#I even had this thought that maybe if I defend my thesis by the end of 2023 I will get a phd as a 27 years old and I felt like it was too

[serdtse]

//

[xuchiya]

"Important" || jongho x female reader

genre: fluff, (small) hint of angst words: 582 got inspired by this prompt. IT'S CUTE AND JONGHO IS THE FIRST CAME UP IN MY HEAD.

Jongho sighs, slouched on the worn-out sofa of his shared apartment with you, yet in this moment your absence is making it difficult for him to focus on what he is doing—distracting himself. His fingers hovering on the soft keys of the remote, flicking through TV channels. His mind was elsewhere, reliving the moments of the argument he had with you a few days ago.

“I’m not coming back here, I thought you were an understanding boyfriend!"

“And here I thought you would be pleased to have my presence so you could focus.”

The small argument between time and effort was a sensitive topic for the two of you. Jongho finished his promotion for Fin:Will and he had the time on his hand to spend it with you yet it feels like the world wasn't on your side as you were finishing up your thesis paper because on the next day, you will be facing a proposal to defend your chosen study. It was pressuring as 2 out of your panellists were your least favorite professors. 

  So in the end, you both were screaming and ended it with a slamming of doors. He sighed heavily, feeling a mix of frustration and regret. Just then, the doorbell rang. He hesitated for a moment, thinking that none of his hyungs would visit your shared apartment unannounced before dragging himself to the door. When he opened it, he was greeted by you, her expression unreadable. In your defense uniform, 3 thick folders on your right arm and your laptop bag on the other.

    "Why did you come back?" Jongho asked, trying to keep his tone neutral but failing to mask the curiosity in his eyes.

You rolled your eyes, shifting from one hip to another, looking slightly annoyed but determined. "Because I forgot something important."

Jongho raised an eyebrow, leaning on the doorframe. "Oh, what did you forget?" His mind raced through the possibilities—your phone, your wallet, maybe even some clothes or maybe one of your thesis papers..

   You took a step closer, your eyes locking onto his. "You, you idiot."

Jongho blinked, taken aback. "Me?" He pointed to himself, dumbfounded.

"Yes, you," You snapped, though there was a hint of a smile playing on your lips. "I forgot that despite your flaws, despite everything, you're the one thing I can't leave behind."

Jongho chuckled, scratching the back of his head. "Well, I guess I can't argue with that."

You rolled her eyes again, but the corners of your mouth twitched upward. "Of course you can't. Now, are you going to invite me in or just stand there looking like a lost puppy?"

He stepped aside, letting you in. "Welcome back, love~" You walked past him, muttering under her breath, "Next time, try not to be such a moron."

Jongho closed the door behind you, grinning, watching you place down your things on the dinner table. "I'll do my best, but no promises."

As you both sat down on the sofa, Jongho handed you the remote. "Here, you can pick what we watch. Consider it my apology." You took the remote, shaking your head with a smile, looking at him with an amused smile. "You really are an idiot, but at least you're my idiot."

Jongho laughed, feeling a warmth spread through his chest. "Yeah, and don't you forget it."

“By the way … Our proposal is approved.” 

“That’s my girl, come here.” Jongho pulled you to give a small peck on your lips.

[butts-bouncing-on-the-beltway]

I just read your response to star-anise and I wanted to say thank you. It's horrific how NPD is demonized. People will paint every move as malicious, i.e if you make a sacrifice and you're not a narcissist, you're selfless and kind, if you are, you're playing martyr for praise and attention. I find it interesting that people can be labeled as either bad or good for the exact same actions or reactions depending on your likeability and prior labels

when I was in my first anthropology class, my one-day thesis advisor started interrpgating us about WHY certain observed phenomena happened. He asked us why it is that societies tend to send men off to war, and we gave him a million different answers and he tore into everyone, forcing us to look deep into our assumptions of what reality was. He asked us about why we jail homeless people and he did the same thing, ripping apart the explanations our class had been taught from childhood. He asked us why incest was generally considered morally wrong and even then none of our answers could withstand his interrogations.

We were 16, 17, 18, and 19 year olds mind you, he wasn't expecting us to be debate geniuses. But he picked emotionally impactful topics on purpose and held us all in that classroom looking into a mirror and explaining to ourselves what we believed and why while he undermined everything we thought we knew.

Lass was a dick in so many ways, and my decision to respond to his assholery with spiteful rivalry and dogged refusal to cower before him and his smug interrogations of our conceptualizations of reality made me one of his favorite students. He met my wife back when we were still dating (she sat in on my thesis peer-presentation at the end of my senior year) and told me she was a keeper because of the questions she asked me and the other presenters during our Q&As. He was a man who liked living in the uncertain and prickly, and I have to admit that his approach was contagious in some ways.

When I think about the origins of the language of "narcissist", of Narcissus the lover of beauty and the admirer of rare treasures, of the vengeful and insecure Greek gods who tended to dole out vicious punishments to any human who dares to see humanity as equal to divinity, of the angry backlash that hegemony always has to anyone who is unable or unwilling to buy into its inflicted premises....

Well. What seems more likely? That there is some class of people biologically incapable of comfortable coexistence with other humans due to moral debauchery? Or that there is a group of people whose willingness and ability to be subjugated by hegemonic power structures is incompatible with social structures that normalize systemic abuses and violations of self?

I'm not saying that means someone is a perfect flower who has never done anything wrong, but like. Maybe individual accountability for systemic mechanisms of interpersonal and social abuse is still bad even when it's against people who do wrong/bad things sometimes.

I dunno. I think people are comforted by easy moral answers, but I spent 8 year working with Lass in various capacities and never met anyone who could fully step up to the task of defending their beliefs against his interrogations. Like. the man was a moral-grey-area metal-detector of a human being, and no matter how nuanced we thought we'd gotten in our analysis, he was always able to pull a further assumption out for us to examine. I learned to distrust my own feelings of confidence in really interesting ways. At this point if I think I have something all figured out, I take that as a sign that I should take a step back and look for my blind spots. Which I think was the point of Lass's trial by fire approach to teaching in many ways, damn the man.

People are really confident in their hatred of and rage towards "narcissists" and that tells me that the blind spots aren't being monitored. That's all I really need to say that I'm unwilling to take anyone's assertions about narcissism on faith. I don't pretend to have answers (though I continue to find the pursuit of those answers in conversation an admirable and enjoyable process) but I think it's important to be loud about that so that people don't gloss over that element of what I'm saying when I'm communicating about functional interpersonal dynamics.

[minetteskvareninova]

Anyway, in light of ContraPoints' essay, I promised to continue my slow, steady Chłopi brainrot, so here it is:

My thesis is that you can absolutely read The Peasants, specifically the central pairing of Jagna and Antek, in light of the DHSM, it's just that it comes out of the other end as a pretty brutal deconstruction, which I don't think Reymont had intended.

Consider Jagna. She's your typical feminine protagonist, beautiful, virtuous and madly in love. The object of her desires? Goddamned Antoni Boryna. Antoni Boryna is, of course, very conventionally attractive, I daresay the most attractive man in the movie (although the competition is stiff, see Maciej and the organist's son, whatever the fuck his name is). He's also kind of unhinged. Antek is the kind of person who mostly acts on instinct with little regard to morality. He's nice to Jagna at the start, because he likes Jagna; he defends Hanka from his father's abuse, because nobody mistreats Hanka but him, and also fuck his dad; he leaves his dad's household and stubbornly refuses to submit to his authority despite the difficult situation it puts him in, because fuck his dad (sensing a pattern here?); he tries to kill his father, because fuck his dad, only to chicken out at the last second and realize, hey, maybe I don't hate my old man THAT much? These two are an Oedipal nightmare, is what I'm saying.

More than that, when I say that he acts on instinct, his instincts are... How would I put this... Stereotypically masculine in a very toxic way. He's very angry, bad-tempered, doesn't express tenderness that much - mostly because there isn't a whole lot of it things or people in this world that he genuinely likes. As far as I can tell, he kinda likes Hanka at the start (or at least the way old Boryna treats her is too much even for an A-grade asshole like Antek Boryna; there's also the fact that it's part of the ongoing power struggle between Antek and his old man, but that's neither here nor there) and really likes Jagna, and that's about it. His main motivation in life is to get one over his old man, which I almost sympathize with, since his old man is somehow even worse person than him. But don't get it twisted, Antek is a very, very bad dude. Some might even call him... A bad boy.

That's right, I am going there! Antek is in many ways very similar to the typical "bad boy" love interest found in romance novels. Toxic masculinity? Anger issues? Desperate need to dominate? Freaking daddy issues??? Yeah, baby, he's an alphahole all right. The only thing he's missing is, perhaps, an elevated social position, but even then - his dad is supposed to be the richest man in the village, and in the second half, his old man dies, presumably leaving Antek most of his property.

Anyway, Jagna starts out having feelings for Antek, which are in context kind of understandable. I mean, he is hot and she's one of the few people he treats with any tenderness; 18-year old girlies have fallen in love for less. The situation these two lovebirds find themselves in is of course very difficult. Jagna is coerced into becoming the trophy wife of Antek's shitty dad, while Antek is still married to Hanka and still mad at his dad for other reasons. But aside from being start-crossed lovers, there's another tiny problem with their relationship: Jagna, though young and in love, isn't stupid, and increasingly realizes that Antek, as mentioned above, is absolutely unhinged. Add to this the fact that Jagna kinda feels bad for poor Hanka, and it's kinda understandable why their relationship turns sour. So Jagna just... Dumps Antek. For which he rapes her and lets the villagers do the ending scene to her.

And here's where we get to the DHSM of it all. A lesser deconstruction might go for the "see, you can't in fact change him" angle, but like... Here? The thought of Antek ever changing never even crosses anyone's mind, least of all Jagna's. If she fell in love with Antek despite him being, as mentioned above, unhinged, it's because she clearly didn't know him that well and didn't recognize the full extent of his assholery. An understandable, if unfortunate mistake to make. Anyway, if the common DHSM dynamic is a woman elevating herself by worshipping or in some way (like morally) elevating an already exceptional man, it clearly doesn't work here. Jagna cannot adore Antek once she gets to know him, cannot abide by his assholery (she's too smart and proud for that), not can she change him into any kind of admirable person, and that thought doesn't even seem to cross her mind. Jagna cannot elevate Antek in any way.

But he can, and does, drag her to the mud.

That is the other side of the coin, the objectification and degradation of the woman, isn't it? And, well, since Antek cannot be elevated in Jagna's mind above her moral concerns, nor in real life by becoming a better person... Well then. To abide with the DHSM, Jagna has to be humiliated instead. First morally by sleeping with the married man, then, when she refuses to participate in this "sin" anymore, physically trough the rape and the ending scene.

And that's the unintentional genius of The Peasants - it reveals, in its full ugliness, the degradation side of DHSM by subtracting the elevation side completely. Antek was never worth the pain he put Jagna trough and that she was put trough for the relationship with him. But of course, is any man ever? There's a reason why Jagna never actually seems to consider a relationship with any other man, outside of maybe her ex Maciej, who, while not as terrible as Antek, still does some pretty shitty things, namely lying about sleeping with her (unwittingly contributing to her downfall). It's not that Jagna just happened to find a bad man. The whole system is clearly broken.

Of course, "the system" here clearly isn't meant to be just DHSM, as much as I focused on this aspect of it in this post, but patriarchy in general - for the writers of the movie if not Reymont (because I haven't read the book, so I can't speak on it, sorry). But to make a full feminist analysis of The Peasants is kind of outside of the scope of this tumblr essay, so.

[time-like-tears-in-rain]

The Doctor as an Alice

So as promised, based on commentary I made here, and reminded by this post, I wanted to get out my thoughts on the Doctor and Companion as the Peter and Wendy, or "Annie's obsessed with the Alice archetype and makes it everyone else's problem."

I've seen the Eleven and Amy comparison more than once for Peter and Wendy, and I agree...to a point. I'd been making a (admittedly generalized and cis-normative statement) about how the Doctor continuously attracts female companions, not necessarily in a romantic way, but that women seem to get along with him (or her!) the best, and it always seems on the surface like that Peter taking Wendy by the hand and going on dangerous adventures--but I think it's also because these girls, these women see something the same as themselves.

Sure, the Doctor is Peter Pan, is the Goblin King, the Wizard of Oz, to the companions, but unlike those characters who only know the Other World and being the Other, he's also experienced this narrative from the opposite end, and THAT'S why I think he clicks so well and so specifically with certain companions.

The Doctor is also Wendy, Alice, Dorothy, Sarah. It's why Rose and Amy (regardless of if you view either as romantic chemistry), the weird girls of the bunch (and if there's one thing a weird girl will always relate to, it's an Alice), had such great chemistry: they were both the audience viewpoint, the Alice taken on an adventure, shown a wider world than she had any idea existed beyond her daily life.

But unlike Peter, unlike the inhabitants of a Wonderland, The Doctor knows exactly how that feels. To him, the universe isn't mundane at all, because he was raised in society, that while yes, time travel and space travel was ordinary, it was such a rigid and academic social structure with so little mobility. Time Lords weren't encouraged to seek beauty and wonder, they were encouraged to seek order, balance, and (even if their philosophy didn't expressly state it ) power.

So naturally, to humans, he's Peter Pan at the window. On Gallifrey, he's the one who ran away from what was expected of him, flew away, and went off to fantastic worlds, he's Wendy Darling.When Rose sees Earth burn, when Amy experiences the beauty of space for the first time, he understands, Alice-to-Alice, Wendy-to-Wendy.

More than that though, I'm fascinated by is that by the Doctor being both Peter and Wendy, he's the hero and the heroine (given the fact that the updated canon on Gallifrey is that they're very fluid when it comes to concepts of gender this suits enormously) which means...that he's also the one who always has to save himself in the end. He's the only character in the story who is both archetypes at once, the only one of his kind, etc.

Except for the Master, and Clara, and maybe River, definitely Jack, Bad Wolf that one time, and maybe...well, it's fine. The Doctor is a bit moody and always likes to say he's forever alone.

