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gukyi · 4 years

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the art of the rom-com | jjk

summary: FILM395, the art of the rom-com, was supposed to be an easy a with one of your favorite professors, but it’s not. it’s actually a sisyphean torture that comes in the form of fellow film student jeon jungkook, who has no problem responding to every one of your discussion posts about the consumerist ideals underlying every romance movie with his own paragraphs on the beauty of love like the hopeless romantic he is. and when the two of you find yourselves partnered up for your final project, which is to create a short film on rom-coms, jungkook decides to take it upon himself to show you what love is really like.

{enemies to lovers!au, college!au}

pairing: film major!jungkook x film major!reader (female) genre: fluff, comedy, slight angst, this is literally a rom-com in fic form word count: 33k warnings: college alcohol consumption, discussion board posts, emotionally constipated characters, film major shenanigans, blonde jungkook who’s also in a hip hop dance troupe, miscommunication, if you hate rom-coms do not read this fic

a/n: i am so so so excited to share this monster of a jungkook fic (tho let’s be real, 30k is pretty standard for me now ;-;) with you all! this is basically rom-com trash, but it’s my rom-com trash, and i hope you all enjoy!

on a sadder, less exciting note: after this fic i will be taking an extended writing hiatus until at least the beginning of may. my semester is picking up and i unfortunately just don’t currently have any upcoming fics planned for you guys. i hope you understand!! maybe i’ll do a couple of ask games here and there to see if anything piques my interest, but other than that please do not expect major works of writing for a while. love you all!

500 Days of Summer is a movie you all have probably seen before. That being said, I encourage you to respond to this discussion board from a film perspective as opposed to a viewer’s perspective. How did 500 Days of Summer alter the classic narrative of boy-meets-girl? Do you think it was a smart move, on the parts of Webb, Neustadter, and Weber, to do so? Why or why not?

Jeon Jungkook on February 12th at 9:53PM

I thought that the change in the boy-meets-girl narrative that had been popularized by rom-coms of the 1990s definitely contributed to his popularity and its attractiveness towards viewers in general. The film makes it clear that the story does not have a so-called happy ending, but despite that, it still brings into discussion the idea of love and soulmates and true connection. And that’s important, because despite the film’s not-so-happy ending, it makes it a point to emphasize that those things are real. That love is real. I thought it was an excellent move on the parts of the writers and director, because they both broke standards in terms of happy endings in rom-coms and they stayed true to the message at hand.

Y/N Y/L/N on February 12th at 10:29PM

I have to disagree with Jungkook. It’s obvious the movie is not going to have a happy ending because Tom is so obsessed with the version of Summer he has created in his head that he doesn’t even see who the real girl is anymore. It doesn’t have a happy ending not because they weren’t soulmates, or because their love wasn’t right. They break up because what Tom wants and what Summer wants are fundamentally different, and Tom just can’t accept the fact that Summer doesn’t love him the way he wants her to. In a desperate quest to keep her, though, he manifests this version of her and replaces the actual Summer with it, ultimately destroying their relationship. How could viewers ever have faith that Tom would eventually get his happy ending if the only proof of his commitment to relationships they have is him manufacturing a different girl to fall in love with?

When you walk into class, Jeon Jungkook is already there.

He sits in the front row, the seat closest to the door in your puny little classroom, much too small for twenty-students to fit comfortably, let alone watch movies on the pull-down projector screen above the chalkboard. You’re convinced he’s chosen that seat just so he can grin at you whenever you walk in the room, always later than him because apparently, he has nothing better to do with his time than show up to class early and smirk at you when you arrive.

As you shuffle past his seat towards your own—second row, middle of the room, centered with the lecturer’s podium—with your usual scowl drawn neatly across your face, Jungkook says, overly bright and cheery, “Good morning, Y/N.”

The sound of his voice alone is enough to make your nose scrunch up in further disgust. “Shut up,” you grumble back, stuffing yourself into your chair and pulling out your laptop. One row in front of you and five seats to the right, you see Jungkook chuckle.

Glowering, you open up your Notes document for the class and try to avoid staring at Jungkook’s side profile, the way he’s slouching lazily in his seat, and what looks to be a lengthy paragraph on his computer screen, a task that proves to be particularly difficult because he happens to sit in the exact spot you have to look in order to see your professor enter the room. What the hell is he even writing, anyway?

He straightens up the moment she does, cheerful as always as she smiles at everyone. “Good morning, everyone.”

The lot of you respond with halfhearted smiles and waves.

“I can just feel the enthusiasm radiating throughout the room,” she jokes, clenching her fists together in success. At least that gets a couple of you to laugh. “Which is great, because before we get to anything today, we’re gonna talk about the final project.”

You smile to yourself, immediately pulling up the copy of the syllabus you had downloaded to your desktop, scrolling right down to where she had outlined information about the final project in big, bolded letters. There are a lot of reasons you’ve taken this class, not the least of which is the fact that you have had Professor Pollack three times prior to this and she’s loved you in every class, but the final project was definitely one of the major selling points.

Pollack pulls up a more detailed final project document on the projector as she steps out from behind the podium. “As you guys know, your final project is a thirty-to-forty minute short film involving rom-coms. You guys have a lot of freedom, it can be a rom-com, it could be a documentary about rom-coms, anything. It just needs to involve the topic of rom-coms somehow. I know a lot of you have actor friends who would be more than happy to have a star-crossed lovers fling or whatever. Go wild. Just keep it PG-13, because I can’t in good faith have nude bodies of your fellow college students on my screen.”

You snort to yourself. Makes you wonder how many times Pollack has seen sex scenes of college students on her screen before. Too many, probably.

Unintentionally, your eyes drift over to Jungkook. He seems to be working on that hefty paragraph of his, typing something you assume is completely unrelated to the topic at hand and is further proof that Jungkook just doesn’t give a shit about anything involving this class. Whatever. You turn back to Pollack.

“Good projects not only capture the essence of what a rom-com is, but also put their own twist on the story and bring into question the topics we discuss in class, like truthfulness, realistic portrayals of love, and viewer interpretation,” she continues, and with every word you feel heart beat faster in excitement. “I know you’re all excellent filmmakers. That’s why you’ve taken this class. But what I want you to do is get into the nitty-gritty of the makeup of a rom-com and distill it as much as possible. We’ll be watching them all in class during the last week. Yes, Celia?”

You all turn to look at Celia, who sits in the third row, second seat from the left. “This is a partner project, right?”

Well. That’s the one downside. As much as you know that cooperation is an important life skill, you would much rather prefer to produce the entire movie yourself. But you love Pollack and you already know you’re on track to get a good grade in this class, so whatever. You’ll deal.

As long as you can pick your teammate.

“Yes,” Pollack affirms, “and with that excellent segue, I will now announce your partners.”

Shit.

Pollack pulls out a folded piece of paper from her back pocket, like she had just come up with the arrangements on the morning train ride to campus, and begins reading. Slowly, as she ticks off names one by one, everyone begins to turn around, locking eyes with their partners and exchanging guess-it’s-us-two-huh? smiles. Everyone except—

“And lastly, Jungkook and Y/N.”

You freeze in place. You look up at your professor, eyes wide and shocked, because nobody knows better than her how much the two of you have been butting heads this entire semester. But when you meet her eyes and she smiles knowingly, shrugging her shoulders, you know you’re doomed. Hesitantly, almost like you’re scared to find out what happens when you do, you shift your gaze towards where Jungkook sits in the front right corner of the room. Only he’s not just sitting. He’s turned a full one hundred-and-eighty degrees just so he can smirk at you from across the room, a glint in his eye.

Jungkook laughs at your cold-stone, shellshocked reaction. Like he knows how much you’ll hate this, and you know how much he’ll enjoy it.

From here, you actually have a pretty good view of his laptop screen, brightness turned all the way up because he apparently doesn’t care who reads his screen. Or maybe he just likes showing off how much he writes so he can establish dominance over everyone else. Except you, of course. But when you look a little closer, you notice he’s got the class discussion board for the week up on his Chrome window, two paragraphs typed into the text box.

Right above is your response to his comment.

Is that what he was working on? His reply to your reply? Right now? He has the audacity to draft it right here, in front of you, where he knows you can see? He doesn’t even care that you’re blatantly staring at it. In fact, he actually seems to be relishing in it.

You’re so caught off guard by the contents of his computer screen that when you look back up at him on instinct, you catch a wink in your direction.

Your fists tighten by your side.

Class is rather uneventful after the whole partner fiasco, as Pollack transitions into your usual dose of a short lecture on the film and then a class discussion that goes absolutely nowhere because everyone is too concerned with the final project to care. Whatever you talk about, you will be hard pressed to know, because you spend the entire rest of the period scowling at the blank page of your Notes document as you try to formulate a way to convince Pollack to change your partner. Would she accept a dozen doughnuts as a bribe? A box is only ten dollars from Dunkin’.

When Pollack finally shuts her laptop screen and begins her weekly goodbye spiel, you are the first one out of the room. Hastily, you stuff your laptop into your bag, zip it up as best as you can (which means that the tops of your water bottle and umbrella are sticking out, but who cares), and shuffle out the room right as Pollack is bidding you all farewell, just so you don’t have to look at Jungkook’s stupid, smug little grin on the way out.

Faintly, you remember Pollack saying something about getting your partner’s contact information so you can start working, but fuck that. Jungkook knows your name. He can find you. If you must spend the entire semester communicating through Instagram DMs, then so be it. You’ve communicated with men in worse ways. Like through LinkedIn.

There’s a small seating area half a flight down from where your puny little classroom is, a few tables and a bench that wraps around the wall, posters splayed out on the corkboard to the right, staples littering both the board and the floor it rests above. Nobody ever seems to use this, despite the innumerable posters advertising everything from dance troupe shows to financial literacy talks, which makes it the perfect place for you to brood and gather your thoughts. It’s also in the direct opposite direction of the exit. So that’s good.

Taking your anger out on your personal belongings (as opposed to that bitchass smirk on Jungkook’s face), you begin to shove your umbrella and water bottle into the pocket of your backpack, fighting to nestle them amongst your other worldly possessions, like your pencil case and what looks to be a small nest of receipts at the bottom of the back. No wonder it’s so clogged up down there.

If anything gives you a sense of control, it’s cleaning. One by one, you pluck out the receipts from your bag, nose scrunching up as you try to remember every purchase you’ve made in the past three months. Plus, one of these receipts is from when you bought some dryer sheets from CVS, so that means the five inches of actual information are also accompanied by three feet of coupons that expired two weeks ago. Ugh, what a waste.

“Don’t look so angry, you’ll have to get used to seeing this face a lot.”

You look up from where you’ve been inspecting an old receipt from a midnight McDonald’s trip to find Jungkook standing in front of you, backpack hanging loosely on his bomber jacket-clad shoulder and that same stupid grin written all over his same stupid face.

“Can I help you?” You drawl. Great. Now Jungkook can add “saw all her receipts” to the list of embarrassing things he’s caught you doing.

“Can I help you?” Jungkook fires back with a scoff, blonde hair bouncing as he jerks his head flippantly. “Looks like someone needs to take an Accounting class or something.”

“I’m just doing some spring cleaning,” you sneer. It’s February. “What do you want?”

“What, no ‘Hello, partner’? ‘So excited to be working with you this semester’? I’m hurt,” Jungkook says, placing a hand to his heart as he shakes his head disapprovingly. “I thought we had something good, Y/N. Isn’t that why Pollack paired us up?”

You’re pretty sure she just likes watching the world burn.

“Don’t flatter yourself,” you chide, knowing that Jungkook already must get enough of a kick out of just seeing the annoyed look on your face.

“Please, like I even need to. You think I don’t notice the way you stare at me during class? I know you must like what you see,” Jungkook flirts, just to be extra irritating.

While he’s stroking his own ego, you tear off a piece of that CVS receipt, one of the expired coupons for Three Dollars Off Any Shampoo or Conditioner, and scribble your number on the back. The rest of the receipts you scoop up and dump in the trash can to your right before you zip up your backpack and hike it over your shoulder.

“Here,” you say gruffly, shoving the paper against his chest as you head towards the stairwell.

“How forward of you, Y/N, you know you could have just asked—”

Pausing right before you turn the corner and head out the door, you turn back to look at Jungkook, already exhausted from having to interact with him for five minutes. “And when you’re done jerking yourself off,” you say pointedly, “text me.”

You storm out the door.

[February 13th, 1:24PM]

Unknown Number: guess who ;)

You: Wow I have NO idea You: Keanu Reeves?

Unknown Number: haha very funny Unknown Number: it’s jungkook

You: Damn shame You: You done jerking off yet

Maybe: Jungkook: what makes you think i’m not doing that right now ;)))

You: You don’t have the coordination to text me and masturbate at the same time You: What do you want

Jungkook: ouch, harsh Jungkook: can’t i just want to talk to my final project partner? :D

[February 13th, 2:17PM]

Jungkook: alright fine Jungkook: just wanna see when you wanna meet up

You: Guess I don’t have a choice do I

Jungkook: unless you wanna facetime

You: Is that an option?

Jungkook: how about friday at 3 Jungkook: in one of the greene gsrs

You: You think you can manage to reserve one of those?

Jungkook: watch me

[February 13th, 2:21PM]

Jungkook: [screenshot sent] Jungkook: done

You: Do you want a gold star for all that hard work you just did? All that manual labor? You: Fine. See you then.

Jungkook: miss you already <3

Y/N Y/L/N on February 12th at 10:29PM

Jeon Jungkook on February 13th at 7:35PM.

You make a good point, Y/N, but I think you missed the whole point of the movie. It’s not about their breakup or the not-so-happy ending or even Tom’s problems. It’s about the journey they go on and what Tom learns in the process. If you watch the trailer then you’d go into the movie knowing they weren’t gonna last. The results of whatever Tom and Summer do to contribute to their eventual breakup should not come as a surprise to the viewer. The whole point of the movie is that they spent five hundred days together and Tom is now recounting those days to anyone who will watch. And you know who’s watching? People who want to hear a story. About love. And loss. And everything in between. Isn’t that the whole reason we watch romance movies anyway?

Sometimes, you wonder if the garishness of Professor Pollack’s shoebox-sized office is the reason not very many students attend her office hours. The walls are lined with movie posters taken from a theater going out of business, the shelves stuffed to the brim with Disney World trinkets and old film memorabilia. She’s installed these thick red velvet curtains along her single window, making the whole room look like some sort of 1950s movie lair.

In a way, you suppose it kind of is.

You hear the taps of her Converse shoes as they come down the hallway and round the corner into the office.

“You know, Y/N, I was surprised to see you signed up for my office hours when I logged in this morning,” Pollack says as she enters the room, handing you the coffee in her right hand as she takes a sip out of the one from her left. Last year, the film department bought a Breville coffee maker with the leftover funds from a movie showing fundraiser and it is, in your humble opinion, the best investment the department has ever made.

“Why? I see you all the time,” you ask, eyebrows raised. You and Professor Pollack are not lacking in social connection. She’s written you a letter of recommendation and she knows your coffee order.

“The very first time we ever spoke outside of class, you sat down at my Starbucks table while I was eating lunch just so you could introduce yourself and ask me about my opinion on the Mamma Mia remake,” she deadpans. “We don’t exactly speak through official forums.”

Well, she’s got you there.

“I know…” you begin, trailing off awkwardly as you take a sip of your coffee. It’s burning hot and scalds your tongue a little, but it’s nice. It’s been cold recently. “But I just thought we could talk… privately.”

Pollack rolls her eyes as she reclines in her chair, back hitting the padding of the chair with a thud. “Goodness, I wonder what you’re here to talk to me about.”

“Okay, please pardon my French, but what the freak, Professor?” You say, because the words have been sitting hot on your tongue ever since you walked into your office and you didn’t think sending an email that looked like:

To: [email protected] From: y/[email protected] Subject: what the freak

Dear Professor Pollack,

What the freak?????????

Cheers, Y/N

would be very professional on your part.

Pollack lets out this honk of a laugh, loud and sudden, shaking her head fondly. “Come on, Y/N. You must have known I would have partnered the two of you up.”

“I was hoping you’d let us choose?” You emphasize.

“And miss out on what very well may be one of the best final projects of the class, produced by my two best students of the semester? Absolutely not,” she says, smiling knowingly at you.

Even her sudden reveal that you happen to be one her best students this semester isn’t enough to soothe your worries and calm your anger. You’re honored, but you have bigger problems. Problems that start with ‘Jeon’ and end with ‘Jungkook’.

Pollack looks at your beaten-down expression and leans forward, placing her coffee cup on the wooden desk in front of her. “Listen, Y/N. You’re an excellent student and one of the most talented filmmakers I’ve seen in a long time. Your discussion posts are detailed, well-written, and thought-provoking. I know that the two of you will make a great project.”

You scoff. “We can’t agree on a single thing.”

“Sometimes that happens in life, and you just have to deal with it,” Pollack says sagely.

“So I can’t change partners?”

“Not unless you’d like to fail the final,” Pollack comments, shrugging. How rude of her to say such a thing, not taking the option to change partners off the table entirely but making it so that if you do, you’ll pretty much be shooting yourself in the foot. Or worse.

You narrow your eyes at her. “That’s low.”

“That’s life,” she corrects.

“Ugh.” You get up out of your seat, taking angry sips of your coffee as you desperately try to think of another way to get out of it. Are doughnuts still an option?

“I have full faith that the both of you will come up with an excellent project,” Pollack says like it’s some sort of consolation as she walks you to the door to her office. Yeah, right. You and Jungkook spend your free time making snide responses to each other’s discussion posts like it’s nobody’s business. You’re probably the only two people at your entire university that care enough to make replies to each other’s replies. Like Tinder from hell. “You shouldn’t be worried, Y/N.”

“I’m not worried,” you say, completely worried. “I just—I don’t know how Jungkook and I will get along.”

Pollack grins to herself. Does she know something you don’t? Is she up to something? She looks at you as you linger in the doorway, feeling utterly helpless after a meeting that accomplished absolutely nothing, and she smiles.

“You’ll find a way.”

Reserving a group study room in the Greene Library and Collection should not be some gymnastics act that involves a warm-up, practice, a routine, and song and dance. In theory, all you have to do is log onto the library’s homepage, navigate to the reservations tab, enter your name and ID number, pick a date and time, and profit.

Of course, the demand for the study rooms does tend to outweigh the supply. There are over ten thousand students at your university. And only twenty rooms.

And still, you have the unfortunate luck of being stuck in one of them for an hour and a half with none other than Jeon Jungkook.

You see him coming into the library at 3PM sharp through the opposite entrance, a little surprised he didn’t show up ten minutes early like he does in class, just so he would have an excuse to complain about having to wait for you. Feeling a little threatened, you pick up the pace so that you can meet his lengthy stride, keeping an eye on his direction so you know which room he’s aiming for.

You arrive at Greene GSR #18 at the exact same time.

“So nice to see you,” Jungkook says, too cheerful, as you reach out to open the door.

“Mmm,” you mumble in response as you enter the room, flinging your backpack onto the floor by your chair with a thud as you take a seat. The faster you start, the faster you can get this over with.

Jungkook, not at all outwardly discouraged by your clear disdain for him, rallies on happily. “So, what were you thinking for the project?” But he doesn’t even let you open your mouth to answer before he says, “Oh, wait, let me guess: a social commentary on the consumerist ideals that underline every modern movie and encourage the pursuit of an empty dream by abandoning concrete career and personal goals in favor of romantic fulfillment.”

You scowl at him, even though that’s exactly what you were thinking of doing. You’re almost positive Pollack’s had enough of seeing college students try to engineer the craziest fake dating scenarios they can imagine just for a class project. Why not do something outside of the box?

“Well, then what do you want to do?” You challenge, already bristling. Like Jungkook has a better idea.

“Maybe something that doesn’t scream ‘killjoy’ as much as you do,” Jungkook retorts easily. He opens his mouth to spit out something else but then rolls his eyes and shrugs, shaking his head. “Forget it. I shouldn’t have even asked.”

“Don’t pin this on me,” you immediately rebuke, pointing at him. “You’re the one who wants to make some sort of generic rom-com for our final project. Besides, I’m pretty sure every idea you even think of will have been done already.”

“Just because something is cliche doesn’t make it bad,” Jungkook says. “I swear, I don’t think you understand what the word cliche even means. A cliche thing, by default, is something that lots of people like. Therefore, it is largely well-received by the general public.”

“Oh, then that must mean that all rom-coms are deserving of a People’s Choice Award then, right?”

Jungkook frowns, getting exasperated. You aren’t much farther off. “I don’t know why you’re being so—so resistant! You know that romantic comedies are supposed to be fun, right?”

“They’re not that fun to me,” you comment snidely.

“That’s because you’re a stick in the mud who takes everything way too seriously,” Jungkook replies like it’s some sort of known fact. “Have you ever even been in a relationship?”

“That’s none of your business,” you tell him firmly. Who does he think he is, going around asking that sort of thing? Especially to you! Like you could care any less about what Jungkook thinks of your love life. Intrusive, much? “Besides, you asking that is exactly my point. Not everything has to be about finding love and searching for your soulmate or whatever bullshit like that. Some people don’t really care that much.”

“You act like wanting to find love and wanting to be successful are mutually exclusive,” Jungkook points out. “You don’t have to abandon all of your life goals just to find love, you know. It doesn’t have to be the most important thing in your life for you to even care about it a little. It’s natural for people to want love.”

“Then I guess I’m just a robot.”

“You sure are acting like one,” Jungkook comments easily. “What, are you about to ask me to pick out all of the pictures with traffic lights?”

“I’m allowed to have my own views on love, just like you,” you say. Isn’t that the whole point of your discussion boards? A forum where you can discuss these sorts of things through an academic lens? A barrier that keeps the two of you from going at each other’s throats when you’re engaging in the class material? It doesn’t take a genius, or even half of one, to know that you and Jungkook can’t seem to agree on anything in your FILM395 class.

Jungkook scoffs. “What do you mean, ‘your own views on love’? As far as I’m aware, your view on love is that you don’t have one! What do you even think love really is?”

You frown at him. “Does it matter?”

“Yes,” Jungkook says like it’s obvious. “This project is about filming a short romantic comedy, about people falling in love with each other. How do you expect me to do that if we don’t reach a mutual agreement on what love is?”

You scoff. “There is no way in hell I am going to agree with you on anything concerning love.” Jeon Jungkook still thinks love is all rainbows and sunshine. Cries at the end of Love, Actually even though he’s seen it five times already. Believes in soulmates. Believes there are people out there that were built for each other. He flutters from one person to the next like a butterfly, even though he’s more like a moth drawn to any open flame within a five-mile radius. He’s convinced he’ll find his true love here, in college, just like his parents found each other.

Yeah, right.

“Then what are we supposed to do, huh?” He says with an eyebrow raised. “We have a month to make a movie that’s fifty percent of our grade.”

“The social commentary is still on the table,” you point out. Sure, it’s not at all a romantic comedy, but it’s about them, which Pollack said was totally fine. Besides, she has been teaching you the entire semester, hasn’t she? She should know by now not to expect some cushy lovey-dovey story about two people who were destined to be with each other and can overcome all obstacles with their love.

Deep down, a part of you wonders if that’s why she paired you up with Jungkook. If she’s had enough of the sappy love stories that Jungkook probably wanted to do, didn’t want to see another cynical commentary on capitalism in Hollywood.

“Wow, what a thrilling idea,” Jungkook deadpans. “Please, tell me more.” His voice is lifeless.

“Oh, shut up. It’s not like your idea would be any better. Who would we even get to star in a rom-com we filmed? It’s not like the two of us could do it.”

You regret the words the instant they come out of your mouth. In horror, you watch as they sink into Jungkook’s brain, etching themselves into his mind as a lightbulb turns on, a bright idea popping into his thoughts.

He opens his mouth, but you get there first. “No. Whatever you’re thinking, absolutely not. I am not starring in a rom-com with you.”

That is something you can say with one-hundred percent confidence. Something that you know will never change.

“Just hear me out,” Jungkook pleads, looking a little desperate as he wrings his hands together, aching to spill the bubbling plan that’s been stewing in his head.

You narrow your eyes in suspicion but lean back into your chair, a silent signal for him to continue. It’s not as if you have any better idea.s

“Okay. It’s not a rom-com. It’s a mockumentary,” he says, something that (and you can’t believe you’re saying this) actually piques your interest. Moreso than anything else he’s ever said to you. “You think love is totally manufactured, right? That Hollywood creates the illusion of it to sell to people paying twenty dollars for a movie ticket?”

“Yes.”

“Then let’s do that. Let’s prove it’s manufactured.”

“And how do you plan on doing that?” It’s not like you can walk into a factory and ask them to make the “love” emotion for you.

“We’ll be the stars.”

He says it like it’s the most obvious thing in the world. Like it’s your best idea by a long shot, the home run of all home runs, your golden ticket to an A.

You scrunch up your nose, hesitant. “Wait, I don’t know—”

“It’s perfect!” Jungkook exclaims, eyes wide with excitement. “Think about it. It’ll be a mockumentary of a stereotypical rom-com. Except it won’t be this big Hollywood production, it’ll be real life. And it won’t be between two paid actors with years of experience under their belt, it’ll be us.” His eyes are practically bulging out of his head, big brown eyes glinting with excitement.

“So what are we gonna do? Act out our own rom-com in an attempt to see if either one of us will fall in love with the other?” You say, an eyebrow raised.

Jungkook shakes his head. “Not necessarily. It’s a mockumentary, right? So it’s grounded in real life even if it is based upon the stereotypical boy-meets-girl rom-com. It won’t be super scripted or anything. Think of it more like… a chronicle.”

You scoff. “Of what?”

“Of us,” Jungkook says easily. “Of the time we have to spend together to film this damn project anyway. I say that rom-coms are emblematic of the natural human desire for love, and that deep down love is the thing that makes us happy. You say that rom-coms are consumerist propaganda, or whatever it is you think they are—”

“They are, and you can’t change my mind about that,” you interrupt, just for clarity. Can’t have Jungkook thinking he’s going to somehow convince you otherwise.

“—so, with this project, let’s see which one of us is right. If the time we have to spend together, making this mockumentary rom-com, will really change how we feel about each other, or if it won’t.”

How you feel about each other? You almost laugh when Jungkook says it out loud. There’s no room for questioning in your mind when it comes to how you two feel about each other. Two desperate-to-please students with opposite views on the entire structure of a class and three years of experience arguing your points in essays under your belts.

Jungkook believes in destiny, right? Then he must know that the two of you are destined to never get along.

“You should be a car salesman,” you joke. Jungkook’s certainly excellent at pitches.

“So, you in?”

You narrow your eyes, still a little wary of whatever it is Jungkook’s putting down. But it’s not like you have any better ideas. And the sooner you agree on something, the sooner you can get this goddamn project over with and never have to sit in class with Jeon Jungkook ever again.

“Only because this’ll finally prove to you that not everything can be solved by finding love,” you say. It’s about as good of a ‘yes’ as he’s going to get out of you.

Jungkook grins, mischievous as always. There’s certainly something else he’s plotting, you just aren’t sure what. Maybe he’s in cahoots with Pollack. “Or,” he begins, lips curling upwards, “you’ll just fall in love with me.”

You scoff. “Yeah, right.”

“Well, then I guess we’ll just have to see, won’t we?” He holds out his hand, palm facing up as he waits for your response, that devilish glint that you hate twinkling in his eyes.

As if you’re going to fall in love with Jungkook. For this stupid project? No way. Just because it’s a filmmaking project doesn’t make it any more bearable than your other assignments. It’s a partner project. They are, by their very nature, excruciating. You’ll be surprised if you end this project and you aren’t even more irritated with Jungkook. Does he really think you’ll actually develop some sort of affection for him?

You take his hand on your own, palm pressed against his, and you eye him carefully. Just because Jungkook’s got something up his sleeve doesn’t mean you don’t. Finally, finally, Jungkook will see why love is stupid and manufactured and fake. Why it doesn’t bring people together but instead tears them apart.

Maybe then he’ll leave you and your discussion posts in peace.

You smile up at him.

“I guess we will.”

When Ruby Rhodes is not six feet deep in The Princeton Review’s MCAT test prep book, she can usually be found at the small bakery five blocks west and two blocks north of your little campus, a family-owned place passed down through three generations. It’s her favorite place, and yours, too, because the coffee is delicious and the pastries are even better.

Plus, hardly anyone from your school ever comes here, which means the wifi speed is eons better than the Starbucks inside the main food court.

She’s halfway through a tiramisu and a rerun of The Bachelor from two seasons ago when you sit down across from her.

“Any good?” You ask, pulling out your laptop and squeezing it onto the tiny marble table in between the two of you.

“The food or the show?” Ruby asks over a mouthful of cake.

“Either.”

Ruby swallows down the piece sitting on her tongue before responding. “The tiramisu is delicious, and The Bachelor is eh. I’ve seen this episode three times already.”

“Then why are you watching it again?” You ask, laughing. Does Ruby think something different is going to happen?

“Because we’re in between weeks right now and honestly, The Bachelor is kind of dry this season,” Ruby says with a frown.

“You’ve got some tiramisu on your cheek,” you tell her, pointing to the left side of her face where the bright mascarpone cream sticks out like a sore thumb against her dark skin.

“It’s just so yummy, I can’t help but stick my whole face in it,” Ruby jokes as she wipes her face with the napkin on her lap. The Bachelor rerun plays on in the background, and you can hear the gasps of the women through Ruby’s discarded headphones.

You roll your eyes. “Why do you even watch that show still? You know it’s all crap.”

“Just because you think it’s crap doesn’t mean I do,” Ruby insists, playing out an argument the two of you have had plenty of times over the course of your friendship. “Watching it makes me happy. So I do it.”

“But it’s all fake,” you say, frowning in disapproval. “The couples don’t even stay together in the end anyway.”

“It’s a totally pre-constructed show, but it’s not fake in the moment. And I don’t expect the final couple to stay together.” She shrugs nonchalantly. “Believe me, I’ve seen enough Bachelor seasons to know those odds. I just like watching the ride. It’s cute.”

“You say that about everything.”

“That’s because everything is cute,” Ruby says pointedly. “I like seeing the good in people.”

Ruby’s always been the exact opposite of you in terms of worldviews. The embodiment of a real-life fairy. She puts butterfly clips in her hair and buys herself bouquets of daisies and lilies. She sits in cafes with her headphones in and sketches the people she sees outside the window. She’s studying to be a doctor so she can spend the rest of her life helping others.

And you?

Well, the Oscars have always been a bit of a long shot.

The curiosity eating at you, you pose a question to her. “Hypothetically, if there were to exist a mockumentary on rom-coms and love, would you watch it?”

Ruby pauses for a second as she furrows her brows. Then she shrugs and says, “Only if the two leads fell in love at the end. Why?”

“No reason,” you say, looking away.

There’s no fooling Ruby and her eagle eyes.

“What is it?” She asks, a grin playing at her lips as she looks at you. “Come on, you don’t just ask me shit like that without a reason.”

