Young black professionals dating

), and Doyle with the coils (of hair, that is).) Understanding Bodie and Doyle starts with CI5, "Criminal Intelligence 5," a body of about forty men (and a few women) drawn from the cream of all the other services - commandos, SAS, marines, paras, police, and perhaps even some representatives from the other side of the line, the criminal side - to form an elite squad whose mission was to fight crime and terrorism in Britain. He's stoic and seemingly impenetrable - yet he's also capable of pitching the finest of hysterical hissy-fits. Pros is a "partner" show of the highest order: the partnership is almost always in the foreground, and Bodie and Doyle are a team in every sense of the word.

Its brief, in Cowley's immortal words: "to keep England smelling, if ever so faintly, of roses and lavender," to "see that no one messes on our doorstep." How? He's charming, he's handsome, he's egotistical, he smirks and preens and hams it up; he's dangerous and mean and unforgiving and deadly competent - all in one very fine-looking package, complete with endless lashes sweeping to cover devastatingly deep-blue eyes. He sheds tears when Bodie is stabbed in Klansmen and when his first Met partner is killed in When the Heat Cools Off. Ultimately, it is the way they act when they're together - especially when contrasted with the way they act when they're apart - that makes the pairing work so brilliantly and seem so inevitable. BODIE: Just because you forgot to bring your vitamins.

And Ray obliges, laughing at Bodie's jokes, sniggering when he camps it up, as he often does, and indulging his sometimes macabre sense of humor.

This dynamic - Bodie acting charmingly boorish and smug and Ray responding with tolerant amusement - is typical of them.

This community was created to showcase and disseminate so-called "Shippers' Manifestos" "public declarations of fannish love" for particular pairings ("ships").

And this is part of what makes them so endlessly appealing. MINISTER: I don't like the sound of that 'something'. COWLEY [as Doyle cracks up]: There are times, Bodie, when I find your ribaldry quite distasteful!

- From "First Night" On the surface Bodie may be sassing Cowley, but you don't have to dig very deep to see that it's really all about Ray, that he's courting Ray's attention, so to speak; performing for him and striving mightily to amuse him.

The pose is very suggestive, with Bodie's groin against Doyle's rear, yet Doyle doesn't blink an eye. But when push comes to shove, when it really counts, the bullshit stops cold: no more joking, no more playing, no more snark, and they are entirely there for each other and only each other, each clearly trusting the other wholly and implicitly.

This constant touching, this physical familiarity, this comfort in each other's personal space is apparently so normal for them that Doyle doesn't even notice it. BODIE: Uh, the fellows all dance together and the cops shave their heads. You can see this total trust in the various rare, intense, beautiful, intimate moments in which they exhibit what looks suspiciously like tenderness, serious moments in which each reveals his vulnerabilities, lets down his walls. For men like these two, and considering their chosen occupation, this is quite an admission, and it's difficult to imagine that either would make it to anyone but the other.

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We all know that Kirk/Spock was the first slash pairing, the subtext that launched a thousand ships, the father (mother?

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