This isn't the sum total of my thoughts on the subject, and it's not a thesis that I've really gone through and tried to find evidence to defend it yet either, but it's been rattling around in my brain since last summer when I started the rewatch of all of nuWho.

@a-shard-of-quartz, @comicaloverachiever, were both told I'd tag them, and @violettenouvel was commenting on my original remarks about this.

[gorteaus]

A Missing Encounter

Somewhere approaching the end of my Hunter x Hunter rewatch over a year ago, I couldn’t help but think, “I truly wish Youpi and Pitou had shared more meaningful interactions with one another.”

It wasn't sometime until later I realized, maybe that’s the point.

Since the invasion’s arrival kickstarts much of the events which lead to the guards’ development, the connections between them begin to take on a new perspective as well. Notably:

In the tower, Pitou and Pouf share a tense dichotomy with one another over the invasion.

Pouf only grows increasingly wary of the new changes he finds to have taken root within Pitou and Youpi alike.

Much later, Youpi and Pouf share a brief allyship in their endeavor to keep Komugi from Meruem.

From these relations, something stood out to me in particular:

Pitou and Youpi are the only two guards that never share any significant interaction during the latter half of the arc.

In fact, from the moment the invasion begins, the two never meet each other face to face at all.

Now, I’d like to preface with a brief disclaimer of sorts. 

My primary thesis focuses the idea that Pitou and Youpi’s notable lack of association over the course of the invasion might’ve tied back to the narrative in a much more deliberate way than I initially thought, but I should also note this post was originally part of a much larger analysis that has been split up for accessibility. While the other half to this is not a necessary read, the previous write-up of mine addresses aspects of Youpi’s character that provide greater context important for setting the foundation to the conclusion I’ve come to here.

Of one of these aspects is the way in which Youpi’s development over the first half of the invasion heavily leans into his newly discovered sympathy for humanity. A key scene I’ve chosen to highlight follows shortly after Pouf and Youpi reunite, and Youpi himself comes to an epiphany regarding what he’s been told.

It doesn’t skip my notice that even before Youpi has been asked to give a stance on Pitou’s dilemma, in response to the other's situation (and his defense of Komugi), we do get this:

A sincere understanding of Pitou’s behavior.

With this revelation in mind, I turn to chapter 295, because it’s illuminating in one of two things. 1) A shift in Pitou's goals:

And 2). How isolated he truly believes he is, especially in respect to the other guards.

Because 5 chapters after Youpi has come to his epiphany and 4 chapters before Youpi and Pouf reach the king, Pitou thinks this:

That Pitou came to the conclusion that the two other guards didn’t care for Komugi made perfect sense, and in my first few reads of this scene, I hadn’t paid much attention to the particular mention of Youpi here. But after a far more thorough read of chapter 290, I could do nothing but think about it, because it appears that this estimation hadn’t been made on any current knowledge of Youpi’s new developments, only past information. 

Consider that a face to face encounter and a single line of dialogue was all Pouf needed to evaluate the changes taken root within Youpi.

Pitou on the other hand, wouldn’t have been aware of any of the changes Youpi has undergone when he hasn’t been present for even so much as a direct encounter.

Whereas Pouf had met that change with suspicion and mistrust…

…Pitou’s reaction likely would be the opposite, as would it have been a situation he’d be able to utilize to full advantage.

Not only has Pitou been physically isolated from his allies for much of the present conflict, he genuinely considers himself to be alone in his care for Komugi, because the Pitou that believes as such both was present for and remembers when Youpi said this:

Pitou doesn’t need somebody who's ambivalent about Komugi, he needs someone who’d understand his desire to defend her (of which we’d seen prior in Youpi).

Because part of his struggle doesn't solely lie in healing and protecting her, it's also entrusting her to someone who could guard and safely deliver her to Meruem once he leaves with Gon.

We’ll never know what Pitou had been intending to say here before he’d been cut off by Gon, but given Komugi and the urgency surrounding his current situation, I’m willing to bank on the idea that his request had to do with her continued safety / ensuring she reached the king.

Inevitably, Komugi is taken hostage in the first place because there is no one else Pitou can entrust her to for her protection.

I also find the implications of Knuckle’s presence in chapter 295 equally intriguing here.

Knuckle, one of the key hunters present in the battle against Menthuthuyoupi, considers sharing key developments regarding the latter... 

...and stops before he can mention anything of true gravitas.

It is less so his reasons for doing so that catch my attention, as it is rather, what he knows that could have led to Gon’s hesitation and doubt. It’s the implications of what he’s about to say- everything that he’d been preparing to share- Youpi’s ability to change, his decision to spare the hunters, his newfound appreciation of humanity. Knuckle specifically mentions Youpi here only to pause once of the implications this new information could have on Gon’s mental state settle, but it’s also notable that this is news that would have been vital to Pitou even if it is information that would have, admittedly, reached him far too late to have been able to be acted upon. 

Knuckle’s internal dialogue leads us to consider only one party here, but I sincerely believe that he’s been framed besides not just one, but two people whom his information would have greatly affected. 

Everything about this scene and the weight of what’s been left unsaid is incredibly pointed to me.

[catnift]

My Grand Writing Thesis

It seems like everybody who has even attempted to delve into the theory of writing has had some magnificent idea about the whole topic, that they're ready to defend until the end of humanity itself. Well, this is my purely subjective hill that I choose to die on: there is no "right" way to write. The "right" way is whatever works for you, and whoever claims otherwise either doesn't really understand the point of the activity and/or is misleading people on purpose.

Allow me to elaborate. See, we don't really argue about how to operate a microwave. There are no books about it, nor conflicting thought-pieces or even rivalling communities. Sure, there are recipe books and tips and tricks and even special gadgets to get more bang for your buck out of the appliance, but the only thing you really need is an instruction manual or even just a label and common appliance knowledge to turn the thing on. That's because there aren't really that many different ways to operate it. My point is that if writing (creative or otherwise) was really as simple and straightforward as a single guide or collection of steps, then we wouldn't (as a species) be discussing the n+ ways of doing it.

Therefore, any guides or "definitive" sets of instructions (I'm looking at you, "Save the Cat") on writing should be taken as inspiration at most and used rather as a jumping off point to establish your own system. I have no hate for these seemingly rigid instructions and understand why people like them - they give structure and logic to something that inherently has none. It's just that everybody I've ever encountered in one way or another, who swear by these dogmatic methods, don't actually use them if you pay close attention to how they describe their process. What people actually use is a modified method that works for THEM.

It took me a while to realise all of this because media and school have conditioned me to believe that if a popular method of doing something (anything really) isn't working for me, then I must be doing something wrong. Instead, it should be considered that maybe there is no "right" or "wrong" and maybe I should work WITH myself rather than against.

Don't get me wrong: there's certainly a place and a need for grammar books, writing workbooks, and various creative, scientific, and philosophical courses. I'm just saying that all of them will only take you so far. At some point you need to figure out the secret sauce and how to actually APPLY all of the gained theoretical knowledge in practical terms that are uniquely applicable only to you and your life.

As for where I currently am in this journey of discovering my own brain, I'll leave it for another post as this one is getting a bit long :)

[midorismorningsessions]

before proceeding, listen to the full episode here:

in the years since i last made a podcast, i never thought i would be talking about a loss so profound, so devastating, and so unimaginable that i am still grappling with it to this day. when you compare the topics of the first season to the recently concluded second season, this season's definitely heavier and the story progressed from the story of my thesis journey to assignments and the many callbacks and reminiscences of the friendship that i had with arguably the best friend i could ever have.

the other day, my adviser asked us to help out with paperwork for our documentary production. i waited for her to finish up her work, and then i stared at him and the table that was just in front of the couch i was sitting on, and flashbacks just came pouring in. i was also there the day before to submit my consent form, and i asked my adviser a few questions before going on my way home. i could not stay at school longer than i used to, i just go home. it broke my heart every time i was there. i just watched law and order to wash it all away.

this week, my classmates are defending their respective thesis, and i decided to take a break from doing it altogether. the past few months have been really shit to me. all of what i did to him constantly haunts me, even when my technical critic (and his boyfriend) asked me about the status of my thesis, to which i answered "let's not talk about it". i'd rather not tell him that the reason i have been so broken is the man that he loves so dearly. in fact, he never knew that i'm currently on break.

i saw our very first picture together on an event last year on my facebook memories, and it brought back memories of the time when i was truly a part of his life⁠—the total opposite of what is going on lately. maybe i overstepped myself, maybe not. maybe i was protecting myself from losing another friend that i never realized i actually lost him by doing that.

i just could not bring myself to finish the two biggest projects of my life, knowing that these will serve as haunting reminders of a time where he was once by my side, and that i would eventually have to move on and press myself forward without him.

i don't know if i'll ever be the same again. i lost one of the biggest supporters i could probably ever have in my life. he was always looking out for me, getting real with me whenever i ask him for advice. i miss his wisdom. i miss his candor. i miss his self-deprecating humor. i miss his enthusiasm over the things i loved so much. i miss the mundane times of just being in the corridor, talking for hours, even with people in the room.

i miss his safety. he was one of the few people that i could let my guard down no matter what. he broke down the walls i put up in fear of disappointing others. our relationship goes beyond the halls of that corridor and the titles that were bestowed upon us by society.

he will always be the greatest friend i will ever have. and i will never be the same again without him.

⁠—⁠—⁠—⁠—⁠—⁠—⁠—⁠—⁠—⁠—⁠—⁠—⁠—⁠—⁠—⁠—⁠—⁠—⁠—⁠—⁠—⁠—⁠—⁠—⁠—⁠—⁠—⁠—⁠—⁠—⁠—⁠—⁠—⁠—⁠

today's ending theme is sia's breathe me from her second album colour the small one. enjoy listening!

[abyssalcreator21]

Pandemic Thoughts # 146

The earth rotates faster right now and time has gotten shorter in this year. Imagine we are already in October 2022 and who knows in the next months, it is already Christmas and I am already a graduate. But, it doesn't end for my journey right now in doing our thesis. Yesterday, I thought we have a schedule in validating our thesis paper along with Dr. Cuarteros but it was moved in another day. Well, to keep up with the time not being wasted, I just did my usual routine of just being alone and listening to music while waiting for my mood to tell me in going home at 2:30 P.M. Also, I went into the library as usual and I just chilled out there for a while. Reading some books and trying to improve my composition skills in writing. Seriously, even in English also, there are advanced lessons in writing and even in figures of speech that takes a lot of understanding to master and adapt into your writing. There was nothing much new in my college life right now and I am just chilling around the corner yesterday, but then, I am glad that I have an organization right now and I meet fellow writers like me. It is that we have a lot with our individual plates lately and we haven't set a meeting yet to talk about our latest updates with our manuscripts. For my manuscripts to be honest, I haven't had the luxury to edit my pieces, whenever I write an essay or a poetry, I tend to just set it aside and be part of the collections of literary pieces that I have. Really, this is a toxic trait I have as a writer, not giving much a damn in reviewing my literary pieces and I just leave them on hold. But, if I have the luxury already after I defended our thesis paper in December and graduate at July or even at August, I'll re read some of my works and try to collect them and print my own copy of my CNF pieces. Writing is truly a long process indeed. Right now, I'm just keeping an online journal at least in order for my skills in not becoming rusty.

An update of my unwanted thoughts. It has always bothers me everyday right now. Somehow, I managed to let these thoughts just flow in my head and not give any interpretation about it. But then, it still gives me unending feelings of distress and anxiety. I am still identifying the triggers about it and one of it is my habitual porn viewing. Maybe being exposed early in pornography and having my sexual craving being heightened have contributed to my unwanted thoughts. Also, being alone in most times and not having a group of friends to talk. It's just easy to say to make friends but to know whoever is true in their intentions to become part of your life is something that you must discern to yourself if they really wanted to be friends with you or stab you in the back every time you are kind to them. And, sharing my experience right now in having unwanted thoughts is something that I just wanted to talk with my girlfriend and also a psychologist if I have a chance to check on my mental health. To be honest, it is still a hard road for me to overcome this hurdle of having unwanted thoughts most of the time and it affects my life in the aspects of building relationships with other people. It is just awkward to think that I have these thoughts and they are not easy to deal with. Sometimes, to ease these feelings of anxiety and distress, I just dance or sing to alleviate the burdens in my head. I just try to naturally make it pass by in my head and not put it in action. But the feeling of guilt and shame is being etched within me every time I have these unwanted thoughts and I just live with it everyday. For most of the people that know me in school, I am most of the time used in being alone and reserved in my own little world. I just act as a kind, understanding, and a friendly person if they get to know me. Yet, other part of me is what I don't want for others to know that I have these thoughts that everyone may have and it is just hard to open up with this sensitive matter because I am afraid of being judged and not heard. That is always how some of my classmates and the people I knew treat me like I am some kind of a laughing stock that they can play with and amuse with their petty words of defamation. Despite of the circumstances within my life right now, I am still grateful of the people I met in this year and for the past ones during the pandemic that they have made me feel like I was not so different, that I am also a young adult exploring life on my own. Dealing with the demons in my head right now isn't an easy feat and maybe there are others who can relate with me. There are still a lot of growing up to do while dealing with my unwanted thoughts at the same time. Yeah, being mindful with my mental health is one of my main concerns right now aside from getting my diploma in college and finding my purpose in life. And another day has started today for me to push through with the story of my one hundred year old existence.

[rivalsforlife]

Phoenix Wright: The Truth Reborn: Oh No We’re Doing This Again

hi.

Nearly two months ago, I wrote an essay summarizing and making very wild conclusions about the second Takarazuka Musical. I did this about two and a half years after watching the first Takarazuka musical. As such I did not have the full context for many things from the musical and was relying mostly on my memory, which blocked many things from this musical for my own safety. However, just this week, I decided to rewatch it, because I enjoy tormenting myself. I said I wouldn’t write anything on it. Here I am writing something on it.

Here’s the youtube thumbnail so that you know what you’re getting yourself into. And here, of course, is the link. This is the HD version which may be slightly more pleasant to watch. Maybe.