“It’s for a final project,” you explain succinctly. No need to go into details.

“You’re making a rom-com for a final project?” Ruby sounds about as skeptical as you did when you spoke to Jungkook.

“It’s a mockumentary about rom-coms.”

“But… it’s a rom-com, right? Like, you’re going to be making a rom-com? Where people fall in love?”

Hopefully not.

“Sort of?”

Ruby squints her eyes, trying to process all the information. You’re not surprised that she has to take a moment to think—you are certainly the last person on earth to ever admit to filming a rom-com. But, as you’ve stated, it’s not a rom-com. It’s a mockumentary about them. That distinction is vital.

“Wait, is this for that class with Pollack?” Ruby asks. “I remember you telling me you were taking it. You said this was a partner project, though, right? So who are you working with?”

Curse Ruby and her knack for remembering things. She’ll make a great doctor, that’s for sure, but right now you wish she would just forget things like everybody else.

You sigh. “Jungkook.”

Ruby doesn’t need to think twice about who that is. “Wait, seriously? You’re working with him? Isn’t he the guy that responds to all your discussion posts?”

“Yes,” you say, rubbing your temples with your fingertips. You don’t even like thinking about him, let alone saying his name. The fact that he has to occupy any part of your brain at all gives you a headache.

“Damn, that sucks,” Ruby says, not feeling very sorry for you at all. “So you’re filming a rom-com with him?”

“It’s a mockumentary,” you specify, feeling yourself getting irritated. “It is fake.”

“Just like my shows, huh?” Ruby muses to herself, too analytical for her own good.

“Listen, you don’t need to fall in love to make a mockumentary about it,” you say, refusing to consider any sort of alternative.

“Don’t you?”

You sneer. “Just shut up and eat your tiramisu.”

Ruby lets out a laugh at that, this wonderful mix between a wheeze and a honk that makes you smile every time you hear it, even if it’s at your own expense. Ruby decides she’s had enough of mentally torturing you with the thought of feeling anything but extreme distaste towards Jungkook and goes back to her show, letting you brood in peace.

You don’t need to fall in love to make a film about it. Just like you don’t need to be a masterchef to film Gordon Ramsey screaming at someone who undercooked chicken. You’re a filmmaker. You can make a film out of anything. Including love. Even if it is with someone like Jungkook.

Can’t you?

Jeon Jungkook may be a disillusioned college student in love with the idea of love itself, but at least he’s not too shabby of a filmmaker.

Funnily enough, it actually sort of surprises you that you’ve never encountered each other before. Especially considering you’re in the same major program at your school, a program that only accepts about fifty students per year at most. You suppose that in whatever general program classes you had to take in freshman and sophomore year you just never crossed paths. Plus, he’s a filmmaking concentration and you’re doing screenwriting, so it’s very possible that you would have just never spoken had the two of you not registered for the same semester of FILM395.

Huh. Imagine that. A life without him.

Sort of makes you wish you had put this class off for one more semester.

As the two of you kickstart your project, you both immediately agree that you need a third person’s help. You and Jungkook can do plenty, but you are only two people. And there’s nothing in the final project guidelines that says you can’t enlist other people to partake in the production. But you don’t need help with the filming and editing. You need help with the interviews.

“Is this bedsheet good enough?” Kim Taehyung, a senior in the film program, asks as he’s Command-stripping a queen-sized black bedsheet to an empty wall in the living room of his tiny one-bedroom apartment.

“As long as it fits into the frame,” Jungkook responds from where he’s standing behind the camera, set up on a tripod to capture a specific angle. “You’re not going to be in the shot anyway. You’ll just be asking the questions.”

“Good, because I look really ugly right now,” Taehyung says with a grin. You roll your eyes. Taehyung must know he always looks good. Even you can’t deny him of that.

“This is ridiculous,” you say, seated on the singular couch in his apartment. You’re leaning on your elbow as you watch Taehyung fiddle with the bedsheet and Jungkook futz with the camera, the two of them repositioning themselves over and over again until everything’s perfect. “What are you even gonna ask us?”

“I came up with some… preliminary questions,” Taehyung says suggestively. “But I haven’t told either of you what they are so that your reactions can be more genuine.”

“Great,” you deadpan.

“Wow, someone’s excited,” Jungkook comments snidely.

“I know we agreed on periodic interviews for the sake of the mockumentary but I don’t know why we have to be so… so serious about them,” you say with a frown.

“We have to promise to be honest with what we say, alright? Like, actually honest. This sets a guideline for the rest of our relationship,” Jungkook says like it’s no big deal. Like the foundation of your relationship isn’t the fact that the two of you have been engaged in discussion-board war ever since the semester began.

“Our ‘relationship’?” You say with a scoff.

“Do you promise?” Jungkook says.

You roll your eyes. “Yes, I promise.” Whatever. “What do you even think is going to happen between us in the next few weeks?”

Jungkook smirks. “Guess we’ll just have to wait and see, won’t we?”

You don’t like the sound of that.

Over the next ten minutes, Taehyung gets the sheet attached to his wall and pulls over two stools from his kitchen counters, old-timey wooden ones he got from a thrift store for five dollars a pop, one for him and one for the poor soul who has to be interviewed. You’ve agreed to do them separately but Taehyung’s apartment is only so big and you are only three people, which means that whoever isn’t being interviewed still has to be behind the camera, listening to the other person.

Makes you sort of nervous about whatever’s stewing up inside Jungkook’s mind. Wonder what the hell it is he’s plotting up there.

Once everything is settled, Taehyung looks at the two of you as he asks who’s going first.

You turn to Jungkook, who’s already grinning. “Ladies first.”

For someone who has spent their whole life watching and making movies, being in front of the camera feels weirdly uncomfortable to you. You’re so used to being behind it instead, directing others as they move around the frame, telling them how to feel and how to act and what to say, that having the spotlight shone on you is like picking through your thoughts with a fine-toothed comb.

You adjust awkwardly in the bar stool seat as Jungkook stands behind the camera, twisting the lens until he gives you the thumbs-up. Quite frankly, it doesn’t make you feel any better.

“You ready?” Taehyung asks as he takes a seat opposite you, just out of frame.

“Well, we’ve gotta start somewhere, right?”

“That’s the spirit. Alright, Jungkook, start whenever you’re good.”

“Okay,” Jungkook chirps up. “Three, two, one—” He points to the both of you.

“So, Y/N,” Taehyung begins, his voice suddenly much clearer. He sounds sort of like a news anchor. It’s oddly fitting. “Are you excited to begin the filming for this?”

“I don’t really have a choice, do I?” You muse.

“That didn’t answer my question,” Taehyung points out. Good thing the camera can’t see the way his eyebrows raise.

“I suppose that there are worse things I could be doing,” you reason, which is about as good of an answer as Taehyung’s going to get. What was he expecting you to say? That you were thrilled to be filming this not-a-rom-com with your class nemesis? That you couldn’t wait to see what would happen?

“Loving the enthusiasm,” Taehyung jokes. You wonder what your classmates will think when they watch this back, hearing this unidentified deep male voice ask you and Jungkook questions about your relationship. “Let me ask you this: what’s your current relationship with Jungkook?”

“Uh…” you begin, nervous. Behind the camera, Jungkook has that same stupid, shit-eating grin plastered all over his face. You sneer. “It’s… it’s professional.”

“Can you explain what you mean by that?”

“I mean we’re classmates. That’s the relationship.”

“That’s it?” You can hear the skepticism in Taehyung’s voice, almost like he’s egging you on to say something more.

“We’ve had some personal disagreements on topics discussed in class. But yes, we’re just classmates,” you elaborate slightly. It’s not as if anyone needs reminding of that, anyway. They all see your discussion board posts.

“And how do you expect that relationship to change over the course of this project?”

“I don’t think it’ll change at all.” It’s the easiest answer so far. Requires no energy nor brain power for you to think about it.

Taehyung nods his head in intrigue. “And why’s that?”

“Because this is a project for a class, not a life lesson.”

“Who says it can’t be both?”

You frown. “Whose side are you on?”

Five feet away, Jungkook laughs.

Taehyung chuckles. “Alright, moving on. What do you expect from Jungkook over the next few weeks as you start working on building your relationship?”

“I hope he becomes less unbearable,” you say, though you suppose that’s more of a general life goal than one that’s project-specific. But it would be nice if he became a little more… palatable. Just so you don’t have to feel the urge to sock him in the face every time you speak to each other.

“‘Less unbearable’, excellent,” Taehyung repeats. “Anything else?”

“Well,” you say with a shrug, not sure what else to say. What do you want from Jungkook? Obviously the two of you are about to embark on your own rom-com adventure, no doubt most of it his doing, but it’s hard to imagine that he himself (or you, for that matter) will change. If anything, the rom-com setting will just exacerbate the worst parts of both your personalities. Like some sort of curse. “I guess I just hope that the project goes smoothly.”

“I hope that it does, too,” Taehyung says with a smile. “Okay, last question.” Thank God. This interview couldn’t have been more than five minutes, but it feels like an eternity to you. “Do you think you and Jungkook will fall in love at the end of this?”

“No.” You don’t leave any room for hesitation. “I don’t.”

“Why not?”

“We’re very different people with very different interests,” you explain succinctly. You’re sure Taehyung will grasp that once Jungkook has his turn and answers all the same questions. “He can try his hardest, but some things are just meant to stay the way they are.”

“Okay, thank you, Y/N, that’s all. I hope you found our conversation illuminating,” Taehyung says, his cue for the camera to stop rolling. You and Taehyung both turn to Jungkook, waiting for his signal, letting out a sigh when Jungkook gives you a thumbs-up.

“Thank fuck,” you say, hopping off of the barstool happily. You head towards the camera, ready to kick Jungkook off of it, because it’s your turn to stand behind it with an annoying look on your face as you react to every stupid thing Jungkook says. You find that you’re actually sort of looking forward to it. Being behind the camera is where you feel most at home. Making faces at Jungkook is just a bonus.

Jungkook’s still grinning that same goddamn grin when you approach him, making you narrow your eyes.

“‘He can try his hardest’?” Jungkook teases, voice all high-pitched to mimic yours. “Sounds like a challenge.”

“Ah yes, my mission in life,” you retort easily. Maybe goading him on isn’t the best course of action, but you’re so confident that you won’t change your mind you find yourself actually anticipating his efforts. “Think you have what it takes?”

“Believe me, I do,” Jungkook says with a devilish glint in his eyes.

You roll your eyes and kick him off the camera with a shove, pushing him towards Taehyung as he waits diligently on that chair of his.

“So, Jungkook, same questions,” Taehyung says as Jungkook gets ready in his seat, fixing the blonde strands of hair that curl around the side of his face, framing his cheeks.

“What? That’s no fair, he got to think about all his answers,” you exclaim, positively indignant.

“Don’t worry, Y/N,” Jungkook says, voice sickly smooth, honey falling off his lips. “I’ve actually been thinking about the two of us for a long time.”

You pretend to throw up on Taehyung’s hardwood floor.

As Taehyung promised, he asks Jungkook the same questions. And, as predicted, his answers about as far away from yours as the sun is from Pluto:

“Are you excited to begin the filming for this?”

Jungkook grins. “Yes, definitely. I actually took this class after hearing from a friend that the final project was a lot of fun.”

Taehyung beams. That friend was him. No wonder he was so happy to sign onto helping the two of you.

“And how would you describe your current relationship with Y/N?”

“We’re soon-to-be-lovers.”

“How forward of you.”

“Isn’t that my job?”

You have to stop yourself from bursting out into laughter behind the camera and ruining the interview. At least he’s not hiding anything. You’ll give him that.

“So I suppose you expect the two of you to fall in love over the course of the project?”

“Yes, that’s going to happen.”

“And you seem pretty confident when you say that.”

Jungkook smirks as he turns to the camera. Or, more accurately, you. “Confidence is attractive.”

You shake your head back at him.

The rest of the interview falls pretty much into the same vein as the first few questions. Jungkook is so brazenly determined and hopeful and optimistic it actually pains you in a way, watching him make all of these promises both to you and himself that this project is going to turn out the way he hopes it does. His answers remind you of his discussion board posts, always looking on the bright side of every movie you watch, always finding the silver lining, the light at the end of the tunnel. A movie could be total Hollywood crap, filled with cheating scandals and misunderstandings and betrayals, and Jungkook could still find beauty in it.

It’s strange.

For the sake of you not actually throwing up in Taehyung’s lovely apartment, you tune out the majority of the middle of the conversation, having zero desire to listen to Jungkook wax poetic about your non-existent relationship like he’s saying his wedding vows. Only when Taehyung finally remarks that they’re on the last question do you finally come to again, ready to turn the camera off as soon as Jungkook finishes his answer.

“Jungkook, do you think you and Y/N will fall in love at the end of this?”

“I do.” Wow, what a shocker. “I do, because I hope that by the end of this Y/N will have opened her eyes to the beauty of love, and will find joy in the feeling as something that makes her feel happy and warm. I’m going to do everything I can to make sure the things we do together are meaningful. And even if we don’t last, I hope that her memories of us together will be ones she can look back upon fondly and be grateful for.”

You purse your lips together. If only it were that easy.

“Alright, cut,” you say, voice distant as Jungkook thanks Taehyung for his time and hops off the bar stool. “Thanks, Tae.”

“Anytime, you guys,” Taehyung says with a grin.

Jungkook comes over to where you’re standing, possibly to grab his camera and tripod but most definitely to rub his obnoxious personality all up in your face.

“You really think you’re gonna get me to fall in love with you, huh?” You muse, an eyebrow raised as you look up at him. “Just so you can prove a point?”

“Believe it or not, Y/N, but I actually think that all people deserve the chance to experience love and that happens to include you, as well,” Jungkook responds easily.

The words put a sour taste in your mouth. “You think I deserve it, huh?”

Jungkook nods, face solemn as he looks at you, gazing into your eyes with those big brown ones of his own. It makes you feel something unfamiliar. Like he’s reading right through your chest, into your heart. You don’t like it. “Everyone deserves love.”

“You guys are coming back, right? So I can leave the sheet up?” Taehyung interrupts after he’s moved both of his bar stools back to his kitchen counter.

“Yeah, we’ll be back,” Jungkook answers quickly. “Thanks for setting everything up, by the way.”

“Of course. Plus, this is a good background for my nudes,” Taehyung says casually, like he’s mentioning what he’s having for dinner. “Looking forward to seeing you guys again.”

“Us, too,” Jungkook says. “Ready to go?”

“Only because it means I don’t have to see you anymore,” you retort pointedly, grabbing your backpack from where it sits on his couch as you head towards the door.

“Just you wait, Y/N,” Jungkook says as you leave Taehyung’s building, one of those old-timey Victorian houses that was converted into a whole bunch of apartments. “You’re gonna see that I’m right.”

“Really? About what?”

“About us,” Jungkook says. You come to the stoplight, where Jungkook keeps going straight and you turn right.

“Us?”

Jungkook grins as you turn in the direction of your own apartment. And, just as the light turns green, he says, “Just you wait. We’re gonna fall in love, you and me.”

If he says so.

“Hey! Y/N!”

You whip your head around at the sound of your name just as you’re opening the door to your local Starbucks, wondering who the hell is calling out to you at nine-thirty in the morning on a Wednesday.

As it turns out, you don’t have to wonder too much, because the moment your eyes adjust to the blinding sunlight coming from the east side of campus you see Jungkook hurtling towards you, heavy black boots stomping down on the pavement as he rushes to catch up with you.

“Can I help you?” You ask, thoroughly unimpressed, as you pull open the door, looking at Jungkook heaving beside you as he holds the door open for himself.

“Just glad I caught you,” Jungkook gasps out between breaths. “Figured this might make a good scene for the movie.”

“It’s a mockumentary,” you remind him easily, getting in the line.

“Whatever,” Jungkook says. “What do you normally get here? I don’t really go to Starbucks often.”

“Whatever will give me the most caffeine for the least amount of money,” you retort.

“How efficient,” Jungkook comments.

“You know that’s how I like to be,” you tell him with a pointed look.

Jungkook mumbles his acknowledgement as he fumbles around in his backpack, fishing through the large pocket until he whips out his Canon, holding it out in front of him like he’s a dad about to film an embarrassing shot of his child. You look down at the camera just as he pans up to you, a confused frown written across your features. Jungkook laughs.

“Do you really need to do that here?”

“I’m not even filming,” Jungkook says with a smile, like he just pulled his camera out so he could look at your unimpressed face through a different lens. “Look, you’re up.”

You turn around to find that the woman ahead of you in line has just moved towards the pick-up side of the counter, so you shimmy over towards the barista, ready to get this over with so you can dart out of the Starbucks as soon as possible.

“Just a grande Americano, please,” you request simply, fingers grasping for the wallet inside your coat pocket.

“Me too,” Jungkook chirps up from behind you. The closeness of his voice makes you jump, and suddenly you become keenly cognizant of how he’s practically pressed up next to you as he leans over towards the counter. You catch a glimpse of the debit card in his hand. “Here.”

“You don’t have to pay for me, it’s fine,” you quickly say, holding out your own card to the barista.

“No, it’s okay, I want to. Here.” Jungkook pushes your hand away as he tries to stuff his card into the reader.

“No, I won’t let you. I’m a big girl, I can pay for my own coffee,” you rebuke, feeling yourself growing oddly defensive.

Jungkook sighs from behind you. “Oh, come on, you can’t let me do one nice thing for you?”

“Will one of you please pay, you’re holding up the line,” the barista asks in a desperate tone, clearly too overworked and too underpaid to be dealing with two bratty college students like yourselves.

Jungkook manages to shove his card into the reader before you get the chance to do it yourself, pushing you to the side as he verifies all of his information and takes his receipt. Next to him, you seethe to yourself, feeling a personal loss even though you just got your coffee paid for. It’s not about the money. It’s about your pride. Never in your life have you wanted to so badly pay for an overpriced Starbucks coffee.

You and Jungkook mosey over to the other side of the counter, waiting for your identical drinks to be made as you try and calculate how much longer you have to stand in the same room and breathe the same air as Jungkook. Seeing him in class, on your discussion board posts, and for your arranged final project meetings apparently isn’t enough, so now he has to invade your personal life, too.

“What are you doing?” You huff out angrily, turning to Jungkook even as he holds his camera out in front of him, filming the Starbucks.

“Recording our first meeting, obviously,” Jungkook says like it’s some kind of no-brainer. Like you were in on that from the moment he called your name out on the street.

“What do you mean, ‘our first meeting’?” You scrunch up your nose in confusion. “We’ve known each other since the semester started.”

“I know, but…” Jungkook trails off unhelpfully, but you pick up what he’s putting down regardless. Right. This is supposed to be a mockumentary rom-com. And rom-coms always start with an introduction.

The barista behind the counter calls out Jungkook’s name as he places two same-sized cups down at the pick-up station. The cup is burning hot, even with the little cardboard holder wrapped around it like a leg warmer, so you immediately move over to the station up against the wall with all of the sugar packets and napkins and little green splash sticks. Jungkook joins you without question, whether it be due to the fact that he doesn’t come here very often or because he just wants to keep invading your space, you couldn’t say. Grabbing one of the wooden sticks, you tug the plastic lid off of the cup and give the coffee a swirl. Watching you, Jungkook takes the lid off of his as well.

“Are you just going to copy everything I do?” You deadpan.

“Not everything…” Jungkook trails off suspiciously, looking down into his coffee like the two of them are conspiring something.

“What are you talki—”

Without warning, Jungkook slams half of his body into you, and without a lid or one of those little green sticks, the coffee sploshes over the side of his cup and drenches the front of your exposed hoodie, hot liquid burning through the fabric of the hoodie and the t-shirt you have on underneath. You watch in horror as Jungkook plays it off like an accident, feet fumbling around on the hardwood floor like he had just tripped. But he didn’t just trip. He dumped half of his Americano onto the both of your fronts.

“Jungkook!” You say instantly, resisting the urge to scream because you’re in a public place but feeling your skin go as hot as the coffee against your torso as you look up at him, fuming.

“Oh my God, I’m so sorry, I’m such a klutz,” Jungkook says, somehow able to regain his balance, hold his coffee cup, and film the whole adventure all at the same time. “That was totally my fault, let me help you with that.”

The camera is from his perspective, which you suppose is about as real as it gets for something grounded in reality like a mockumentary, but in this position he’s able to make conversation with his eyes, big brown ones wide as he tries to signify what exactly he means when he purposely spills coffee all over the two of you.

You get it. You’ve seen enough rom-coms to know why he just did what he did, but you still find your mouth agape as you stare up at him, smoldering and angry and a little shocked he would dare be so bold, especially in the middle of a Starbucks coffee shop.

“For God’s sake,” you say with an exhausted sigh despite it not even being ten in the morning yet. Unable to form any other comprehensible words, you settle for just pulling out napkins from the dispenser and dabbing the front of your hoodie as Jungkook looks at you apologetically. You can’t even tell if he’s truly sorry or just putting on another one of his shows.

“I feel so bad,” Jungkook says, and you calm yourself down enough to nod. At least he isn’t blatantly laughing. “Can I pay for dry cleaning?”

“You’re really gonna offer to pay for my dry cleaning?” You ask, an eyebrow raised.

“It was my fault,” Jungkook admits. Now that you can agree on.

You shake your head. “It’s okay. It’s just an old hoodie, it’s no big deal.”

“I’m still sorry,” Jungkook insists, and the more he says it the more you actually find yourself starting to believe him. Even if he did just spill coffee all over you. “Here, let me give you my jacket—”

“That’s not necessary,” you say as he shrugs off his backpack and begins to remove the bulky denim jacket he’s wearing, fabric worn and soft from years of use. “Seriously, it’s okay, it’s just a hoodie.”

“Yeah, but now you have coffee all over your clothes and you probably have class soon, right?” He says, an apologetic smile lacing his lips. He tugs off his jacket and holds it out towards you.

“Jungkook, I’m fine, alright? I appreciate your concern, though,” you assure him. You throw away the last of the coffee-stained napkins in your hands and reach down for your backpack, which you had taken off your shoulders somewhere in the chaos.

Jungkook rolls his eyes, almost as if he was expecting resistance, and leans over you anyway. His arms extend outwards as he wraps his enormous denim jacket over your shoulders, the fabric draping loosely over your body. The damn thing was big on him, so on you it practically eats you up. You stand there, silent, as Jungkook adjusts the jacket on your torso, pulling underneath the hood of your sweatshirt as he makes sure it’s snug across your figure.

“There,” Jungkook says.

“Thanks,” you say, a half grin playing on your lips. The gesture makes you wonder if Jungkook really was planning on giving up his jacket this early in the morning for the sake of your movie. “That’s nice of you.”

“I hope it makes up for the fact that you smell like coffee now,” Jungkook says, a hand coming up to rub at the nape of his neck.

“I appreciate it,” you say.

“I have class, too, so I have to go,” Jungkook says, hoisting his backpack on his shoulders as he tucks his camera away. “I’m sorry again! See you around?”

Like you even have a choice.

“Yeah, see you around,” you say as Jungkook darts off just as quickly as he arrived, rushing out the door before you have the chance to change your mind and give him his jacket back.

When he leaves you, you find yourself at a loss for words. You stand there, lips pursed, coffee cold, as the weight of his jacket rests heavy on your shoulders.

It smells like him.

You should have known he would do something like this. Spill coffee all over the two of you, offer you his jacket, dash off like Cinderella at midnight. Like the opening of the world’s worst rom-com. The start of what is no doubt going to be the most unbearable final project you have ever done.

Plus, the other thing it’s ensured is a second meeting. How else is he going to get his jacket back?

And you know what the worst part is?

This is only the beginning.

This time after FILM395 ends lecture for the day, it’s your turn to catch Jungkook lounging around after class.

He’s lingering around the outside of the building, scrolling through his phone, a heavy leather jacket resting over a flannel that goes down to his knees and a baseball cap sitting firmly on his tuft of blonde hair. He’s obviously not paying attention to any of his surroundings whatsoever, because he doesn’t even notice you exiting out of the door he’s standing by until you say his name.

“Jungkook,” you say, arriving in front of him.

“Wha—oh, hi,” Jungkook says, jumping at the suddenness of it all.

“Here,” you say, holding out his oversized denim jacket in between the two of you. “Thanks for letting me borrow it.”

“Oh, I didn’t know you were going to give it back so soon,” Jungkook says, looking a little surprised and… is he touched?

“I was going to give it to you a couple days ago but I thought I should give it a wash first,” you admit to him.

Instinctively, Jungkook brings the jacket up to his nose to sniff it. “Smells like lavender.”

“Yeah, it’s my detergent. Hope you don’t mind. It’s a little wrinkled—I let it air dry since I was worried it might shrink in the dryer.”

“Thanks,” Jungkook says, a genuine smile lacing itself across his features. It’s not one you see too often, and definitely not the kind of smile he usually flashes in your direction. Those are all so obnoxious, so full of himself. This one’s different. It’s appreciative. Kinder. Softer. In a lot of ways. “I was thinking, if you don’t have class now, do you wanna grab some coffee?”

You narrow your eyes. “Only if you promise not to spill it on me this time.”

Jungkook laughs, throwing his head back. “Okay, I got it. I won’t spill it on you.”

“Promise?” You prompt.

“Promise.”

The walk to Starbucks this time is in relative silence, but neither of you seems to mind it very much. You aren’t dashing to catch up with each other and heaving snarky comments as you catch your breath. Jungkook even notices you shiver in the cool March breeze and wraps his jacket around you again anyway, although this time you make a mental note to make sure he doesn’t leave without it. Even though a lavender scent wafts off of the denim, it still smells a little bit like him. That boyish sort of aroma. You don’t think any detergent would ever be able to get rid of that.

You and Jungkook both get americanos again because you’re predictable and creatures of habit, and Jungkook actually seems to quite like them. He pays and you don’t spend two minutes standing in front of the barista fighting over it. Jungkook seems so determined to pay the extra four dollars for your drink that you aren’t sure if it’s really worth arguing over it for the sake of pride anymore. What you and Jungkook put into making this project a success is what you’re going to get out of it.

He picks one of the longer tables in the back of the study space, empty because it’s just after the lunchtime rush and most people have classes now, sets up the camera at one end, and you sit down at the other.

“So,” you begin, not sure where to start because your coffee is too hot to take a sip from it.

“So,” Jungkook echoes.

Silence.

You purse your lips in that awkward, I-don’t-know-what-to-say kind of way. “What do you want to do?”

Jungkook grins. “This is the part where we get to know each other.”

“We already know each other.” You frown.

“Do we?” Jungkook poses, an eyebrow raised. “I mean, yeah, I guess we aren’t strangers, but I don’t know anything about you. Other than you’re a film major in a rom-com class who hates rom-coms.”

“I don’t hate rom-coms,” you object. “I just think it’s important to look at them from a critical lens.”

“Okay, whatever,” Jungkook says, shrugging you off. “The point is that we don’t know anything else about each other. Like, what’s your favorite color, for example?”

“Purple.” It’s an easy answer. You wore purple princess dresses when you were five, painted your bedroom lilac when you were ten, and still make sure to keep a purple highlighter in your pencil case now. “What’s yours?”

“Red,” Jungkook responds.

“Cool,” you say, effectively ending the rest of the conversation.

Jungkook, sensing that same awkward silence, suggests something. “How about you ask me something now? We can go back and forth.”

You shrug. It’s not like you have anything better to do. “Alright.” You think for a moment, but then you have the perfect question. “Why film?”

Jungkook was clearly not expecting something so loaded, because his brows furrow, knitting themselves together as he begins to figure out a good enough answer. “Hmm,” he says, lost deep in thought. “I suppose the standard answer would be that I’ve always been interested in it, but I think I chose film because I want to be able to have the gift to tell other people’s stories. Being a filmmaker doesn’t just mean you stand behind a camera. It means you immerse yourself in the lives of other people to create something new. And… I don’t know. I guess I really like doing that.”

You nod.

For once, you understand him. Understand why he chose to major in film, why he chose to be in this tiny little program. Because there is so much out there, so much that you will never know, people you will never meet and things you will never see. And it’s a filmmaker’s job to make them turn into things you will see, people you will meet. Who knows the world better than the people who study it? The people who have devoted their lives to learning all its secrets?

“What about you?”

“Same as you,” you tell him. “Film is an art but it’s more than that to me. It’s a new way to look at the world. It’s several new ways to look at the world, depending on what kind of film you want to create and what kind of story you want to tell. I think it’s important to show people that all of the things they see in the media every day are not always reality. And that real people deserve to have their stories told, too. I don’t know. That’s what I think.”

Jungkook grins, a twinkle in his eyes. “Real people like us?”

“This project is different,” you insist.

“I don’t think it is,” Jungkook says. “You said it yourself, we’re making this because it’s important to show people that the Hollywood entertainment they consume is not reality. This is. This is reality.”

You frown, kicking yourself in the shin because what was supposed to be a harmless conversation has now turned into an opportunity for Jungkook to try and convince you that you will, in fact, fall in love with him. You’ve dug your own grave and Jungkook was the one who handed you the shovel.

“You’re not giving up, are you?” You say, shaking your head, flabbergasted. “Reality is the fact that this project is not going to make me fall in love with you. Nothing is.”

“Don’t be so sure about that,” Jungkook warns. “I’ve got a few tricks up my sleeve.”

“You mean like spilling burning hot coffee all over me?” You ask, an eyebrow raised, a grudge still held.

“We had to start somewhere,” Jungkook defends. “And you seemed to understand what I was doing pretty quickly.”

“It’s not the worst thing someone’s done to me,” you concede, only slightly. “Besides, I hate to be the bearer of bad news, but throwing hot coffee all over me is not really a good way to start off your plan to get me to fall in love with you.”

Jungkook smiles. “All in due time, Y/N. All in due time.”

“I can’t believe Pollack actually paired us up together,” you say with a sigh. “You know she did it on purpose.”

“Of course she did.” It’s not really a surprise to either of you.

“I met with her right after she announced our partners,” you tell him, “she said it was because she wanted to see what kind of project we would come up with. How we would address our… differing views on love.” That’s one way of putting it. A rather nice way, if you do say so yourself.

“Speaking of which,” Jungkook says, something suddenly flashing through his mind, “what do you really think about love? You know, other than it’s unrealistic and ruins people’s lives.”

“You make me sound like Ebeneezer Scrooge.” You frown at him.

“I’m serious,” insists Jungkook. “Why are you so pessimistic about it? Have you ever been in love? Have you had bad experiences? You couldn’t have just developed this worldview over time.”

You scowl, feeling yourself getting defensive. “Well, maybe I did. Maybe that’s just what I think. Why do you care?”

“Because people don’t just hate love for no reason,” Jungkook exclaims. “Come on, there must be something.”

Your body stiffens. Who is he to be asking you this sort of shit? Why does he care so much? It’s not like it will have any effect on the outcome of your project. Not like you explaining yourself will change the way either of you look at the world.

“What’s it to you?” You challenge. “Why do you love love so much? Have you ever fallen in love? Do you think it’s suddenly going to solve all of your problems?”

