I think it's fascinating that the quotes:
"Have you forgotten sir, we were at war? A fight with an alien race for the very survival of our species. I feel I must remind you that it is an undeniable, and may I say fundamental quality of man, that when faced with extinction, every alternative is preferable."
"When you spend every day fighting a war, you to demonize your attackers. To you, they're evil, they're subhuman. Because if they weren't, what would that make you? What I'm trying to say... is I've been afraid to see you for what you really are. You're our brothers. Our sisters. And the things we've done to one another are unforgivable."
"These guys want to use us, take us away from our families, and send us all over the dad-gum galaxy just to test if their agents are ready for the big fight? Well... guess I'm interested in showin' em exactly what a big fight is all about! So I'm not ordering you to go. I ain't even asking. You do what you gotta do, Private."
came from the same series whose standard fare is lines like:
"What in the hell are you two doing?" / "We're being executed by our own men, sir." / "Cut it out."
"I only drink the blood of my enemies, and the occasional strawberry yoohoo."
"You always said I could sleep when I’m dead, Sarge, and guess what? I am dead. This purgatory is about to become purga-snore-y, yawn!"
...and both categories manage to be a poignant statement about the nature of war and what it does to the people in it.
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yes, yes i know edgeworth’s big wet eyes and loser boy personality have captivated us all, but listen. listen.
phoenix wright
phoenix “genuinely unable to reconcile the girl on the stand with the girl he dated for eight months, a cognitive dissonance so profound it’s ultimately explained by them being literally two different people, but which he first sits with for five years and does not talk about at any point to anyone” wright
phoenix “don’t mention that name to me. i don’t want to talk about it. i don’t want to think about it. i am just going to keep myself in this state of perpetual crisis mode focus on other people’s problems until eventually i die and get to hang out with mia on the astral plane and never have to deal with any of these emotions ever again” wright
phoenix “overnight loses his career and reputation and sense of identity while gaining an adopted, probably pretty traumatized eight-year-old daughter, and rather than leaning on his friends for help, or getting therapy, or taking any time to process any of this, he *checks notes* spends seven years dedicating all his free time and energy to investigating the weird fucking circumstances around it and maintains a friendship with the guy he suspects was behind it all” wright
phoenix "runs across a burning bridge and falls through it, half a day after the game establishes that he is terrified of heights, because his friend is on the other side of that bridge" wright
phoenix “i sure felt surprised. maybe i had my poker face on” wright
phoenix “looking back on it that was actually a pretty dark period in my life” wright
phoenix “don’t ask me how i got started. i don’t remember” wright
phoenix “only you stood still, your eyes calmly watching” wright
phoenix “sometimes, life just sucks” wright
just
phoenix wright
crunchiest man in the world
and all i wanna do is chew and chew and chew on him
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heathcliff: i killed cathy...... im a horrible person in every timeline. my revenge killed her. my remorse literally broke through timelines.
catherine who got back at heathcliff by stealing a house to remodel into the Magic Cocaine Labyrinth after draining the financial assets of england's least tragically ill victorian man, making carmen contact her copyright lawyers by sealing her ambiguously dead body into a glass tank while her brain powers a building, and potentially hiring the Mueseumafia of Modern Art because if she pays them with cash she doesnt have to report her Green-Energy-Human-Tank Powered Hydrogen Bomb Basement Factory's earnings to the IRS or whatever the city uses: 'tis what you get for trying to boyfail without your girlboss, methinks 😇😇😇😇😇
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something very aromantic coded in s2 of good omens is that crowley and aziraphale canonically take their cues of what a certain kind of relationship ought to look like from books and films. firstly, very relatable, I did much the same thing throughout my teens (and in some ways still do although I'm not trying to make myself "fit" by taking cues that I've been studying to be the correct way to do a relationship, I just enjoy performing them in the same way all life is performance when you're not-doing-body-and-relationship-to-other-bodies correctly inherently)
secondly, how it plays out in them messing unintentionally with nina and maggie. they don't understand the structure of nina's and maggie's whole thing as it applies to the reality of relationship structures in the world they're in; that nina is initially in a romantic relationship and wouldn't just jump from it -- no matter how bad -- straight into another one that was presented as "more" correct. because of course standing under an awning or dancing at a ball makes people "fall in love" (whatever that is) because... well, that's how it happens in the stories all the time, that's what these sorts of relationships are all about, "one fabulous kiss and we're good" -- it's a shock to crowley that he misread all the cues "you were crying and she was..." isn't that what this romance thing is that humans are always talking about????
thirdly it of course eventually circles around to be about what in the world their relationship is, but when they're trying to figure out what's going on between the two of them, there aren't any words that can neatly sum it up beyond "us" -- whatever it is, it's "us" against "them" (although aziraphale isn't quite ready for that) -- the them being heaven and hell of course, but to be honest, from an aro perspective, the "them" takes on certain human connotations to me as well, because it's all about how these two don't fit into structures and are punished for this not-fitting-in, and while they're not punished by the humans around them, they also aren't... human. they still operate somewhat from the outside of everyone else, even though aziraphale manages throughout history to create a fair few connections from the sounds of things
similarly to how they do it to nina and maggie, they try on these tropes with one another: aziraphale invites crowley to dance, crowley kisses aziraphale, and it doesn't fit quite right (the first because crowley is concerned with all the demons outside and so isn't paying as much attention to the dancing part of the whole thing, and the second because [insert another bunch of analysis here that's its own post]), but they've already been us the whole time. their attempts at explaining using alloromantic shorthand fall short, because they're hampered by needing to define themselves and their relationship with terminology that's suitably correct for whatever dominant structures they're in
fourthly, the fact that their cues for what their relationship needs to be shouldn't even really be coming from movies/books and humanity in the first place, it should be coming from gabriel and beelzebub. gabriel and beelzebub don't even try all of that "this is what romance is," they don't call one another romantic or kiss or even say words like partner, they're not interested in doing human-based customs or "fitting in." their language for one another is based around that song, and that's as much defining as it needs. whatever aziraphale and crowley are to one another is equally all their own thing, but aziraphale and crowley struggle with definitions constantly. they don't fit into heaven, they don't fit into hell, and humanity -- while more the place they've adopted for all its wild wonders -- isn't quite right either, because they're still being put in a box
it was fun to look out for as I was rewatching, because the way they interacted with alloromanticism really did read like two people who have exactly zero idea of how this applies irl, but that's okay, the fiction's got it handled, all they have to do is copy-paste = result, but then the stuff that actually is the romance in those texts becomes a series of contextless tropes, kind of like how amatonormativity often has those exact same tropes recycled in story after story that can't figure out why it worked the first time but not the next hundred times, except in this story it's on purpose. one fabulous kiss did not in fact solve things at all (nor was it fabulous)
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