It was not quite as cringe in a funny way as the second musical to me, and therefore this essay may be less funny, but I feel like I’m doing a disservice to people by providing a summary of the second musical while completely neglecting the first. Quite possibly doing this is even more of a disservice. I just eagerly await the day that the third musical is translated because *that* will be the day that I finally shuffle off this mortal coil. Either way, I want to write this stuff down so that I never have to watch the musical again out of curiosity.

The following essay will contain major spoilers for both the first and second Phoenix Wright Takarazuka musicals, as I will be using many points from this musical to argue my thesis of the second musical. ... like you were going to watch them anyways. 

This one broke 8k. I’m dead inside.

Introducing The Director

Again another disclaimer that I don’t have anything against the actresses or the theatre troupe. I DO have something against Suzuki Kei, who I recently learned is the writer and director of all three of the Ace Attorney Takarazuka musicals, and is quite possibly my mortal nemesis.

This man is the one who brought this monstrosity into the world.

This man, allegedly, cleared the first four ace attorney games *seven times* before sitting down to write these musicals. He played these goddamn games seven times and did not take in a single word. The man clicked through them mindlessly while watching a badly written legal romance drama in the background and got them completely confused. I genuinely have no idea how this man could have played these games more times than even me and yet managed to get so many characters (MAYA!!!!) completely and utterly wrong. This haunts me every day, truly.

This man played Phoenix Wright: Ace Attorney, Phoenix Wright: Ace Attorney - Justice for All, Phoenix Wright: Ace Attorney - Trials and Tribulations, and Apollo Justice: Ace Attorney seven times. SEVEN TIMES EACH!! and was told to create a musical based on the series. He played these games seven times each and you know what he said?? You know what he said?? “This sucks, I’m getting rid of all of Phoenix’s backstory, butchering half the characters, and writing Phoenix/Lana fanfiction, but also rewriting all of Lana’s backstory so that she was Phoenix’s childhood friend, and you know what, I’m changing her name for good measure.”

I think this man played the games seven times each and then hated it so much and was so sick of it he tried to write something that destroyed as much of the series as possible while still being vaguely recognizable. And then somehow it became a massive hit because people like me see this and go “what the actual hell” and watch it, or people who haven’t played the games see this and go “wow what a great musical!” and then he wrote TWO MORE, destroying EVEN MORE every time in his wake, until finally, finally, he stopped after making Edgeworth straight and time traveling into the past to face off against a corrupt Gregory. I guess that was the last straw.

I have to issue a disclaimer here that for legal reasons this is a joke. I don’t actually hate this man and would not punch him in the face if I met him because that would be rude, and he is entitled to his wrong interpretation of the games. I don’t know what his thought process was. But allegedly he did play the games seven times according to the wiki. This whole essay here is satire and not slander and I don’t want to offend this guy if he somehow stumbles across my nonsense tumblr post. At the same time: Suzuki Kei blink twice if you need help.

Anyways half the reason that I’m making this essay is because I want to share my fake ao3 page for this musical. The other half will become apparent later.

Sorry if that’s illegible because of tumblr quality it’s not really important. All you really need to know is that it’s a fake ao3 screenshot for the musical. Also in the author’s note I said he played the games four times but it was actually seven I just remembered wrong because I didn’t want to believe it.

at this point you may be like “Grace shut up and get to the actual musical” and okay, fine, let’s start this nonsense. Also note that I may be referencing things from my essay on the second musical very frequently; I’m not going to force you to go read that though because the fact that you’re reading this is enough of a torment already.

The Musical Begins

Unlike the second musical, this one opens with some narration from Phoenix.

Transcript:

Phoenix: I’m reviewing a particular case at the moment. To me, this case... is one I’ll never forget.

Immediately I think this is important because it establishes that this whole musical takes place in a flashback that Phoenix is reflecting on. Why is this important? Because we know, by the time of the second musical which takes place three years later, Leona is dead.

Knowing that Leona is inherently doomed to die of her Sad Woman Disease paints this whole musical in a different light. It’s not Phoenix reflecting on how he got back together with his lover; it’s Phoenix dwelling on their past together, and the opportunities they had, before her life was so cruelly and inexplicably taken away. We don’t know if Phoenix’s reminiscing takes place before or after Leona’s death... but I wouldn’t be surprised if it was after.

Phoenix, still in the present, starts to sing. “A wave appears on the horizon like a mirage, it trembles, then vanishes. Your voice, carried upon the waves, fades upon the shore, erasing the splendor of the past.”

This line actually shows up in the second musical, sung by Lucia about her imprisoned fiance quite possibly. It’s kind of hard to tell what the meaning of these songs even are. They’re too abstract for me I think. But this line appears very frequently in the first musical when Phoenix is thinking about Leona.

Then we enter the flashback time.

Phoenix inexplicably yells at a newspaper saleswoman. This is not relevant to anything whatsoever. Then Larry barges in to the office, looking for Maya. Phoenix describes him as “A real trouble maker, but you just can’t hate the guy”, the latter part of which I think many people would disagree with. 

Well, afterwards, Maya comes in. Phoenix describes her like this while making exaggerated “can you believe this shit” gestures.

Transcript:

Phoenix: She’s as ditzy as they come. Oh, and about the outfit... Apparently she comes from a family of spirit mediums. Try not to make fun of her, okay?

Suzuki Kei personally has it out for Maya and I can never forgive him for it. Maya in these musicals is here for pure comedic relief but it’s not even comedic because I just get so angry. How can you play the trilogy seven times and think this about her?? The girl who figured out DL-6?? The girl who told Phoenix to sacrifice her life in order to find the truth?? The girl who put on a brave smile in order to try and cheer up her younger cousin even after she saw her own mother murdered right in front of her eyes?? That Maya Fey?? Ditzy as they come??????

Ugh. Moving on.

Maya and Larry run off, leaving Phoenix to watch the American Broadcast.

Important things to note here are the Godot mug, the little line up of what I think are the messed up little ace attorney figurines beneath the screen, and the fact that while this broadcast is supposedly from and to America the screen is actually not at all showing America. Like literally almost everywhere in the world except North and South America.

The broadcast says that Leona Clyde, age 24, was arrested for murdering the senator Robert Cole! Leona Clyde -- that’s Phoenix’s ex-girlfriend! He runs off to the detention center.

She is not happy to see him.

Leona: Mr. Wright... I’m not the woman you once knew.

Let’s Play A Matching Game

Sorry for the abundance of screenshots that are going to be throughout this section. Phoenix convinces Leona to let him defend her. Some of the conversation seems... familiar.

Leona: No one would defend someone who admits to killing a senator. I’m waiting for a court-appointed attorney.

Edgeworth: Every defense attorney I’ve talked to has turned me down.

Phoenix: In that case, let me defend you.

Game Phoenix: Let me defend you.

Leona: Don’t be ridiculous!

Edgeworth: Don’t be ridiculous.

Phoenix: I’ll never accept that you’re a murderer. Let me prove your innocence!

Game Phoenix: Huh? Isn’t it obvious? I’m going to prove that Miles Edgeworth is innocent.

Leona: I’ve already confessed my guilt.

Gumshoe: He confessed that he did it! In court!

Leona: It’s foolish to think you can win this case.

Edgeworth: My case is near hopeless, Wright.

Leona: (in response to phoenix offering to defend her) No you won’t! Don’t ever come here again.

Edgeworth: Look, just go away, and leave me alone!

Phoenix: You of all people should know. Once I decide to do something, I see it through to the end.

Edgeworth: Once you start on something, you always see it through, don’t you?

Leona: I never thought that you’d be representing me.

Phoenix: Ah, who could have guessed this day would come?

Edgeworth: Not me.

Phoenix: You believed in me. You saved me. And this time, I swear... I swear I’ll save you!

Game Phoenix: Edgeworth believed in me, and I believe in him. I’m the only one who knows the real Edgeworth. I’m the only one who can help him.

I could’ve done a few more, but tumblr is already threatening to murder my laptop.

So long story short, Phoenix manages to convince his lover to let him be the defense on the case. Then immediately after swearing to save Leona, he starts singing a song, which I’m not screencapping because this is enough:

“As long as there are people in this world, there’s only one path I will follow! As long as there is love in this world, there’s only one path I will believe in!”

Edgeworth sings this in the second musical after saying that he returned to California because of Phoenix. Phoenix sings it now after swearing to defend Leona. You draw your own conclusions.

And then we finally get the opening credits. Eleven minutes in.

Just Pretend This Is Narumitsu Fanfiction

Following the credits, we see a beautiful beach. Couples (exclusively heterosexual, of course,) dance and embrace in the background for some time, before revealing Phoenix and Leona, in the Even Further Past, before the LSATs or whatever the ace attorney universe’s excuse for law school exams are.

Phoenix establishes his absolute hatred of change, an important characterization moment.

Phoenix: The view here never changes, huh?

Phoenix reminisces on when they were kids. Leona’s parents were both lawyers (they’re both lawyers) and sometimes they would be like lawyers with her when she was a kid. This inspired her to also become a lawyer after their tragic death of Sickness. They never specify what the sickness is that caused two people who must be relatively young to die while Leona was in her early twenties at the latest. It may be whatever sickness claimed Leona’s life later. Sad Woman Disease. (Sad Man Disease for her father, I guess?)

Phoenix also talks about why he’s becoming a lawyer.

Phoenix: Watching you chase your dream inspired me to become a lawyer too.

So, it’s not “my childhood friend looked sad in a newspaper” because I guess that makes no sense or is too gay or something. But this is another important piece of Phoenix characterization. His entire life so far has been focused around Leona. They’ve been friends since they were kids, and then Phoenix decided to become a lawyer solely because Leona was becoming a lawyer. Not even to try and get back into contact with her after she moved away or anything; just because he’s so obsessed with her that he wants to have the same career as her, then they can run a Mom & Pop Law Firm or something, years in the future, after years of happy marriage and a few children or like whatever the hell.

Well, there’s a few steps they’ll need to get to that. At this point Phoenix still hasn’t confessed his feelings for Leona. He does so here, on this beach.

Leona tries to protest.

Leona: But I’m pushy, selfish, and only care about my goals... You’d get fed up with me.

Phoenix: That’s what I’ve always admired about you. That’s who I’ve been chasing all these years. That’s the only person... I love.

Sooo, Phoenix, your type is pushy selfish people who only care about their goals...? In the first, older lower-quality video translation it was “only care about my work”, too. Hm. Things to think about.

They sing a little duet together. Then we go back to present-day of what’s technically still a flashback. Whatever. Murder is happening.

Back To The Murder

So some plot things to establish: Leona is the legal counsel of Governor Miller, who is running for president in the AMERICAN PRESIDENTIAL ELECTION. After the flashback so that Phoenix has some time to change clothes, they show an interview of him talking about the murder.

Governor Miller: I vow to forge a peaceful country with my own two hands, and to prepare myself for whatever may lie ahead.

Reporters: Through thick and thin, he’s a friend of the people!

The Takarazuka musicals are not very good at hiding their killers.

Phoenix: Oh yeah... It’s almost time for the presidential election, isn’t it?

NEVER FORGET, WRIGHT. THIS IS AMERICA. LAND OF THE FREE! god what even was that line.

Anyways, we meet Gumshoe, who is incompetent once again. Maya runs around the crime scene, picks up the murder weapon, puts her fingerprints all over everything, moves things around, all while Phoenix is like “lol get a load of the world’s stupidest girl” or whatever. But who cares about that.

It’s time to get to the only valid part of this musical.

Edgeworth’s Gay Little Villain Solo

You may have seen this one before.

Edgeworth arrives, but not really. It’s like Phoenix heard Edgeworth was prosecuting and immediately entered a dream-like state, where Edgeworth is heralded by the sound of trumpets in Great Revival. He’s played by a different actress than in the other two musicals, since I think she retired in between the six or so months from this musical to the second. She still plays the role well, though, or as well as can be when you’re written in an ace attorney Takarazuka musical.

Shrouded in scarlet solitude... it’s Edgeworth.

Yes, those are six Edgeworths. Yes, they pick Phoenix up and carry him around and dance with him. Yes, it was probably not meant to be at all homoerotic.

He sings a song that’s called “My rule”. I only figured this out later, but it’s loosely based on a “catchphrase” of his in the Japanese version - in game 1 he says something along the lines of “All I can do is get every defendant declared guilty! So I make that my policy.” In DD in his dramatic anime introduction before the trial, he says “I intend to question the defendant with all I have. For that is a part of my creed.” “So I make that my policy” and “For that is a part of my creed”, to my understanding, are both translated from the same line, which I think is like, “sore ga watashi no ruru”, “That is my rule.” (If I’m wrong, please correct me.) In this song he sings about how he’ll reduce all criminals to ash and such, basically talks about his game 1 prosecuting strategy as “my rule”. 

It’s very fun and probably if you want to only watch one number of this musical, it can be this one. It starts about 26:10 in the video I linked.

Once the musical number is done, Phoenix and Edgeworth stare at each other, and the background fades into the courtroom, so court begins. I feel like I should note that Phoenix has not picked up any evidence or talked to any witnesses in this investigation except for Gumshoe, since Maya just moved some things around and then Phoenix had some weird fever dream about Edgeworth which presumably took up the rest of the day.

The Trial, Day 1

Edgeworth: Consider it a prelude to the poignant Greek tragedy that’s about to unfold.

Maya: The real tragedy’s your pompous attitude!

Those are the only screenshots I took of this trial day. Here’s a summary, though:

The trial starts off with Leona confessing, Phoenix says “no I think she’s innocent”, and since ace attorney doesn’t care about the defendant’s wishes he’s allowed to proceed. For some reason Leona lets him do this without complaint. 

Gumshoe is the first witness, he claims to have caught Leona red-handed at the scene of the crime, standing over the corpse. Phoenix tries to claim that since Gumshoe didn’t see Leona committing the crime, he didn’t actually catch her red-handed, to which Edgeworth responds “What do you think being caught red-handed means?” 

Once Gumshoe is dismissed, Lotta takes the stand. She has a photo of the actual moment of the crime, where Leona is holding a knife in the air in front of the victim. 