“I love it because I think it brings people real joy,” Jungkook answers simply. “It makes people happy and it’s beautiful. I love love and I’m not ashamed to say that out loud. I believe in it. I believe in love, and in destiny, and in soulmates. I want that. I think everyone deserves it.”

You scoff to yourself. “You believe in soulmates?”

“I think we all have our people out there.” Jungkook nods. “Don’t you?”

You roll your eyes, arms crossed over your chest. This conversation has gone nowhere, and Jungkook looks as equally dissatisfied as you do.

“I think love can make us do stupid things,” you tell him succinctly, if a little jaded. No need to say anything else. Your explanation is right there. “We’re just different, I guess. You and I.”

Jungkook blinks at you, eyes wide and a little desperate. Your conversation has remained stagnant and there’s almost nothing left to say.

Almost.

“Don’t you ever want to fall in love?” He asks, like it’s a last-ditch effort to get you to believe.

You freeze. Let the words sink in for a moment. Before you push them out the door and toss them into the garbage. Just thinking about it gives you a headache. Puts a sour taste in your mouth.

Quickly, you push yourself out of your chair and stand up, grabbing your coffee with one hand and your backpack with the other. “I have to go, sorry. I just remembered I’m meeting up with a friend to help her with a photography shoot,” you fumble out quickly, the legs of the chair screeching as you scoot them across the hardwood floor. “Oh, here’s your jacket, too. Thanks for giving it to me again. I’ll see you in class.”

You whip around and head towards the exit, and only when you’re outside of the Starbucks and passing by the window do you dare look back. Do you dare let your gaze drift back to Jungkook, who is sitting there like he still doesn’t understand you. Still can’t.

You and Jungkook are final project partners and maybe, if you’re pushing it, acquaintances-slash-friends. But there are just some things better kept to yourself.

We’re reaching the halfway point in this semester and, as you all know, I don’t do midterms. That said, I still want you to reflect on what you’ve learned, discovered, and thought about thus far in this class. What portrayal of love did you find the most realistic? The least? How have they changed the way you think about love, both from a personal and a film perspective?

Y/N Y/N on March 3rd at 6:08PM

Purely from a film perspective, I really did enjoy watching Juno. It was funny and raunchy and just the right amount of vulnerable. It certainly felt the most real. So far, no film in this class has topped it for me. 500 Days of Summer, on the other hand, was in my opinion extremely unsatisfying and left no positive impression. The ending was a bore and Tom had absolutely no spine. It was a shame, because the direction and production was actually quite good.

I guess I’m starting to realize how real love is not pretty. It can make people just as sad as it can make them happy. Why don’t we show the sad sides of love, too? The sides where your room is covered with a pile of clothes because you can’t bring yourself to do the laundry? Where you cannot cook a meal because it reminds you of a breakup? Rom-coms are, obviously, not the most realistic. But why are there not more films that do cover what’s real? How can we love love if all we know is a lie?

Jeon Jungkook on March 3rd at 11:13PM

Of course, I thought The Big Sick did an excellent job of their portrayal of love, adult life, and the problems that plague us all in the twenty-first century. It was also just as emotional and touched on concepts of race, illness, and being in your twenties and having no idea what direction your life is going in. The Princess Bride, on the other hand, as much as I love it, I do think created a more circumstantial kind of love. Westley and Buttercup mostly fall in love because of their situations. But it remains a classic nonetheless.

I’m satisfied with the way the film industry has produced rom-coms and handles love. The beauty of it is that love is different for every person who goes through it. It can bring the greatest joy and the most painful sorrow. We do not just figure out what love is by what we see on film. We see it in our real lives, in our parents, in our friends, in couples in coffee shops and cars and on sidewalks. We can love love because we want that joy for ourselves. Because we know that true love will be worth any heartbreak we endure. Is it not impossible for the portrayals of love in these rom-coms to not be real? The way everyone experiences it is different. The only way you can know what real love is, and what it is not, is if you fall in love yourself.

Early on in your project development, you and Jungkook exchanged class schedules to optimize your productivity and skip over that stupid, terrible part of partner projects where you’re just going back and forth trying to pick a time that works for the both of you until you eventually settle on something ridiculous like eleven o’clock at night outside of the McDonald’s two blocks off of campus.

It’s been working very well. Neither of you have adventurous-enough friends to invite you out on spontaneous picnics and restaurant dates that fuck with your pre-scheduled meeting times, and Jungkook already seems to have mastered the art of screaming your name when he catches you on the sidewalk so that you can film something.

In fact, you’re actually beginning to wonder why you haven’t done this with all of your long-term partner projects. Send each other your schedules so that you can settle on a time in advance. No muss, no fuss.

You and Jungkook are supposed to meet up again tonight, after the two of you are finished with all of your classes, to discuss what scenes you should be filming next. Edited down, you’ve already got about ten minutes worth of footage, but it’s mid-March and the project is due at the end of April. So you need to get this show on the road.

The door slams shut behind you as you exit the business building, your film industry class having just ended a minute ago. You’ve got an hour to kill before your next class, just enough time to dash to the food court in the center of campus and grab something from the Japanese place in the back corner. You might even have time to browse the shelves in the bookstore if you’re fast enough.

You round the corner to the main pathway through campus when a voice stops you in your tracks.

“You’re just too good to be true…”

“Can’t take my eyes off of you…”

It’s not Jungkook. Instead, in the middle of the walkway are the Eighth Notes, one of the fifteen-thousand (you don’t know for sure, but if you had to estimate) acapella groups on campus. They’ve got mic stands and a table set up and everything. Maybe they’re promoting an upcoming show…?

You almost breeze right by when one of them, the one in the middle of the group, points right at you, a lopsided grin lacing his features. You aren’t one to normally stop in the middle of a crowded footpath, but when, one after another, all six of the boys start pointing at you, you have no choice.

“You’d be like Heaven to touch…”

“I wanna hold you so much…”

“At long last, love has arrived…”

“And I thank God I’m alive…”

“You’re just too good to be true…”

“Can’t take my eyes off of you…”

Their voices are smooth like honey, warm and deep, romancing you through their mics as each one of them suddenly manifests a rose from behind them. Around you, people are starting to stare, gawking at you as they walk by. There’s even a small crowd starting to gather, and you swear you can see some people filming on their phones. The fact that this is happening in the busiest ten minutes of the day, as half the student body is walking from one class to another, isn’t helping. At all.

The rest of them singing in the background, each one steps out from behind the set of microphones to hand you the rose, smiling their classic, old-timey smiles like those old jazz singers from the 1960s, until you’ve got half a dozen in your hands as they continue to sing.

“But if you feel like I feel…”

“Please let me know that it’s real…”

“You’re just too good to be true…”

“Can’t take my eyes off of you…”

And then, suddenly, all of them are shutting their traps and turning to the left, looking down the pathway as the song begins again, but from one-hundred feet away.

“I love you, baby, and if it’s quite alright, I need you, baby, to warm the lonely night…”

Your mouth drops. At the other end of the walkway is Jungkook, one of those wireless microphones in his hand, grinning as he saunters down the path like a prince at a ball, voice sweet and thick as the words dance off of his lips.

“I love you, baby, trust in me when I say…”

Your eyes lock from opposite ends of the path, Jungkook stepping closer with every beat the Eighth Notes gives him. It sort of feels like your impending doom and a wedding proposal, all at once. By now a rather substantial audience has gathered, lining the walkway with their phones out, filming Jungkook as he waltzes past them, occasionally turning to capture your gobsmacked expression.

Every step that Jungkook takes makes your heart race something fierce, cheeks warming in embarrassment, trapped in your least favorite thing in the entire world: a public serenade. You can’t really do anything except look at him in shock, feeling his steady gaze resting firmly on your figure, looking right at you. Into you.

“Oh, pretty baby, don’t bring me down, I pray…”

Oh, pretty baby, now that I’ve found you, stay…”

Jungkook, on the other hand, is clearly relishing in this. In the spotlight. In the music. Or maybe just in the fact that you’re on the receiving end of his over-the-top advances. His grin is wide as he takes those last few steps, microphone gripped neatly in his hand, the lyrics warm and weighty as they tumble from his lips.

“And let me love you, baby…”

One final step and he’s right in front of you, staring into your eyes, letting himself bask in the look on your face. He produces a rose himself—cherry red, like his favorite color—and holds it out in between the two of you. In the background, the Eighth Notes go quiet, leaving Jungkook on his own for the final line.

“Let me love you…”

The words drift above your heads, disappearing into the sky as he lingers on them, on that last note, beaming down at you. He looks at you, so hopeful, so happy, so endeared, and what else can you do? What else, besides taking the rose from his hand and smiling back up at him? Who are you to deny him of that?

The crowd around you cheers when you do, applauding both Jungkook and the Eighth Notes, with whom he is apparently in cahoots, before they all decide that they ought to get on with their day and head to class. No doubt you’ll be on several dozen Instagram stories by nightfall.

Only after everyone has dispersed do you notice Taehyung, who must have been here since the beginning, because he’s just turning off the camera dangling from his neck. Of course Jungkook got him to film. Other than your project, what else would this be for?

“Is that the best you can do, Jungkook?” You smirk up at him, only saying this because you can’t have him knowing that you actually kind of enjoyed it.

“You’re still here, aren’t you?” Jungkook responds easily. “Thought I would do something spontaneous.”

“And now you’ve taken up ten minutes of my lunch,” you say, shaking your head to yourself. “How spontaneous, indeed.”

“How was that, Jungkook?”

Behind the two of you, the Eighth Notes are packing up, clearly more than happy to have aided Jungkook on his quest for so-called love and getting to promote their group in the process.

“Great, thank you so much, Jimin,” Jungkook says to the one in the middle, the very first one to sing when you walked out of the door.

“Anytime, dude. Glad we could help,” Jimin responds. He waves hi to Taehyung, too, as they store their microphones and go on their way.

Jungkook bids them goodbye as they head down the path, smiling at all of them before he turns back to you, notices the distant, faraway look in your eyes as you twirl the rose between your fingers, press it to your nose to pick up its scent.

“You gotta admit, I’m a pretty good singer, eh?” Jungkook says with a nudge to your shoulder.

“You’re alright.”

Jungkook laughs to himself. “I think that’s the nicest thing you’ve ever said to me.”

“Don’t get a big head,” you warn.

“Think I’ll have to sing for you more, now, hmm? Since you liked it so much?” He suggests, eyebrows wiggling.

You roll your eyes. “Only if you can get Jimin and the Eighth Notes to back you up, again. Then maybe I’ll allow it.”

Jungkook grins. He’s far past the point of being deterred by your deadpan comments. If anything, they only encourage him more. But you, for obvious reasons, cannot give in. At least, not yet, anyway.

“Okay, go eat your lunch,” he says, nodding as you begin to part ways. “I’ll text you later, okay?”

You smile. “Okay. See you.”

“See you, too.”

The moment you get back to your apartment you put all seven roses in an old vase filled with water. They brighten up your bedroom instantly, soft scent freshening up the air. And when you go to bed that night, it is to Jungkook’s sweet, delicate voice, like walking on clouds, like satin and silk, that you fall asleep.

“Good morning, Y/N,” Jungkook greets like always, smiling at you as you walk in the door for FILM395.

“Good morning, Jungkook,” you say in response.

Then, you take a seat right next to him.

It’s an act that clearly catches everyone off guard, if the bewildered looks of your fellow classmates and Jungkook’s confused expression are anything to go by. Even Pollack, when she walks through the door, gets a bit of a shock, eyes widening when she sees the two of you seated next to each other.

You suppose all the fuss is understandable. After all, you both sort of hate each other.

Other than the sudden change in seating arrangement, however, the rest of the class goes off without much issue. Pollack lectures for an hour before you move into discussion, at which point it becomes a class participation free-for-all, with you and Jungkook almost definitely in the lead. Just because you’re now sitting next to each other doesn’t mean either of you are suddenly going to stop raising your hands to rebuke each other’s points. Some things never change.

Sitting next to Jungkook is not as bad as you thought it would be. For one, he is, for the most part, a rather diligent student. Other than his occasional flicks to his email, an essay he’s working on, or your discussion board, he mostly sits and takes notes and doesn’t do anything else. That, you can at least give him credit for. And even though your elbows almost always nearly crash into each other’s when you’re raising your hands to respond to a point Pollack’s made, discussion isn’t so bad either.

One of the perks of sitting directly beside each other is that whenever he says something stupid, or saccharine, or just overly unrealistic, you don’t have to just roll your eyes from the back of the classroom while you wait to be called on. You also get to kick his foot with your own, nudge your elbow into his side. And he does the same to you. You and Jungkook are like those neighbors in sitcoms that spend all their free time shouting at each other from opposite windows. Just because your seats have gotten closer doesn’t mean your viewpoints have.

A notification pops up on your laptop.

[March 17th, 11:05AM]

Jungkook: wanna meet at the tables outside after class?

You look over at Jungkook with a frown.

You: Why are you texting me? We’re sitting right next to each other

Jungkook: because we’re in class obvs Jungkook: dont wanna be disruptive

You: Since when has that ever stopped you before?

Jungkook: haha very funny Jungkook: tables sound good?

You: Only since you asked so nicely :)

Jungkook: thoughtful as always i see

After class, you and Jungkook both hang around, waiting for each other to pack up your belongings so you can walk to the tables together. Everyone else seems to sense this weird, uncomfortable tension in the room, because they all book it out of the door much faster than either of you do. You’re almost convinced Jungkook purposely takes extra time to zip his backpack, just because.

The tables are, as per usual, empty. But you don’t have a pile of receipts to spread out, this time. You and Jungkook take a seat at one of them as you pull out your laptops, ready to outline the rest of the project.

“We should probably meet with Taehyung a couple more times, too,” you suggest as you begin to brainstorm.

“Sounds good,” Jungkook agrees. “But we can’t meet at night on weekdays anymore. My dance group’s show is coming up and we have practice then.”

You stop typing and turn to him. “I didn’t know you were in a dance group.”

Jungkook shrugs, like it’s no big deal. “I don’t really talk about it that much.”

“You should.”

He looks up at you at that, eyes wide as he faces you.

“I don’t know, it seems like something you should be passionate about,” you say. In the same way that you promote the Film Club to every freshman you know, force all your friends to mark that they’re Interested in your event pages on Facebook. Jungkook should want to tell everyone about his dance group. Doesn’t he love it? Isn’t he proud to be in it?

Jungkook doesn’t look like he knows what to say to that. So he doesn’t say anything at all.

“We can meet on weekends too,” you say, adjusting to his new change of schedule easily. “This project isn’t as all-consuming as I thought it would be.”

“You mean I’m not as all-consuming as you thought I would be,” Jungkook corrects.

You shake your head. “No, you are.” He laughs. “But yeah, on weekends is fine. You know my schedule. What else should we do, besides talk to Taehyung?”

It’s like a lightbulb goes off above Jungkook’s head. “Let’s go on a date.”

You narrow your eyes at him. “No.”

“What do you mean, “no”? It’s the natural progression of our relationship! It’s the next step in the rom-com! We have to,” Jungkook insists.

“First of all, it’s a mockumentary, not a rom-com,” you say with a sigh, finding yourself having to correct him rather frequently. “Secondly, we are not in a relationship. I am not dating you and you are not dating me.”

“Okay, but at this point in rom-coms the two leads would definitely go on a date,” Jungkook says, punctuating every word for emphasis. “What’s the harm? It’s not like you’re committing yourself to a future with me.”

“Thank God,” you mutter.

“Oh, shut up. You probably haven’t been on a date in years, anyway. Why not spend a night out?”

You frown at that. “Who cares if I have or have not been on a date?” Why does Jungkook care so much about the history of your love life? He’s always saying stuff like this, always telling you things as if you’ve never been in a relationship at all, don’t know left from right, black from white. Who is he to be making those assumptions?

“Please, Y/N,” Jungkook begs, looking desperate. “Just one evening. And then if it really goes terribly and you end up hating me again, then we don’t have to do another one.”

You sigh, shoulders slumping. Well, what else are you going to do? You don’t have any other ideas. And you’ve already spent so much time with Jungkook this semester, what’s another evening? Just something else to cross off of your list of things to film. Maybe you can get him to take a cute photo of you to post on social media.

“Fine,” you concede. “One date. And I still hate you, by the way.”

Jungkook clearly does not believe you. “Really? You still hate me? I’m sure you do.”

“Okay, I don’t hate you. But still,” you relent again. Perhaps you’re just being oddly soft today. Too lenient for your own good.

Jungkook grins, cheeks little round circles as his lips curve up. “I know you like me. You just can’t admit it to yourself, can you? Can’t take that blow to your dignity.”

“Don’t think so highly of yourself,” you chide.

“Who knows?” Jungkook tacks on, just to be extra annoying. “Maybe you’re actually starting to fall in love with me.”

You scoff. “You wish.”

“Well, are you?”

Jungkook doesn’t ask the question the same way he’s asked all of the other ones. Doesn’t say it with a shit-eating grin on his face or that glint in his eyes. He’s asking because he’s curious. Curious if what he’s been doing has been working. Curious if this project is really accomplishing anything at all.

Funnily enough, you find yourself wondering the exact same thing.

Silent, you pausing for a moment to think, chewing on the inside of your lip. Jungkook’s looking back at you, lips curled upwards as he waits for a response. Ugh, you’ll just have to give it up. What else can you say? “I guess…” you begin, hesitating.

You aren’t sure why you’re so scared to respond. Maybe you’re just worried that things will change if you say something. If you tell him the truth.

But it’s just Jungkook. He’s sitting in front of you patiently, waiting for your answer. What could happen?

You confess. “I guess you’re not so bad after all.”

Even though this is not the first time you’ve ever been out on a “date” (you’re using that word tentatively), picking out what to wear isn’t any easier than the last time.

“Is black too, you know, sexy?”

Ruby shrugs on the other end of the video call. Her phone is propped up on her desk as she works on something on her laptop, glancing over every now and then whenever you prompt her to respond. “Well, that depends. Do you wanna fuck?”

“No.”

“Then it might be too sexy,” Ruby says easily. “What are you even doing? I thought you didn’t go out on dates.”

“It’s not a date,” you insist, although you’re not exactly sure which of the two of you you’re trying to convince.

“You’re asking me what kind of sexy dress to wear for a night out with a guy. It’s a date,” Ruby reminds you, economical as always. “Who are you even going out with, anyway? You just called and asked me to pick between two dresses I have literally never seen you wear before.”

“That’s because I don’t go out on dates, which this is not,” you tell her, even expending the energy to stare into the camera to hammer your point home. “And it’s with Jungkook.”

Ruby shuts her laptop at that. You can hear the sound of her keyboard clacking as the lid hits them. “I’m sorry, what?”

“Do I need to remind you that this is not a date and therefore, you don’t need to be acting like I just told you I’m getting married.” You frown at her. “It’s just for our movie. Jungkook wants me to dress nicely, though.”

“Wear that nice summer dress you have,” Ruby instructs instead, shooing away the two much sexier options you’re currently holding in your hands. “Just put tights on underneath if you’re cold.”

“This one?” You ask, shuffling through your closet until you produce the gingham dress, plaid a pale yellow that matches gold jewelry rather well.

“Yes, that one. I like that one,” Ruby says with a nod. “You look good in it.”

“I don’t know, I feel like it’s not appropriate.” You hesitate. It’s a cute dress, sure, but it seems too… casual. Too everyday. Jungkook’s taking you out to dinner, and no doubt he’s got something else planned for the rest of the evening.

“I mean, you did say you had no plans on fucking him tonight,” Ruby reminds you coarsely.

“I have no plans on fucking him at all,” you reiterate. “This is not a date. It is for our movie.”

“Yeah, yeah.” Ruby brushes you off with a wave of her hand. “Wear whatever you want, but I like your yellow dress the most. It looks really nice on you. And if it’s not a date, then neither you nor Jungkook should care.”

“Ruby—”

“I gotta go. Enjoy your not-date!”

She hangs up.

You end up wearing the yellow dress. Jungkook knocks on your apartment door just as you’re closing the clasp to your necklace, a gold choker your mother had gifted you for a birthday a couple of years ago. It’s nothing much. You grab a jacket on your way to answer the door, wrapping it around your figure as you twist the knob.

On the other side is Jungkook, all decked out in black jeans and a clean-cut leather jacket, the black ensemble striking against his warm-toned skin and bleached, blonde hair. You hate to admit it, but he actually does look rather good. For Jeon Jungkook.

“Hi—whoa,” Jungkook says, doing a little whistle when he sees you, eyes bulging out of their sockets.

You chuckle. “‘Whoa’ yourself.”

“You, uh…” Jungkook stammers slightly, a hand coming up to rub at the nape of his neck. The movement lifts his arm up just enough for you to see the line of his waist, the seamlessness of his body. He’s always been rather fit. “You look nice.”

“Don’t sound so surprised,” you chide, stepping outside and pulling the door shut behind you. “You don’t look half bad yourself.”

“Cleaned up just for you.” He grins.

You press a hand to your heart dramatically. “I’m touched.” You begin walking down the hallway of your small apartment building, feeling your hands brushing by your sides due to how skinny the corridor is. At least, that’s what you assume.

“Where are we going?” You ask as Jungkook opens the door to the passenger side of his car for you.

He winks, that same gleam in his eye. He grins something wicked. “Don’t you remember?” He asks. “It’s a secret.”

The secret turns out to be a small Italian restaurant on an off-road in the center of town, a family joint with those plaid red tablecloths and dark wooden chairs. You’d never heard of the place before tonight, but Jungkook insists that it’s delicious and says it has a four-and-a-half star rating on Yelp, which is obviously gospel when it comes to restaurants. It’s so empty that he even has room to prop up the camera a couple of tables away to get that wide-angle shot of the both of you, two souls in a tiny little restaurant, enjoying a night out on the town. You’re sure that by the time production and post-production rolls around you’ll edit out most of your dialogue, but you like the idea of keeping in snippets of the audio, overlaying the scene with a soft instrumental.

From a director’s point of view, of course. No other reason to romanticize your night with him.

It’s nice. Objectively, it’s definitely one of the more exciting things you’ve done in a while, even if it’s just a dinner out in town, away from campus. It’s new. Adventurous. Jungkook convinces you to try his vodka shrimp linguine and you offer up some of your truffle-flavored gnocchi, which he devours happily. One thing you do learn is that no matter how much time passes, no matter how much food is on his plate, Jungkook eats and eats and eats. He never seems to fill up. This is one of those restaurants that pile your bowls high with pasta, give you at least three servings, send you home with to-go packages that will last you for days, and he still somehow manages to eat every last bite. He even has some of your leftovers.

Jungkook pays because he insists and says that you shouldn’t fight on camera, which you have no choice but to agree to. However, you do look him up on Venmo and send him twenty dollars to cover your half of the bill, because the idea of him paying for you doesn’t sit right with you. It was fine with the coffee, a small token of repayment after spilling it all over you, but dinner just feels like too much. Like he’s carrying most of the weight and you aren’t shouldering enough. Like he’s putting in all of the effort and you are just bandwagoning off of him.

And partnerships aren’t supposed to be like that. Jungkook isn’t supposed to do all of the work. You aren’t supposed to do nothing. You and Jungkook may not agree on much but you both know that you are equals. That what you put in is what you get out.

It’s a lesson you think you learned too late, but you won’t make those mistakes again. You’ll get it right this time.

“That was nice,” Jungkook says after the dinner. You’re walking through the park just across the street now, the sun having set and the streetlamps illuminating your path. The city has strung up lights along the trees, draped them over the branches like stars, like snowflakes. It’s picturesque.

“Yeah.” You nod. “Thanks for taking me.”

“Thanks for coming.”

“How did you discover that place?” You ask, just out of curiosity. It’s not exactly the kind of restaurant that would be front and center on Google.

“I went out on a date in freshman year there,” Jungkook admits, lips pursed awkwardly. “Yeah.”

“Did it at least go well?” You ask, trying to be hopeful.

“If it did, do you think I’d still be here doing this with you?” Jungkook poses, an eyebrow raised.

You chuckle to yourself. “You don’t mean that. I’m sure you’ll find your person.”

“You actually believe in that stuff now?” Jungkook asks you, skeptical.

“I don’t know,” you say, shrugging your shoulders. “You do. I don’t wanna ruin it for you. Your person’s out there somewhere.”

“How do you know I haven’t already found my person?”

You stop in the middle of the path, feet coming to a halt on the pavement. Jungkook looks at you and you look back at him, letting his question sink into your skin, etch itself into your thoughts. He’s asking you because he wants to know. He looks so genuine, so patient, like he’s trying to find an answer somewhere in your eyes but you can’t give him one.

“Wouldn’t you be able to tell when you did?”

Jungkook sighs. “I don’t know if it always works like that.”

You smile, soft and small. Musing, you say, “well, when you figure it out, let me know.”

“Do you think you’ve found your person?” Jungkook asks you.

“You know I don’t think about love like that,” you remind him.

“Well, how do you think about it?”

You gaze up at him once more, that same soft smile playing on your lips. Who is he to be asking you these questions, you wonder to yourself. What would the point be in answering him? It’s better if you just both moved on. Especially since stuff like this has no relevance to your project.

“I don’t really think about love at all,” you say curtly.

“I wish you did,” admits Jungkook.

The look in your eyes is distant. “Yeah.” You wish you did, too.

“How about we do a couple of quick shots, right here?” Jungkook suggests, pulling out the camera. “Just here, the lighting’s nice.” He jogs back a couple of feet, lining himself up with where you stand, kneeling on the pavement with the camera held up to his eye.

“What do you want me to do?” You call to him, feeling like a fish out of water in front of the lens, thumbs twiddling.

“Just smile,” Jungkook requests simply. “Say hi to me.”

Sounds easy enough. Under the twinkling lights of the trees, in the haze of their warm yellow glow, you wave to Jungkook, smiling happily. You aren’t exactly sure what the purpose of these shots are, but you suppose you could always use some artistic frames in your movie. Grinning, you keep your eyes trained on him, on the way you can see him smiling back at you even from behind the camera. His eyes are covered, you can’t see those, but you hope they’re smiling too.

“Okay, my turn,” you say when a little too much time has passed, when it’s just past the point of filming for the sake of a movie and more for the sake of something else. “Get over here.”

“Me?”

“Yes, you idiot.” You scurry over to Jungkook, taking the camera from his hands and pushing in in the general direction of where you were just standing. Situating yourself, you kneel right where Jungkook was, bringing the camera to your eyes.

Through the lens, you can see the entire width of the pathway, the grass that borders it, the lights decorating the branches of the trees, and Jungkook, front and center. He looks like he has no idea what he’s doing there, waiting awkwardly as he gazes around, eyes drifting everywhere but exactly where you need them: you. He looks good like this, looks much taller, much more romantic. Like a real movie star. Like a model. His clothes make him blend in with the darkness of the night but his eyes are still shimmering, golden flecks twinkling, even from all the way over here.

You have to admit it. He’s beautiful.

“Smile,” you say, pressing film.

Jungkook grins your way.

Afterwards, you give him his camera back and continue walking, turning the corner as you reach the edge of the park, ready to circle around the perimeter.

“How about we hold hands, too?”

“Excuse you?” You say, an eyebrow raised.

“Come on, just for a second,” Jungkook pleads. “For the artistry. I’ll film us holding hands like all those Los Angeles boys do in YouTube vlogs.”

You look at him suspiciously. Is he sure it’s just for the artistry? “What a great example.”

“Please? Promise I always put hand cream on,” Jungkook asks, bottom lip turned outwards.

It’s getting harder and harder to say no to him.

“Fine,” you cave rather easily this time around. “Just for a minute.”

“Excellent.”

Jungkook lifts the camera up to his eye with his right hand as he holds out his left, palm facing the sky as he waits for you to rest your own in his. You narrow your eyes to the camera before your gaze drifts downwards to his open hand, almost like you’re afraid it’s going to jump out and bite at you if you get any closer. But it won’t, because it’s a hand. And it won’t, because it’s just Jungkook.

The first thing you realize when your fingers intertwine with his is how big his hands are. They are massive. His left one dwarfs your own, wrapping around it securely, enveloping it like a king-sized comforter. The second thing you realize is how soft they are (he must not have been lying about the hand cream). The third thing you realize is the way they send sparks up and down your body, send tingles through your skin, shocks through your veins. You seize up a little bit at the feeling before your body finds it in itself to relax, letting the sensation wash over you like a wave from the ocean.

It’s new.

It’s strange.

You haven’t felt that way in a long time. Felt those sparks, those jolts of energy. Like lightning has struck.

Jungkook moves so that your hands are held out in front of you, making sure to adjust the lens just so he can get the exact right angle, but all you can focus on is the way your fingers interlock, the way your hand settles into his.

You wonder what that means.

The moment Jungkook lowers the camera you pull your hand away, overwhelmed and scared and shocked all at once. Like you’re afraid that if you reach out to him again, your whole body will freeze in place, shake like the wind.

Jungkook looks at you, concern lacing his features. “You alright?” He asks, genuine and worried.

You shake your head, willing those thoughts away. “I’m fine, I’m fine. You get the shot?”

“Yeah, I did,” Jungkook says.

“And how do they look?” You ask because you can’t help yourself. Because you just have to know.

Jungkook pauses, not sure how to respond. He chews on his lips like he’s running through all the possible answers, trying to figure out which one is right. You almost think he’s not going to reply at all, but then he smiles, and he says this:

“Magical.”

It feels weird for you to be arriving at Kim Taehyung’s door without Jungkook by your side. Doesn’t sit right in your stomach.

Of course, Taehyung is as hospitable as always, welcoming you inside with his signature warm grin as he sets up the bar stools by the bedsheet, which you assume he will just not take down until your project’s over. Hopefully he’s getting use out of it otherwise, shooting nudes or whatever it is he said he would do.

“Thanks for having me,” you say, resting your backpack against the foot of his couch as you set up the tripod, arranging it in just the right spot. It’s not Jungkook’s fancy camera that you’ve got with you, just your own from a couple years ago, but it’ll get the job done. You couldn’t ask Jungkook to borrow his, anyway. You’d pass away before he found out you did this.

“We might not use this footage,” you warn in advance. “I just figured it’s safer to film everything just in case.”

“Why wouldn’t you use it?” Taehyung asks, genuinely curious.

“Because I don’t know if this conversation will really have a point,” you say nervously, fingers fidgeting with the settings until everything’s just right.

“I’m sure it’ll be important,” Taehyung assures you. You’re not so confident. “Ready to get started?”

“Yes, everything’s all set up,” you say, concentrating on your breathing as you make your way to the stool. Inhale, exhale. Inhale, exhale. Why are you so worried?

“So, Y/N, how are you feeling right now?” Taehyung begins.

You sigh. “Confused.”

“And why is that?”

“I… I don’t really know what direction I’m going in anymore for this project,” you say, letting yourself be candid and honest because it’s just Taehyung, and because you may not even use this footage, and because Jungkook’s not here. He doesn’t know you’ve asked Taehyung to do this for you. He doesn’t need to.

“And is this because of Jungkook?”

