfort her, and then later on when JJ was in harms way. The reaction shot of the later was a delicious picture of uncertainty and fear.


[Hurt/Comfort Anyone?]

No.7) Episode 3x11 Birthright
Remember what I said about building the story.

This is the second episode after the events of “Penelope” where we had the handholding, but also an episode in which JJ had to kill a man. For some reason JJ is off in this episode, the case gets to her. Perhaps all those emotions inside of her, both professional and personal are what’s affecting her? Does her life feel out of control? Is she scared of what she feels?

At the end of the episode we also have a moment that is so out of character for Emily that I can’t help smiling goofily and loving it. The gang are going out for drinks (“or five”), but JJ declines their offer. In response Emily utters an “Aww” followed by an arm stroke. Emily has been very limited when it comes to body contact so far and she just isn’t the type of character to use “Aww”. It sounds as foreign as snowballs in hell.

As Emily appears to become more aware and bold in her interactions with JJ, the blonde appears to pull away. Coincidence? Has things suddenly become a little too real for JJ? What has her rattled?

Is this the start of subtextual angst?

***


(enhanced screencaps from Oracle of Quantico & Mike's Images)

"Criminal Minds" Subtext Season 3, No.4-5

***
No.4) Episode 3x04 Children of the Dark
Whoa. Okay the subtext isn’t just sizzling, it’s burning down the house.

The entire episode is filled with looks between the two, the type of looks that are so easy to turn into something more than just exchange of eye-contact. (Side note; no straight woman should do as much raking with her eyes as JJ does of Emily.)


[Here's looking at you kid.]

Then there’s a nice little scene where Emily once again is edging around the body contact as she tries to reassure JJ.


[Can I touch you there?]

But the real money shot is in this exchange;

JJ (talking about Emily taking care of an orphaned kid) -“I think it’s a good idea though.”
Emily - “What’s that?”
JJ - “You.” Pregnant pause. “Kids.” Another even more pregnant pause. “I can see it.”
Emily -“Yeah?”
JJ nods and has once again her finger in her mouth (something about Emily sure seems to bring out the oral in JJ). Followed by a shot of Emily holding eye contact a little longer than propriety would allow, before looking away with a small smile and a contemplative look on her face.

During the interaction Emily is somewhat distant and emotionally detached (oh how I love my Ubers), but JJ has no shame in her body, she’s freakin’ ogling. Honestly the best way that I can describe the way she’s looking at Emily is sultry, and this during a discussion about children. This is really difficult to interpret as anything but lesbian overtones, I mean this is not the type of interaction you have with someone you do not have a sexual interest in. When I discuss children with my friends we make cracks about “laughing all the way to the sperm-bank”, I do not put my fingers in my mouth and offer them a coy smile. I don’t know about you, but that’s just not how we roll.

On the meaning of lip touching see the following blog;
http://www.blog.sethroberts.net/2008/06/19/why-do-we-touch-our-mouths-so-much-continued/

In short; Lip-touching = release of a small amount of pleasure = miniature orgasm in disguise. I can buy that interpretation, though from now on I’ll probably be touching my lips at the most inappropriate of times.

An alternative interpretation of lip touching, is that it is a form of reassurance. We reassure ourselves that we are still there physical and actually existing. It’s a way of warding off nervousness and gaining some confidence that stems from that first lip/nipple comfort we got from our mothers as newborns (though personally I consider lip/nipple comfort a more general concept enjoyed by a large number of homosexual women and straight men, not just infants).

Now pick whichever theory you fancy or make up your own interpretation.

If you want to see the “You...Kids" - scene and lip touching for yourself, click the link;
http://www.youtube.com/watch?v=zbLfrvA8fEg

No.5) Episode 3x05 Seven Seconds
Touch-down, we have touching. Short brief, but first time Emily initiates touching. She puts her hand on JJ’s back as she informs them of a new turn in the case.

Then there was JJ’s line, in response to whether or not she had children; “Not yet”. Which in itself means nothing, but in relation to last weeks subtextual solicitation shoots my eyebrow into my hairline. Clearly JJ is a woman who knows what she wants.

*Bonus Subtext*
(Episode 3x06 About Face)
Subtext can be found in the most unlikely of places. At the end of the episode we have a scene were Hotchner and Rossi (the new (old) guy on the team) are looking at each other while music plays over the clip. The lyrics playing at the time is “I’m going home to the place where I belong, where your love has always been enough for me”. They look at each other intently, then Hotchner pats Rossi on the arm and they get into the car, leaving the rest of the team behind. In the light of Hotchner's recently failed marriage (which Rossi confronts him about) this could definitely be built into a little alternative story if one wanted to.


[I can't help the way I hold you]

***


(enhanced screencaps from Oracle of Quantico)