The Takarazuka musicals like to do this thing where the image is blurry and zoomed out, but then Phoenix will go “I’VE NOTICED A CONTRADICTION” and it zooms in really far as the resolution increases drastically in order to show you the contradiction that is impossible to spot for yourself, because they don’t want people figuring out the mystery in this musical based off of a video game where you have to solve the mystery yourself. Anyways Phoenix zooms in on this photo and sees that there’s blood on Leona’s hand, presumably before she stabbed the victim. How did it get there?

Edgeworth suggests the victim was stabbed multiple times. Phoenix says the autopsy report contradicts that. Edgeworth, uncharacteristically, does not update it to suit his argument. 

Phoenix concludes that this photo is not showing the moment Leona stabbed the victim, but the moment Leona removed the knife! ... Which somehow casts doubt on her having been the one to stab the victim. Because as everyone knows, anyone wanting to kill someone would never remove a knife, it’s not like they’d bleed out faster that way, or anything.

And this whole contradiction is confusing because presumably if the victim was stabbed and then the knife was removed, they’d know that happened, because then the knife would not be found stuck in the victim’s body, since the victim was only stabbed once. So this shouldn’t be news to the prosecution that someone removed the knife after stabbing. But the investigation was headed by the most incompetent version of Gumshoe ever, so. sure. I guess no one knew.

That at least manages to extend the trial another day.

This Totally Has To Be Illegal

After the trial, Phoenix goes to talk to Governor Miller, aka Mr. Totally The Real Killer. Phoenix asks him why he decided to hire Leona as his legal advisor.

Basically, it’s because her parents were both renowned lawyers. Her father was a Chief Prosecutor, and her mother was a defense attorney. ... a prosecutor and a defense attorney couple... who does that remind us of...

Phoenix points out that just because her parents were good lawyers, it doesn’t mean she’d necessarily be one. Miller says that, sure, but she is actually really talented, and her law school marks were spectacular. Phoenix says “WHY WERE YOU LOOKING AT HER LAW SCHOOL MARKS”, like it’s somehow? suspicious? for a government official hiring legal counsel to look at their law school marks?

Apparently it IS suspicious because Governor Miller freaks out and asks if this is an interrogation. Before Phoenix can press much further, he gets a phone call, and leaves Phoenix alone in a big room.

So naturally Phoenix behaves like a fully grown adult running a law firm.

If all he did was sit in the chair, lift up a desk lamp, and poke his finger on a pen, that’s one thing. But then he leans over, OPENS THE GOVERNOR’S DESK DRAWER, and finds a knife that’s just sitting there casually. It looks like a butter knife. It’s not anything major. Maybe the dude just wanted to butter his toast?

I mean I know Phoenix will dig around in stuff whenever in the games, but he has no reason to suspect Governor Miller at all, much less dig through his drawer probably full of confidential government documents to lift up a knife that he thinks is suspicious. It’s not even covered in blood or anything?

Naturally Governor Miller’s assistant comes in just then, and Phoenix puts the knife. in his breast pocket. 

bud. It may look like a butter knife, but putting knives up against your chest is not a great idea. Much less stealing a knife from a governor? 

Well, in his panic, he accidentally knocks over a bunch of books on the desk. The governor’s assistant helps him pick them up, and they find a photo. Look a little familiar?

The photo has the assistant, the victim Robert Cole, Governor Miller, and the victim’s brother who died in an incident two years ago. He’s the “Neil Marshall” of this musical, and he died in what was essentially the SL-9 incident. Same general premise, except it occurred in the courthouse, and the names are different.

AND FINALLY WE REACH THE END OF ACT 1. They do a musical number here which is a weird sort of mashup of the main opening credits song, Edgeworth’s Villain Solo, and the love duet between Phoenix and Leona. They are all such different songs that it sounds a little weird.

ACT 2, FINALLY

The act begins on a sour note with Maya playing with the knife and showing off her characterization, which is one of the most infuriating Maya characterizations you’ll sometimes see around the fandom by people who don’t like Maya.

Maya: Let me whip up my special spirit channeler hamburgers!

sigh.

But then we’re saved (?) by the arrival of EDGEWORTH, who is presumably just here to chat. He asks Phoenix if he’s defending Leona in hopes of winning her back, then says to keep out of it, since it’s a very important case and he can’t understand the gravity of it.

Then Phoenix says this.

Phoenix: Would you be saying that if you were the one on trial? The defendant is in a dark prison, reaching out for hope... Can you imagine the loneliness and sorrow of being ostracized?

CAN YOU IMAGINE IT, EDGEWORTH? CAN YOU IMAGINE IF YOU WERE ON TRIAL AND I WAS THE ONLY ONE WHO WOULD DEFEND YOU AND BELIEVED IN YOUR INNOCENCE??

Edgeworth responds to this by essentially rehashing his speech in Turnabout Sisters about how he needs to find all defendants guilty because he can’t guarantee their innocence and all that. Maya gets upset and leaves so that Phoenix and Edgeworth can talk about their childhood in private.

Phoenix once again complains about how people change since nine years old.

Phoenix then says that he has something Edgeworth doesn’t: the POWER TO BELIEVE! Then Maya comes in and tries to spike Edgeworth’s coffee, so he leaves.

The Class Trial

Phoenix explains a bit about Edgeworth and his backstory to Maya. Namely, the class trial. Phoenix was accused of stealing lunch money, Edgeworth stood up for him, but instead of Larry, Leona stood up for him. I guess Suzuki Kei thought “oh the class trial, if Leona stood up for him, it would be so romantic, because she’s a woman, and he’s a man”, or something like that. 

Edgeworth wanted to become a Great Lawyer Like His Father! But then he turned cold as ice.

Phoenix: His father got too deeply involved in a case... and paid for it with his life. Edgeworth saw him murdered. He was never the same again. I bet he couldn’t forgive the criminal.

Yeah I bet he couldn’t ever forgive the person he thought killed his father all these years, Phoenix. I bet he really hates that person, Phoenix. I bet he has nightmares about that person killing his father or something, Phoenix.

Phoenix: He vanished, then returned without his mercy or compassion. He had become a monster. When he lost his father, he also lost the ability to believe in others.

So like... one of the most chilling things about this musical is that they never actually solve DL-6. This probably roughly takes place 15 years after DL-6, since they were about the same age when the class trial started, and at least Leona is 24 now. The next musical takes place three years from now, and in it, Edgeworth refers to von Karma as his mentor, implying he’s still around and doing things.

So, in addition to everything else going wrong with this musical, DL-6 still happens, but von Karma never frames Edgeworth for it fifteen years later. The statute of limitations runs out, and von Karma forever gets away with his crime. And Edgeworth has no idea.

What changes did they make to DL-6, though, you may ask? I’m desperate to know as well. In the third musical, which I’ve watched because I hate myself but am unable to fully understand because I don’t know much Japanese, there is a scene where Miles flashbacks to DL-6. It’s abstract, but he makes gun-throwing motions at Gregory, followed by a gunshot sound.

Therefore, in this musical’s internal canon, either Miles Edgeworth shot his father, or he believes he did for the rest of his life.

... moving on.

Phoenix: But he still has his humanity. It’s still there, deep down inside!

At least, if nothing else, Phoenix still believes in him. Even this Takarazuka Musical couldn’t touch that.

The Feenie Sweater

Right after this, Larry barges in, and Phoenix leaves him alone with Maya. The musical tries teasing Larry/Maya, but fortunately, Maya’s having none of it.

Maya: You’re barking up the wrong tree.

Props to this musical for not being as bad as it could have been.

After this, the two sit down on the couch, and Maya asks for more gossip on Phoenix and Leona. Larry launches into a story, which turns into a flashback that ends up being narrated by Phoenix halfway through. This one’s about Phoenix and Leona’s relationship.

This is an interesting line in here, “I’ll guide you to the future”, for it loosely referencing the sort of love ballad Phoenix sings with Lucia in the second musical which is about “I’ll take you to that radiant future”, and he later sings to the memory of Leona right around the time of his big spiral into despair.

I’m sorry if you haven’t read my other essay and just said “wait what” to what I just typed.

Leona was getting ready to move to New York to defend the weak “in the big city”. This is rather strange wording because it implies that California does not in fact have a big city. She says some things in her conversation with Phoenix that probably plant some of his later issues.

Leona: This is the first time we’ll be apart since we were kids.

Leona: We promised we’d always be together.

Leona: I’ll be waiting. Waiting for you to come to me.

Haha. Sure would be a shame... if something were to happen... and they wouldn’t be able to be together anymore...

So some dancers wearing black come in and take off their outer jackets, to symbolize the passage of time. They circle around Phoenix and Leona. In this, you can just barely see, Phoenix is wearing a pink sweater beneath his jacket.

“Oh,” I think to myself, “Is that the Feenie sweater? Are they including it here as a reference to the games?”

Then the dancers keep moving.

THAT IS NOT THE FEENIE SWEATER. That is a pink sweater with a sexily drawn woman on it.

This is the other half of the reason why I decided to go through with making this essay. 

This is so incredibly funny to me. Suzuki Kei Who Has Played The Games Seven Times has seen the hand-knit bright pink sweater with a giant red heart on it seven times. The sweater Iris, Phoenix’s girlfriend, lovingly knit for him that he wears all the time even though it is one of the tackiest, cheesiest items of clothing to ever exist. And so, when the costume designers were designing the clothes for College Phoenix Wright, they asked themselves: “Should we include the Feenie sweater?”

and “NO,” someone must have shouted, “NO, we can NOT include the Feenie sweater, it is PINK and it has a HEART on it and it’s TOO GIRLY. Phoenix Wright is a MANLY MAN. He would not EVER wear something PINK with a HEART on it.”

“BUT,” someone else said, “it’s a REFERENCE to the original games, where he DID wear a pink sweater with a heart on it! We MUST include it to pander to the fans!”

“WAIT,” a third person interjected. “I have a BRILLIANT IDEA. We can keep the pink... But to make it VERY CLEAR he is a heterosexual, masculine male... we put a sexy woman on it.”

And Person Three Got A Raise.

Thank god we’re finally halfway done this musical.

We Just Have To Go On With Our Lives Now

There’s plot or something happening. Leona breaks up with Phoenix inexplicably over the phone. Probably because of that freaking sweater. Imagine wearing that. God.

Eventually we go back to Phoenix talking to Leona, and he asks about the Jack Lyon case, which is the rip-off version of the Joe Darke case. Leona is pretty cagey about it, but Phoenix proves that she was there in the gallery that day. Leona refuses to answer, claims again that she killed the victim in her case, and leaves.

This makes Phoenix sad, so he starts singing.

Phoenix: I want to bring you back! I believe in you.

If this sounds familiar, it’s the part where I started absolutely losing my mind in the second musical because this line had never shown up before then, I’d forgotten it was in this musical, and Phoenix was screaming it alone in a red room, so I thought he was like desperately resorting to a necromancy ritual in hopes of bringing Leona back to life.

Instead, this line actually has CONTEXT, though it does just end up enforcing my theory. This is Phoenix mourning what he used to have with Leona, wanting to bring the “old her” back, because he’s devastated that people sometimes change. There are several flashbacks of their college days where he’s wearing his Sexy Woman Sweater. He does succeed in winning her back at the end of this musical. Before she dies, of course.

Phoenix in musical 2 still believes that he can bring back what he used to have with Leona... even beyond death. That’s something affirmed by this musical. I’m very grateful to it for somehow managing to enforce my nonsensical theory.

Doctor Ema

After this, Phoenix returns to his office, and meets with someone new.

That’s right! Only now, halfway through the musical, do we actually get to meet the Ema-equivalent to Leona’s Lana-equivalent. Her name is Monica Clyde. She has little rainbow heart stickers on her briefcase, which is the closest thing this musical has to acknowledging that gay people exist.

But what does this little briefcase contain, you may ask? Scientific investigation tools? No.

A full surgical toolset. Because you never know when someone’ll get sick, or when someone will need an entire operation in front of you. I guess.

So yes, Monica Clyde is not a forensic scientist in training, but a doctor! She decided to become a doctor because of her parents, who passed away of The Sickness, and so became a doctor in order to save lives like theirs.

Once more this has much darker and deeper implications than the musical is even aware of, because Monica is so anxious about treating sick people that she carries a full surgical toolset around with her at all times, scared to lose someone like she lost her parents... and then sometime in the next three years, Leona, her big sister, is going to die.

Of what? The strange Sickness that claimed her parents? A car accident? A botched spur-of-the-moment surgery? Whatever it is, Monica was unable to save her, even when she’d been training her entire life for it.

Monica is not mentioned at all throughout the second musical. It’s as if she does not exist.

Because unlike Ema of Rise From The Ashes, Monica is not at the heart of this story. She is, primarily, a plot device here to make Leona not trust Phoenix so that he can angst about their relationship. 

What a mess this world is.

The Trial, Part 2

Rather than try to prove Leona’s innocence, Phoenix wants to link the current case to not-SL-9, the Jack Lyon case. He does this by showing this picture.

Senator Cole, the victim, is in this picture. His younger brother whose name I’ve forgotten, the victim of not-SL-9, is also in this picture. They are brothers. It is apparently novel that they are in the same picture, and somehow makes their cases linked.

As well, Governor Miller is in the picture. I guess you could say like... Governor Miller’s legal counsel is the defendant, so that’s another link? Even though the Governor would presumably know a Senator, so this isn’t an unusual group. Right now Phoenix has absolutely nothing to prove that these two cases are linked other than “hey, these two victims are brothers”, but apparently it works. So they spend a lot of time talking about not-SL-9, since Leona has confessed to the murder on day 1 and there is absolutely nothing indicating that she can’t be immediately declared guilty.

They hid the fact that Monica was a hostage in this not-SL-9, meaning that some of the case records were forged. Here’s Edgeworth’s reaction when this comes out.

Edgeworth: This is an outrage! I’m the most influential prosecutor in America! There’s nothing I don’t know!