“Yes.” Another easy answer.

“How are you feeling about him?”

“I’m…” you don’t know where to begin. “I’m not sure. I just know that something’s changed.”

“Your feelings have changed?” Taehyung isn’t reacting, just asking questions in response to your answers and pretending that everything is normal, that this is just another interview.

“I guess they have,” you admit. Even just saying that feels like a weight off your chest. A small one, five pounds out of a thousand. But it’s a difference. “I… don’t really know how I feel about him anymore.”

“In a good or bad way?”

Taehyung told you he would ask tough questions, but you don’t know if you can answer these anymore.

“I don’t know,” you say, feeling yourself growing desperate with impatience. “I don’t feel the same things about him that I used to. He’s different to me now.”

“Do you think he’s changed?”

“Something has.”

“Have you considered the possibility that maybe you’ve changed, too?”

You frown, caught off-guard by his question. No, you haven’t. You haven’t thought about that at all. Why would you? Your stance is the same. Your opinions on love haven’t changed. And neither have your convictions about this project, about the way it will end.

“No,” you say, nose scrunched up.

“Well, I’m no expert, but I think there might be something between the two of you that wasn’t there before,” Taehyung says, nodding. “I think that the ways the two of you have changed have brought you together.”

“I don’t know about that…” You trail off. You can feel yourself growing hesitant again, pulling back from saying too much because you’ve never been a very good speaker. Because you’ve always preferred being behind the camera to being in front of it.

“Don’t you think you should tell him how you feel?”

You scoff. At least that’s got an easy answer. A no-brainer. “No,” you say matter-of-factly, obvious because it is, stern because telling him was never an option anyway. Why else does Taehyung think you’re here without him? “Jungkook said he would get me to fall in love with him and I told him I would never. How could I ever let him think he was actually winning?”

Taehyung sighs.

You haven’t seen Jungkook since your class on Wednesday. Granted, it’s only Saturday, but it feels like it’s been a weirdly long time. Like you’re so used to him barging into your life on the daily that there’s something off about even going three days without seeing him. Maybe it’s just because you’re nearing the beginning of April and your project is finally picking up steam. Between the two of you, you almost definitely have more than two hour’s worth of footage, but the hard part will be paring it down and turning it into a forty-five minute documentary. No doubt you and Jungkook will be spending a lot of time together the week before it’s due.

Just out of curiosity, you text him. Because you have no idea what he’s been getting up to.

[March 28th, 1:05PM]

You: Hey, do you think we need to get together sometime this weekend?

Jungkook: i don’t think i can Jungkook: it’s my dance group’s show this weekend

You: Really? You: You didn’t tell me

Jungkook: been too busy

You: What time is your show tonight?

Jungkook: 7pm

You: Sounds good, I’ll be there

Jungkook: oh Jungkook: you don’t have to

You: I want to You: I’ll see you there!

That night, you drop by the grocery store beforehand to pick up a bouquet of flowers. You haven’t been a performing arts show for years now, especially not one where you actually know the people performing, but flowers are customary. Or so you’ve heard.

You don’t know a single soul who has plans on seeing Jungkook’s dance group either, but the theater is a ten-minute walk away from campus and you’re happy to make the trek alone, especially because you know you’ll find someone you know soon enough. Sometimes it’s nice to walk by yourself, letting the streetlamps above your head illuminate your path, a faceless figure passing by others. It brings peace. And it gives you time to sift through your thoughts, organize them into neat little piles and brush away all of the dust.

Admittedly, you are not much of a connoisseur of the performing arts. You aren’t even much of a consumer. In another universe, under different circumstances, you wouldn’t blink twice if you heard that one of the dance groups on campus was having their show. But this is not another universe, and these are not different circumstances.

Jungkook will be there. He is taking something he’s worked tirelessly on and presenting it to the world. Now that you think about it, it’s actually a lot like film. And if Jungkook has devoted so much time, put so much energy into this performance, what kind of person would you be if you didn’t go and watch his creation?

You pick a seat in the far back corner, the venue so cozy that even despite being the furthest away you’ve still got an excellent view, sit down, and wait for it to begin.

[March 28th, 6:58PM]

Jungkook: hey are you here?

You: I guess you’ll just have to wait and see, won’t you?

Jungkook: always such a tease

You roll your eyes at that, turning your phone off and stowing it away in your pocket. Two minutes later, the lights dim.

The moment Jungkook steps out onto the stage, you recognize him instantly. He’s wearing all black again, but it’s not the same skinny jeans and leather jacket he had on when he took you out to dinner. It’s a loose long-sleeved shirt and sweatpants that hang low on his hips, highlighting the blondeness of his hair, the red in his lips. He’s one of at least a dozen people on stage but he’s the only one you focus on, the only one who your eyes follow. Booming throughout the theater is a Drake song, the beat thick and low, but it’s background noise when compared to the way he moves, the way he twists and turns his body on stage, angles sharp and crisp.

The whole song goes by so quickly that by the time you find it in yourself to blink the stage is already darkening as they move onto the next song, switching out the performers and changing the spotlight colors to a sultry red. Jungkook disappears for this one, vanishing behind the curtains and forcing you to pay attention to the performance as a whole instead of just him. But you have to hand it to his group: they’re excellent. You’ve been missing out.

Jungkook returns with the next song, having had just enough time to change into an all-white ensemble. He’s easy to spot even with that ridiculous bucket hat on, blonde hair bouncing with every step he takes, every jerk of his body. You can see it all the way from where you sit, see the way he loses himself in the music, lets the rhythm radiate through his blood, lets his heart match the beat that booms through the speakers. This, all of it, the music, the dancing, the energy—it’s all his. It belongs to him. Jungkook may love film but he is passionate about this. It is something that must bring him all the joy in the world.

The next hour and a half goes by quickly, the songs jumping from one to another to another, Jungkook dashing on and off stage, each time returning in a different getup than the one prior. Makes you wonder just how many clothes he has. But before you know it the final song is playing and every one, every single member is on stage, jumping and cheering and celebrating a job well done. And they should, because they deserve to.

When the lights in the theater come on, nobody leaves. Instead, everyone rushes towards the stage to say hello to everybody, congratulate them on their performance and take pictures with their friends. That’s why everyone else is here, isn’t it? Because the people they care about performed tonight.

Isn’t that why you’re here, too?

Jungkook has plenty of other friends already wrapping their arms around him, giving him high-fives and pats on the back, but you’ve got a bouquet of assorted flowers in your hands and you have no plans on bringing them home. So you squeeze your way through the crowd, push yourself in between bodies, and you shout,

“Jungkook!”

Jungkook looks up instantly at the call of his name, the round shape of his lips curving upwards into a smile when he sees you.

“Hey, you made it!” He exclaims happily. He’s so pumped on the adrenaline that he pulls you into a hug without either of you even realizing it, wrapping his arms around your torso and squeezing you tight for a few moments before the two of you remember just exactly who you both are. Quickly, you pull away, chuckling awkwardly. Jungkook scratches at the back of his head. “Thanks for, uh—thanks for coming.”

“Of course,” you say happily. “You were amazing.”

“What can I say, I’m a man of many talents,” Jungkook schmoozes, annoying as always.

You scoff slightly. “Don’t get ahead of yourself. Here, I brought this for you. It’s traditional, right?” You hold out the bouquet in front of you, pink plastic wrapping crunched up from where your fingers gripped the stems.

“Wow, thank you,” Jungkook says, in awe as he takes the flowers from you, pressing his face into the petals instinctively. “No one’s ever gotten me flowers before.”

“Really?” You say, genuinely surprised at his admission. He’s never been given flowers before? Not even for a performance? You didn’t know that, either. “Then I’m glad to be the first.”

“You know you didn’t have to do that,” Jungkook says, though he looks grateful nonetheless.

You shrug, acting casual. “Aren’t we supposed to be falling in love, or something?”

He grins.

“Did you guys film this? Maybe we could incorporate it into the movie,” you suggest, thinking it might be interesting to add in glimpses into your normal lives, into the things you do when you aren’t trying to one-up each other.

Jungkook shakes his head. “We did, but I don’t think we need to add it in.”

“Why not?” It seems like a perfect addition.

Jungkook pulls out a single flower from the bouquet, a pale yellow daisy, and hands it to you. You smile your thanks, twirling the stem in between your fingers.

“I don’t know,” he says, looking oddly soft, cheeks turning cherry red. He looks at you and it makes your heart flutter, quickens the drum of your chest. “I just think I’d like to keep this moment to ourselves.”

You suppose he’s got a point. You don’t think you’ll forget this night, either.

The bouquet you gave him sits on Jeon Jungkook’s bedroom windowsill, bathing in the afternoon sun. Taehyung gave him some plant food the morning after you came to his performance, a little bottle that he can spritz into the water whenever the flowers look a little droopy. Jungkook adds some every day, determined to keep them alive for as long as possible. He also makes sure he’s got a rather heavy book or two, something he can use to press one of them when they’ve all shriveled up.

It was really nice of you to come to his show, he thinks to himself. Jungkook can’t remember the last time someone outside of his group of close friends went to see him perform, not any of his past dates or even that one girl he was seeing semi-seriously for a couple months last year until she told him she wasn’t interested in him anymore. You’re the first one who’s made the effort, who’s told him that you would come and kept that promise. The flowers are just a happy reminder.

As a celebration for completing their last show, Jungkook and some of the other juniors in his dance crew decide to go out the following weekend, determined to waste away their Saturday nights at a bar just off of campus where they can take as many shots of as many different types of alcohols as they want. The place even has soju, which makes Jungkook’s heart happy.

Despite the temptation to drink until his brain is empty, however, Jungkook holds off. He’s got a lot of work tomorrow, most of it consisting of editing the footage you have for the project, and doesn’t really feel like staring at a computer for eight hours straight with a headache. So he limits himself. For the most part.

“Who was that girl that came to the show?” One of his friends, Andrew, asks as he downs another shot of what is undoubtedly vodka, if the smell is anything to go by. “With the flowers?”

“Is she your girlfriend?” Jesse pipes up, red in the face from the alcohol in his system. He’s always been one to turn into a tomato after drinking.

Jungkook chuckles awkwardly, shaking his head when the bartender offers him another shot glass full of soju. “No,” he says, forcing a laugh. “Just a friend.”

“I don’t know, you guys looked pretty close to me,” Andrew points out, like it wasn’t already obvious enough that Jungkook is head over heels for you.

“She and I are working on a film project together,” Jungkook explains, though that does absolutely nothing to convince his friends of your completely platonic relationship.

“Sounds fun,” Jesse says, swallowing another shot and wincing. “It was nice of her to bring you flowers. My girlfriend didn’t do that.”

“Shut up, your girlfriend is studying abroad in Paris right now,” Andrew says, giving Jesse a good-natured shove. “I’m gonna tell her you said that.”

“What, please don’t—”

“She’s not my girlfriend, guys,” Jungkook repeats himself, feeling his cheeks heat up the longer the conversation drags on. He chalks it up to the soju in his system and the fact that it feels like a sauna in here. “Seriously, we’re just friends. People can be friends and bring each other flowers.”

Jesse pumps his fist in the air. “Yeah!” He rounds on Andrew. “Where are my flowers, hey Andrew?”

The two of them start bickering as Jungkook laughs, shaking his head fondly. At least he’s not drunk, so he can remember nights like these, ones where he’s drinking with his stupid idiot friends, celebrating a show well done.

Jungkook stays at the bar until eleven that night before he makes the executive decision to go home and sleep, because as much as he would like to party until three in the morning, he’s got a pile of work that’s telling him to be a real adult. So he bids his friends goodbye and begins to make the trek back to his apartment, passing by the row of frat houses on his way.

Even though he’s out on the sidewalk, Jungkook can feel the ground rumble from the music, every frat on the block joining together to make some booming, bass monster. From here he can see the flashing blue and purple lights in the windows, see the brothers standing on the steps of each house and turning away whoever they deem unfit to enter.

In a weird way, it makes Jungkook nostalgic. Reminiscent of when he was a freshman, when he would group up with all of the people in his hall and parade around the frat row on Saturday nights like they owned the place, getting drunk on shitty tequila and jumping until they sweat out their body fluids. He remembers those nights in flashes, bits and pieces that make up his memory of freshman year as a whole. Remembers kissing other girls, other girls kissing him. Remembers the way he would lock lips with them for a second and then forget about it by the next day.

Jungkook wonders why he ever thought he would meet his soulmate at a frat party.

He’s just passing the last frat house now, nodding to the guy on the step when they accidentally meet eyes, when he hears you call his name.

“Jungkook!”

He whips around to see you on the other side of the road, waving at him excitedly while your friends all laugh, sending smiles Jungkook’s way.

Jungkook isn’t exactly sure what the protocol is for a scenario like this, so he does what he thinks is right and waves back.

“Come over here!” You shout at him, loosely gesturing for him to join your group. Jungkook is hesitant, not sure if that’s necessarily the best course of action because even from here he can tell that you’re drunk, leaning over to one side and giggling at nothing. But even if he isn’t sure what will happen he can’t help but fall into the way you’re beaming at him, waving excitedly because you saw him on the street and you wanted to say hello.

He’s never been able to resist you.

“Hey, what are you doing out here?” He says as he jogs over, greeting the rest of your friends with a patient smile.

“Went out with my friends,” you say. Jungkook can smell the alcohol on your lips. “And then I saw you, which made me happy!”

You stumble over nothing, shoes skipping as they drag along the pavement, and before any of your friends can react Jungkook is reaching his arms out, catching you before you fall flat on your face. Your hands press against his torso as he lifts you back to your feet, and all Jungkook can do is pray that you can’t hear the way his heart races, beat drumming in his ears. You giggle in his hold, disoriented but not at all uneasy, looking up at him as your eyes sparkle in the glow of the streetlamps.

“Thanks,” you manage to cough out.

“Sure,” Jungkook says, breathless. He stands you up and tries to let you go, but you keep your hands tight around his wrists. “I think we need to get you home.”

“Can you come with me?” You ask innocently, eyes wide.

“Y/N…” One of your friends says, voice hesitant. She places a hand on your shoulder, looking concerned. Jungkook doesn’t take any offense to it, he doesn’t know your friends well and imagines that they would much prefer being the ones to drop you back at your place.

You shrug her off. “No, it’s okay, Ruby,” you assure your friend, hand inching down Jungkook’s wrist until it rests firmly within his palm. “I’ll go with him.”

Ruby eyes Jungkook suspiciously and her gaze is so intense that it actually makes him doubt his ability to walk you home for a moment. But you seem intent on walking with him, and the sooner you go home the better, so Ruby relents and lifts her hand from your shoulder. “Alright, if you want to.” She keeps her eyes trained on Jungkook. “Text me when you’re back.”

“I will, I will,” you say, brushing her off and waving her away. “Let’s go, Jungkook. I’m sleepy.”

“Okay, come on,” he says. You smile happily at your friends as you say goodbye, cheerful and drunk and tired, all at once, and you begin to walk towards your apartment.

“I’m glad you’re here,” you tell him, positively filter-less.

“I’m glad I’m here, too,” Jungkook assures you. “What did you have to drink tonight?”

“Not sure,” you admit happily. “Just a lot.”

“I can tell.” Jungkook nods. “Were you at a frat party?”

“Several,” you correct him. “They weren’t that fun but at least the drinks were free.”

“Why were you at a frat party if you don’t like them?” Jungkook asks you, nose scrunched up. You certainly aren’t the kind of person to hide your distaste for things. That is something that Jungkook is intimately familiar with.

You shrug. “It’s the cheapest place to get drunk.”

“Why did you want to get drunk?” This is seeming more and more out-of-character for you. Going to a place you despise, taking shots until you can’t walk straight, meandering around campus with Jungkook. All of these are things Jungkook could never in a million years picture you doing out of free will.

Well, all of them except maybe the last one. You did come to his dance show, after all.

You sigh. It’s thick and heavy and Jungkook has a feeling you won’t want to divulge any more. “I just wanted to forget.”

But the curiosity is eating at him.

“Forget what?”

Your grip on his hand tightens. Jungkook fully expects you to dodge the question like you’ve dodged all of the ones prior, say something else to change the topic so you can sweep this discussion under the rug like all of the other ones you’ve had. But you don’t.

Instead, you say, “You wanna know why I don’t love love the way you do?”

“You don’t have to tell me,” Jungkook quickly assures you.

“I had better options than this place,” you say, voice hollow and empty. “There were better universities that accepted me. Ones with higher-ranked film programs and bigger scholarships. I could have gone to any one of them and been just as happy. Maybe more.”

“But you didn’t,” Jungkook clarifies.

“My ex-boyfriend goes to school ten minutes away from here,” you say, words that are most certainly news to Jungkook. You had a boyfriend? “He and I dated all throughout high school. I thought I was gonna marry him.”

The words sound so sad. It sounds like they don’t even belong to you. Like you’re recalling the memories of a different person, someone you’ve killed and buried, someone you were certain you would never have to face again. Yourself. Your past self.

“And then he broke up with me at the beginning of last year and it was too late to transfer out.” Your words are slurred and garbled, like all you want is to get over with saying them in the first place. It’s not a dramatic revelation. It’s not something you’re crying about, sobbing into Jungkook’s chest as you remember, miserable, a time where you were once happy. You just sound lifeless.

Jungkook blinks at you expectantly, waiting for you to continue. It doesn’t feel right for him to speak up. Not when you’ve just revealed to him something so personal, so drunk that you probably won’t even remember saying anything when you wake up tomorrow morning.

What is he supposed to do with this knowledge? What is he supposed to say? To do? It’s not like Jungkook can change your past. It’s not even as if he can change the near future. Your project is almost finished—the semester is almost over. And then you will return to the time where you never even knew each other.

“You can say something,” you tell him.

“What do you want me to say?” Jungkook says.

“Something to make me feel better, because now I’m sad,” you request simply. “Seeing you made me happy.”

“Maybe I should just keep my mouth shut and smile, then,” he muses to himself.

“No, please keep talking,” you plead, leaning into his body with your bottom lip puffed out, eyes big and round and desperate. “Listening to you gets me to stop thinking about this stuff.”

Hearing that, Jungkook says the first thing that comes to mind. And that is, “You don’t have to think about that stuff anymore at all.”

“Hmm?” You murmur into his chest. Jungkook sees your apartment building up ahead. Just another block or so.

“Well, that was your old love story,” he begins tentatively. Jungkook’s almost fully sober by now but he feels like he won’t ever get another opportunity to say this, and maybe whatever soju is left in his system is enough to get him through this conversation. Enough for him to muster up the confidence to tell you what he’s been wanting to tell you for a while now.

Even if you forget it by tomorrow. He knows this is his only chance.

“And it didn’t have a happy ending, but that’s okay. Because ours will.”

You’re just coming up to your apartment complex, the rusted gold doors of the entrance sticking out against the beige of the building and the sidewalk, shimmering in the light of the streetlamps. You pause right outside, taking cover underneath the red awning above your heads. Looking up at him, you blink expectantly.

“How do I know you mean that?” You ask.

He almost does it.

Jungkook doesn’t really know what washes over him in that moment, what takes his heart and mind prisoner for a split second, grip tight and unforgiving. But he’s staring straight into your watery eyes, glossy and glimmery and glowing, lost in the way you press your lips together, the way you gaze up at him and wait for him to tell you what he’s always wanted to say, and he almost does it. His hands press at your sides, holding you close, like he’s afraid that if he lets you go you’ll vanish without another trace and this night will all have been for naught.

But he doesn’t.

He doesn’t for a lot of reasons. You’re drunk. When you wake up tomorrow, you will not remember this conversation. But Jungkook will. And if he does it, if he kisses you, if he presses his lips to yours it will be burned into his thoughts, carved into his heart, and you will be none the wiser. Jungkook can’t do that to himself. And he can’t do that to you, either. He will never take advantage of your company. He never has.

“Because,” Jungkook says instead, having hesitated for far too long. “I promise you.”

It’s good enough for him.

He tucks you into bed at 12:17AM that night, feet padding along your hardwood floor so he doesn’t wake up your neighbors, guiding you to your bedroom and reminding you to text Ruby that you made it home safely. Jungkook’s never gotten a very good look at your place, and even now it’s hard to make out most things without the main ceiling lights on, but he doesn’t really want to snoop. Even though you invited him in, he still feels like he’s intruding. You’ve always been so private. There were a lot of things said tonight that Jungkook is going to have to reckon with.

Once you’re curled up beneath your sheets, eyes drooping, Jungkooks turns off the light on your nightstand and nearly, just about nearly, presses his lips to your forehead. He manages to avoid doing that, too.

Instead, he pulls up your duvet and heads towards the main room, making a beeline for your front door. But before he can leave the room, he hears you mumble out his name.

“Jungkook?” You call, voice groggy.

“Yeah?” He looks back at you from where he stands in your door frame, one hand on the knob, ready to pull it closed.

You smile, eyes fluttering. “Thank you,” you say.

Jungkook grins.

The next morning you wake up with a pounding headache and three missed calls from Ruby, which undoubtedly means that something positively terrible happened last night. Unfortunately, you have no idea what happened at all last night, good or terrible, so whatever Ruby has to say will be news to you.

Rubbing your eyes as you wrack your brain in the hopes of figuring out how you even ended up back at your apartment (when you swear you told Ruby you would stay at hers), you press on Ruby’s contact and call her.

“Y/N? Hello? Are you there?” Ruby answers on the first ring.

“I’m here,” you mumble out, words jumped and barely intelligible. You wince as your eyes adjust to the harsh blue light of your phone screen, squinting as you look at the time.

Shit, it’s 11:43AM and you’re meeting Jungkook for coffee at noon.

“Good, I called you three times last night after you texted,” Ruby wastes no time diving into her interrogation.

“Why?” You ask, scrambling out of bed with your phone pressed between your shoulder and your ear. Your head throbs so you quickly take some Ibuprofen, splash your face with water, and start looking for something clean you can put on.

“Because texting me ‘home’ is not enough!” Ruby exclaims. “Jungkook walked you home last night, I wanted to make sure you were tucked in bed and feeling alright.”

You frown. You don’t remember that. Granted, you don’t remember a lot of things, but you can’t recall Jungkook walking you back. You saw him last night? You didn’t even know. Scratching your head, a part of you vaguely pictures him standing in your apartment in the dark, resting against the door frame to your bedroom in the warm yellow light of the lamp on your nightstand. Can just barely see him tucking you into bed, placing the sheets over your figure and making you text Ruby that you’re home. You thought you were just imagining it at the time, but it must have happened anyway.

“Jungkook walked me home?”

“Yeah, you insisted,” Ruby says. “You probably don’t remember, though.”

“No,” you say dumbly.

“Well, I appreciate you texting me that you were home but I would have preferred something more explanatory,” scolds Ruby. “I thought maybe Jungkook was gonna do something.”

“Oh my goodness, no,” you immediately interject, pulling on your shoes and stuffing your laptop into your backpack. Just the thought of Jungkook doing something like that sends your stomach for a whirl. “He would never do that. I trust him.”

“I mean, I see that now,” Ruby points out. “I just wanted to make sure you were okay.”

“I’m fine,” you promise. “Everything’s good.”

“Alright, if you say so,” Ruby says, still sounding a bit like an overprotective mother. You love her, though. You know she just wants the best for you. “Take it easy today, okay? You had a lot to drink last night.”

“I will,” you assure her. “I’m just on my way to meet up with Jungkook now. Getting coffee.”

“Make sure to eat, too,” Ruby reminds you. “And tell Jungkook that I said thanks for walking you home.”

“Anything else, Mom?”

You can practically see Ruby frowning on the other end. “Oh, shut up. I’ll see you, okay?”

She bids you goodbye just as you’re dashing out the door, your usual stride quickening so you make it to the cafe in time, not wanting to keep Jungkook waiting. You make it there in a record five minutes, pulling open the door frantically just as the clock strikes noon.

Jungkook’s already there, of course, sitting by a little round table in the corner of the room with two americanos on the table. He waves when he sees you standing by the entrance, and the mere sight of him makes you smile, shoulders relaxing.

“Hey,” you greet, a little out of breath as you settle into the chair across from him.

“Hey,” Jungkook says back. “How are you feeling?”

“My head is killing me, but other than that I’m alright,” you admit, taking a sip of the drink. It’s piping hot but just the right amount of scalding, warming your insides after a night of filling them with pure poison.

“Good.” He grins. “It’s nice to see your face.”

“Oh, yeah, speaking of which,” you say while still on the topic, “did you walk me home last night? I can’t remember.”

Jungkook nods. “Yeah, I bumped into you and your friends while I was on my way back from a bar.”

You wince. The fact that you don’t even remember that happening tells you enough. “I was super drunk, wasn’t I?”

Jungkook, nice as always, says, “I’ve seen worse.” It only makes you feel the slightest bit better.

“Hope I didn’t say anything embarrassing,” you say, knowing you have a tendency to lose your filter almost entirely when you get wasted, letting any sort of mental reasoning fly out the door the moment you down another shot. And the thought of having told Jungkook something deeply humiliating or personal, or even him witnessing something stupid, makes you feel weirdly exposed.

Jungkook freezes for a split second, almost like he’s buffering, like he’s about to say something but it’s just taking him an extra step to get the words out of his mouth. Then he takes a quick sip of his americano and shakes his head. “No, you didn’t. You were just very drunk. And clingy.”

“I’m so sorry you had to deal with that,” you apologize. You can’t imagine the hell you must have put Jungkook through last night.

Jungkook laughs. “It’s okay. I’m glad we got you home safe.”

“Me, too.” You nod. You send a grateful smile his way. “Thanks for walking me, by the way. I really appreciate it. Ruby says thanks, too.”

“Anytime,” Jungkook says. It doesn’t sound like something that people say just to say it. The way that people say ‘anytime’ just so they can be friendly and amicable. He says it and he means it, says it genuinely and honestly, like it’s a real promise that he’s making. That he would be happy to walk you home again. No matter the hour. No matter how drunk you are. No matter what he’s doing.

And that means a lot to you.

“We should probably wrap up filming soon, huh?” You say, getting onto the topic at hand. Of course, the project is the whole reason you’re even talking to each other in the first place. “It’s due in three weeks.”

“Yeah, I was thinking of another outing? And maybe one more thing with Taehyung?” Jungkook suggests.

You narrow your eyes suspiciously. “‘Another outing’, Jungkook? What exactly do you have in mind?”

He grins.

This time, Jungkook is the one with the flowers.

When you open your front door they’re the first thing you see, an enormous bouquet of an assortment of spring flowers in a variety of colors—pinks and purples and oranges and yellows—gripped neatly in Jungkook’s hand. They stick out against his otherwise rather formal attire, a simple black dress shirt and jeans, nice shoes that compliment his figure. Black truly is the world’s most slimming color, and Jungkook is no exception. He looks good.

“For you, m’lady,” Jungkook says dramatically as he holds out the bouquet in front of him.

“How thoughtful of you,” you muse to yourself, grinning. You take the flowers and press your whole face into them, breathing in the fresh scent. “The one I gave you wasn’t nearly this big.”

“Go big or go home,” Jungkook teases. “You look nice, by the way.”

“You always sound so surprised when you say that,” you comment snidely, shaking your head as you grab your bag from the shelf next to your door. “What are we doing tonight, Jeon? Gonna keep it a secret from me like last time?”

“That depends,” Jungkook says knowingly. “Do you like secrets?”

“You should know what I like by now,” you remark.

“Then prepare to be wowed.” He grins, taking your hand in his as he pulls you out the door.

The restaurant you go to this time does not require a ten minute drive to the center of town. Instead, it’s a five minute walk from campus and actually happens to be a place you’ve been to before. It’s a busy little thing on a Friday night, waiters bustling about with trays in their hands, people laughing and smiling under the dim light of the chandeliers. You’ve only been here once, long ago, for a club dinner paid for by the finance chair, and for good reason. It’s not the kind of place cheap college students looking to get the most food for the least amount of money go to.

“Isn’t this a bit out of budget for our rom-com?” You ask as the host seats you at your table, a little booth in the middle of the restaurant, lanterns resting on the corners of the seats.

“I thought this was a mockumentary,” Jungkook jokes.

“Yeah, yeah,” you say, resisting the smile that fights its way across your face. Trust you to make that sort of blunder in front of him. “I mean it, though. This place is expensive.”

“It’s manageable,” Jungkook promises. “I’ve been saving up. Plus, I thought you deserved a nice night out.”

“How generous of you.”

“Oh, come on, I know you’re excited,” he narrows his eyes at you. “You don’t have to act like a stone-cold robot anymore.”

“Well…” you suppose enough is enough. Jungkook can see right through you anyway, so there’s no point in keeping up this indifferent facade of yours. “Only because you’re treating me so nicely.”

“Just please don’t order the steak,” he requests simply.

You laugh. “No problem. Maybe we could just share a couple of appetizers?”

Jungkook likes the sound of that.

Luckily, this is not one of those restaurants where the appetizers cost an arm and a leg and are the size of your pinky finger. You and Jungkook split three different ones, happy to scoop out portions for each of you and indulge in them together.

Dinner dates—of which this is only sort of one—are always awkward because you spend half of the time shoving food into your mouth, but you and Jungkook don’t seem to mind the silence at all. Only, Jungkook does look sort of like he’s holding back.

“Is this enough food for you?” You ask him halfway through, distantly remembering how he absolutely devoured a whole plate of pasta last time and still having enough room in his stomach to finish yours.

“What do you mean?” Jungkook asks over a mouthful of vegetables.

“You ate so much at the Italian place, I just want to make sure you aren’t still hungry,” you point out.

“Oh.” Jungkook pauses, swallowing down the bite in his mouth. “No, I’m okay. Thanks for thinking of me, though.”

“Yeah, of course,” you say. You hesitate for a moment, not sure if you should say anything else. But what the hell, right? It’s Jungkook. It’s Jungkook and he walked you home when you were drunk, he gave you flowers, he let you borrow his jacket. And you feel as though you must return the favor. “Anytime.”

He smiles.

Despite the pure ecstasy you both experience when eating delicious food, Jungkook makes sure not to waste this time and grabs a few frames of you eating with his camera. He always seems to have that with him whenever he’s with you, hanging around his neck or stuffed into his backpack or crammed into his pants pocket. Sort of makes you wonder just how much footage the two of you have of each other.

He insists on paying but you send him some money anyway, just because letting him shoulder the burden of a place as expensive (for college students, at least) as this just doesn’t sit right with you. Whenever he receives the Venmo notification on his phone, Jungkook frowns and says that he’ll send that money back to you, but he never does and you can tell that he really does appreciate it.

You don’t think you have any plans on stopping that for a while.

The only downside of going to this restaurant is that there is no gorgeous, light-strung park in the vicinity the two of you can wander around. Just your campus, which you have no doubt walked a thousand times over, and the streets surrounding it, which you have memorized like the back of your hand.

It almost makes you think that Jungkook is just going to drop you back off at your place and the night will end there, but you know better than to expect something like that from Jungkook. Instead, as you’re walking, you point out the cafe that you and Ruby always go to, see that it’s closing in half-an-hour, and Jungkook decides then and there that it’s your next destination.

“You’ve never been here before?” You ask when you walk inside, eyes immediately drifting to the display of pastries beside the register.

“I’m not normally on this side of campus,” Jungkook admits. “You’re the only reason I’m ever here.”

“Then hopefully after finding this place, you’ll have two reasons,” you say cheerfully. The baristas behind the counter know you on a first-name basis, are happy to help you out even though they’ve no doubt been working long hours and are ready to close up shop and go home.

You split a tiramisu and sit at that same corner table you and Ruby always pick, empty now that it’s so late at night. Other than the employees, you and Jungkook are the only ones in here, a far cry from the hustle and bustle of the restaurant, filled to the brim with people, the smell of cooked food wafting through the air.

The tiramisu isn't as fresh as it would be bright and early in the morning, but you suppose that that just means you and Jungkook will have to come back. Besides, Jungkook obviously does not seem to mind, scarfing it down ruthlessly. You’re in and out just as they close up shop, the employees bidding you goodbye like old friends, sending you on your way. There’s not really much else either of you have planned for tonight, and Jungkook isn’t coming up with any new ideas as he checks his phone. Instead, you just begin to head back to your apartment, all wrapped up in each other. You place your hand in his own and feel yourself relax when he squeezes, a silent little reminder that he’s still here, and that so are you.

Funnily enough, holding hands feels natural to you at this point.

“Tonight was fun,” you comment, breaking the quiet.

“Yeah, glad we could do this,” Jungkook agrees. “Makes me kind of sad to know that this thing is almost over.”

“What, the project?”

Jungkook shrugs. “Yeah. And the class. And the semester. It’s kind of scary. We’ll be seniors next year.”

You chuckle. “Ugh, don’t remind me. I still have no idea what I’m going to do after we graduate.”

“You don’t have to know everything,” Jungkook reassures you. “As long as you’re happy with what you have now.”

“Are you?” You inquire, looking up to meet his eyes.

Jungkook beams down at you. “I am.”

The walk from the cafe to your apartment is short, just under five minutes, but it feels like it takes you an hour, footsteps slow and languid, like neither of you want the night to end. You hit every red light, round every corner, drawing out the evening for as long as you can. Unfortunately, there is only so much you can do on a five-minute walk, and before you know it, you’re home.

“This is me,” you say, stopping outside the gold doors of your apartment complex. “Thanks again for tonight.”

“Anytime,” Jungkook says, a common thread in your conversations.

“Really?” You ask, skeptical. “Our project’s almost over.”

“That doesn’t mean we have to stop doing this,” Jungkook says.

You narrow your eyes. “What are you implying, huh, Jungkook?”

“This.”

Before you know it, he’s wrapping one hand around your waist and pulling you in close to him, your palms splayed out against his broad, toned chest, pressing his lips to yours. You gasp a little into the feeling, somewhat shocked he would dare be so bold even after all this time, but find yourself sinking into the touch. He tastes like coffee and cream, like peppermint from his chapstick, like the wine you shared tonight. You cave into the way he holds you, hands wrapped around your body, palms pressed firmly against your figure. He holds you like he’s afraid to let go, like he’s trying to remind himself that you’re real and here and that you are kissing him back, like he’ll forget once the moment ends.

But he need not worry about that.

When you part, you don’t even bother wiping off the stupid smile on your face, kiss-drunk and filled with glee. It’s been a long time since you felt this way. And Jungkook makes you feel things you don’t even think you can explain.

“How bold of you,” you comment, noses touching, barely an inch away from each other.

“I figured I’d shoot my shot,” Jungkook says. He shrugs, pretending to be casual, but you can see the way he’s grinning, beaming, down at you.

“You scored,” you remind him.

“How observant of you,” teases Jungkook in return. You pout a little at his playful mockery, heart fond. “Think we can do it again?”

“Hmm, I would tone down the ego first,” you say, already leaning back in to press your lips against his.

“Never.” He smiles wickedly.

It’s a quicker kiss this time, a short peck against his cherry red mouth, but it still makes your heart beat something terribly fierce.

“See you soon?” You ask when you finally pull away, knowing that as much as you’d like to, you can’t just stand out here kissing each other forever.

Jungkook nods, cheeks pink and warm to the touch. He looks so sleek in his formal black outfit, crisp button-down and slacks, hair all styled, but the way he’s grinning at you makes him look so young, so sublimely happy. It’s nice.

“Anytime.”

“There’s my favorite couple!” Taehyung greets excitedly when he swings open the door to his apartment to reveal you and Jungkook standing on the other side.

“What’s it to you?” You comment snidely as he lets you inside, the black sheet still taped up along his wall. It looks a little more wrinkled than when you last saw it.

“Oh, nothing,” Taehyung singsongs. He definitely knows a lot more than he cares to tell either you or Jungkook, but whatever. The project’s almost over and he’s almost finished with university entirely. “You guys are just cute together, that’s all.”

“Like you even know the half of it.” You tell him with a roll of your eyes.

Taehyung wiggles his eyebrows. “Ooh, do tell.” He grins that greasy, comic-book-villain grin of his as he starts moving his bar stools back to where the sheet lines his cream-colored wall.

“Isn’t that the whole point of this?” Jungkook poses, making you laugh from where you’re seated on the couch, watching Jungkook set up his tripod in exactly the place he wants it. You smile at him as you recline against Taehyung’s poor old leather couch, so worn-down from use that the back cushions fold in when you press against them, and Jungkook peers out from behind the camera to blow you a kiss.

You send him one back without even needing to think.

Taehyung misses the whole scene, but no doubt he’ll be putting two and two together pretty soon. You and Jungkook agreed that for the last interview you would be questioned together, long before Jungkook actually managed to romance you off your feet, and there’s not a doubt in your mind that the two of you being interviewed side-by-side will make things much more interesting.

Nevertheless, Jungkook sets up the camera and sends a thumbs-up your way when he’s ready, Taehyung sitting on the bar stool just outside of the frame with a couple of index cards in his hand.

“Let’s do this,” you say, hauling yourself onto the seat. Jungkook does the same shortly after, scooching onto the one next to you as you stare at Taehyung, waiting for him to start.

“Looking forward to this one?” Taehyung asks knowingly.

You shrug nonchalantly. “Just a little.”

“Excellent. Shall we begin?”

You and Jungkook nod.

“Alright. Well, this is presumably the last thing the two of you will be filming for your project. How are you feeling about it?”

“It turned out better than I thought it would,” you admit. It will come as a shock to no one that you did not have very high hopes for this project when it was first assigned.

“Of course it did, I’m your partner,” Jungkook teases, poking you in your side. “Would you ever doubt me?”

“Always,” you say.

Taehyung chuckles. “Sounds like it’s been good so far. Did you enjoy filming it?”

You nod. “Yeah, it was actually kind of fun. Except for when Jungkook spilled coffee all over me, that was not cool.” You turn to face Jungkook directly, and all he does when you say his name is wink and point at you.

“It was for the rom-com, I don’t know what you expected,” Jungkook said. “I gave you my jacket, too.”

“How gentlemanly.”

Taehyung chuckles, warm and low. “I’m sure Jungkook learned his lesson,” he muses. “What was your favorite thing to film?”

Not when I randomly texted you five minutes before I showed up at your door to make you ask me questions about how I feel, you think to yourself. Jungkook still doesn’t know, but you think you’ll put it into the movie just for the hell of it, so he’ll find out then. Find out that you were grappling with your feelings for him long before you ever let on.

“The serenade was a blast, a special shoutout to the Eighth Notes for doing that for me,” Jungkook says immediately. Obviously that is at the top of his list. “Plus, I just like seeing Y/N all flustered.”

“Shut up, you’re so annoying,” you chide. “I guess the serenade was kind of cute. I liked going out together, though. On our not-date.”

Jungkook objects to that instantly. “It was a date, Y/N!”

You look back at him, equally as scandalized as he. “Whose turn is it to talk?”

“Mine, actually,” Taehyung interjects. “Did you like going out together?”

You sigh a little, wondering if you’re really about to turn into a softie in front of a camera for a movie to be shown to your twenty classmates and professor. “Yeah,” you say, real and true because that’s what you agreed on, you and Jungkook. To be candid. To be honest. To say how you felt. Really. “It was really nice. I hadn’t gone out with someone like that in a long time.”

“And were you happy because of the project, or because of Jungkook?”

“Well,” you begin, not exactly sure where to start. “I guess, it’s like… you know, I didn’t even know Jungkook before this project. I mean, I knew who he was, he would always respond to my discussion board posts and object to everything I said in class. But I didn’t know him as a person. But as we worked on this project together, planning and filming and editing, I started to. And we did so many things together. And I guess I just really enjoyed the time we did spend as a pair.”

“Would you say the same, Jungkook?”

“Yes,” Jungkook says easily. “That’s what I wanted. To get to know Y/N, to spend time with her. I was glad we had this project. Otherwise, we might never have done something like this.”

“You both seem very happy.”

“I think we are. This project was actually sort of a blessing in disguise. I know him a lot better, now,” you say. “I’m glad that I do. He makes me smile, and laugh, and I always feel happy when he’s around. I don’t know. He did it, somehow.”

“Jungkook?”

“It wasn’t just me. Y/N and I did this together. We made this. This project. Us. It wasn’t just her, or just me. It’s ours.” Jungkook grins.

“Are you glad you did this project?”

Of course. It was fun, and I liked filming it, and I feel like I got something really important out of it. I know it’s just a short rom-com mockumentary, but it really feels like there was a happy ending, you know? A happily ever after.”

“You seem really certain about that.”

“Well,” Jungkook says with a little scoff, “what else would you call it?”

“As you can see, obviously Y/N fell head over heels in love with me thanks to this wonderful project—”

“Why are you always so full of yourself—?”

“Hey, you’re ruining the voiceover! As I said, as you can see, Y/N fell head over heels in love with me, but that wasn’t just because of my dashing good looks and amazing singing skills.”

“The ends of your hair look like hay—”

“It was because we were honest with each other, and because we spent meaningful moments together, and because we kept our hearts open. And I guess that’s the truth of it all, isn’t it? Love, romance, relationships? If you close yourself off, you’ll never get to experience them. But if you take every opportunity with an open mind, then you never know what might happen. Like falling in love with your discussion board nemesis.”

“Who, me?”

“Just let me finish, come on. There’s like one paragraph left. I know this was a mockumentary, not a scripted rom-com with professional actors and screenwriters and a whole team of editors. But that was the whole point. To make it real. And to make it between two people who aren’t just characters on a screen. We’re real people, and this happened to us. And it makes us happy. And it can happen to you, too. I think we all learn something every time we watch a new movie. Whether it be about loss, or promises, or other people. This time, we learned about love. Real love. How it can be rocky and strange and come straight out of left field. But also how happy endings aren’t just for movies and fairytales. We all deserve them. And Y/N and I found our own.”

“Are you gonna say it?”

“And so… they lived happily ever after.”

You look up at the screen, expecting to see the credits roll, but instead it’s a shot of the two of you kissing outside of your apartment building, a shot of you wrapping your arms around him as you press your lips to his. It lasts for only a few seconds, but you find yourself entranced in the moment, shocked that Jungkook somehow managed to capture it on film. He didn’t even have his camera with him that night.

Pollack turns on the lights in your classroom as your fellow classmates applaud, all of them looking genuinely pleased that your rom-com had such a wonderful ending. Pollack herself looks rather proud, nodding to herself as she smiles at the two of you.

“You filmed us kissing?” You hiss to Jungkook as your classmates clap, hoping the sound of it will drown out your conversation.

“I got Taehyung to,” Jungkook whispers back. “Why?”

“I just… I thought that night was just for us.”

“The rest of it is. But I thought the kiss would be a cute way to end it. You know, happy ending and everything.”

Alright, if Jungkook insists. You nod, tensing up slightly. You hadn’t even noticed Taehyung down the street, standing behind some utility pole with the camera raised to his eye. Had Jungkook texted him in secret? Asked him to meet you outside of your apartment? Was he planning on kissing you from the very beginning?

You shake your head, willing away the thoughts as Pollack commends the two of you for a job well done. Jungkook and you stand at the front of the room for a few more seconds, getting stared down by your fellow classmates while Pollack speaks. The period ends just as she finishes up, the minutes changing the moment she closes her mouth. Within a minute or so, the whole class has emptied out, some of them congratulating you and Jungkook on the way out.

“I’ll meet you outside, okay?” Jungkook says, eyes bright and filled with that same wonder he’s always got.

“Yeah,” you say distantly, nodding to him as he disappears out the door.

“You did an excellent job, Y/N,” Pollack praises, and it goes right to your head, if you’re being honest. “It was brilliant.”

“Thanks,” you say, suddenly rather shy. “That means a lot.”

“Don’t tell anyone else this,” she says, voice quiet, “but I was secretly hoping the two of you would fall in love.”

“Pollack!”

She laughs. “What? I thought you’d make a cute couple. And you do, so clearly it all worked out anyway.”

“I’m pretty sure that’s against the code of conduct,” you say, even though you know you can’t be too mad at her. After all, you wouldn’t have Jungkook if it weren’t for her.

“Y/N, I’m tenured. I don’t care.”

“Wait…” you pause, eyes narrowing, “how many of your students have you set up with each other?”

Pollack grins. “I never reveal my secrets.”

Your mouth drops open.

She chuckles, shooing you out the door. “Go on, go be with your boyfriend. You can tell him you both get A pluses for your project. It was excellent. One of the best I’ve seen in a very long time.”

“Thanks, Pollack,” you say, smiling gratefully. “You’re the best.”

She points at you proudly as you head out the door. “So are you.”

Jungkook is waiting by the tables where you always sit, half a flight down from your classroom. He’s leaning against the edge of them as he scrolls mindlessly through his phone, so engrossed in the Instagram explore page that he doesn’t see you walk up.

“Guess what,” you say, getting all up in his face, just because you can.

“What,” Jungkook says, an eyebrow raised.

“We got an A plus on our project!” You exclaim happily, cheering. Jungkook laughs at your exuberant reaction, watches as you jump around, clapping loudly.

“Hell yeah, we did that!” Jungkook holds his hand up for a high five, one you gladly take. Your palms smack together and the sound reverberates around the hallway.

“You know, you and I—” you begin, placing your palms on his cheeks as you pull yourself in for a kiss, “we make a pretty good team.”

“Only because you’re so good at editing,” Jungkook says. You’re both not too bad, if you do say so yourself, but since Jungkook did so much of the filming you thought it would be better if you carried more of the weight when it came to post-production.

“Says you,” you tease, pressing your lips to his button nose. “The happy ending thing was a nice touch, I liked it. Makes me feel like I’m in a fairy tale.”

“I’m glad,” Jungkook says with a chuckle, admiring the way you beam at him. “You know, I was really worried that you might think we didn’t have a happy ending after all, especially after everything.”

“What do you mean?” You look at him curiously.

“Well, I just really wanted to make sure that we had a happy ending, because you’ve been through so much.”

You pause in place, eyebrows furrowing as you look up at him. Been through so much? Does Jungkook know something you don’t? Wait, no, did you… did you tell him—?

“You knew?” You ask, the realization piercing you like an arrow. “All this time, and you never said anything?”

Jungkook’s eyes widen.

“How long have you known?”

He winces. “Since I walked you home when you were drunk. You told me.”

You did?

Shit.

“And you didn’t think that maybe you should have told me that you knew? Especially when I asked you if I had said anything embarrassing?” You cry out, indignant. “What, were you just planning on never telling me?”

“I was going to, but I wasn’t sure if you wanted to know that you had admitted all those things to me,” Jungkook admits, growing desperate. “They were really personal things, I thought you might react badly.”

“Oh, so you just decided to keep it a secret instead? Look how well that worked out.”

“What was I supposed to do, Y/N? I know you would have been upset.”

“Tell me!” You exclaim. “I asked you if I had said something embarrassing that night and you said I hadn’t. And I believed you. Better to have known then than now!”

“I’m sorry,” Jungkook says.

“I can’t believe you wouldn’t just tell me. Didn’t we say we would be honest with each other? But instead, you just let me assume that all of the nice things you did for me were because you actually cared, and not because you felt bad for me?”

“I don’t feel bad for you!” Jungkook shouts. “I mean, I do, but that’s not why I took you out on dates and gave you flowers and held your hand. I do care about you.”

“Oh, so filming us kissing was just because you actually cared, too, right?”

“I don’t know why you’re so hung up about that,” Jungkook points out.

“Because I thought it was a private moment,” you remind him. “You hadn’t filmed anything the whole night. I thought we were just going out on a date like two people who cared about each other did. Us kissing was personal. But you texted Taehyung and told him to show up with his camera anyway, right? Because you were planning on kissing me from the very beginning. Because you knew, Jungkook. You knew and you had absolutely no intention of telling me.”

“Y/N, wait, I didn’t do those things just because I pitied you,” Jungkook says, reaching out for your hand.

You pull away. “You didn’t? Then why did you film us kissing, then?”

“Because…” he flounders. You aren’t at all surprised. “Because—”

“Enough, Jungkook. I get it,” you stop him, shaking your head. “Everything we’ve done since that first date we had, when we went to the Italian place, everything since then—it was all played up. Because you felt bad for me. I had a shitty experience with love and you wanted to make me feel better. Whatever.”

“Y/N, it wasn’t like that,” Jungkook chases after you as you begin to walk down the stairs, towards the exit. “I didn’t pity you. I still don’t. I did those things because I care about you, and I wanted you to be happy.”

“Well, you got what you wanted,” you say, arms crossed over your shoulders as you push your way out the door. “I was so happy when I was with you.”

“Wait, Y/N—”

“Bye, Jungkook.”

The door slams shut behind you.

“How many finals do you still have left? You finished your movie, right?”

Ruby is stirring herself a cup of earl grey tea as she sits down on the couch next to you, where you’re very obviously sulking as you scroll through the Feel Good Rom-Coms category on Netflix.

“I just have a couple essays and a presentation,” you mumble out. “You?”

“Ugh, I still have all of my final exams to take,” Ruby tells you with a thick, heavy sigh. Clearly, she doesn't feel like talking about them now. Or at all. “The life of a biology major.”

“Hey, you’re the one who wants to be a doctor, not me,” you remind her crudely. “You better know your shit, or I’m never taking my kids to your practice.”

“Rude,” Ruby says. “There goes my family and friends discount offer.”

You laugh to yourself, a small smile inching its way across your lips. Ruby’s always known how to brighten your day, even when you feel like absolute shit.

“What are we watching, hmm? I’m cool with anything.”

“I don’t know.” You shrug, flicking through all of the rom-com options and feeling very unhappy with all of them. “I feel like you’ve seen all of these.”

“Yeah,” Ruby says. “Whenever I’m not studying, I’m watching Netflix or The Bachelor.”

You nod. Maybe you’ll just settle on some old NCIS reruns and call it a night.

“Oh!” Ruby exclaims suddenly, a lightbulb going off above her head. “How about we watch your movie? The rom-com you did with Jungkook! I haven’t seen it yet.”

“I don’t know…” You begin, the mere thought putting a bad taste in your mouth. For obvious reasons.

“Come on, please? I really want to see it, you were so excited about it,” Ruby begs, getting all antsy as she climbs all over you, literally pulling your arm to get you to cave in. “It’s short, too, isn’t it? Like forty-five minutes long? We can watch whatever you want afterwards. Please.”

You huff out a breath. If it were up to you, you would move that film onto a flash drive and toss it into a dumpster on fire. But it’s not just up to you. Ruby has been asking you about it since the day you told her you were filming it, and now all she wants to do is see the final result. And it’s only forty-five minutes long. What’s that when compared to the rest of your life?

“Fine,” you relent, not wanting to fight about it any longer. “Let me get my computer.”

Ruby cheers.

You bring your laptop over to your coffee table, turning off the ceiling lights as Ruby tucks herself underneath a blanket, hands warmed by her steaming cup of tea. You pull up the movie file and, taking a deep breath, press play.

It opens with your first interview with Taehyung, a muted, royalty-free lo-fi hip-hop song playing in the background. You had edited it so that it would jump back and forth between your answer and Jungkook’s, highlighting the contrast between the two of you. It was mostly for comedic purposes, just because seeing you deadpan about how love doesn’t exist and then quickly switching to Jungkook wax poetic about it is amusing, but watching it now just makes you want to curl into yourself.

You should have known that this would have never worked out. Should have kept that same jaded attitude. You let your guard down for one second and look at what’s happened to you.

The next scene that Jungkook shows is, of course, the moment he spills burning hot coffee all over you in the middle of the Starbucks, comedically panning up to your positively-flabbergasted face just to add to the shock factor. Next to you, Ruby laughs at the mishap, obviously amused by the fact that the two of you are now drenched in coffee and scrambling to clean up the mess. You try to focus your energy on how peeved you were at Jungkook after he did that, but get distracted the moment he films himself wrapping his denim jacket around you, placing it over your shoulders and making sure it’s just right.

He didn’t have to do that, and the two of you both knew it. But still, he sent you off your class all bundled up in a jacket that smelled like him, smelled of that boyish aroma that you couldn’t get rid of, even when you put it in the wash with your lavender detergent. All of Jungkook’s clothes smelt like that no matter how much cologne he put on, always smelt woody and thick. It would consume you, that scent, a cloud surrounding your figure whenever you were near him.

The movie keeps playing, and you keep thinking about how much of a fool you must look like in it now, all giggles and smiles as Jungkook sings Frankie Valli to you while he hands you a rose, that same sly little smile dotting his features. Hearing the song again makes you feel like you’re choking, like something’s smothering you, and you’re not sure what it is until you realize that it’s the sound of Jungkook’s voice.

You haven’t heard him sing since he serenaded you.

Then it’s your first date, the one Ruby told you to wear the yellow dress to (“Hey, I told you you looked amazing in it! Wow!” Ruby exclaims when she sees you). You remember when you edited this, putting the clips together of you eating at the restaurant, wandering around the park, posing underneath the trees, holding hands. You were smiling so hard your cheeks hurt while you were editing, grinning from ear to ear at all of the things the two of you did together. They were so picturesque, those scenes, so perfectly shot, so romantici—t did a fine job of convincing you that it was all real.

You even put in the little clip of you and Taehyung talking. A mistake, now that you look back on it, of course. It was so vulnerable, so real, so candid and honest like you said you would be, and now it’s all blown up in your face. You must have looked like such an idiot to Jungkook when he saw this scene for the first time in class. You remember the wide-eyed look on his face when it popped up. Like he couldn’t even believe you had done this in the first place.

Scoffing, you shake your head. You either.

The rest of it you can hardly bear to watch. Just a wrap-up of your relationship, a compilation of all of the small moments you shared when you didn’t realize that Jungkook was filming, when you dared whip out your camera to shoot for a second or two. Little clips that jump from scene to scene, shots of you laughing and eating and skipping along campus as you held hands. It’s hard to reconcile the fact that it’s all over.

You don’t even listen to the final interview, not bothering to pay attention to what you or Jungkook have to say when you were there, when you can recall every word he’s ever spoken to you at the drop of a hat.

The truth is, you were always a goner for him.

And look how well that played out.

By the time the kissing scene comes up once more, you’re ready to set your whole laptop alight.

The screen turns black as it ends, fading away into nothingness, the instrumental slowly disappearing alongside the image. You shut your laptop when it’s all over, a little too angry for your own good, but you wrestle the scowl off your face as you take a drink of water from the glass sitting on the table.

“Wow,” Ruby says, speechless. She blinks at your closed laptop.

“Did you like it?”

“I—I don’t even know what to say,” Ruby says, which is a first. “It was amazing, Y/N. Seriously. Gorgeous. Like, cinematographically? Stunning. The shit on Netflix isn’t even as good as that.”

Even if you did have to sit through your stupid movie one more time, the compliments make you feel a bit better. “Thanks,” you murmur.

Ruby nods enthusiastically. “It was incredible. I’m just—I’m in awe. You and Jungkook have a gift, dude. It was seriously one of the best things I’ve watched in a really long time. And, like, not even in a cheesy, yucky rom-com kind of way. It was so… so genuine. So real. Wow.”

“I’m glad you liked it.”

“You’ll have to tell Jungkook, too,” Ruby says. “He did really well.”

“Yeah, he’s a great actor,” you say, a little too bitterly for your own good.

“What do you mean?” Ruby raises an eyebrow your way. “I didn’t think he was acting at all. It looked pretty real to me.”

You frown. “It did?”

“I mean, yeah,” Ruby says with an honest nod. “I mean, you did tell me it was a mockumentary and not just a run-of-the-mill rom-com. So wasn’t everything supposed to be real, anyway?”

“Yes…” you trail off, unsure of the direction of this conversation.

“Well, if you ask me,” Ruby says, all matter-of-factly, “I’d say he definitely fell in love with you.”

Something rushes through you. Something warm and bright and full of energy.

Hope.

Even though you have finished one of your finals early, finals week is still just as much of a slog as it always is. Three essays and two presentations deep, you aren’t finished any of them and the due dates are slowly creeping up on you, ready to pounce the moment the clock strikes twelve.

Eh, it could be worse. You could be Ruby and have six timed, proctored final exams on biology, anatomy, and chemistry. So you suppose you can’t complain too much.

Finals week sees you all holed up in your apartment like always, but more so this semester than any previous ones because you don’t feel like going to the library and risking seeing Jungkook there. Or anywhere, really. Since you presented on the last day of classes, you haven’t spoken since, and hopefully you can keep that streak going forever. You had made it until this semester without ever crossing paths despite being in the same major, so hopefully that luck will follow you.

It’s almost midnight when you finally decide to call it quits for the night, having at least gotten mostly through two of your essays (just have to edit and proofread!) and worked on about half of your two presentations. Sighing, you get up from your couch and stretch, feeling your bones crack from sitting in the same place for hours on end.

You lean over to the floor lamp by the edge of the couch, ready to flick it off and head to bed, when you hear something outside.

“You’re just too good to be true…”

“Can’t take my eyes off of you…”

You freeze.

The voice is soft and mellow, a little muted because it’s making its way through your wooden door before it reaches your ears, but it is unrecognizable. Even without the acoustics of the Eighth Notes, you know who’s on the other side.

“You’d be like Heaven to touch…”

“I wanna hold you so much…”

“At long last, love has arrived…”

“And I thank God I’m alive…”

Unable to resist, you wander to your front door, basking in the sound of him, in the way the notes float through the air as if on clouds, dancing along the walls as they sink into your brain. He sounds so sweet, voice warm like tea on a cold night, just singing his song on this empty, lonely night. But it’s not just his song, is it?

It’s yours, too.

You pull open the door.

“You’re just too good to be true,” Jungkook sings, a honeyed melody that calms the waves of your stormy heart, “can’t take my eyes off of you…”

But just because he’s here, serenading you once more, doesn’t mean he’s going to get it any easier from you. You fight to keep the smile off your face, pressing your lips together as you narrow your eyes at him.

“I love you, baby, and if it’s quite alright, I need you, baby, to warm the lonely night…”

“I love you, baby, trust in me when I say…”

He meets your eyes with his own, and they aren’t glinting in the way they normally do, the way that they do when he knows he’s doing something to grind your gears, when he’s got a trick up his sleep. They gleam like pearls as the dim glow of your apartment lights up his figure, warm yellow mixing with the caramel in his irises.

“Oh, pretty baby, don’t bring me down, I pray…”

Oh, pretty baby, now that I’ve found you, stay…”

“And let me love you, baby…”

From behind him, Jungkook brings out a single red rose, twirling it between his fingers as he holds it out to you.

“Let me love you…” He trails off there, voice delicate as vanishes into the chilly night air, disappearing between the two of you.

You can’t help but take the flower from his hand. What else are you supposed to do?

“So?” Jungkook asks, hopeful.

“Don’t think you can just show up at my apartment and woo me back by singing to me,” you chide, even though he definitely can.

“I’m sorry,” Jungkook says simply, because there really is nothing else to say. “I should have told you.”

“I watched our rom-com again,” you tell him. “I should have believed you when you said you cared about me.”

“I always did,” Jungkook says. “I just wanted you to know that love was real, and that it was there for you.”

“I should have known,” you agree. You look up at Jungkook through lidded eyes, musing to yourself. “You know what I learned?”

Jungkook tilts his head in curiosity. “What?”

“That love isn’t a feeling. It’s a person,” you explain, sighing pleasantly. “Love comes to us through the things we share with other people. That’s what it is.” Your thumbs twiddle in front of you, the pads of your fingers rubbing at the stem of the rose.

He takes a single step forward, reaching out to take your hand in his own. “And are you pleased with who you’ve found?”

You roll your eyes. “Just shut up and kiss me already, you idiot.”

Jungkook obliges without a second thought.

There is no one to film you this time, no project to work on. There is only you, and there is only him. And there is only a lifetime that the two of you share, a story that you have told together, piece by piece, frame by frame. Your movie didn’t end once you finished editing. Nor did it end the moment the screen went black in Pollack’s class. It wasn’t even over when you watched it a second time with Ruby.

No, it continues on. Forever and ever, so long as you are with him. There will always be something new to capture, to burn into a disk so you’ll have it for eternity.

He pulls you in for a kiss and it’s not the end of the film. It’s the beginning of a brand new part, a new installment in the series that is your life with him. That is the relationship you have created together. His lips aren’t the fireworks as the credits roll. They are the scene where the two characters meet for the very first time and know that they were meant to be. The scene that sets all of the other ones in motion. That is who Jungkook is. That is what you are sharing, right now.

A brand new frame.

When you part, you press your forehead against his, soft blonde locks framing his face as they tickle your face, dancing along the skin of your cheeks.

“You called it a rom-com,” Jungkook points out randomly, just remembering now.

“Well, isn’t it?”

“I don’t know…” Jungkook says, pretending to think about it as he rocks on the back of his feet. “Did it have a happy ending?”

You bring your lips to his once more, arms wrapped around his neck as you clasp the rose between your fingers. You make a mental note to press it later. Something else to remember him by. Something other than your movie.

Jungkook pulls you into him once more, hands resting firmly on your waist, letting his body press against yours as you stand there in the muted light of your apartment’s living room, letting the cool spring breeze wash over you. You smile against his lips, feeling your heart race when he grins back.

“Yes,” you declare proudly.

And so, they lived happily ever after.

↳ thanks for reading! don’t forget to let me know if you enjoyed it!

#jungkook fluff #jungkook angst #bts fluff #bts angst #bts scenario #jungkook scenario #bts imagine #jungkook imagine #bts au #jungkook au #jungkook college au #jungkook x reader #bts x reader #w: the art of the rom com #dudes this fic is so long my keyboard is lagging HAHAHA

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sukunasbabymama · 3 years

Text

Hi, my children, hope you guys are doing alright; I want to address something real quick.

A couple of days ago it was brought to my attention that @/1-800-cherri had a work that was similar to mine. A lovely follower of mine messaged me first to make sure.