In RFTA, when Edgeworth learns he’d been using forged evidence to give a man the death penalty, he is devastated, his entire worldview is shaken, he sees himself as a monster who could end up becoming horribly corrupt if he isn’t stopped.

Musical Edgeworth goes “I DIDN’T KNOW SOMETHING???”

It’s certainly strange characterization, but I guess Edgeworth is further behind in his character arc than in RFTA, so... ugh. Fine. 

Phoenix calls Monica out as a witness to prove she was involved in the case. This causes Leona to panic, and try to dismiss Phoenix as her attorney, like Lana in RFTA, but Edgeworth interjects to call Monica in anyways. He and Phoenix have a little moment.

Edgeworth: You said to believe in others. I suppose I’ll try believing in you. Try to keep up.

Phoenix: Edgeworth!

So Monica comes to the stand to testify. We get to see this picture of Monica being held hostage, and not-Joe-Darke’s incredible eyeliner.

Lots of it is very similar to the actual RFTA, except instead of the victim being stabbed on the knight with the giant knife, he’s instead stabbed with a regular old knife. Leona still refuses to admit to what really happened, until Edgeworth convinces her to believe in Phoenix.

Edgeworth: Your attorney is a runaway train with a one-track mind. Yet he placed all of his faith in you. Believe in him. You owe him that much.

Leona testifies, and says that when she found the victim, he was stabbed with a scalpel.

Here is where things get weird.

Scalpels Can’t Kill People

So basically earlier in this trial, they talk about how Leona knew that the knife that stabbed the victim was double-edged despite being buried in his chest. The judge questions if this means Leona killed him, but Phoenix is quick to say no, she was searched when she entered the courthouse and couldn’t have concealed a knife.

Yet, Monica was able to bring in her surgical toolkit which contains several sharp knives, scalpels, scissors, etc.

This is the first major contradiction.

Leona continues to say that when she found Monica, and the scalpel stabbed in the victim, she also ran into Governor Miller, who if you haven’t been able to tell yet is the Gant-equivalent of this musical. He offered to help her with the cover-up, etc.

The next bit goes a lot like RFTA. Phoenix accuses Governor Miller, who barges in, says Phoenix has the decisive evidence in his pocket. This is the “butter knife” that Phoenix took from his office when he dug around in confidential documents and stole it for no particular reason. It has Monica’s fingerprints on it! ... And Phoenix’s and Maya’s too probably because they were handling it without gloves, but they don’t mention that part.

Leona cries about how she shouldn’t have trusted Phoenix because he was apparently now blaming Monica, Monica looks terrified, she and Leona have some good sister moments but it’s not as good as it could be if the story was actually about Leona and Monica like how RFTA was about Lana and Ema. But Phoenix has the decisive piece of evidence that can turn this around.

It is this:

Phoenix: Scalpels are made for medical incisions, not stabbings. So how did it stab the victim?

...

...

...

... What?

So like. Yes, scalpels are made for medical incisions. Medical incisions often involve cutting through flesh, very easily. As a result, they are sharp. Extremely sharp. As in: their purpose is literally to stab people, very specifically.

Yes, they’re easier to control, so that surgeons don’t regularly stab people how they’re not supposed to be stabbed, but it’s not like, impossible to stab someone in a killing way with a scalpel? Admittedly, I have never tried to kill someone using a scalpel. And I do not have experience using a scalpel for surgeries because I am not a surgeon. But I’m pretty sure, if you take a sharp scalpel, and you stab someone in the chest with it with a reasonable amount of force... they die.

Like, is this a particular kind of scalpel that is not very sharp? Is the problem that the blade doesn’t match up with the initial wound? But even then, we don’t have the original unforged autopsy report or even a picture, so how would Phoenix know what the original wound looked like to say it didn’t match up? And even then why wouldn’t Phoenix say that instead of SCALPELS CAN’T STAB PEOPLE???

This is his decisive contradiction and it makes ABSOLUTELY NO SENSE TO ME!!!

Well Darn I Guess Scalpels Can’t Kill People

This is such a decisive piece of evidence, that scalpels can’t kill people, coming from the man who thought “caught red-handed” does not involve being caught standing over a corpse with blood on your hands, that it causes Governor Miller to confess.

Unlike Gant, who created the murder with Neil Marshall both to ensure that there was decisive evidence to convict Joe Darke, a serial killer who had not left any decisive evidence behind, and gain control over the prosecutor’s office in order to pull similar stunts to get criminals convicted using false evidence, Governor Miller does not have that as his motive. After all, he’s not a police officer. Instead, he ended up accidentally killing not-Joe-Darke, and then set up the incident in order to get Leona on his side. As her parents were both influential lawyers and very respectable, having her and her parents’ reputation on his side could help him become President of America Where This Takes Place.

So, let’s just take a moment to run over some of the things that made the original Rise From The Ashes great, in my opinion. Just for fun.

1 - The heart of the story between the Skye sisters. Lana closing off to protect Ema, Ema wanting to get through to her sister and get back to the way things used to be. Phoenix, in this story, is more of a bystander to this plotline rather than in the heart of it himself.

2 - Edgeworth’s Character Development. Basically RFTA creates an interesting transition between Turnabout Goodbyes and JFA. It causes Edgeworth to re-evaluate everything he knows about being a prosecutor. So quickly on the heels of Turnabout Goodbyes, it crushes the last bit of hope in him. It compares him to Gant, who also hates criminals, and forces him to wonder if his hatred of crime will one day lead to him being a criminal himself. He’s already convicted one person on forged evidence; how many others could there be?

3 - The Ends Justify The Means. ... wait come back, don’t leave. What I found neat about this case was also Gant’s motive. At one point he was presumably an honest person who hated crime and wanted to stop criminals. But over time in the police force, he became corrupted. He wanted to have all criminals convicted. So what do you do when you don’t have the evidence to convict them? Joe Darke was a serial killer who has killed several people and may have killed more if he’d gone free. The only way to stop and convict him was by using forged evidence. Other criminals could hide evidence to get away with their crimes, so people like Gant would make it up to catch them; but then when do you stop? What happens if there’s no evidence because someone is truly innocent? When does the line between “this person is a criminal and I want to stop them” and “I just want to convict everyone I’m dealing with” become blurred? This is also something he shares with Edgeworth and helps to advance his character.

All three of these things are either lessened or outright ignored in this musical. Leona and Monica’s story takes a backseat to Phoenix and Leona’s Love Story, with Monica only showing up halfway through, and mainly as an excuse as to why Leona is withdrawn. Edgeworth doesn’t seem to blame himself for the forged evidence he used, and doesn’t have a crisis questioning his morality over it. And Governor Miller’s motive is purely power. Unlike Gant, who would have become Chief of Police whether he solved SL-9 or not, Miller needed Leona to win the presidency. And instead of asking her to help him with his campaign like a normal person, he just blackmailed her instead.

... How do you play the games seven times and miss this much?

The Case Finally Ends

god. we’re almost there.

The case ends, Leona is declared not guilty but will still face trial for covering up murders and such. Probably less of a sentence than Lana because she was not involved in ongoing police corruption? Either way she’s dead in three years, so she’s got something a bit more concerning coming up.

She’s led away. Phoenix sings a bit about Leona before being interrupted by Edgeworth... who has something important to tell him.

Edgeworth: You awakened within me those once-cherished emotions I had discarded. I see visions of a distant, nostalgic past.

So basically this is the unnecessary feelings of the musical. Something along the lines of “seeing you again and fighting for my former ideals is making me question many things about myself.”

How does Phoenix respond?

Phoenix: Edgeworth... Try talking normally for a chance.

Sure, we were all thinking it, but that’s a little cold, Phoenix.

Edgeworth tries a smooth recovery.

Edgeworth: I don’t do... idle chit-chat.

This doesn’t accomplish much. So he leaves to allow Leona to visit with Phoenix alone. He’s got to go change for something more important coming up.

Leona and Phoenix decide that they’re going to get back together once Leona is done her sentence! They make a promise that is very funny if you know she’ll be dead in three years.

Phoenix: I’ll be waiting. For you.

There are a lot of hugs here, I’m not screencapping them all. There are also several moments where their faces get very close together and like, their nose brushes the other’s cheek or something, but they never actually kiss. Is it because the actresses weren’t comfortable with it (valid), or they thought kissing would be too much for the musical (sure, whatever), or since both characters are played by women the show staff did not want two women kissing on stage (probably the real answer)? I don’t like watching kisses, but I kept bracing myself for one and then it never happened, so.

Phoenix ends the main part of the musical with one last musical number starring my personal favourite piece:

Phoenix: I want to bring you back! I believe in you.

I like to think that at this point, this is present-day Phoenix, after finishing his reminiscing, still desperately wishing he could bring Leona back from death.

But alas, he cannot. And so, after one last daydream of them dancing together on the beaches of California, singing about their love, the musical ends.

Dance Time!

This starts at exactly the two hour mark, if you’re interested in watching what is, once again, one of the only fun parts of this musical.

Seriously, Edgeworth’s actress kills it here, when I first saw this I went “oh, this is why I saw so many people being gay for her on twitter.”

Edgeworth’s song is an encore of “My Rule”, so it’s lots of fun. Afterwards Phoenix gets another fun piece.

Then we get to the love ballad part, which I can probably overanalyze, I feel like I haven’t done enough ridiculous over-analyzing in this essay in comparison to the other.

Uhhh so the fog represents how Phoenix feels lost in this world without Leona. You can see it in the second screenshot separating the two of them, representing the barrier of death between the two of them. Idk it’s midnight I’m getting worn out from having to think about this musical for so long.

But his mourning over Leona’s death becomes even more apparent in the credits, where Phoenix sings that one line again:

Phoenix: I want to bring you back! I believe in you.

I’m not fixing that screenshot, I think it’s oddly fitting, in a way. That’s me right now.

Then at the very end, he sings this song.

Phoenix: I’ll spend... this eternal life... soaring through... the heavens!

Technically, this refers to his name Phoenix, but let’s dig a little deeper. He spends the rest of his life soaring through the heavens... the heavens that Leona went to after her untimely death, perhaps?

Overall, the musical becomes much more interesting when you just see it as a prequel to the second musical. This musical establishes many core concepts of Phoenix’s character: his refusal to believe in the concept of things changing, for one, and also his extreme dependency on Leona who he was never separated from since they were kids and where he based his entire life around her dreams and ideals. All he can think about is her. And in the end, he promises to wait for her in California.

Yet, to paraphrase Miles Edgeworth, all that is waiting for him is her death. Their dream of opening up a Mom & Pop Law Firm will never come true.

Thanks again for bearing with me even though this wasn’t as funny!

[serdtse]

another day another somebody-called-being-30-old. a nightmare

[the-modernmary]

my best habit || aaron hotchner x reader (prologue)

Summary: When Aaron Hotchner ended your affair with him, saying that a serial killer was going after him and his family, you were content with the idea that you'd probably never see him again. Two years have come and gone since then, but when you get dragged into an FBI investigation as a key witness, you and Hotch are forced to come face to face with all the things left unsaid.

Warnings: Age gap (15-ish years), smut, degradation, unprotected sex. This story is 18+ older. This is not a story for minors.

A/N: Hello, hello!! I figured that since I've made a writing tumblr, I should post my story on here!! This is a multichapter story, so I am very excited to go on this journey with y'all!! I already have multiple chapters written and published, so these should be coming out VERY quickly. If you don't want to wait to catch up, you can read everything I have on ao3! This chapter starts as a flashback, and then the next chapter and the rest from here on out will be actual plot!

masterlist || read on ao3

“If you were waitin’ on the sunshine, blue sky

Cheap high, lullaby

Then my best habit’s letting you down”

- The Maine, “My Best Habit”

Two years earlier

Your eyes scanned the University Ballroom, your champagne glass practically ignored in your hand. You hated all these alumni networking galas and avoided going to them as much as possible. Old, sleazy lawyers with much younger women on their arm reliving their best cases with each other and expecting all the new law students to laugh when they were able to get their defendant acquitted because of some dumb technicality. It made you sick.

It didn’t help that you were already going in with a bad attitude. Your ex-boyfriend had dropped by your apartment that morning to pick up the rest of his stuff, and he decided that the best person to help him with that was the girl he had been cheating on you with. You caught them together three weeks ago, and you had been so stressed from midterms that you hadn’t even had the chance to go out, get drunk, and have wildly irresponsible rebound sex.

But you had to suck it up for the night, at least until you were able to get the answer you came for. After that, you could go back to your apartment, replace your too tight and too short dress with some nice pajamas, and watch trashy reality TV until you passed out on your couch.

You scanned the room a few more times until you caught sight of a tall man in a dark suit leaning against the bar. Bingo. You set your champagne flute down and ran over to him as fast as your heels could take you. Once you were just a few steps away, you quickly composed yourself and walked straight into his line of sight.

SSA Aaron Hotchner rarely came to alumni events here at George Washington Law School, citing that he wasn’t even a prosecutor anymore and had much more important work to do back at the BAU, but he was going as favor to his old law school buddy. Plus, it was either coming to this or going out to the bar with the team, and seeing as he had just signed the divorce papers with Haley, he wanted to be somewhere he wasn’t going to be profiled all night. The free champagne was also a bonus.

When you saw that his name was on the RSVP list, you knew that you had to go.

“Agent Hotchner?” you asked, giving him your best straight A student smile.

He refused to look up right away, not giving you the chance to charm him. “I’m not currently on duty. If there is a case you would like the BAU to look over, that’s handled by our media liaison,” he said absently, taking another sip of champagne.

You frowned but kept your hand out for him to shake. “That’s not what I’m here for, I-” You took a breath to compose yourself. “My name is Y/N Y/L/N. I’m a first year here- getting a joint JD and masters in forensic psychology. My goal is to become a prosecutor,” you pressed, and you were rewarded when he perked up in interest. He slid his drink on the table.

“Most law firms don’t usually want a prosecutor who’s going to empathize with the person you’re prosecuting,” he mused, and shook your hand, his grip just tight enough to pass as faux politeness.