Before I reached out to her with my concerns I checked the dates to see if maybe it was a mistake and I was being dramatic, she replied in a good way and it was going really smooth and she told me that even though fics can have similarities and she didn’t plagiarize she would still check and edit so it won’t be similar. She was really easygoing and helpful with all of this so I told her to tell me when she was done and I could reblog it under the “recs” tag and y’all could see it, that way it could let y’all know that both writers are okay with the situation.

Now, after she told me she edited it I went to checked and it was the same, or maybe I’m in the wrong and I couldn’t see the change or just similarities. I apologize if that’s the case.

Again I reached out a second time and asked her if maybe she would like for me to pinpoint what exactly was similar, if not the same, so she could change it. She told me that it would be nice although she had important stuff to do that night and may not get to it. I thought that’s okay because we don’t live 24/7 on tumblr so of course we don’t have to get to it right away. But that was on Sunday and today is Thursday. I’m going to put here what I pinpoint to her.

I tried to talk things out so i didn’t have to bring this to the public eye, but it’s been a few days and the situation is still the same.

A couple of followers have found very similar if not identical some of the parts in her work and also reached out to her or to me and that’s the thing; I don’t want to be in this back and forth with every person that has seen mine and see hers or viceversa and I don’t want y’all to go and start disrespecting her.

This is inspired in the same scenario and my mutual gave me credits and although it can even be seen as the same universe, it’s not even similar, people can jump from her work to mine and can see that we just shared the same trope, the conversations and descriptions aren’t similar, nothing is. Just the trope from the same messy idea.

I put a lot of thought in the messy ideas because they don’t come from requests, it’s just silly stuff that I write based on the personal characterization that I have for the characters, I come here randomly to let y’all know every time I have a weird idea and couple days later y’all see it; it happened with the dojo owner, with the loser, with the maid and so on.

Because of this, I feel disrespected because I’m not even that confident in my English but I try to give y’all in scenarios or headcanons an extended version of the conversations I have with mutuals.

I know I have a bunch of requests and I have talked about new messy ideas but right now I don’t want to write anything so like I told my mutuals, I’m going to save drafts for a bit and then when I feel better I’ll share them. I ask y’all to stop yourself from being disrespectful, since we’ve already established that we don’t do that.

That’s all I wanted to say; I apologize for just reblogging and not uploading anything new. I don’t feel like it right now.

#☕︎︎. kk talks

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esther-dot · 3 years

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“Mary is celebrated for her role as mother of Jesus, but in ASOIAF, we don’t know that Lyanna had any idea that a prophecy baby was the goal or that she willingly went with Rhaegar”

The prophecy of Mary’s son is given to her and her alone, by the Angel Gabriel. She asks a question, “how could this be” and she ends up her encounter with the Angel agreeing to offer herself as a vessel. She was not raped or abducted according to the Biblical tale, whether we believe on it or not, is a whole other matter.

The Bible gives Joseph a secondary character role at best, he does not receive any prophecy or a chance to ask questions, he is simply “told” in a dream to marry Mary regardless of her state and disappears from the story without an explanation.

I will dare say the Biblical tale is a more feminist approach to the “prophecy baby”, since Mary is given a choice to say no, and she is a willing participant in every aspect of it. Mary received the prophecy of the angel and the prophecy of her cousin Elizabeth, as the prophecies of Anna and Simeon at the temple later on and Joseph wasn’t even there for the first two.

Lyanna didn’t hold any power in her situation, even if she went willingly she had no part in the prophecy stuff because it was a Targaryen thing, unlike Mary, who received the prophecy herself. Mary was not secretly married, and was publicly presenting her son as Joseph’s boy, even though there were rumours of bastardy that followed Jesus all his life.

Joseph and her were publicly betrothed, so he did not abandon his first wife. Joseph spares Mary the shame of birthing a bastard, and takes her and the child to Egypt to protect them. Rhaegar? He was a bigamous at best, and failed to protect both his wives and children.

To sum up, Rhaegar was a piece of shit. Don’t compare him to Joseph.

(Continuation of this convo)

Oh gosh, Rhaegar really was a worse than worthless. Every time I think about him my disgust is renewed.

I didn’t mention this in the previous ask, but while Rhaegar doesn’t work as Joseph, oddly, Ned kinda does? He’s the one who claims a boy not his own as his son? He’s the one who takes him far away to protect him from a king who wants to kill him? He also has a preexisting family?

Good point about the proclamation to Mary. You’re right, she does have the knowledge about what’s being asked of her whereas Lyanna didn’t and that’s where this…horror version of the deified mother comes in. It’s a way of asking, but what if the mother of the prophecy baby didn’t want to do this? What if it’s wrong to ask (or force, if that’s the case in ASOIAF) her to? What if it ends in her premature death? To me, looking at the story from a different angle is very interesting, and with Lyanna, we’re given (minimal, but it exists) personality, values, loves. Mary’s personhood tends to be ignored in favor of focusing on her role as saintly mother, so Martin revealing more about Lyanna as the series progresses feels like an attempt to broaden the perspective of her beyond the maternal identity which I like. I don’t think the idea is that parallels we see indicate a duplication, all subsequent literature is in response to those formative archetypes, some writers more self-aware about this than others, some more purposefully referential, so it’s fun to find the similarities, and try to understand what the author is saying with how he or she includes them. Is it happenstance? Is it a deconstruction? A progression?

I think reading Lyanna as a response to Mary has merit, I just haven’t given it enough thought to truly know what Martin is saying there. If Dany is Azor Ahai and/or the Prince that was Promised, the Lyanna and Mary similarities may be part of the misdirection to guide us to labeling Jon as the savior figure. It’s so tropey, we don’t even give it a second thought. If Jon is PP, then the Lyanna/Mary conversation takes on far more significance, and the additional information we get from the Meera’s story means that Martin is intentionally expanding on the meek, saintly mother idea. He’s certainly interested in playing with the archetypes. Cat as the mother of a murdered son who does not offer intervention on behalf of mankind but seeks vengeance might very well be part of this too. 👀

#ask dot

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gffa · 3 years

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Do you think one could follow the Jedi Code/Lifestyle in real life as a positive manner of living or do you think it only works in Star Wars? I asked this on r/Mawinstallation and the answers I got were either:

''The Jedi code is oppressive so no'' ( this was the most upvoted answer )

''The Jedi code works but only for the Jedi''

''The Jedi code requires the force to work and since the force doesn't exist in the real world, the code cannot work''

And finally, I got only a single reply that said

''Yes, the Jedi code does work in real life, that's the entire point of Star Wars''.

What is your take on this?

This is going to be sort of a long, roundabout answer, but the short version is: In the finer details, we're not space psychics, but as a general idea? Yes. First of all, what even IS the Jedi Code? Are we talking about the whole “there is no emotion, there is peace”/”emotion, yet peace” meditation mantra, which we should point out is nowhere in the movies or TV shows, but is entirely in the novels and comics supplementary material? Are we talking about a more generalized idea of Jedi philosophy? And what, precisely, does that mean? I mean, what’s oppressive about it and what scene evidences that that’s what the Jedi taught? Second, there are two talks that George Lucas gave that I think really illustrate this view of emotional navigation and how that impacts Star Wars and the Force: There’s the writers meeting of The Clone Wars where he talks about the light side and the dark side and there’s an Academy of Achievement Speech from 2013 where he talks about joy vs pleasure: “Happiness is pleasure and happiness is joy. It can be either one, you add them up and it can be the uber category of happiness. “Pleasure is short lived. It lasts an hour, it lasts a minute, it lasts a month. It peaks and then it goes down–it peaks very high, but the next time you want to get that same peak you have to do it twice as much. It’s like drugs, you have to keep doing it because it insulates itself. No matter what it is, whether you’re shopping or you’re engaged in any other kind of pleasure. It all has the same quality about it. “On the other hand is joy and joy is the thing that doesn’t go as high as pleasure, in terms of your emotional reaction. But it stays with you. Joy is something you can recall, pleasure you can’t. So the secret is that, even though it’s not as intense as pleasure, the joy will last you a lot longer. “People who get the pleasure they keep saying, ‘Well, if I can just get richer and get more cars–!’ You’ll never relive the moment you got your first car, that’s it, that’s the highest peak. Yes, you could get three Ferraris and a new gulf stream jet and maybe you’ll get close. But you have to keep going and eventually you’ll run out. You just can’t do it, it doesn’t work. “If you’re trying to sustain that level of peak pleasure, you’re doomed. It’s a very American idea, but it just can’t happen. You just let it go. Peak. Break. Pleasure is fun it’s great, but you can’t keep it going forever. “Just accept the fact that it’s here and it’s gone, and maybe again it’ll come back and you’ll get to do it again. Joy lasts forever. Pleasure is purely self-centered. It’s all about your pleasure, it’s about you. It’s a selfish self-centered emotion, that’s created by self-centered motive of greed. “Joy is compassion, joy is giving yourself to somebody else or something else. And it’s the kind of thing that is in it’s subtlty and lowness more powerful than pleasure. If you get hung up on pleasure you’re doomed. If you pursue joy you will find everlasting happiness.” –George Lucas And how I like to compare that to The Hijacking of the American Mind by Robert Lustig, MD, MSL, which is a book about how corporations have hijacked our pleasure centers to make us focused on reward over pleasure. It talks about the exact same concepts, with only slight word adjustments, but otherwise might as well be verbatim: “At this point it’s essential to define and clarify what I mean by these two words—pleasure and happiness—which can mean different things to different people. “Merriam-Webster’s Dictionary defines “pleasure” as “enjoyment or satisfaction derived from what is to one’s liking”; or “gratification”; or “reward.” While “pleasure” has a multitude of synonyms, it is this phenomenon of reward that we will explore, as scientists have elaborated a specific “reward pathway” in the brain, and we now understand the neuroscience of its regulation. Conversely, “happiness” is defined as “the quality or state of being happy”; or “joy”; or “contentment.” While there are many synonyms for “happiness,” it is the phenomenon that Aristotle originally referred to as eudemonia, or the internal experience of contentment, that we will parse in this book. Contentment is the lowest baseline level of happiness, the state in which it’s not necessary to seek more. In the movie Lovers and Other Strangers (1970), middle-aged married couple Beatrice Arthur and Richard Castellano were asked the question “Are you happy?”—to which they responded, “Happy? Who’s happy? We’re content.” Scientists now understand that there is a specific “contentment pathway” that is completely separate from the pleasure or reward pathway in the brain and under completely different regulation. Pleasure (reward) is the emotional state where your brain says, This feels good—I want more, while happiness (contentment) is the emotional state where your brain says, This feels good—I don’t want or need any more. “Reward and contentment are both positive emotions, highly valued by humans, and both reasons for initiative and personal betterment. It’s hard to be happy if you derive no pleasure for your efforts—but this is exactly what is seen in the various forms of addiction. Conversely, if you are perennially discontent, as is so often seen in patients with clinical depression, you may lose the impetus to better your social position in life, and it’s virtually impossible to derive reward for your efforts. Reward and contentment rely on the presence of the other. Nonetheless, they are decidedly different phenomena. Yet both have been slowly and mysteriously vanishing from our global ethos as the prevalence of addiction and depression continues to climb. “Drumroll … without further ado, behold the seven differences between reward and contentment: Reward is short-lived (about an hour, like a good meal). Get it, experience it, and get over it. Why do you think you can’t remember what you ate for dinner yesterday? Conversely, contentment lasts much longer (weeks to months to years). It’s what happens when you have a working marriage or watch your teenager graduate from high school. And if you experience contentment from a sense of achievement or purpose, the chances are that you will feel it for a long time to come, perhaps even the rest of your life.Reward is visceral in terms of excitement (e.g., a casino, a football game, or a strip club). It activates the body’s fight-or-flight system, which causes blood pressure and heart rate to go up. Conversely, contentment is ethereal and calming (e.g., listening to soothing music or watching the waves of the ocean). It makes your heart rate slow and your blood pressure decline. - “ Reward can be achieved with different substances (e.g., heroin, nicotine, cocaine, caffeine, alcohol, and of course sugar). Each stimulates the reward center of the brain. Some are legal, some are not. Conversely, contentment is not achievable with substance use. Rather, contentment is usually achieved with deeds (like graduating from college or having a child who can navigate his or her own path in life). - “Reward occurs with the process of taking (like from a casino). Gambling is definitely a high: when you win, it is fundamentally rewarding, both viscerally and economically. But go back to the same table the next day. Maybe you’ll feel a jolt of excitement to try again. But there’s no glow, no lasting feeling from the night before. Or go buy a nice dress at Macy’s. Then try it on again a month later. Does it generate the same enthusiasm? Conversely, contentment is often generated through giving (like giving money to a charity, or giving your time to your child, or devoting time and energy to a worthwhile project). - Reward is yours and yours alone. Your sense of reward does not immediately impact anyone else. Conversely, your contentment, or lack of it, often impacts other people directly and can impact society at large. Those who are extremely unhappy (the Columbine shooters) can take their unhappiness out on others. It should be said at this point that pleasure and happiness are by no means mutually exclusive. A dinner at the Bay Area Michelin three-star restaurant the French Laundry can likely generate simultaneous pleasure for you from the stellar food and wine but can also generate contentment from the shared experience with spouse, family, or friends, and then possibly a bit of unhappiness when the bill arrives. - Reward when unchecked can lead us into misery, like addiction. Too much substance use (food, drugs, nicotine, alcohol) or compulsive behaviors (gambling, shopping, surfing the internet, sex) will overload the reward pathway and lead not just to dejection, destitution, and disease but not uncommonly death as well. Conversely, walking in the woods or playing with your grandchildren or pets (as long as you don’t have to clean up after them) could bring contentment and keep you from being miserable in the first place. - Last and most important, reward is driven by dopamine, and contentment by serotonin. Each is a neurotransmitter—a biochemical manufactured in the brain that drives feelings and emotions—but the two couldn’t be more different. Although dopamine and serotonin drive separate brain processes, it is where they overlap and how they influence each other that generates the action in this story. Two separate chemicals, two separate brain pathways, two separate regulatory schemes, and two separate physiological and psychological outcomes. How and where these two chemicals work, and how they work either in concert or in opposition to each other, is the holy grail in the ultimate quest for both pleasure and happiness.” – Robert Lustig, MD, MSL And then lets add in what Dave Filoni has said about the Force and the core themes of Star Wars: "In the end, it’s about fundamentally becoming selfless moreso than selfish. It seems so simple, but it’s so hard to do. And when you’re tempted by the dark side, you don’t overcome it once in life and then you’re good. It’s a constant. And that’s what, really, Star Wars is about and what I think George wanted people to know. That to be a good person and to really feel better about your life and experience life fully you have to let go of everything you fear to lose. Because then you can’t be controlled. “But when you fear, fear is the path to the dark side, it’s also the shadow of greed, because greed makes you covet things, greed makes you surround yourself with all these things that make you feel comfortable in the moment, but they don’t really make you happy. And then, when you’re afraid of something, it makes you angry, when you get angry, you start to hate something, sometimes you don’t even know why. When you hate, do you often know why you hate? No, you direct it at things and then you hate it. And it’s hard because anger can be a strength at times, but you can’t use it in such a selfish way, it can be a destroyer then. “These are the core things of Star Wars.“ –Dave Filoni So, the core things of Star Wars and the Jedi teachings (because Jedi teachings are basically almost word for word how GL described how the Force works) can very much be a reflection of real world teachings and ways to live by, because all of the above are about how GL viewed the world and what he wanted to put into his movies. Further, Jedi teachings are basically just reworded Buddhism + Acceptance and Commitment Therapy. And both of those are very livable by our real world standards, if you so choose. GL was very much about how SW had themes that were meant to be picked up on by the audience and even DF has said this: “ Jedi have the ability to turn the tide, to make a significant moment, to give hope where there’s none. That’s their ultimate role to play, to be this example of selflessness. And that’s what makes them a hero, when no one else can match that heroic thing. And then our job is to emulate that, to use that example, and further our own lives.” --Dave Filoni Ultimately, the Jedi are specifically focused on disciplining themselves (which GL has said is the only way to overcome the dark side, in that TCW writers’ meeting), probably to a degree most of us wouldn’t have the room to devote to, but that doesn’t mean that the broader strokes aren’t meant to be applicable to our lives or don’t echo real world teachings.

#jedi order #meta #long post

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rivalsforlife · 3 years

Text

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!

#ace attorney #phoenix wright the truth reborn #idk maybe someone wanted to know what the first musical was like without actually watching it?#my essays #my posts #i'm TIRED i'm going to BED goodNIGHT #this is less funny jokes and more actually criticizing the musical #because so much of this is like. wow. you really thought that was a good idea huh #just skip to the feenie sweater part honestly that's the funniest part of this musical

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causeiwanttoandican · 3 years

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Harry, Meghan and me: my truth as a royal reporter

I've covered elections and extremism, but nothing compares to the vitriol I've received since I started writing about the Sussexes

By Camilla Tominey, Associate Editor27 March 2021 • 6:00am

It is probably worth mentioning from the outset that I never, ever, planned to become a royal reporter. I mean, who does? It’s one of those ridiculous jobs most people fall into completely by accident.

I certainly wasn’t coveting the position when I first found out how bonkers the beat could be after covering Charles and Camilla’s wedding in 2005. Desperate for ‘a line’ on what went on at the reception, journalists were reduced to flagging down passing cars in Windsor High Street and interrogating the likes of Stephen Fry about whether they’d had the salmon or the chicken.

Watergate, this wasn’t.

Yet when my former editor called me into his office shortly afterwards and offered me the royal job ‘because you’re called Camilla and you dress nicely’, who was I to refuse?

Having planned to get married myself that summer, and start a family soon afterwards, I looked to the likes of Jennie Bond and Penny Junor and figured it would be a good patch for a working mother as well as being one I could grow old with. Unlike show business, when celebrities are ‘in’ one minute and ‘out’ the next, the royals would stay the same, making it easier to build – and keep – contacts.

So if you’d told me that 16 years later, I would find myself at the centre of a media storm over a royal interview with Oprah Winfrey, I’d have probably laughed in your face. First of all, only royals like Fergie do interviews with Oprah. And since when did journalists become the story?

Yet as I have experienced since the arrival of Meghan Markle on the royal scene in 2016 – a move that roughly coincided with Twitter doubling its 140-character limitation to 280 – royal reporters like me now find themselves in the line of fire like never before.

We are used to the likes of Kate Adie coming under attack in the Middle East, but now it is the correspondents who write up events like Trooping the Colour and the Royal Windsor Horse Show having to take cover from the keyboard warriors supposedly defending the Duke and Duchess of Sussex’s ‘truth’.

Accusations of racism have long been levelled against anyone who has dared to write less than undiluted praise of Harry and Meghan. But even I have been taken aback by the vitriol on social media in the wake of the couple’s televised two-hour talk-a-thon, in which they branded both the Royal family and the British press racist while complaining about their ‘almost unsurvivable’ multimillionaire lives at the hands of the evil monarchy. And all while the rest of the UK were losing their loved ones and livelihoods in a global pandemic.

Having covered Brexit, general elections and stories about Islamic extremism, I’ve grown used to being sprayed with viral vomit on a fairly regular basis, but when you’ve got complete strangers trolling your best friend’s Instagram feed by association? That’s Britney Spears levels of toxic.

Having a hind thicker than a rhino’s, it wasn’t the repeated references to my being ‘a total c—’ that particularly bothered me, nor even the suggestion that I should have my three children put up for adoption. At one point someone even said it would be a good idea for me to drink myself to death like my mother, about whose chronic alcoholism I have written extensively.

No, what really got me was the appalling spelling and grammar. I mean, if you’re going to hurl insults, at least have the decency to get my name right.

Yet in order to understand just how it has come to pass that so-called #SussexSquaders think nothing of branding all royal correspondents ‘white supremacists’ regardless of who they write for, or sending hate mail to our email addresses, offices – and in some cases, even our homes – it’s worth briefly going to back to when I first broke the story that Prince Harry was dating an American actor in the Sunday Express on 31 October 2016. Headlined: ‘Royal world exclusive: Harry’s secret romance with TV star’, the splash revealed how the popular prince was ‘secretly dating a stunning US actress, model and human rights campaigner’.

Despite my now apparently being on a par with the Ku Klux Klan for failing to acknowledge Meghan as the next messiah, it was actually not until the fifteenth paragraph of that original article that the ‘confident and intelligent’ Northwestern University graduate was described as ‘the daughter of an African-American mother and a father of Dutch and Irish descent’.

Call me superficial, but I was genuinely far more interested in the fact that Harry ‘I-come-with-baggage’ Wales was dating a former ‘briefcase girl’ from the US version of Deal or No Deal than the colour of her skin. A ginger prince punching well above his weight? This was the stuff of tabloid dreams. Little did I know then that covering the trials and tribulations of these two lovebirds would turn into such a nightmare.

The online hostility began bubbling up about eight days after that first story, when Harry’s then communications secretary Jason Knauf issued an ‘unprecedented’ statement accusing the media of ‘crossing a line’.

‘His girlfriend, Meghan Markle, has been subject to a wave of abuse and harassment’, it read, referencing a ‘smear on the front page of a national newspaper; the racial undertones of comment pieces; and the outright sexism and racism of social media trolls and web article comments’. Meghan’s mother, Doria Ragland, had apparently been besieged by photographers, while bribes had been offered to Meghan’s ex-boyfriend along with ‘the bombardment of nearly every friend, coworker, and loved one in her life’.

Suffice to say, I did feel a bit guilty. Although I hadn’t written anything remotely racist or sexist, I had started the ball rolling for headlines like the MailOnline’s ‘(Almost) straight outta Compton’ (referencing a song by hip-hop group NWA about gang violence and Meghan’s upbringing in the nearby LA district of Crenshaw), along with her ‘exotic’ DNA (which I subsequently called out, including on This Morning in the wake of ‘Megxit’ in January last year).

Omid Scobie, co-author of Finding Freedom, a highly favourable account of the Sussexes’ departure from the Royal family, written with their cooperation last summer, would later insist that the couple knew the story of their relationship was coming out and were well prepared for it.

I can tell you categorically that they weren’t, since I did not even put a call into Kensington Palace before we went to press for fear of it being leaked. (I did later discuss this with Harry, when I covered his trip to the Caribbean in November 2016, and to be fair he was pretty philosophical, agreeing it would have come out sooner or later. But that was before the former Army Captain decided to well and truly shoot the messenger, latterly telling journalists covering the newly-weds’ tax-payer-funded October 2018 tour of Australia and the south Pacific: ‘Thanks for coming, even though you weren’t invited.’)

The royal press pack is the group of dedicated writers who cover all the official engagements and tours on a rota system, in exchange for not bothering the royals as they go about their private business. It was a shame this ragtag bunch, of which I am an associate member, was never personally introduced to Meghan when the couple got engaged in November 2017.

I still have fond memories of a then Kate Middleton, upon her engagement to Prince William in November 2010, showing me her huge sapphire and diamond ring following a press conference at St James’s Palace with the words, ‘It was William’s mother’s so it is very special.’

I replied that she might want to consider buying ‘one of those expanding accordion style file holders’ to organise all her wedding paperwork. (Reader, I had given birth to my second child less than four months earlier and was still lactating.)

Not meeting Meghan did not stop royal commentators like me writing reams about her being ‘a breath of fresh air’ and telling practically every TV show I appeared on that she was the ‘best thing to have happened to the Royal Family in years’.

As the world followed the joyous news of the Windsors’ resident strip billiards star having finally found ‘the one’, the couple enjoyed overwhelmingly positive press culminating in their fairy-tale wedding in May 2018, which we headlined ‘So in love’ above a picture of the bride and groom kissing. I tweeted the wedding front page, along with the original story breaking the news of their relationship with the words, ‘Job done’. Yet, as Meghan would later point out in a glossy Santa Barbara garden, that was by far the end of the story.

According to the Duchess’s testimony before a global audience of millions, the seeds for their royal departure were actually sown by an article I wrote in November 2018 suggesting she made Kate cry during a bridesmaid’s dress fitting for Princess Charlotte.

Claiming the ‘reverse happened’, the former Suits star railed, ‘A few days before the wedding she was upset about something, pertaining to, yes, the issue was correct, about flower-girl dresses, and it made me cry, and it really hurt my feelings.’

She then went on to criticise the palace for failing to correct the story – suggesting that royal aides had hung her out to dry to protect the Duchess of Cambridge.

All of which left me in a bit of a sticky situation. As I told Phillip Schofield on This Morning the following day, ‘I don’t write things I don’t believe to be true and that haven’t been really well sourced.’

Having seemingly been completely bowled over by Meghan’s version of events, Schofe then went for the jugular: ‘I have to say, though, that’s all addressed in that interview, isn’t it, because she [Meghan] couldn’t understand why nobody stood up for her?’

Yet someone had stood up for her, on that very same This Morning sofa: me.

As I told Phil and Holly on 14 January 2019, as more reports of ‘Duchess Difficult’ started to emerge, ‘I think she [Meghan] is doing really well, she looks amazing, she speaks well. She has played a blinder.’

So you’ll forgive me if I can’t quite understand why Meghan didn’t feel the need to correct this supposedly glaring error once she had her own dedicated head of communications from March 2019 – or indeed when she ‘collaborated’ with Scobie, who concluded in his bestselling hagiography that ‘no one cried’?

Moreover, how did the Duchess know a postnatal Kate wasn’t ‘left in tears’? And if she doesn’t know, what hope has the average troll observing events through the prism of their own deep-rooted insecurities?

It appears the actual truth ceases to matter once sides have been taken in the unedifying Team Meghan versus Team Kate battle that has divided the internet.

Make no mistake, there are abject morons at both extremes spewing the sort of bile that, ironically, makes most of the media coverage of Harry and Meghan look like a 1970s edition of Jackie magazine.

It perhaps didn’t help my case that the day before the interview was aired in the US, I had written a lengthy piece carefully weighing up the evidence behind allegations of ‘outrageous bullying’ that had been levelled against Meghan during what proved to be a miserable 20 months in the Royal family for all concerned.

The messages – to my Twitter feed, my email, my website and official Facebook page – ranged from the threatening, to the typical tropes about media ‘scum’ and the downright bizarre. Some accused me of being in cahoots with Carole Middleton, with whom I have never interacted, unless you count a last-minute Party Pieces purchase in a desperate moment of poor parental planning.

Another frequent barb was questioning why the press wasn’t writing about that ‘pedo’ [sic] Prince Andrew instead – seemingly oblivious to the fact that no one would know about the Duke of York’s links to Jeffrey Epstein if it wasn’t for the acres of coverage devoted to the story by us royal hacks over recent years.

It didn’t matter that I had repeatedly torn the Queen’s second, and, some say, favourite son to pieces for everything from his propensity to take his golf clubs on foreign tours to that disastrous Newsnight interview.

Contrary to the ‘invisible contract’ Harry claims the palace has with the press, royal coverage works roughly like this: good royal deeds = good publicity. Bad royal deeds = bad publicity. We effectively act as a critical friend, working on behalf of a public that rightly expects the royals to take the work – but not themselves – seriously.

So when a royal couple preaches about climate change before taking four private jets in 11 days, it is par for the course for a royal scribe to point out the inconsistency of that message. None of it is ever personal, as evidenced by the fact that practically every member of the monarchy has come in for flak over the years.

If Oprah wasn’t willing to point out the discrepancies in Harry and Meghan’s testimony, surely it is beholden on royal reporters to question how the Duchess had managed to undertake four foreign holidays in the six months after her wedding, in addition to official tours to Italy, Canada, and Amsterdam, as well as embarking on a lengthy honeymoon, if she had ‘turned over’ her passport?

While no one would wish to undermine the extent of her mental health problems, could it really be true that she only left the house twice in four months when she managed to cram in 73 days’ worth of engagements, according to the Court Circular, in the 17 months between her wedding and the couple’s departure to Canada?

And what of the ‘racist’ headlines flashed up during the interview purporting to be from the British press, when more than a third were actually taken from independent blogs and the foreign media? The UK media abides by the Independent Press Standards Organisation’s Code of Conduct ‘to avoid prejudicial or pejorative reference to an individual’s race’, as well as by rigorous defamation laws. And rightly so – the British press doesn’t always get it right. But social media is the Wild West by comparison, publishing vile slurs on a daily basis with impunity.

Some therefore find it strange that such a litigious couple would claim to have been ‘silenced’ when they have made so many complaints, including resorting to legal action, over stories they claim not to have even read. There is something similarly contradictory about a couple accusing the tabloids of lacking self-reflection while refusing to take any blame at all – for anything.

In any normal world, informed writing on such matters would be classed as fair comment, but not, seemingly, on Twitter where those completely lacking any objectivity whatsoever are only too willing to virtue signal and manoeuvre.

As the trolling reached fever pitch in the aftermath of the interview, veteran royal reporter Robert Jobson of the Evening Standard called me. ‘Don’t respond to these freaks,’ he advised. ‘It’s getting nasty out there. Watch your back!’

Yet despite my general sense of bewilderment at the menacing Megbots, I can’t say it didn’t appal me to discover a close friend had received online abuse, purely by dint of being my mate. After discussing the lengths the troll must have gone to to track her down, she asked me, ‘Do you ever worry someone might do something awful to you?’ Er, not until now, no.

Of course it’s upsetting, even for a cynical old-timer like me. Worse still are people who actually know me casting aspersions on my profession on social media. Often these are the same charlatans who would think nothing of sidling up to me for the latest gossip on the Royal family, while publicly pretending that reading any such coverage is completely beneath them.

Most pernicious of all though – not least after Piers Morgan’s departure from Good Morning Britain following a complaint to ITV and Ofcom from the Duchess – is the corrosive effect this whole hullabaloo is having on freedom of speech. When you’ve got a former actor effectively editing a British breakfast show from an £11 million Montecito mansion, what next?

I cannot help but think we are in danger of setting race relations back 30 years if people are seriously suggesting that any criticism of Meghan is racially motivated. It’s the hypocrisy that gets me. When Priti Patel was accused of bullying, the very same people who willingly hung the Home Secretary out to dry are now the ones defending Meghan against such claims, saying they have been levelled at her simply because she is ‘a strong woman of colour’.

Of course journalists should take responsibility for everything they report and be held to account for it – but Harry and Meghan do not have a monopoly on the truth simply because the close friend and neighbour who interviewed them in return for £7 million from CBS took what they said as gospel.

If she isn’t willing to probe the disparity between Meghan saying someone questioned the colour of Archie’s skin when she was pregnant, and Harry suggesting it happened before they were even married, then someone must. There’s a name for such scrutiny. It’s called journalism.

The public reserves the right to make up its own mind – with the help of the watchful eye of a free and fair press. But that press can never be free or fair if journalists do not feel they can report without fear or favour. I’m lucky that a lot of the criticism I face is more than balanced out by hugely supportive members of the public and online community who either agree – or respect the right to disagree. Along with the hate mail, I have had many thoughtful and eloquent missives, including those that good naturedly challenge what I have written in the paper or said on TV, which have genuinely given me pause for thought.

I am more than happy to enter into constructive discourse with these correspondents, who are frankly sometimes the only people who keep me on Twitter. I mean, let’s face it, I wouldn’t be anywhere near the bloody thing if this wasn’t my day job.

With the National Union of Journalists this month declaring that harassment and abuse had ‘become normalised’ within the industry, never have members of Britain’s press needed more courage. As Winston Churchill famously said, ‘You have enemies? Good. That means you’ve stood up for something, sometime in your life.’

Who would have thought that the preservation of the fundamental freedoms that we hold so dear should partially rest on the shoulders of those who follow around a 94-year-old woman and her family for a living?

If I’d known then what I know now, would I still have written the bridesmaid’s dress story?

Yes – doubtlessly reflecting sisterly sobs all round. But after two decades in this business, I am clear-eyed enough to know this for certain: whatever I had written, it would still have ended in tears.

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felassan · 4 years

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Dragon Age development insights from David Gaider - PART 1

This information came from DG on a recent SummerfallStudios Twitch stream where he gave developer commentary while Liam Esler played DAO, specifically the mage Origin. I transcribed it in case there’s anyone who can’t watch the stream (for example due to connection/tech limitations, data, time constraints, or personal accessibility reasons). A lot of it is centered on DAO, but there’s also insights into DA2 and DAI. Some of it is info which is known having been out there already, some of it is new, and all of it imo was really interesting! It leaps from topic to topic as it’s a transcript of a conversational format. It’s under a cut due to length.

Note on how future streams in this series are going to work: The streams are going to be every Friday night. Most likely, every week, they’re going to play DAO. Every second week it will be Liam and DG and they’ll be doing more of this developer commentary style/way of doing things, talking about how the game was made as they play through, covering quirks and quibbles etc. Every other week, it will be Liam and a guest playing a different campaign in DAO, and Liam will be talking with them about how DA changed their lives or led them into game development, to get other peoples’ thoughts on the series (as it’s now been like 10 years). Some of these guests we may know, some we won’t. When other DA devs are brought on, it’ll be in the DG sessions. They hope to have PW and Karin Weekes on at some point. Sometime they hope to have an episode where they spend the whole time going through the lore.

(Part 2, Part 3, Part 4, Part 5, Part 6)

[wording and opinions DG’s, occasionally LE’s; paraphrased]

DAO’s development actually finished up around April 2009. They then put it on ice for around six months before release. Human Noble is DG’s favorite Origin. It’s one of the ones he wrote. He also wrote the Dalish Origin as well (Tamlen is his doing ;__;). DAO’s temp name during development was Chronicles. DG has never played any of the DA games after they were released. He played them pre-release loads of times, when they were half-broken or incomplete etc. This stream is his first time seeing everything played after completion.

NWN: Hordes of the Underdark was the first game where DG was a/the lead writer, in charge of other writers, as opposed to a senior writer. It was pretty well-received. In the fall of 2003, BW were just finishing up HotU when James Ohlen came to DG to talk. BW had been having issues during the development of NWN with the IP holder for D&D Wizards of the Coast, so they were interested in starting their own IPs that they would have ownership over (and also for financial reasons). JO said to DG that one of these new IPs would be fantasy and one would be sci-fi. He knew that DG was more fantasy-oriented, and so asked DG if he wanted to take this on. DG was down, and the first thing to figure out was what that fantasy IP was going to be.

JO gave DG an atlas of European history, which he still has, and said that he wanted him to make a fantasy world that is reminiscent of medieval Europe and reminiscent of D&D - “make it like D&D but not, file off the serial numbers really well”. This worked for DG because he was pretty familiar with D&D and there were also lots of things that he didn’t like about it and wanted to change. So DG went off and for the next six months worked on creating a setting, beginning with documentation and the map. This was kinda strange because they had no idea at that time what their story would be. JO was very interested in having a “genetically evil” enemy in the setting (like an equivalent to orcs). DG wasn’t a big fan of this and his initial go at the setting omitted this (i.e. darkspawn were not a thing) and was a lot more realistic. JO insisted on adding them later on.

This period of development wasn’t actually a good process. There were other people who were working on the project who were designing the combat side. Looking back, DG feels that they should have put their heads together a lot sooner. The combat designers had various ideas for various prestige classes and subclasses, and DG would be like “these are nowhere in the setting [lore]”. He tried his best to add a few of them after the fact, which is why we see things like DA’s version of the bard archetype. The combat designers and artists originally had a vision in mind of a game that was much more along the lines of the type of fantasy you’d find in the Conan the Barbarian world - bare-chested barbarians, sorceresses that show a lot of skin, a grimdark world with barbarian hordes. They were just assuming that’s what it was going to be. At this point in time DG had never thought, “Oh, maybe I’m responsible for communicating my ideas to them” - he’d never done this role before and was just told to go create the world. He created world-building documentation and would send out emails saying “I’m making this documentation, please go ahead and take a look”, not learning until later on that nobody outside of the writing team really likes reading such documentation. He learned tricks later on like making the docs more accessible, less dense and wordy, and overall easier to peruse.

There was no real ‘vision holder’ for DA. Mass Effect did a much better job of that. Casey Hudson was the project director and the vision holder for ME, and he had the power to enforce a set vision of what was and was not ME. ME therefore ended up having a bit more of a coherent vision. DG was in essence the vision holder for DA, but he didn’t really have the authority to enforce it on the artists. The DA teams ended up spending a good 3.5 - 4 years of the ~6 years of DAO dev time going in circles, not exactly sure what they were going to make, the various people working on it having different ideas of what ‘kind’ of fantasy they were going to make. The writing team were leaning towards LoTR; the artists were leaning towards Conan; at one point one of the project directors was leaning towards a point-and-click Diablo-style action adventure; and nobody was overriding anybody else.

The fans who hang out on the forums and in similar places have a very different idea about what kind of game they like and want to play versus the telemetry BW get from the public in general. As an example, fans on the forums tend towards playing non-humans and feeling that playing as a human is boring. Forum-polls reflected that, but BW’s general public-telemetry shows that around 75-80% of the playerbase played a human in DAO. Elves were at 15% and dwarves 5%. In contrast, in the core/forum-based fanbase, the human figure dropped down to 30%.

DG originally wanted Zevran to be a gay romance (he has talked about this before). He asked JO if he could do that pretty early on, thinking of Jade Empire which had same-gender romance options which were really popular. BW were surprised about that, and DG had no idea that the JE team were going to do this. For DAO, he had an idea for an assassin character. He had been reading about how the CIA and KGB would often recruit gay men to be their assassins, as they didn’t tend to have family ties. DG thought this was really interesting. JO was cool with the idea on a conceptual level, but thought that the work that would end up going into it would be better served if those characters could be romanced by both male and female PCs. Zevran and Leliana weren’t intended to be bi, they were “bi out of convenience”, but at the time these sorts of things (representation and such) didn’t enter into the equation as much as it does today. DG wrote Zevran in his head as being romanceable by men.

DG would ask the hair artists, “Why all the mullets?”, because he never understood that, and he’d get “a sort of shrug response”, and an indication that “it’s easier to model, I guess?” Having hair which is loose, in the face, in locks, coming over the shoulders etc wasn’t really supported at this point by the tech or the engine. Hence, they ended up with like five different versions of mullets. On the subject of the engine, for the first half of development they were using an upgraded version of the Aurora engine from NWN, and it was not good. Several years in they decided to switch. Trent Oster was in charge at the time of making a new proprietary BW engine. At the time it wasn’t ready yet, but the DA team decided to grab it, use it and hammer it into the DA engine. That engine had “so many little weird quirks”, like lighting on skin not working properly and looking bad, and one of the issues was hair. It was supposed to be BW’s proprietary engine but it really wasn’t optimized for RPGs and didn’t include a dialogue system. They had to custom-build the conversation system. (At the time Trent didn’t think BW should be doing RPGs anymore, which is a whole other story of its own). DG recalls programmers complaining about things in the engine that weren’t ready for ‘prime-time’. Even compared to games released concurrently, DAO’s graphics were a bit dated.

For the worldbuilding, they had an internal wiki and they kept everything on there. They ended up with a lot of legacy documentation on there very quickly. Eventually they solved this by hiring an editor whose sole job it was to wrangle the documentation. DG started work on the setting in the same manner in which he’d embark on starting a homebrew - ‘so like, first, here’s a map, oh, I like this name, vague ideas, a paragraph on each major nation, a rough timeline of the history, expanding, and it just growing from there’. After about six months, they brought on other writers, and by then he had around 50 pages of documentation. This 50 pages was a minute amount compared to the amount they had generated at the time of release. Originally, they weren’t sure where in the world specifically the story would take place, so DG made sure to seed potential and brewing conflicts throughout Thedas. They settled quite quickly on the new Blight starting in Ferelden. Once they established that, the writers went to town on taking Ferelden specifically and blowing it up detail-wise. Jennifer Hepler was in charge of the dwarves and Orzammar. Mary Kirby was on Fereldan customs and traditions.

The first version of the setting was more grounded in realism, almost like a post-fantasy. The dragons and griffons were extinct and a lot of the things that were thought to be fantastical were thought to be over with. During development, they started clawing these things back. They brought back dragons because the game was named Dragon Age (lol). DG was approached like, “Hey, we named the game DA, can you bring back dragons and weave them into the story more powerfully?” Wynne’s writer Sheryl Chee had a bit of an obsession with griffons and was often like ‘omg, griffons :D’, and this is the origin of Wynne’s dialogue with the Warden about griffons.

KotOR was the first time BW had tried to do a game that was fully voiced-over. For KotOR, BW sent the work of casting, direction and so on down to another studio in California called Technicolor. BW had little say in the process then and when they got it back, “it was what it was”. By the time they got to DA and the first ME, BW had a good system down for recording and VO had become an important thing in games at the time. BW are really one of the premieres for this, a lot of actors really like acting on BW games as they get a lot of space to act where they wouldn’t normally be able to do so otherwise. DG has learned a lot from Caroline Livingstone on how to encourage the best performance out of an actor. For DAO, DG worked together with the various lead designers and Caroline to decide on the auditions, casting etc. This was one of DG’s favorite things to do.

Gideon Emery as Fenris, GDL as Solas and Eve Myles as Merrill were times where DG had written the character and then went to Caroline and said “I have an actor in mind for them, can you check it out?” These were specific times where he was able to secure the actor he wanted. This didn’t always work out, for example there are times when actors aren’t interested or have no time due to scheduling conflicts or were too expensive etc. Eve and GDL were DG’s roommate Cori’s idea. Cori was a big fan of Torchwood/the actors from Torchwood, and worked as an editor at BW for a long time. Gideon was DG’s idea after playing FF12. For DAO, DG didn’t have any specific ideas in terms of actors. Casting Morrigan was the longest, most drawn out process.

The Circle went through a whooole process during worldbuilding. Initially, mages in the game weren’t supposed to have any “fighting magic”. The restrictions were originally such that in the lore, they didn’t teach mages that. Mages weren’t taught any magic that could kill people, only ‘indirect’ forms of magic that could support others. However, [during what sounds like] playtesting it was asked “Why can’t I cast a fireball? I just want to cast a fireball”, so the writers had to go back and rework how magic in the lore worked completely.

Flemeth was originally going to be voiced by Shohreh Aghdashloo, and she was totally on-board, but unfortunately because of DAO’s development delays, she was unable to attend the new recording time as she had a conflict in her schedule (she was filming House of Sand and Fog). Shoreh was quite disappointed about this and her family had been so excited that she was going to be in a video game. When the movie was finished, Shoreh came back to BW and let them know that she was still available, and this is how she ended up in ME2. For a while they were trying to find an actress with an accent that authentically mirrored Shoreh’s. Out of the blue around this time, Claudia Black’s agent sent BW an audition tape of her. At the time Claudia hadn’t done any games but wanted to get into it. The tape was of Claudia doing a beat poet rendition of Baby Got Back. DG still has this tape. DG was a big fan of Farscape and on listening to the tape, it clicked right away in his head that Claudia would be perfect for Morrigan.

The Fade ended up being a big irritation for the writers. They wanted the PC to be able to assume different forms and such while in there. A lot of this stuff proved too difficult for the combat designers to work out, and so it ended up getting changed a lot. They had a hard time coming up with gameplay that could work in the Fade. The mage Origin is DG’s least favorite of the Origin stories, as he’s really dubious about the Fade section in it. It didn’t work out like how they had pictured it in their heads. By the time they got to DAI, that’s when the Fade really looks like how the writers first described/envisioned it. By this point the artists were more keen to give it a more specific feel. DAO was made at a time when ‘brown is realistic’ was a prevailing thing in games dev.

The experience of a mage in the world isn’t represented or conveyed very well to the player when the player is a mage. The experience of the player when they’re playing a mage or have a mage in their party doesn’t really match up with how the world lore tells them how dangerous mages can be - for example, how they can lose control and so on, we never really have an example of a PC mage struggling with being taken over by a demon. This was originally supposed to be a subplot in DA2 for mage Hawkes, in one of the last cuts. In Act 2, mage Hawke was originally slowly being tricked by a demon in their head that they thought was real, only to realize at the last minute. Mouse the Pride demon in the mage Origin is the only time in the entire series that they really ever properly demonstrated how demons can fuck with [PC] mages. Also, PC templars were originally supposed to have a permanent lyrium addiction that they needed to ‘feed’, but this was scrapped as the system designers weren’t keen on it and felt that it was essentially handicapping the player.

Mages were originally also not supposed to be able to deal with pure lyrium (it would ‘overload’ them). There is a plot where mage PCs run around touching lyrium nodes to refill their mana bars. On this DG was like “Wtf is this?” The designers said that it works, and DG said “but it flies in the face of the lore”. This instance is an example of how the DA team was working where the various departments (writers, artists, designers etc) all had their own ideas about how the game and its world would work and never overrode each other (see above). DG feels that DAO is a little contradictory in that way. It’s only after the game came out that a lot of the people on the team really “bought into” what they’d put forward. This got easier as they went on, with people involved buying then into the things that make Dragon Age, Dragon Age. At one point, not everyone on the team was even aware of those things.

DG relates that originally, they would ask the artists, “Ok, can we get a village?” and said village once created would be quite generic and non-specific to DA. The writers would try to relate how things are in the DA world and list things that would be found in a village like this specific to the DA world, and the artists either didn’t read it or had their own ideas (DG isn’t sure which), and nobody was around to tell them not to do that and that they should do it differently. Everyone having their own ideas like this is why we ended up getting something that is this sort of “cobbled together half-Conan half-LotR mish-mash”, and after a while this sort of became DA’s “thing”.

Initially, BW had concepts drawn up for a lot more different creatures. After they went in circles for those years and consequently ran out of time to do all the models, they had to cut these concepts down more and more. Demons were among the ones that were the first to go (this is why we have situations like a bereskarn as the Sloth Demon in the mage Origin). The original concepts for things like spirits of Valor and Sloth demons were really good. Early on, JO made a list of D&D creatures that he liked. He picked the ones that they were thinking of doing, sent them to DG and said to make a “DA version of this”. For example, D&D succubi essentially became Desire Demons. Desire Demons were originally patterned off Sandman, neither male nor female yet really alluring, acting more like a genie and trying to ferret out mortals’ inner desires (which are not necessarily sexual in nature), without being overtly sexual. The artists’ version came back and that was basically the model seen in-game. The writers were like “What is this, this is nothing like the description?” and the artists responded that on the list from JO, it was included, in that you had to click on “succubus” to get to the Desire Demon description, so they had just read “succubus” and done their version of a succubus. The artists did loads of great work, but this was one of the instances were DG was like “???” By then, it was too late to change it. The writers were able to encourage them to make Desire Demons a little more fearsome, so that made it in at least.

The mage Origin was one of the more contentious Origin stories. It had like 4 different versions written of it over time. It was often the case that BW would hire someone, and writing an Origin story was their first test. Three different writers came in and wrote a version of the mage Origin and those versions just didn’t work. Finally they passed it to Sheryl Chee and she wrote it. The Origins were the parts of the game in general that were written/rewritten the most often. There were several others that got written that they discarded.

Duncan was slated for death from Day 1. When DG writes a story, the thing he does first is pick out the big emotional beats that he wants, such as deaths. He decides these ahead of time and the stuff in-between comes later and is more often changed. Oghren was also originally supposed to die, but this ended up getting cut. DG related a story of how Oghren came to be: At the time, there was a phase JO went through when he thought everything had a formula that it could be done by. One of these ‘creative forumulas’ was that all such IPs had a two-word name that they’re known by, such as Star Wars, Star Trek, Dragonlance (being Dragon-Lance). This is how ‘DA’ and ‘ME’ came to be. One of the formulas he wanted to implement was how to distill the ‘comedy character’, like Minsc or HK-47. These characters were very popular with the fans and JO was certain that there was a way to figure this out to create one for DA. At the time, DG argued with him a lot about this. JO insisted it could be done. DG was originally supposed to write this character but ended up not doing so. JO came up with a list of comedic archetypes and had DG write a blurb about what kind of character each could be. These were then sent out to the team who voted on which was their favorite. This process eventually resulted in an archetype basically called ‘The Buffoon’ (think Homer Simpson or Peter Griffin, the kind of guy people laugh at because he’s such an oaf).

At this point ‘The Buffoon’ wasn’t named or made a dwarf yet. JO came to DG to write him, but DG said there was a problem which is that he hates this archetype. Homer and Peter are characters that he despises. DG is a professional writer, but this was comedy (outside of his areas of strength), and he felt the best he would be able to do is write a character who makes fun of this archetype and lampshade that. Comedy is something that has to come from within the writer. Oghren was given to someone else, and he ended up getting rewritten again anyway. By the time they were working on Awakening, DAO had not yet come out, and the assumption prior to the game going out was that Oghren was still going to be the most popular character from among the followers. The comedic character that ended up being the most popular along these lines was Alistair, which was interesting as he wasn’t intended as a comedic character, “so shows what we know”. DG was dubious that Oghren was going to be popular, because “he was kind of pathetic, honestly”, but that was the thinking at the time. Thinking he would be well-loved is why he was in Awakening.

On Alistair, any character DG writes is going to be sarcastic. At the time DG had made it a sort of personal challenge to recreate Joss Whedon’s dialogue patterns in his characters. Alistair was a sort of mish-mash of Xander from Buffy and maybe Mal from Firefly. DG wanted to see if he could do it, so Alistair was kind of quippy and self-deprecating. DG never really considered this to be Alistair’s main personality feature, but when other writers wrote him, they often had him doing this, as they liked the trait so much, and so this is how Alistair ended up as he did.

On dwarves, the dwarves being cut off from the Fade is very much baked into who the dwarves are as a race. There’s a specific reason why. This has been hinted at so far and it’s likely to come up in the future. DG had various ideas for some things that he wanted to include with the races or the way the world works etc. Some of them ended up never happening or some are mentioned only as part of the lore (templar lyrium addiction never coming up in gameplay is an example of this). Dwarven history and the nature of the dwarves is one of the things that survived pretty well though. DG calls Jennifer Hepler “mistress of the dwarves” and says that she did a really detailed, amazing breakdown of their history. After Jennifer left it was Mary Kirby, and DG feels that they did a good job of maintaining how dwarves were, in terms of both how they’re often presented in fantasy and yet also quite different in DA. Orzammar is one of DG’s favorite plots all together. You can really tell that Jennifer Hepler really enjoyed the dwarves and brought a lot of love to that plot.

DG draws a distinction between DA fans and the unpleasant people who harassed Jennifer Hepler.

They managed to keep the Tranquil in. There was a while there where they were going to be cut. At the same time, DG regrets that they couldn’t solve the making of the player more aware of how mages are dangerous, thing. Players could make a cogent argument like “they’re not that dangerous, look at me [mage PC]” and the writers were like “well... yeah, that is fair”. It was a case of showing one thing and the player experience of it being another. DG feels that this made the templars come off worse than they are. DG feels that they are being massively unfair and too extreme in their approach to the problem, but the problem itself is a real thing. He feels that there’s some merit/truth in the argument that mages are oppressed, but he looks at it more like an issue like gun control rather than as treatment of oppressed people, saying that we don’t have an example in real life of oppressed people who can explode into demons and cast fireballs and so on.

There are some funny pronunciations that worked their way into DA, and the reason for a lot of them is as follows: the writers had to create a pronunciation guide for VO, because otherwise you end up with a lot of inconsistencies. (Some did still slip through). The guide was online, and if you clicked on a word, an audio file for it would play. Jennifer Hepler was in charge of this and did a great job, but has a really strong NY accent, and in some cases the ‘NY-ness’ of her pronunciation endearingly worked itself into things (the way Arlathan is sometimes said is an example of where this happened sometimes).

Sometimes the writers trying to communicate the “hotness” of a character to the artists didn’t go smoothly. The writers would sometimes say things like, ok, this character is a romance, they need to be hot, and the designs would come back looking “like Burt Reynolds”, and the writers would be like “???” And then a character that wasn’t particularly intended to be hot, as in that wasn’t mentioned at all in the descriptions of them, would come back “accidentally hot”, and the writers would be like “Why couldn’t you have done this when we were asking for a character that was meant to be hot”, and the artists would be like “What?? He’s not hot”. And this became a thing (lmao - this discussion was prompted by DG being asked “Was Duncan meant to be that hot?”, for context). Some of the artists were so paranoid about their [in]ability to judge actually-hot characters that when it was time to pick an appearance, like for Alistair, they gathered up all the women at BioWare, and DG (“resident gay”) into a room to show them an array of faces and bodies like “Is this hot? Is this hot?” DG and co would sit there like, “How can you not tell? Is this a straight man thing?!” Anyways, this is why oftentimes we ended up with characters who are accidentally hot.

Over time, the writers realized that the way they communicated to artists needed to be managed better. The words they would use would have different connotations to them the writers, than what they did to the artists. For example, for Anders’ design in DA2, he was supposed to be “a little haggard”. When DG thinks of haggard, he thinks ‘a little tired, mussed hair, looking like you’ve been through some shit’. But the artists based on that produced concepts with super sunken cheeks, looking like he’d been terribly starved. The writers needed to develop a specific vocabulary for communicating with the artists, as artists think in terms of how something looks, but writers are thinking in terms of what the character “is”. Anders’ description talked about his history a lot, and the one visual-type word that jumped out was “haggard” due to its visual connotations. “A lot it came down to the writers being up their/our own asses.”

When they got to DAI, they had figured out that the way to get best results on this front was /not/ to have the writer go off and develop a long description and pre-conceived notion of what the character looked like in their head. In such scenarios artists don’t feel that they have much to contribute to the process or an ability to put their own stamp on who this character is and make them interesting to them (the best, most interesting characters are when people at all stages of the pipeline properly get to feed into it). They learned that the better solution was to bring the artists in earlier, and to give them little blurbs, and not name the character but give them an ‘archetype’-sort of ‘name’. For example, Dorian was “the rockstar mage”, “cool”, “Freddie Mercury”. The writers wouldn’t be sure that a particular concept would ‘hit’, so at this stage they would offer an array of options and sit the artist down and walk them through the concepts. The artists would then provide a bunch of sketches and it would go back and forth, with both taking part in the character creation process together. For the first two games, the writers were “really hogging” this process to themselves. They got better at not doing this and better at communicating with the artists by DAI.

There were a lot of arguments about how mages in DAO had a lot of specific lore words like “Harrowing”, “phylactery”, “Rite of Tranquility” etc. There was concern that this would be too confusing for players to understand and that it was too complicated. DG says that thankfully he put his foot down and pushed for this stuff to be kept. A lot of fans assume that as lead writer DG had all this influence, way more influence than he could possibly exert on a team. He wasn’t even a lead, he was a sub-lead, under a lead designer. He only had so much say. If the lead designer or lead artist wanted to do something differently, often there was not much he could do. Hence he had to pick his battles carefully, choose the important ones to fight. The mage vocabulary thing was one of these.

Templar Greagoir’s name is pronounced “Gregor” and it comes from a place in Alberta near where DG lived.

Codex entries are usually one of the last things that get done in a project like this, and so all of that kind of textual lore comes in super late and is super punchy as by then the writers have written so much and are exhausted. They had to find a way to make this process cute or interesting or fun for themselves, which is why a lot of entries are quite fun to read. Sometimes a writer would make a joke for banter [irl], and it would end up making it into an entry.

Only Morrigan and Duncan got unique body models in DAO. The companions all have custom-morphed heads but not custom-morphed bodies (Morrigan not included here). This is why every model has a necklace or a collar right at the point where they had to be attached to be a body. These sometimes used assets that couldn’t be used by the PC but were not unique to that character. Duncan probably got a unique model because he was in a lot of marketing/promotional material. Qunari were originally conceived as having horns.

Most people didn’t even finish DAO once (public telemetry again here), only approximately 20-25% actually did. The devs try not to read too much into this kind of thing, but the telemetry does tell them where a lot of people stop playing the game permanently (they call these “drop-off points”). One of these points in DAO is the Fade during Broken Circle. Sometimes when people interpret this data they involve self-serving biases, but it was generally accepted that the Fade there was too long, too complex, not interesting enough, etc. [source]

[Part 2]

[Part 3]

[Part 4]

[Part 5]

[Part 6]

[‘Insights into DA dev from the Gamers For Groceries stream’ transcript]

#dragon age #bioware #morrigan #solas #video games #queen of my heart #mass effect #lgbtq #jade empire #fenris #the Fenaissance #alistair theirin #lul #fav warden

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gra-sonas · 3 years

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ENTERTAINMENT WEEKLY: Was the year time jump because of the pandemic? To sidestep making that too central to the plot, or was that always the plan?

JEANINE MASON: That was always our intention and it was just sort of a saving grace in that way. We also don't acknowledge the pandemic in real-time on our show. There are no masks and that was just so wonderful just to get work in that way and have that time where it was a little more normal. Also, that's just our show — we want you to come to us the way you always do, which is for nineties nostalgia, sexy Cowboys, brilliant scientists, you know? CHRIS HOLLIER: So we wanted to drop our characters in a year later, let them stew in their individual decisions that were made last season. We want everyone to root for our poster couple but we want to honor what happens in real life, which is sometimes you step away from that person, even if you are entwined with them in a very particular way. So we wanted it to be a real enough time and distance so that they could live a little life on their own.

With showrunner Carina Adly MacKenzie departing at the end of season 2, has much changed? Or are you still working with ideas she had in place?'

HOLLIER: It's a little bit of both. There are things that Carina and I built that live all the way through and then once the story got up on its feet, discoveries were made with our new crop of people that we were like, "Oh, we're going to bend it this other way."

Jeanine, how is Liz doing in her new life in L.A. when we pick up this season?

MASON: Well, it's been a year and at this point, her life is actually pretty great. She just hasn't taken a second to acknowledge that. She's doing what she does best, which is just full head in her work and trying to figure out what she could use of her discoveries and her brilliance to save Maria. She has a great job, a really nice place, and an awesome partner at work who is a good time and a real match for her in terms of intellect and ambition. He begins to ask her to recognize that and to maybe give something a chance that she's been reluctant to because of how drawn she is to Roswell and to Max. It's a fun first episode. It's sexy. It's fun to find opportunities for her. She's our hero so she's got a lot on her shoulders and anytime where we can find levity for her is always a real treat for the writers and for me.

And no Crashdown waitress uniform must be nice?

MASON: Honestly, I miss it quite a lot right now. I have a note in my notes with Chris, I'm like, "I gotta tell him we gotta find him more opportunities for it."

Should Liz and Max shippers be worried about them finding their way back to one another after he destroyed her work and didn't follow her to L.A.? Should we resign ourselves to a season apart?

MASON: This season really is about these characters having themselves mirrored to each other. Max and Liz need some growing and ultimately they can't do anything but be orbiting each other. We found so many opportunities to have such a beautiful language around the cosmic element of their connection. They're asking, "Is this our decision, or are we just acting off of a decision that the cosmos made for us?" It was so fun to navigate that. I always have such a good time with Chris Hollier and with Nathan Dean, just finding the little tiny notches, a tiny bit of movement towards where they're going next. I really loved following them. It's my favorite Max and Liz season to date.

HOLLIER: It's not a season apart. I'll tease that they, in an unexpected way, end up in front of each other relatively soon. But it's really about when am I ready? And what does it mean to talk to my ex? When someone makes such a big influence in your life, when do you know it's over and when do you know you should fight again? We tried to give them real grown-up lives.

Steven Krueger (The Originals) also joined the cast as Heath this season. What can you tease about his character?

HOLLIER: He's just an awesome human being. I know him from The Originals and we were like, "If we're going to have to be stuck with people in the desert, who do we want?" You want to be stuck with a handsome and lovely and charming Steven Krueger. So really this was looking at, "Well, what did Liz want and what does it look like when you start to give Liz versions of what she wants?" Heath is somebody that is beyond being just a lovely person, he is smart and wants to advance science and that's appealing to Liz. It becomes, "What does it look like when the man that I hang around with all day is also into the same things that I am?" MASON: I love him. Heath is just such a fun, whip-smart, fantastic character. His humor was so fun. We've been having a good time with kicking the humor up really through season two and in season three, we just took it up another notch. There are some moments that are like, "Is this a drama or is it a sitcom?" Looking back on it, he was such a fun partner to spar with. They're both such intellectual characters and I love that there's a real meeting of the minds. It makes it competitive and sexy. I know a lot of fans are so excited because they know him from The Originals and he's going to be a great addition.

Technically, Mr. Jones is a new character too. Can you tell us anything at all about him?

HOLLIER: I'd say he's a new character — and a fully-fleshed interesting new character. Mr. Jones has an awesome beard. At some point, he might lose that beard. A lot of people are asking me, "Is Jones good or bad?" And what I would argue is that's a perspective based upon who you are in the conversation that you're having with him. He knows a lot about our heroes' story and he knows a lot about home. He'll be able to answer questions for them. This season our heroes will get to learn why they ended up here on earth. One of the things I think that people will love is that they're going to get to see that home planet this year. We asked ourselves a lot about this whole season, "What have we set up for the past two?" We look at these first three seasons almost like a trilogy so a lot of things are going to be paid off.

Has Nathan enjoyed pulling double duty this season? Or is he just exhausted?

MASON: He's exhausted, but he's such a champ. That really is the beginning of this mirroring thing that starts with Max and Jones with him actually getting to look at himself to a degree and those questions that come up. The self-analysis that it provokes in him is really the beginning of what is happening to all of our characters this year; everybody's being confronted with themselves. I loved that the Max/Jones of it was also a real sci-fi element.

Did he really grow that beard or was that not possible if he had to go between the two characters?

MASON: That was a prosthetic beard and our makeup team killed it. He was not accustomed to early mornings, which, of course, all of us babes are. It was a lot of extra time in the chair for him.

Can Jones dupe Liz into thinking he's actually Max since she doesn't know he exists?

MASON: You're totally on to something. It's a real and pressing threat. I mean, she's totally in the dark and he looks like her cosmic lover!

HOLLIER: What I will say is that, Liz — beyond her being number one on the call sheet — is integral to this story in a way that she and none of our characters are going to perceive when they start episode one. We're bringing [the characters] to a new crossroads moment in their lives and they're getting, through Jones, a mirror into their own lives to decide what they're going to become next.