You shook your head and clasped your hands behind your back, trying to ignore how warm his hands were. “I think the best prosecutors empathize with the defendants,” you admitted. “Isn’t that how you succeeded as both a prosecutor and as a federal agent? That’s actually why I came to you, I wanted to ask you a question... about my thesis,” you added quickly, figuring that the best way to get him to talk to you.

Aaron’s posture changed from half asleep to maybe listening, and your face went red. Sure, you only came to the event to talk to him, but you never thought that you’d actually get Aaron Hotchner to pay attention to you. “I didn’t empathize with the people I was putting in jail,” he told you, his voice ice cold. “That didn’t come until I worked in the BAU, and even now, I wouldn’t call it empathy. Just understanding of how they became the type of person they are.” He leaned sideways on the bar counter and you felt yourself shrink under his gaze. You shifted slightly and felt the hem of your dress move up your thighs ever so slightly. Aaron noticed too, if the lick of his lips was anything to go by.

You took his silence as your signal to ask your question. “You offered Jessica Michaelson a lesser sentence that had her released in just three years despite the fact that she murdered her brother in cold blood in his sleep. You had the evidence, why didn’t you push for premeditation?” you asked, and his eyebrow quirked upwards. “In the case The People vs. Michaelson,” you added unnecessarily, trying to break the silence.

“I know the case you’re referring to. I was the lead on it,” he reminded you, his voice edging on dangerous. “You know, most people aren’t interested in my days as a lawyer.”

You shrugged, hoping to appear more confident than you felt. “I’m not most people,” you agreed, biting down on your lower lip. His gaze was so intense, and it was affecting you in ways you couldn’t have imagined. It was turning you on, you realized with a start. It had been a while since you had last had sex, and it was driving you only slightly crazy. “But that doesn’t answer my question.”

Aaron grabbed a champagne flute from a server walking by, and shoved it in your direction. You grabbed it cautiously. “Did you read the police report on the case?” he asked, and you nodded wordlessly, taking a sip of the champagne. The alcohol was making you bolder, and you stepped towards him. “Then you’ll know that there was very little physical evidence tying her to the muder. We chose to offer the charge that would have stuck instead of risking her being found not guilty.”

You gritted your teeth together in an effort to calm yourself down. “She murdered four people within the six months after she was released from prison,” you reminded him.

That seemed to have struck a chord with Aaron, and his steely persona seemed to fade ever so slightly. He sighed exasperatedly; you were obviously getting on his nerves. “The prints and DNA that were collected and put into VICAP when she was in prison are what got her caught in the end, and that was the evidence needed to lock her away for life. We wouldn’t have gotten those prints without her original charge. It all worked out.”

You groaned and threw your hands in the air. “You couldn’t have predicted that, though,” you argued. “And people have been found guilty with way less evidence than you had in the original case. I think you just felt bad for her, considering her brother was a real piece of shit.” You were being difficult now, you knew that. But there was something about Aaron Hotcher that was pulling you in, and you wanted to see how far you could push him.

Aaron gave you a predatory grin and he stepped towards you ever so slightly, finishing his drink. He must have had multiple drinks too, judging by the soft flush on his face. “Oh, you do?” He seemed amused now. He slowly raked his eyes from your face, down your neck, and down the rest of your body, and you forgot how to breath. You knew that it was inappropriate and that he was a highly respected FBI agent, even if he was kind of an asshole at the moment. You also knew that the two of you were crossing lines that neither of you should have even been close to, but you shivered under the weight of his gaze all the same.

You shifted back and forth, your brain trying to process what was happening. “Yeah, I do. And I know that you transferred to the FBI after Michaelson was arrested again, which makes me think that this case was your breaking point,” you ranted, your hands becoming more and more animated.

Aaron chuckled, but there was very little amusement behind it. “Are you sure you want to be a lawyer?” he asked, cocking his head to the side. “Because you’re starting to talk like a profiler.”

You arched an eyebrow at him. “No thanks,” you said firmly, and he just shrugged before making a move to walk past you. You sidestepped in front of him, effectively blocking him from going anywhere. But it was obvious that he was done talking about this.

In your mind, you had two options now. You could keep pushing him about a case that he obviously didn’t want to talk to you about, or you could switch gears in your brain and have him help you solve your... other problem. Aaron was attractive, and you were getting tired of guys your age. You noticed the distinct lack of a wedding ring on his finger, but there was still a tan to show that it had been there. So either he was recently separated or just trying to cheat on his wife. You wanted to not care whichever it was, but a pang in your heart told you to be considerate. Besides, you did not want to get involved with another cheater.

“Must be hard to be at these events without your wife here to scare off all the lonely female law students,” you mused cautiously. You didn’t want to come on too strong, but the alcohol in your system was slowly clouding your ability to be subtle.

Aaron cleared his throat, obviously taken aback by the sudden shift in conversation. “I’m not married,” he said, too quickly and too defensively. So he’s separated, you thought, and you stepped closer to him.

His eyebrows furrowed as he tried to figure out your endgame. “Well, I would love to discuss your work as a prosecutor more when there are less… distractions around,” you whispered, your words breathy. “Tell me Agent Hotchner, do I make you nervous?” You sounded a lot more confident than you felt.

Aaron just smirked and grabbed your free hand, covering it in both of his, and the action was surprisingly soft, even if it was way too late for him to try acting suave. His eyes, on the other hand, told a whole other story. His pupils were so dilated that his eyes were practically black. “I face the worst people in society on a daily basis. Desperate law students don’t make me nervous. In fact…” He stepped towards you, looking around to make sure nobody else was looking. Aaron leaned in close, his lips brushing against your ear with every word. “I think that I make you nervous. And more than nervous, I make you very excited.”

Your breath hitched as he pulled back, a smug smile gracing his lips. You yanked your hand back to preserve what little dignity you had left, but it was too late. “Now, if you would like to discuss my prosecuting career more in depth, then you can set up a formal meeting with me at the BAU,” he continued, obviously proud of himself and the effect he was having on you. He pulled out a business card and upon further instruction, you realized that it wasn’t even his. Jennifer Jareu the name read. “Our media liaison will be able to help you organize that. Now if you don’t mind, I am going to retire for the night.”

Aaron finished the rest of his drink and brushed past you while you were still trying to get your thoughts under control. “Oh, and you’ll make a wonderful lawyer someday, I’m sure of it,” he called over his shoulder, and that snapped you back into action.

You followed, running around him and cutting him off. “And if I don’t want to discuss your prosecuting career?” you asked, batting your eyelashes at him. “What if I was interested in a… less formal meeting?”

That was all the permission he needed. Aaron grabbed your hand and pulled you out of the ballroom, the two of you moving so fast that nobody in the room even had a chance to put two and two together. There was an empty hallway just next to the entrance of the room and Aaron pulled you in that direction, pressing you against the wall and kissing you fiercely the second the two of you were alone.

There was nothing gentle about the kiss, but in a strange role reversal, he let you take the lead. It’s certainly not what you expected from Aaron Hotchner who, until now, had been controlling every aspect of your meeting. You realized then that this was his way of making sure you were okay with what was happening- giving you a chance to back out and change your mind. You just answered by tangling your hands in his hair, pulling so that he was at just the right angle to kiss you.

Aaron dug his fingers into your hips, hard enough to make you gasp out. You were definitely going to have bruises the next day, but you couldn’t be bothered to care. He shoved his leg in between yours and tugged on your lip with his teeth, which made you whimper involuntarily. He smirked against your lips, obviously proud of the noises he was drawing from you. You pulled on his hair harder as a sign of irritation, but that seemed to only make him more amused as he pulled away to laugh into your neck.

“Are we just going to make out against a wall like we’re back in high school, or are you going to actually do something worth my time?” you breathe, fighting to keep your voice even and light. It only halfway worked as he dragged his tongue up your neck to your pulse point. And then he bit down, hard.

It took everything in your power to stay quiet, especially as he softly kissed the newly forming bruise. His attack on your neck was relentless as he pulled your hips and back forth against his thigh. You whimpered as you desperately tried to get any friction from the simple movement. Your skirt was now dangerously close to being pushed so far up your legs that you would be completely exposed.

You pulled away first- you had to or your legs were going to completely give out from under you. You desperately tried to get your breathing under control and, to your annoyance, he looked perfectly composed. The only thing giving him away was his slightly swollen lips.

His fingers trailed up your thigh, getting so close to where you want him. “What would you like me to do then?” he asked easily, his voice almost sounding bored. You were speechless, like your brain had just short circuited. There were a lot of things you wanted him to do, but the words were lost on the tip of your tongue. “If you want something, you have to ask for it.” That was a demand, and he punctuated it by pressing his thigh further into you. You were sure he was going to have a wet spot on his slacks. He took the hand not in between your legs and grabbed your jaw forcefully, his thumb resting on your bottom lip. “Use your words, little girl.”

You realize that the two of you were standing on the edge of a cliff, and you had the power to decide whether or not to jump over. It gave you a strange sense of power. Logically, you knew it was a bad idea. He was too old for you, obviously going through some sort of relationship trauma, and wasn’t somebody you could talk to your friends and family about. But the less rational side wanted him so badly it hurt. You wanted him more than you’ve wanted anything or anyone in a long time.

You noticed your strawberry colored lipstick was smudged ever so slightly on the corner of his mouth, and that’s all it took for you to jump off the side of the cliff. “I want you to drag me into the empty classroom just down the hall and fuck me senseless. I want you to use me,” you moan before taking his thumb into your mouth and sucking.

The look on his face is something you’ll never forget. There was a mix of shock and arousal, but also something primitive; His eyes darkened when you told him to use you, and there was a fluttering in your stomach. You couldn’t tell if it was from excitement or dread. Maybe even both.

He removed his hands from your mouth and legs, only to place his hand on the small of your back. He began walking towards the classroom you had pointed out, much too slow for your liking, but he knew exactly what he was doing. “You’re going to regret asking me to use you,” he practically growls in your ear, each word increasing your arousal. “Are you one of those lonely female law students you warned me about? So desperate and needy for a real man to bend you over a table and fuck you until you can’t walk straight? Ready and willing to whore yourself out for the first man who gives you a second glance?”

Your breath hitched as you stuttered out your answer. “Y-yes, Agent Hotchner,” you whispered as he opened the classroom door and guided you in.

As soon as the door was shut and locked, he was back on your lips again, lifting you so that you were sitting on one of the desks with your legs wrapped around his waist. “Call me Aaron,” he mumbled in between kisses, and you were all too happy to oblige.

You were a moaning mess at this point as his hands pushed your dress up to your waist. His hands and lips were somehow everywhere at once and you were so hot and all you could think about was getting your damn dress off, but Aaron seemed to have other plans.

He ran his fingers up your lace covered slit and he just chuckled into your lips. “You’re so wet for me, already,” he groaned and you let out an embarrassingly loud moan. “And I’ve barely touched you. Do my words really have that much effect on you? Do you like it when I call you a whore?”

He hooked his fingers under the waistband of your panties and quickly pulled them down. You could feel his bulge pressing against you and all you could think about was how badly you wanted it. How badly you wanted him. Your hands moved down his chest to make quick work of his belt, and his pants followed after.

“Please, please Aaron,” you begged, desperately trying to create some friction against him. His fingers tangled in your hair and he pulled your head back so that you were looking at him.

“You’re so pretty when you beg.” His fingers slowly ran up your slit, not enough to give you any pleasure. He was teasing you and enjoying every second of it. “And I wish I could take my time with you. The things I want to do to you…” Two of his fingers entered you and you cried out loudly. “But somebody could walk in on us at any second. I’m sure they can all hear you moaning like a dirty whore, all for me. But you’d like that, wouldn’t you? So desperate for my attention and approval.”

His words turned you on more than you would have liked to admit. “Yes, Aaron yes. Please-” you were cut off by Aaron curling his fingers, hitting that spot that made you want to scream out in pleasure. But all too soon, they were gone.

He inspected his fingers, which were now covered in your juices, before bringing them to your mouth. “Suck,” he ordered, and you eagerly complied, wrapping your lips around his fingers and moaning at the taste of yourself. “I’ll just have to fuck you quickly here, and then you’ll be begging for more next time,” he groaned and finally- finally- entered you.

He didn’t give you time to adjust to him, thrusting roughly into you. He removed his fingers from your mouth and brought his hand to your neck. He didn’t put any pressure, but he wanted you to know that he could and would if you decided to get mouthy with him.

Your hands gripped the edge of the desk you were sitting on, your knuckles turning white. Your eyes started to close in pleasure as his hips slammed into yours, but they shot open as he tightened his grip on your throat. “Look at me. I want to see you when you cum,” he ordered, and you nodded the best you could.

“Yes sir!” you cried out, unsure of what else to say.

Seemingly satisfied with your answer, Aaron released your throat and moved his hand down so that he was stimulating your clit. You could feel the coil in your stomach tighten as your legs started to twitch. Aaron took this as motivation to slam into you even harder, relishing each time you gasped out his name.

His pace was unforgiving, leaving you gasping for air. Keeping your eyes open was a challenge, but you were able to do it with his soft mutters of praise. “Even brats like you can be good girls,” he groaned, his thrusts becoming erratic. “You just need somebody to fuck it into you.”

You were unable to respond coherently, so you just settled on begging even more, although you weren’t sure what you were begging for exactly. Aaron seemed to know, and he sped up his fingers against your clit. You wanted to scream out for him, but your voice wasn’t working. “What did I say before?” he asks roughly. “If you want something, ask for it.”

“Please… please can I cum?” you cried out, feeling yourself getting close to the edge. “Please let me cum around your cock!”

He nodded in approval and you had to muffle yourself in his neck to keep quiet. He fucked you through your orgasm, the overstimulation almost too much, but it wasn’t long before he was moaning your name, and you felt him fill you.

The two of you stayed like that for a few moments, both breathing heavily as the situation started to sink in. You just let a guy almost 15 years older than you that you just met fuck you in an empty classroom, and you really enjoyed it. Aaron, on the other hand, looked like he was going through a full crisis.

He pulled out of you slowly, and you winced at the feeling. He pulled up his pants quickly. “Fuck,” he muttered under his breath, looking around the empty classroom. “I don��t have anything good to clean you up with.” A box of kleenex caught his eye and he grabbed a few tissues. It was better than nothing.

You chuckled nervously and waved it off. “It’s fine,” you promised, your voice coming out shakier than you expected, but he ignored you. He wiped the mess dripping down your thighs. You were cold. He must have noticed, because he took off his suit jacket and wrapped it around your shoulders.

“Are you okay?” Aaron asked softly, and it was a full 180 from the way he had just been talking to you.

“I’m great,” you admitted honestly. “Seriously, that was… great.”

Aaron smiled at you- the first real smile he had given you all night. “It wasn’t too much?” he confirmed, and you suddenly remembered what he had said to you earlier. ...then you’ll be begging for more next time. Was he planning on a next time? You wouldn’t have minded it.

You shook your head and slowly slid off the table. You took one of the tissues and wiped up the mess that was left on the table. “Not at all. In fact, I could take more. Next time.” Your voice was light and airy. Aaron watched as you picked your underwear off the floor. There was no way you were putting those back on, not when you had no idea when the floor was last cleaned.

“Don’t make promises you can’t keep,” he teased, eyeing you carefully.

“Well I can’t keep it if I only have your media liaison’s number,” you reminded him, your eyebrow raised. Aaron chuckled and pulled out another business card, except this time it was his. You plucked the card out of his hands and inspected it carefully. “I’ll call you sometime. You can do all those other things we didn’t have time to do.” You were on your tiptoes now, whispering in his ear. “You know… my mouth can do a lot more than just ask for things.” As you spoke, you slipped your panties into his back pocket. You just laughed as you heard a soft gasp escape his lips.

You made your way towards the door, your legs wobbling dangerously underneath you. You were sure that you looked like a mess, but you didn’t care. All that mattered to you was Aaron Hotchner’s eyes glued to your ass. “Get home safe,” he told you and you let yourself smile. Maybe it was a bad idea to start sleeping with a recent divorcee, but the sex was great and you both knew where you stood with the other person. No feelings, just fucking out your frustrations and stress.

Oh yeah, coming to this event was definitely a good call on your part.

[whentherewerebicycles]

hello anon!! okay, this is going to be a very long post, so buckle up. standard caveat: since i don’t know the specifics of your topic or discipline or situation, some of this will hopefully be relevant and some of it might not, so just grab what works for you and leave the rest! and if you have more specific questions that this general overview doesn’t touch on, feel free to send those in.

it sounds like you have a few different questions here:

How do I find and articulate my research question?

How do I effectively take notes on my background reading in the early stages, when I’m not sure yet what my argument is going to be?

How do I organize a long research project/paper? How do I conceptualize something that has so many moving parts & happens to be a genre (a thesis) that I’ve never written before?

How do I write something that long? 

also I am not sure if by “diss” you mean a senior thesis, master’s thesis, or a doctoral dissertation, as I know US and non-US universities use different terminology! so I will kinda just respond to this as A Very Lengthy Research Paper.

my response here will focus mostly on that first question (how to find/articulate a research question), with some thoughts at the end about notetaking in the early stages of a big research project. I’m going to lay out a method I just used with my own students to help them articulate questions & generate possible lines of inquiry to follow. I have been calling it the ‘research tier’ activity/system but it’s a pretty basic way of mapping out possible directions for a project. I use some version of this for every big project I undertake - whether it’s academic work, planning a course syllabus, or writing fic.

I want to emphasize, before I start, that the “tier” map you construct is a LIVING document, not a set-in-stone plan that has to be finished before you begin. the goal is to get past the anxiety of the blank page by generating tons and tons of ideas and questions related to your central topic -- so that if you hit a dead end, you can trace your way back and follow a different line of inquiry. when i am working on a research project, i am continually updating this planning document (i’ll say more about that at the end, once you have a sense of what the tiers look like).

Those questions are geared towards my students, who are working more in social science-y disciplines and/or on projects that have clear connections to specific communities. If you are writing a more traditional humanities discipline, here are some other examples:

I’m interested in...

the romance novel as a genre

Virginia Woolf’s writings on nature/the environment

the cultural reception and impact of the TV show Will & Grace

what queer social life looked like in 1920s New York

play and playfulness in the college classroom (my current research project, which I’ll use as an example)

once you have some idea of your focus, you can begin generating questions related to that focus. “Tier 2″ begins to get slightly more specific, though you are still very much in “big picture” mode. here’s some sentence stems I give my students to help them generate tier 2 questions:

my students are doing research projects that are ideally supposed to develop out of their preexisting community involvements or commitments, so i give them this additional advice:

[note: if your thesis topic is in a social science-y discipline (or a humanities discipline that leans closer to the social sciences), you can probably use some of those ideas or prompts. if your thesis topic is more of a purely academic humanities-type topic (for instance, a literary studies thesis about a specific novel), not all of those will apply perfectly, but some will hopefully be useful still!]

here’s an example, again using my playfulness project. I’ll list the question and then below it, in italics, I’ll explain what ‘stirred up’ that question for me.

T2: What are some core preoccupations or big-picture questions I want to explore? What are some things I’ve noticed that I want to understand?

Core Question 1: Why are college classrooms so serious? Why is there so little playfulness in most college teaching? Why so little laughter, movement, fun?

Observing my friend’s kindergarten classes made me realize how much elementary educators rely on bright colors, movement, singing, playing imaginative games together, etc. to engage young learners’ imaginations, minds, and bodies. Why do we value that so much in elementary education, but stop considering it important in college classes? Do learners “age out” of a need for highly interactive, engaging learning? I suspect no... so that’s a hunch I can begin to follow. 

Observing other college courses (and drawing on my own experience as an undergrad and grad student) made me realize how much educators rely on the same standard methods of teaching (lecturing with a discussion section; a version of Socratic seminar discussion that is primarily led by the professor). To me, these methods are antithetical to playfulness and tend to quash people’s ability or desire to playfully experiment, try things out, risk failure, etc. I wonder if the actual methods we use to teach content or to structure our classes are producing ‘serious’ classes, whether or not we personally as instructors want that to happen. That’s another hunch I could follow...

I’m thinking of a possible connection here to my past research on the origins of English literature as a discipline (in 1920s-30s England). One of the things that scholars often emphasize is how hard faculty had to work to transform English into a serious, rigorous, ‘legitimate’ discipline, akin to the hard sciences. That’s something that I think we still see today in the way people anxiously defend the value of a humanities education. I’m curious about whether the need to justify our existence as a discipline/field of study influences our methods of teaching college students. Do we banish playfulness from the classroom because it threatens that image of the humanities as a serious, rigorous discipline? That’s yet another hunch I could follow... 

Core Question 2: I have a hunch that people learn better in playful environments. Is that true -- and if so, why? What is it about playfulness that enhances learning?

I’m a lifelong fangirl, and fandoms are creative environments where people are continually engaged in acts of imaginative play. I’ve observed and have experienced firsthand how these playful environments seem to encourage people to try new things, take creative risks, learn new skills even if they’re afraid they’ll be ‘bad’ at them, and commit huge amounts of time, energy, and passion to long-term creative projects that don’t make any money or ‘earn’ them a grade. I’m curious about how we might adapt the playful, passionate energy of fan spaces to college teaching.

In my own classrooms, I’ve noticed that students get so much more into the activity (and seem to internalize the content more deeply) when I frame it as an imaginative exercise, a roleplaying activity, or a game of some kind. Teaching the same content in a way that encourages playfulness seems to produce deeper engagement (and deeper learning?) than using the traditional methods of ‘serious’ teaching.

Core Question 3: Playfulness and shared laughter/fun seem to build social bonds (again, drawing on my experiences in fandom). Could shared imaginative play help students develop better social skills? Could it help build a sense of community in the classroom and strengthen students’ sense of belonging? This question feels especially urgent to me given the epidemic of self-reported loneliness, anxiety, and depression on college campuses. 

*

You can have lots more than 3 core questions/preoccupations! In fact, the more ideas you can generate at this stage the better. The idea isn’t to hone in on your research question (yet) but to generate as many possible paths you could take, so that you can begin evaluating which interest you most, or which seem like the most fruitful questions to explore/answer. Doing the idea-generating for Tier 2 should already begin to set you up for Tier 3 -- which involves articulating specific sub-questions you’ll need to answer to better understand or answer those core questions/preoccupations.

and then we’ll go ahead and fold in T4, as I tend to move back and forth between T3/T4 as I brainstorm.

I’ll just take one of my Tier 2 questions as an example, but again, you can/should do this for all of yours (or at least the ones that interest you most).

Core question: Playfulness and shared laughter/fun seem to build social bonds (again, drawing on my experiences in fandom). Could shared imaginative play help students develop better social skills? etc etc

T3 subquestions (with T4 “directions for inquiry” folded into the first one, so you can see an example):

-- SubQ1 Does play actually strengthen social bonds? If so, how? Are specific kinds of play better for this than others (ie, collaborative or cooperative play compared to competitive play)? With Tier 4 folded in:

Do a library database search to try to figure out where “play” research typically happens -- is it in psychology research? Neuroscience? Early childhood education?

Then begin searching for different keyword strings that might help me gather up initial sources. Some initial ideas: play + social bonding, play + social skills, play + social development, play + cooperation, play + friendship, play + mental health. (Typically finding a couple useful/relevant articles will help you generate better keywords -- as you can begin to see the kinds of terminology that researchers use to describe your topic.)

I could also maybe interview college students themselves, or design a survey - but that would depend on the type of research I want to do. Do I want to conduct my own original research study, or is my focus more on synthesizing existing research from different fields to construct an argument? 

Could I find faculty or researchers who work on these topics, who might be able to direct me to specific resources or help me understand what kind of work has already been done on this topic? Maybe I can’t find someone who specifically researches playfulness, but an educational researcher whose work focuses on social-emotional learning would probably have a pretty good understanding of what features or pedagogical choices help create positive, affirming learning environments.

-- SQ2: Are college students lonely?

Are they reporting (or do they experience) higher rates of mental illness? What are the numbers on this?

What are some of the prevalent theories or hypotheses about why this is? Could social isolation or difficulty forming friendships be a possible contributing factor?

-- SQ3: Why are social bonds good for us - physically, mentally, emotionally?

-- SQ4: Do social bonds enhance learning? If so, how?

What if I looked to other non-academic learning environments (such as fandoms, team sports or group activities, etc where people are learning new skills in highly social settings) to make a case for playfulness in the college classroom? This isn’t direct 1:1 proof that “more playfulness in college classrooms = happier, more socially well-connected students,” but offering detailed descriptions of how those learning environments are structured might spark ideas for my audience (university instructors and administrators) or persuade them that playfulness has an important social-emotional role to play in college learning.  

*

Typically what ends up happening is I produce a huge, messy document (or fill a giant paper or whiteboard if I’m doing it by hand) that has tons and tons of different directions I might follow. usually, the initial process of creating this giant brainstorming document sparks lots of ideas for where to begin researching. then, as i go off and begin reading articles, those articles typically help flesh out my understanding of the core questions or concepts i’m interested in, or my understanding of what kind of research on this topic already exists vs. where the gaps are that my own work might be able to fill. that initial source-gathering phase of research will also usually spark new questions and sub-questions, which get added to my tier map.

having some kind of messy brainstorming map/plan also helps me read in a more focused way. instead of just opening a random article and skimming it without any clear sense of what i’m looking for, i’m now opening articles and reading them with a purpose -- i’m looking for answers to the specific questions i’ve articulated. so i can skim in a more focused way, looking for specific keywords that seem relevant, and i can also take notes in a more focused way, noting down key ideas that

having a question in mind can also help me figure out more quickly if the article is relevant to my research questions or not. for instance, let’s say i open an article about how playing competitive games in high school PE classes improve students’ self-reported moods. if i didn’t know what i was reading for, i might spend a lot of time on this article, trying to figure out if it was relevant to my research (it has the keywords, right? so maybe it’s relevant?). but if i am reading with a specific question in mind (“Do collaborative learning games help strengthen students’ sense of social connection?”) I can tell pretty quickly that this article is not going to be that useful, since it focuses on competitive physical games (probably not something I’ll integrate into an English class). so I can say with some confidence, “I probably don’t need to read this whole thing, but maybe I’ll check out their lit review section or their bibliography to see if the authors cite any other work on play/playfulness that might be more relevant to my specific questions.” 

i think i’ve kinda started to answer your second question about notetaking here, too, so i will also say that in the early stages of a big research project, i am absolutely NOT taking detailed notes on any of the sources i find. my focus is much more on amassing a large pool of highly relevant sources that i know i’m going to want to go back to and read more deeply as my research questions come into sharper focus. this is because deep reading burns through a lot of time and energy, so i want to make sure i’m saving that deep reading energy for sources that are quite likely to be relevant to my project. 

to figure out if a source is relevant, I often skim the abstract and introduction to figure out the core questions the article or chapter is seeking to answer. then I ask myself three questions:

Are the core questions of this article the same as (or very similar to) my core questions or subquestions? If so, mark this citation as HIGHLY relevant - I’m going to want to come back and read this source carefully, to see if it’s already suggested answers to the questions I’m asking. 

Do the core questions of this article seem to resonate with my core questions, even if we’re not asking them in exactly the same way, or the author of this paper is applying them to a different field? If so, mark this citation as LIKELY relevant - it may not be a perfect 1:1 with my own questions, but that can sometimes spark exciting new ideas or ways of reframing my original questions. If not, toss it.

Do the questions this article is asking suggest new questions or lines of inquiry that I am interested in exploring? Sometimes an article will introduce me to a whole new area of research or a new array of questions I hadn’t even originally thought to explore. If that’s the case, I typically pencil those sub-questions into my brainstorming tier document and mark the source as LIKELY or HIGHLY relevant, depending on how excited i am about it. 

OK I WILL CLOSE HERE FOR NOW as I have to get back to work, but I will say that when I taught my students this method, they were very confused by the initial explanation of it, but then when they went back and used the models to work through the tier brainstorming activity for themselves, they seemed to find it really useful. so if you are scratching your head, try doing a quick TIER 1 - TIER 2 - TIER 3 - TIER 4 map for your own research question to see if doing it yourself helps clarify. also: if you can’t get further than tier 2, it’s usually a sign that you need to do some more reading and freewriting about the questions that you’re curious about, or the gaps you’ve noticed in the scholarship, or the threads you’d like to follow. but you can do some of that background reading in a more focused way now, using your initial big questions to help guide your selection of background readings & give you a sense of purpose as you read.

[funkymbtifiction]

INTJ or ENTJ?

Hi Charity,

I'm hoping you can help me figure out my type, I’m stuck between INTJ or ENTJ. I feel like neither of them fit completely, but I know that I use Ni/Se and Te/Fi.

I relate a lot to the Ni posts you made. I have a very personalized worldview, that I find impossible to explain (I have confused a fair amount of people in attempts made). I think things through before engaging most of the time....

You give stronger evidence for INTJ than ENTJ. Most of your "tert-Se" behaviors are more likely for inferior Se (sometimes leaping in too fast, miscalculating, but being sensory-aware and enjoying pleasures and aesthetics) than a Te/Se looper (ENJs tend to lose sight more of how things will rebound on them and make short-sighted tert-Se decisions when problem-solving sometimes, just to "rush" the process to completion) and you seem emotionally mature in a tert-Fi way (ETJs have real trouble connecting to people on an emotional level and not substituting physical contact for emotional closeness).

[parvuls]

@missellewoods wrote this post, and i wanted to respond to it, but i also didn’t want to add a thesis-length response to their post. the post was about the complexity of the parse iii scene, and i highly encourage looking at it before reading this, because it’s a direct response. 

i wasn’t sure i was gonna do it, but i’m fascinated with jack’s pov, so.

(transcripts from parse i-iii, plus visual cues from lva@pvd i)

[jack turns around, obviously unhappy/startled] "kent." "hey, zimms. didja miss me?" [smirks]

so parse shows up at the haus for the second time, after jack’s seen him last in either freshman or sophomore year. jack is not happy to see him. this is probably the part the remains the most ambiguous to us as an audience, because it leads up to parse iii: shitty’s story about parse’s first appearance is supposed to make us think that jack is jealous, and that he’s holding a grudge because parse is living his dream while he’s at samwell. however, this story isn’t included to give us more information about jack’s psych -- it is, after all, what we expect from jack after his year 1 arc -- it’s there so the impact of parse iii is more significant. it’s the first time we’re given reason to doubt jack’s heterosexuality and are given an actual glimpse to jack’s past since ‘the hockey prince’.

so is shitty’s story true? obviously ngozi is playing with the narrative here: smh all claim parse is a modest, super nice bro, but then we hear how he talks to jack in parse iii. meaning, ngozi is telling us: believe no one. you can’t actually know what he’s like, or what jack and he are like.

so our scene begins with jack, 1) either upset because his former friend shows up and triggers his intense jealousy, or 2) is upset because his former flame shows up and triggers unresolved feelings. honestly, in my opinion, jack himself isn’t sure which one it is. which is a great set up for the unfolding of the next scene.

[jack and parse are talking about jack’s nhl plans]

"...you have no clue?" "i mean... it could be montreal, it could be l.a. okay? i don't know." "...what about las vegas?" "i... i don't know, okay?" "..." [parse probably moves closer/tries to kiss him] "pars---" "..." "..." [whispered] "--kenny... i can't do this." "...jack. come on."

their conversation starts out relatively neutrally. we’re given enough clues from this update and the future of omgcp to deduce that parse isn’t over what he and jack had. this is also the very reason they don’t work and why this conversation takes a sharp turn downwards from here: parse equates his feelings and whatever sexual/romantic connection they had to the chemistry they had on the ice. to him, jack leaving him and going to play for some obscure college is just as upsetting as their ‘thing’ ending. parse spends most of this scene trying to convince jack to come play with him in lv -- the only reason we even know it’s in some way romantic is because of his reaction to the Cup Kiss in year 3. otherwise, he makes it sound like he misses jack as a liney and best friend, maybe as a sexual partner.

but the catch is, jack was in a really bad place when they were playing together, and he doesn’t want that back. does parse know how bad things were? does parse know about jack’s anxiety? how well does parse know jack, really? this is all kept intentionally hidden from us. you could say that they were best friends, so it’s reasonable that parse knew all of this (thus painting his character in a much worse light), or you could say shitty is jack’s best friend and he still didn’t know major things about him. ngozi doesn’t want us to be able to tell how aware or not aware parse is.

so in the beginning of this scene, we’re on the edge of an inevitable cliff. parse wants jack back, as a friend/flame and as a teammate, and jack’s obviously torn. he doesn’t push parse away immediately, but he also doesn’t consent. my opinion is that jack is torn between his old dream (all his 18-year-old self wanted was to play in the nhl with parse, and win win win), and knowing this isn’t what he wants. but does not wanting that necessarily means he doesn’t want parse himself? jack’s obviously not sure, because he lets parse corner him/kiss him before he decides it isn’t right. 

if anyone here has ever met an old flame, especially someone who was bad for you but you cared for for a long time, you’ll know how easy it is to fall into patterns. for a moment the idea of having that all again is so enticing. but then the illusion shatters, and...

"no, i-- ...uh." [and then much louder] "kenny--" "--zimms, just fucking stop thinking for once and listen to me. i'll tell the gms you're on board and they can free up cap space. then you can be done with this shitty team. you and me --" "get out."

here is the most important part of this scene in my opinion. kent doesn’t know jack anymore. anyone on the face of the planet could tell you that jack is a hardass, that he’s tough on his teammates, that his dream is the nhl. but jack loves his team. he didn’t necessarily always know how to be their friend, but he certainly doesn’t think of them as a ‘shitty team’ he’s stuck with.

and parse makes the mistake of shattering the illusion he’s built (with the clever use of the wording ‘shitty’, which probably reminds jack of the friends he has now). jack wakes up from the dream he had when he was 18 and comes back to reality: he’s samwell men’s hockey team’s captain, he cares for his team, and his new dream is to win the ncaa championship and go to the nhl. he doesn’t want this thing parse is offering him, because the person he’s offering it to isn’t him anymore.

and here is the first twist of this scene that op is referring to: jack starts to get angry.

"--jack." "you can't-- you can't come to my fucking school unannounced --" "--because you shut me out--" "--and corner me in my room--" "--i'm trying to help--" "--and expect me to do whatever you want--" "FUCK -- JACK!!! what do yo want me to say? that i miss you?” [twists his fingers in jack’s shirt, crowding into jack’s space. jack turns away, frowning angrily] “i miss you, okay? ...i miss you."

does parse really miss jack, or is it a ploy? honestly, i think the facial expressions we’re privy to in year 3 hint that he really means that. he misses jack. he doesn’t necessarily miss the current jack (it’s likely that he’s stuck on the fantasy of what they had when they were younger), but he means what he says. he wants jack back.

but jack is angry, because parse is complicating things for him. they were talking about playing together, and then parse insulted his choices, and now parse is talking about being together, and jack -- who took A YEAR PLUS to figure out his feelings for bitty -- probably has a hard time handling all of these things at once. for parse there’s nothing complicated here: the jack he knows wouldn’t want to play for a college team (therefore, =shitty team), and playing with jack=being with jack. 

for jack none of these things work like that anymore. they’ve grown too far apart.

"...you always say that." "...huh. well, shit. okay. ...you know what, zimmermann? you think you're too fucked up to care about? that you're not good enough? everyone already knows what you are but it's people like me who still care."

and... okay. so things go south now, and quickly. if you’re a parse stan... honestly, i hope you’re a parse stan who’s aware parse needs a shit ton of therapy. 

jack insults parse, whether intentionally or unintentionally, by being casual about parse’s declarations of feelings. to be fair, jack thinks parse was playing dirty. but parse doesn’t see it like that, so he’s offended, and apparently when he’s offended he gets angry and lashes out.

now. the unfortunate thing about knowing someone at their most vulnerable time is that you also know exactly how to kick them down to their lowest. we all hurt our loved ones the most, because we know them the best. but parse doesn’t just hurt jack here: he goes for the jugular. he kicks jack and then makes sure he stays down. and this is actually the most we see parse say in the whole comic, so... we can’t judge parse as a whole person, but. i’m sorry. he’s definitely not a good friend to jack.

(how bad of a friend? depends on how aware he was of jack’s anxiety and thoughts and feelings. if he was aware, this is a highly emotionally abusive thing to do. if he wasn’t aware, he was just being a shitty friend. either way, parse needs therapy, because he’s holding on to a lot of anger and is expressing it in a really awful way. but we can’t analyze him any further as a character because parse is not the focus of this story and we don’t know anything more about him.)

[faintly] "--shut up--" "--you're scared everyone else is going to find out you're worthless, right? oh, don't worry, just give it a few seasons, jack. trust me." [probably begins shaking] "...g-get out of my room." "fine. shut me out again." "and stay-... stay away from my team." "why? afraid i'll tell them something?" [voice growing stronger] "leave, parse." [door opening; jack and parse are surprised to find bitty outside the door. jack is visibly shaking, holding the attack at bay]

op asked how jack’s anger turns into a full blown panic attack. the answer is parse goes for his weak points faster than jack can prepare himself, just when jack was open for an attack. he calls jack ‘worthless’, which is jack’s second worst fear, and then (probably) tries for the sexuality angle. it’s unclear whether he’s threatening to out jack or to tell the team about his substance problems, but more likely the former, because the latter was all over the news.

parse is clearly upset here. is he just angry for being rejected? is he humiliated? is he heartbroken? we don’t know. the only hint we have is ‘shut me out again’, which implies he’s at least still upset about jack cutting him off after the draft. what we do know is that jack, with the last shreds of his will power, tries to defend his team. tries to cling on to the idea that he knows there are people who believe in him (this is very hard under the cloud of anxiety).

either way, jack’s panic isn’t even about parse or what parse used to be -- it’s just that parse knows where to press.

[parse clears throat, putting his indifferent mask back on] "hey. well. call me if you reconsider or whatever. but good luck with the falconers." [lands the final blow] "...i'm sure that'll make your dad proud." [jack's panic attack takes over. he retreats to his room, slams the door, and slides down to curl into himself on the floor for an undetermined amount of time]

and then parse, in front of jack’s teammate, lands the worst punch he has in his arsenal. jack’s worst fear. disappointing his dad.

jack spent all of year 2 talking to nhl teams and being watched by scouts and negotiating contracts, and consulting with his dad and his teammates to make a decision. he’s not sure about the falconers until much later, but he obviously leans towards them. which is a whole essay in and of itself: jack leans towards the falconers, a smaller, younger team with no cups, but with a lot of potential and good people and something to prove. this is a metaphor for jack’s growth as a character. he could go for a more established team to look good in front of the world, or pick a winning-streak team like the aces to feed into his anxiety. parse is taunting him with his own growth, making him doubt himself: you think you can change? you think you can really be someone new after playing in some college team? if you’re not who you were when you were 18 and first-pick at the draft (before you ruined everything for yourself and ended up here), you’re no one. and your dad will never be proud of you.

[end scene.]

[vydante]

Hi

Can you please write fanfics of your prompts list because they all sound so amazing and exciting :D

Ahhh I can’t really promise anything hun 🙈 I do have certain stories in my draft (like the personal assistant prompt for Bruce Wayne, and the pining one for Peter Parker (and I ended up writing the Bucky Barnes one too!)) but there’s no guarantee they’ll see the light anytime soon.

But I’ll give you a lil snippet into the Peter Parker one just to make ya happy 😉 Here’s the prompt just to jog people’s memory:  

(Name) and Peter may go to the same school together, but not once had their paths ever crossed. But that hasn’t stopped Peter from pinning over him. After meeting at the fight at the airport, they suddenly got far closer than they had expected.

“You’ve got to do something about this weird crush of yours dude. It’s starting to get creepy,” whispered Ned, who ignored the indignant squawk from Peter. They were already at lunch for the day, and Ned had gotten tired of watching Peter look over his shoulders for the past 10 minutes.

And Ned knew exactly who he was looking at.

“I don’t have a crush on (Name), okay?!”

Peter tried to defend himself, but Ned interrupted him with a raised eyebrow.

“I didn’t even say who it was.”

Peter looked like a fish out of water by how he was opening and closing his mouth, trying to form a rebuttal. Ned shook his head, and leaned in as if he was about to tell a state secret.

“Pete, my man, you literally check all of the boxes for crush. You look at him constantly, take hallway routes that he walks by often, you know his freaking schedule, for crying out loud-”

“Hey, I know yours!”

Ned rolled his eyes, “That’s because I’m your best friend; and I’m also in most of them with you. You didn’t even know Michelle’s schedule back when you had a crush on her!”

Peter bristled, but Ned continued talking much to his chagrin.

“You even know what motorcycle he drives! Dude, that’s weird!” Ned hissed.

Peter flushed, “Okay, to be fair, I didn’t know it was his, I just- I just thought it was a sick ride, and then he popped up out of nowhere and just rode off on it!”

“Peter...!”

Ned whined, thumping his head onto the cafeteria table.

“Ned...!” Peter mocked, shaking his head.

“But it’s still not a crush.”

Ned bolted up with wild eyes, making Peter jump back.

“Then what is it! What is it!”

“I- okay, you’re gonna think I’m weird-,” Ned interrupted Peter and wailed, “I already do!”

Peter continues, “But like, I have a theory! Okay, a theory!”

He reaches into his bag and pulls out a journal, one that Ned’s seen him scribble viciously into but never asked what it was for. He thought it was for school, or maybe a diary, but judging by how it’s related to (Name), Ned’s getting a headache just thinking about it.

Peter flips through the journal, and Ned weakly asks, “Oh God, what is that...?”

There was a weird gleam in Peter’s eyes.

“My research journal. My thesis, magnum opus, even a dissertation.”

“Peter, oh my God-”

Ned gets a face full of paper and ink as Peter shoves it in his face.

“I’m pretty sure (Name), is like, a secret spy!”