How's Rosa (Amber Midthunder) doing this season?

MASON: By the end of season two, Rosa really makes the decision to start taking care of herself. She really becomes an incredible asset to the Scooby-Doo gang. It's something that Liz is in constant adjustment to. As much as she's the younger sister, she feels very protective of her sister and Liz has had to make adjustments in her trust and faith in Rosa. I loved it because it just felt like a real personal, authentic thing that sisters would go through, but also that Hispanic sisters would go through. I think we sometimes, culturally, have a tendency to baby our women — maybe that's the wrong word — but just to underestimate their physical ability and what they might take on, and sort of 'queen' our women in a way where we treat them tenderly. I hate that. I'm a tough bitch and so is Rosa. So Liz has to confront that and go, "I'm an idiot to underestimate you. You've done nothing but prove me wrong."

What about Maria and her visions?

HOLLIER: This year I think Maria has the most complete arc of any season, as she recognizes things about herself that cause more questions about who she is, who her family is, how she's linked to this story. We dive into it in the present-day and we dive deliciously back in time too.

In the exclusive clip above we see her have a vision of a funeral, can you tease anything about who potentially might be about to die?

HOLLIER: Maria is front and center in driving the first half of the mystery for us. She's burdened with trying to figure out whose death she is seeing. It takes a few episodes to unravel and we use it to ask, is this linked to our supernatural stories or real-world stories that are going on politically? Is it bad luck? Is it herself? There's a whole gambit at play. We joke that we solved a past murder, now we're going to try to stop one.

Can Malex (Michael and Alex) shippers have hope that this might finally be their time?

HOLLIER: What I would say is that I think that Malex fans are really going to dig this journey. We, as writers, put them at the same level of importance as Max and Liz. So we wanted to really honor the next step in what they may or may not be. How did they grow up and how did they have those hard conversations just like Liz and Max are going to have?

Is Isobel going to continue to date women this season?

HOLLIER: Isobel is going to go on a more personal journey. You got to love yourself before you can love someone else. We lean into those possibilities by the end of who she might love. It's not something that is dropped all season — it is something that you'll see. We play some romantic comedy stuff with her character this year and with Maria that I think fans are gonna dig. There's a lot going on in the world and wanted to pump some humor and hope into it.

Will see more of Liz fighting to challenge the perception of the Latinx community?

MASON: I think that just by nature of it being one of such few shows that are led by a Latin woman, it's always going to be, to an extent, a protest or an assertion of the space that I get to fill and that Liz Ortecho gets to fill on network TV. I was really excited to just have Chris as a collaborator. Over our hiatus, before the season started, I was doing a lot of reading. I chronicled the books that play into Liz every season on my Instagram. I was reading some Sonia Sotomayor. Her book is just incredible. I was texting him screenshots of pages of the book with things underlined. Ten episodes deep into season 3, he's like, "Remember that page you sent me?" He's a real dream collaborator. I loved him for that. A pressing struggle for people of color is going through the ranks in these big corporations and then sometimes coming to find out that those corporations are purporting to support marginalized groups but actually aren't following through. So how do you, as someone who's having your success, your dreams become reality, navigate supporting the company and giving so much of your intelligence and your work — that they often legally own, especially with science — to a company that isn't going to be for your people?

Roswell, New Mexico returns Monday at 8 p.m. on The CW.

#long post is long #jeanine mason #chris hollier #liz ortecho #max evans #echo #isobel evans #rosa ortecho #malex #alex manes #michael guerin #rnm spoilers #maria deluca #rnm cast interviews #roswell new mexico s3 #roswell new mexico

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miserablesme · 3 years

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The Les Miserables Changelog Part 3: 1987 Broadway Production

Hello, everyone! This is the latest edition in my attempt to chronicle all of the musical and lyrical changes which the show Les Miserables has undergone over the years. This time, we're going through all the changes between the musical as it existed on the West End around 1985-1986 and the revised libretto for the 1987 Broadway production.

In some ways, this is a much easier changelog to compile than the last two simply because it is much easier to find audio evidence of the show from this era than from its pre-1987 self. We have a full soundboard of the original Broadway cast as well as a very good quality bootleg of the very first Broadway preview, as well as several audios from the next few years which use exactly the same script. We also have an officially released Symphonic Soundtrack which almost (but not quite) follows this version of the libretto exactly. So no more relying on unclear bootlegs and speculation to figure out what was changed when!

Having said that, the changes in this production were MASSIVE. It's almost certainly the most extensive edit the show's libretto has received to this day. As such, this will be a very long edition of this blog. So make sure you have a bit of time on your hands before reading it! With all that cleared up, let's begin.

The first change literally can be heard as soon as the musical begins. The pre-Broadway show opens up with the same recurring motif also heard, for instance, at the openings of "At the End of the Day" and "One Day More". This music then transitioned to the instrumentals to the opening "Work Song". The post-Broadway libretto cuts right to the chase, with the opening instrumentals to the "Work Song" starting right up without any preamble.

One interesting little non-scripted change occurs later in the "Work Song", but only in American productions. For whatever reason, every American Javert from the original Broadway cast until the first Broadway revival sang "And I am Javert" instead of "And I'm Javert", for reasons that honestly baffle me. Again, the libretto retained the original contraption as far as I'm aware, and the West End production as well as later UK and Australian tours still used it as well.

The next change happens while Valjean is on parole. After Valjean pleads against the farmer underpaying him, this was the farmer's original response:

Do you believe

A yellow ticket of leave

Allows a criminal like you to earn full screw?

Since Broadway, his response is instead as follows:

You broke the law

It's there for people to see

Why should you get the same as honest men like me?

I much prefer this revised version. Though the information is essentially the same, it feels more dramatic, as well as feeling less awkward now that it is in the form of separate sentences as opposed to a single sentence spoken in three lines with pauses in between. Moreover, the phrase "honest men like me" as used here provides interesting foreshadowing for its more well-known usage in "Master of the House". One could spend quite some time analysing the implications of this recurring description, but this blog is long enough as it is so now isn't the time!

In the same number, originally the innkeeper's wife had the following remark:

My rooms are full

And I've no supper to spare

I'd like to help you really, all I want is to be fair

Since Broadway, her line has been slightly modified:

My rooms are full

And I've no supper to spare

I'd like to help a stranger, all we want is to be fair

I suppose "I'd like to help a stranger" sounds less slang-y than "help you really". Presumably this is why it was changed. I find the change of subject from singular to plural far more interesting. My hypothesis is that the writers wanted to make it clear than this is a communal grudge, not a personal one. Everyone around sees it as perfectly fair to deny shelter to a former convict, not just this one individual. I definitely prefer the revised line, but evidently the producers of the West End production didn't; that production held on to the original lyrics for more than a decade after they were originally revised! More on that in a later edition of this blog...

A more minor change can be heard during "At the End of the Day". Originally, Valjean asks the factor workers "What is this shouting all about?" The Broadway script changes this to "What is this fighting all about?" Much less trivial implications now. I'm curious as to whether or not a staging change may have accompanied this. Usually the two workers get into quite a bit of physical scuffle by this point, far beyond the realm of shouting. Did the original pre-Broadway production use more subdued choreography?

"The Runaway Cart" has some noticeable differences. After Valjean asks the townspeople for help, the original response was sung by the entire ensemble, and went as follows:

(SOLO)

Don't go near him, Monsieur Mayor

There's nothing at all you can do

(ENSEMBLE)

The old man is a goner for sure

Leave him alone

The Broadway libretto revised this into a sequence sung by one individual at a time with the following lyrics:

Don't go near him, Monsieur Mayor

The load is as heavy as hell

The old man is a goner for sure

It will kill you as well

A female ensemble member sung "The old man is a goner for sure" while a male member sung the rest. I sort of like it better as an ensemble piece (something that would be largely brought back in later years, as I'll soon discuss) although I think it's cool that it rhymes now. Having said that, I'm fairly confident that no one in the real world has ever actually used the phrase "Heavy as hell"!

An official change in the libretto occurred in "Who Am I?" but listeners to the original Broadway cast would not have heard it. While the pre-Broadway show had Valjean refer to "This innocent who bears my face", the revised libretto instead refers to "This innocent who wears my face". Perhaps a means of avoiding repetition, given that the word "bear" is used again later in the number? Regardless, Colm Wilkinson didn't actually bother to adapt to this change! He still sings "This innocent who bears my face" in the Broadway production (as well as the tenth anniversary concert; not until his 1998 stint in Toronto did he ever start singing the revised lyrics). Since every future Valjean (except Ivan Rutherford for some reason) sings "wears", I still see it as appropriate to mention here.

At the end of the song, Valjean's "You know where to find me!", used on and off in the Barbican previews before becoming a settled part of the production by the final pre-Broadway libretto, is once again removed for the Broadway show. However, the West End production would keep it for a few years - more on that later...

Just listening to the original Broadway cast, one might think Javert's "Dare you talk to me of crime?" becomes "Dare you speak to me of crime?" However, this seems to be a Terrence Mann-exclusive change. Every Javert after him reverts to the original lyrics (as did Terrence himself when he returned to the musical fifteen years later). I'm still making note of the change here for the sake of clarification.

An instrumental change occurs between "Castle on a Cloud" and "Master of the House". Mme. Thenardier's "You heard me ask for something and I never ask twice" was original followed by three bars of notes, then by six more bars of notes that are identical to each other. After the Broadway production, however, those six bars of notes grow increasingly more dramatic as they go on.

A very slight change happens during the preamble to "Master of the House". Originally one of the guests proclaims "Hell, what a wine" while the revised libretto instead has him claim "God, what a wine". Definitely more natural in my opinion, though not a huge difference by any means.

A few subtle differences exist in the "Waltz of Treachery" number. First off, Thenardier originally asks "Have we done for your child what is best?" The Broadway libretto changes "your child" to "her child". I personally like the original lyric better, as it goes back to the idea established earlier that Valjean is metaphorically bargaining through the spirit of Fantine. It's definitely not a difference that makes or breaks the number, though.

Towards the end of the song comes another change that cannot actually be heard by listening to the original Broadway cast. In the pre-Broadway show, Valjean used the line "Let us seek out a friendlier sky", while the revised libretto has him say "Let us seek out some friendlier sky". However, Colm Wilkinson once again doesn't bother to adapt to the change, and unlike the "Who Am I?" change he wouldn't learn it over time either. He continues to sing "a friendlier sky" throughout his on-and-off performances as Valjean, right up to and including his 2002 run in Shanghai!

After the bulk of the number comes a more significant change. Prior to the Broadway production, as was discussed in the last entry, the "Waltz of Treachery" was followed by about forty-five seconds of vamping and then this exchange in the tune of "Castle on a Cloud":

(LITTLE COSETTE)

We're going home right now, monsieur

What is your name

(VALJEAN)

Now my dear

I've names enough, I've got names to spare

But where I go, you always will be there

Nor will you be afraid again

There is a sun that's shining yet

(LITTLE COSETTE)

I'm going to call you my Papa

(VALJEAN)

I'm going to call you my Cosette

The Broadway libretto replaced it with just under twenty seconds of vamping, followed by a sequence in the tune of the "Waltz of Treachery":

(VALJEAN)

Come Cosette

Come my dear

From now on I will always be here

Where I go

You will be

(LITTLE COSETTE)

Will there be children

And castles to see?

(VALJEAN)

Yes, Cosette

Yes it's true

There's a castle just waiting for you

This is followed by another fifteen or so seconds of vamping, and then the humming duet between Cosette and Valjean carries on as before.

Arguably the biggest change in the entire edited libretto happens now. Whereas the number was originally directly followed by "Stars", things have been moved around so that it instead transitions directly into "Look Down". "Look Down" itself receives a lot of adjustments. First off, the number began in the pre-Broadway musical with a bar of music that was then repeated. The Broadway version only plays the bar of music once, and the sung part happens immediately afterwards.

Gavroche's verse receives some lyrical updates. Originally it used the following lines:

This is my school, my high society

From St. Denis to St Michel

We live on crumbs of humble piety

Tough on the teeth, but what the hell?

If you're poor, if you're free

Follow me, follow me!

The Broadway production rewrote that sequence a little:

This is my school, my high society

Here in the slums of St Michel

We live on crumbs of humble piety

Tough on the teeth, but what the hell?

Think you're poor? Think you're free?

Follow me, follow me!

Better lines in my humble opinion; "slums" conveys the poverty of Gavroche's community much more effectively than the original line, and phrasing the "poor" and "free" lines as questions is more dramatic than their original statement form.

The old beggar woman's original "You give 'em all the pox" becomes the less grammatically accurate "Give 'em all the pox" for Broadway, though I have no idea if the original "You" was part of the libretto or simply an improvisation. Since seemingly all actresses used that line for the first few years of the West End production, it strikes me as warranting a mention.

Right after this comes another change. In the pre-Broadway show, the argument between the beggar woman and the prostitute was followed by an exchange by a few individual beggars. All of the following lines were said by one person at a time, the first three being said by female beggars and the last one by a male beggar:

When's it gonna end?

When're we gonna live?

Something's gotta happen, dearie

Something's gotta give

The Broadway libretto changes this to an ensemble piece performed by all the beggars simultaneously:

When's it gonna end?

When're we gonna live?

Something's gotta happen now or

Something's gotta give

I really like the switch to a group effort, as it really emphasizes that the beggars are a community sharing the burden of poverty. It really feels like an epidemic to an extent that it doesn't when it's just a small conversation. Evidently the producers of the West End show didn't agree with me though, as they held onto the original sequence for more than a decade after the official change, and by that point it had already been largely reverted worldwide! More on that in a later blog...

Originally, the exposition about General Lamarque was given by a few random students (supposedly not specified in the libretto, but in practice portrayed as Combeferre and Feuilly). Some ensemble dialogue between beggars was put in between. Feuilly sings over the end of the ensemble's lines - but many have speculated that this was not intended by the writers, as the background music sounds super out of sync with his singing! Here's how the scene went:

(COMBEFERRE)

As for the leaders of the land

As for the swells who run this show

Only one man and that's Lamarque

Speaks for the people here below

(BEGGARS)

Something for a meal

Something for a doss

Something in the name of Him who died upon the cross

On the cross, come across

On the cross, come across, come across

(FEUILLY)

Lamarque is ill and fading fast

Won't last the week out, so they say

With all the anger in the land

How long before the judgement day?

Before we cut the fat ones down to size?

Before the barricades arise?

Fortunately, the writers of the Broadway libretto had the sense to change the purveyors of the message into people actually relevant to the show's plot, namely Marius and Enjolras. Moreover, the beggars' dialog was rewritten into a sequence that feels far less clunky to me. The background music was fixed to account for the solo singing (now done by Marius) overlapping the beggars' lines, so it is now perfectly in sync. Here's the edited exchange:

(ENJOLRAS)

Where are the leaders of the land?

Where are the swells who run this show?

(MARIUS)

Only one man and that's Lamarque

Speaks for the people here below

(BEGGARS)

See our children fed

Help us in our shame

Something for a crust of bread in Holy Jesus' name

(SOLO BEGGAR)

In the Lord's holy name

(BEGGARS)

In His name, in His name, in His name

(MARIUS)

Lamarque is ill and fading fast

Won't last the week out, so they say

(ENJOLRAS)

With all the anger in the land

How long before the judgement day?

Before we cut the fat ones down to size?

Before the barricades arise?

Much better in my opinion! It should be noted that David Bryant instead sings "these people here below", but as far as I can tell every future Marius (or later Enjolras - more on that later) sings "the people, which is the actually phrasing in the libretto.

One final change in Look Down: Gavroche now says that all of Thenardier's family is "on the make", as opposed to the original "on the take". A rather pointless change in my book, though it certainly doesn't hurt anything.

"The Robbery" is another heavily edited number. Thenardier's line after acknowledging Brujon, Babet, and Claquesous was originally as follows:

You Montparnasse, watch for the p'lice

With Eponine, take care

You've got all the hash, I've got all the cash

The Broadway show rewrote those lines into their still-current form:

You Montparnasse, watch for the law

With Eponine, take care

You turn on the tears, no mistakes my dears!

This changed lyric more naturally transitions the scene into the gang's actual plan, though the original is an interesting continuation of Gavroche's recollection of Thenardier once running a hash house.

Mme. Thenardier's response is also altered from the original lyrics:

Here come a student from our street

One of 'Ponine's peculiar gents

Our Eponine would kiss his feet

She never showed a bit of sense

Into the current ones:

These bloody students on our street

Here they come slumming once again

Our Eponine would kiss their feet

She never showed a scrap of brain

It's interesting how the edit shifts the focus from Marius in particular to the students in general. It seems that Mme. Thenardier is less aware of the specifics of her daughter's personal life now, something that makes sense for her character.

After Mme. Thenardier's "You'll be in the clear", there was originally just eighteen seconds of a musical motif (the same one which opens "At the End of the Day" and "One Day More") followed by Thenardier's speech. Since Broadway, it's instead been followed by a few more lines of dialogue:

(MARIUS)

Who is that man

(EPONINE)

Leave me alone!

(MARIUS)

Why is here?

Hey Eponine!

Only now does the musical motif play. But instead of staying silent upon seeing Cosette, Marius now sings "I didn't see you there, forgive me..." Interestingly, in this video of a 1987 performance of the original West End production, Marius just stops without bumping into Cosette as he usually does. This makes me wonder whether or not the bumping was added into the Broadway version, and the lyric was added to accomodate for the blocking change. Of course, this is all speculation; I have no way to know for sure.

Thenardier's con job is also quite a bit different post-Broadway. Originally it used the following lyrics:

How you do? Spare a sou

God will see all the good that you do

Look monsieur, lost a leg

Hero of Waterloo now has to beg

Wait a bit, know that face...

The Broadway libretto edited it into its current form:

Please monsieur, come this way

Here's a child that ain't eaten today

Save a life, spare a sou

God rewards all the good that you do

Wait a bit, know that face...

It's interesting how Thenardier's facade shifts in focus from his own supposed hardship to that of an alleged child. I suppose the latter would be a good bit more effective in convincing passersby to donate!

During "Javert's Intervention", Thenardier now says "It was me that told you so, as opposed to the original "Wot told you so"; however, this seems to be a regional choice to account for a lack of Cockney accent, not an official libretto change. British productions retain the original "Wot".

“The Robbery” ends quite differently. Its pre-Broadway form had Gavroche’s remarks directly follow Javert’s “Clear this garbage off the street!” However, now Javert’s line is instead followed by some instrumentals to a slower version of the same tune as, for instance, “Honest work/Just reward/That’s the way to please the lord” and “He will bend/He will break/This time there is no mistake”.

After these instrumentals come the “Stars” number, now in a much more natural location given that Javert now has a logical reason to be thinking about Valjean!

The number itself is mostly the same, up until the final segment. After Javert’s “Those who falter and those who fall must pay the price”, he originally had the following lyrics:

Scarce to be counted

Changing the chaos

To order and light

You are the sentinels

Silent and sure

Keeping watch in the night

The post-Broadway show replaced this with a much more climactic remark:

Lord let me find him

That I may see him

Safe behind bars

I will never rest ‘til then

This I swear

This is swear by the stars

WOW, what an improvement! Now the stars are tied much better to Valjean himself, and Javert’s motivation is much clearer!

Now that “Stars” is over, we finally get Gavroche's remarks. The lyrics are the same; however, instead of the tempo progressively getting faster as it goes along, it now gets progressively slower. Interestingly the audio of the first preview has Gavroche saying "mother dear" instead of "auntie dear", but it's back to the original line by the second known original Broadway cast audio. Both audio feature Braden Danner; whether the "mother dear" was a choice on his part or a director's, a flub, or a libretto change that was later reverted is unknown.

"Eponine's Errand" has some significant changes. First off, the original libretto gave Marius and Eponine this exchange:

(MARIUS)

Did you see that lovely girl

(EPONINE)

A lovely two-a-penny thing

The Broadway libretto edited it a little:

(MARIUS)

Eponine, who was that girl?

(EPONINE)

Some bourgeois two-a-penny thing

Marius' request has also been changed from its original lyrics:

Eponine, do this for me

But careful how you go

Your father mustn't know

He'll strike another blow

'Ponine, I'm lost until she's found

Into some far clearer and more direct instructions:

Eponine, do this for me

Discover where she lives

But careful how you go

Don't let your father know

'Ponine, I'm lost until she's found

And yes, the line was "your father" right from day one. Michael Ball flubs it as "her father" on the complete symphonic recording, leading many to assume that was the original lyric which was changed later. But I'm not aware of a single live performance to use that lyric (which doesn't make a lot of sense anyway).

Another side note: Some Marius actors have very slightly changed the third line to "Be careful how you go" or "But careful as you go", though neither lyric is the standard.

Post-Broadway, as the instrumentals to "Red and Black" play, a student (I'm not sure which one) now shouts Enjolras' name before the singing begins.

During "Red and Black", Michael Maguire changes the original "It is easy to sit here and swat 'em like flies" to "Oh, it's easy to sit here and swat 'em like flies". However, this is an individual choice of the actor, not an official libretto change. Every future Enjolras I'm aware of (except Ramin Karimloo for some reason) uses the original line.

An actual libretto change occurs soon afterwards. After Marius' entrance, Grantaire originally asks, "Marius, what's wrong with you today?" The post-Broadway show changes this to "Marius, you're late. What's wrong today?" This makes it much clearer why Grantaire might suspect something is wrong.

Soon afterwards, Grantaire's original line "We talk of battles to be won, and here he comes like Don Juan" is slightly tweaked to "You talk of battles to be won". This is a little more appropriate, since Grantaire isn't actually doing a lot of talking!

After "Red and Black", Gavroche's part is very slightly changed. First off, American performances for a few years would have Gavroche whistle right before everyone quiets down, though I have no idea if this was in the libretto or not.

Secondly, Gavroche's original remark, "It's General Lamarque! He's dead!" is shortened to just "General Lamarque is dead!"

In another contender for the biggest change in the entire edit, the entire "I Saw Him Once" number is totally removed. I have mixed feelings about this. It does give Cosette, a frustratingly underwritten character, some additional content. However, stylistically it's not all that much like any other number in the musical, and it doesn't really add enough information to the show to warrant a whole song. So I say with regret that it was probably for the best to delete the number.

To compensate for the lost number, "In My Life" is lengthened to include the establishing character moments that "I Saw Him Once" originally did. Originally it opened as follows:

(COSETTE)

Dearest papa, can I tell him of this?

How can I tell him the things that I feel?

How could he understand?

(VALJEAN)

Dear Cosette, you're such a lonely child...

The post-Broadway opener is instead as follows:

(COSETTE)

How strange, this feeling that my life's begun at last

This change, can people really fall in love so fast?

What's the matter with you Cosette?

Have you been to much on your own?

So many things unclear

So many things unknown

In my life

There are so many questions and answers

That somehow seem wrong

In my life

There are times when I catch in the silence

The sigh of a faraway song

And it sings of a world that I long to see

Out of reach, just a whisper away, waiting for me

Does he know I'm alive? Do I know if he's real?

Does he see what I see? Does he feel what I feel?

In my life

I'm no longer alone

Now the love in my life is so near

Find me now, find me here

(VALJEAN)

Dear Cosette, you're such a lonely child...

After Valjean gives Cosette his cryptic defense of his secrecy, Cosette had a remark that is sadly incredibly hard to understand in the quality of the recordings we have. It apparently went something like this:

There are voices I hear

That come into my mind

Full of noise, full of fear

When the noise was unkind

In my life

I'm no longer afraid

And I yearn for the truth that you know

Of the years, years ago

Her post-Broadway response is much shorter:

In my life

I'm no longer a child

And I yearn for the truth that you know

Of the years, years ago

Shorter, but just as effective in my book. Plus, the use of the word "child" nicely ties into Valjean's initial remark that Cosette is "such a lonely child", as well as Cosette's frustration that he still sees her as "a child who is lost in the woods".

The next number, "A Heart Full of Love", also has a LOT of rewritten lyrics. First of all, after Marius' "I do not even know your name", these are his original lyrics:

Dear mademoiselle

I am lost in your spell

The Broadway production changed the lyrics into:

Dear mademoiselle

Won't you say? Will you tell?

I suppose this fits a little better with his remark about not knowing Cosette's name.

After Marius and Cosette finally learn each other's names (an important step in a relationship if you ask me!) this was their original way of showing their affection:

(MARIUS)

Cosette, your name is like a song

(COSETTE)

My song is you

(MARIUS)

Is it true?

(COSETTE)

Yes, it's true

The Broadway production rewrote it into the following:

(MARIUS)

Cosette, I don't know what to say

(COSETTE)

Then make no sound

(MARIUS)

I am lost

(COSETTE)

I am found

In my opinion, the rewrite captures the slight awkwardness of young love much better, as well as making a lot more sense!

Immediately afterwards, this is the original exchange:

(MARIUS and COSETTE)

A heart full of love

A heart full of you

(MARIUS)

The words are foolish but they're true

Cosette, Cosette

What were we dreaming when we met?

(COSETTE)

I can sing

(MARIUS)

Dear Cosette

(COSETTE)

A heart full of love...

The Broadway libretto redoes the scene as the following:

(MARIUS)

A heart full of love

(COSETTE)

A night bright as day

(MARIUS)

And you must never go away

Cosette, Cosette

(COSETTE)

This is a chain we'll never break

(MARIUS)

Do I dream?

(COSETTE)

I'm awake

(MARIUS)

A heart full of love...

Almost a totally different scene! The post-Broadway variant is better structured, but I do like the original too.

As the trio of Marius, Cosette, and Eponine exchanges inner monologues, Marius originally has the line "I saw her waiting and I knew". The Broadway libretto changed this to "A single look and then I knew". I kind of prefer the original, as it implies a little more than something as trivial as a cursory glance.

In the closing lyrical overlap of the song, Cosette originally sings "Waiting for you", but post-Broadway she sings "I knew it too". Then, she originally sings "At your call" but post-Broadway she sings "Every day".

During the opening to "The Attack on Rue Plumet", Montparnasse refers to Valjean as "the one that got away the other day" as opposed to his original "the bloke wot got away the other day". However, this is another regional change made for the sake of making sense outside of a cockney accent. The official libretto still had the original lyrics.

A tiny change occurs during Thenardier and Eponine's fight. Claquesous originally thinks it's a palaver and an absolute treat "to watch a cat and its father" picking a bone in the street. The Broadway libretto changed this to "see a cat and a father". Why exactly the writers felt the need to make such a miniscule edit is mystifying to me, but it certainly doesn't hurt anything.

Another change occurs later in the number, after Eponine's scream. Originally this was Thenardier's reaction:

Make for the sewers, don't wait around

Leave her to me, go underground

You wait my girl, you'll rue this night

I'll make you scream, you'll scream alright!

These lines were mixed up a bit for the Broadway libretto:

You wait my girl, you'll rue this night

I'll make you scream, you'll scream alright!

Leave her to me, don't wait around

Make for the sewers, go underground

The post-Broadway variation arguably is a bit less climactic due to it not ending on a threat. However, the original climax isn't all that appropriate since Eponine and Thenardier never actually interact at any later point in the musical. I like that the post-Broadway version ends on something that's actually relevant to the remainder of the show (namely, that Thenardier will be in the sewers). Evidently the West End producers didn't agree with me; this is another line in which the original was kept there for more than a decade (at which point a rewrite closer to the original was already being used worldwide)!

In "One Day More", Javert's "One day more to revolution" is slightly changed to "One more day to revolution". However, the number is otherwise unchanged.

And that's it for Act One! The opening barricade scene to act two has a small change. Grantaire's pre-Broadway "Some will bark, some will bite" was changed to "Dogs will bark, fleas will bite". Makes a lot more sense in my opinion!

The opening to "On My Own" is changed as well. Originally it was performed as follows:

And now I'm all alone again

Nowhere to go, no one to turn to

I did not want your money sir

I came out here 'cause I was told to

The Broadway version rewrote it into the following:

And now I'm alone again

Nowhere to turn, no one to go to

Without a home, without a friend

Without a face to say hello to

A huge improvement in my book. It actually rhymes now, and is far less likely to be misconstrued as ungrateful.

After receiving a massive overhaul not that long before, "Little People" was slightly tweaked for the Broadway show. The pre-Broadway version had this ending:

So never kick a dog

Because he’s just a pup

You’d better run for cover when the pup grows up!

Another line (taken from the original longer version of "Little People" as well as all versions of its reprise) was added for the post-Broadway show:

So never kick a dog

Because he’s just a pup

We'll fight like twenty armies and we won't give up

So you’d better run for cover when the pup grows up!

Grantaire's line afterwards is literally reversed in meaning from the original "Better far to die a schoolboy than a policeman and a spy!" into "What's the difference? Die a schoolboy, die a policeman, die a spy!" This post-Broadway lyric fits better into Grantaire's cynical personality.

A very subtle edit is made in "Little Fall of Rain" (to the point that I only just realized its existence by reading an old internet forum!) Pre-Broadway, Marius asks Eponine "Did you see my beloved?" The tense is changed from past to present perfect for the Broadway libretto, so that he now sings "Have you seen my beloved?"

"Drink with Me" receives quite a bit of editing. The opening few lines are originally all sung by Grantaire:

Drink with me to days gone by

Sing with me the songs we knew

Here's to pretty girls who went to our heads

Here's to witty girls who went to our beds

Here's to them and here's to you

Now, those lyrics are split between various students:

(FEUILLY)

Drink with me to days gone by

Sing with me the songs we knew

(PROUVAIRE)

Here's to pretty girls who went to our heads

(JOLY)

Here's to witty girls who went to our beds

(ALL STUDENTS)

Here's to them and here's to you

A far more touching scene now that it entails an entire group of friends reminiscing about their lives, as opposed to the thoughts of one heavily drunk individual.

Originally this was followed by a segment by the male ensemble:

Drink with me to days gone by

To the life that used to be

At the shrine of friendship never say die

Let the wine of friendship never run dry

Then, this was followed by the same lyrics, but sung by the male and female ensembles overlapping. The Broadway libretto removes that and replaces it with an all-new segment with Grantaire. It's much more cynical and philosophical than his original lines:

Drink with me to days gone by

Can it be you fear to die?

Will the world remember you when you fall?

Could it be your death means nothing at all?

Is you life just one more lie?

The lyrics from the pre-Broadway show, in their male-and-female overlapping form, are played afterwards.

The next change occurs during the Second Attack. Pre-Broadway, this was how the opening lyrics went:

(ENJOLRAS)

How do we stand, Feuilly make your report

(FEUILLY)

We've guns enough but bullets running short

(MARIUS)

Let me go into the street

There are bodies all around

Ammunition to be had

Lots of bullets to be found

Some very small edits were made for Broadway:

(ENJOLRAS)

How do we stand, Feuilly make your report

(FEUILLY)

We've guns enough but ammunition short

(MARIUS)

I will go into the street

There are bodies all around

Ammunition to be had

Lots of bullets to be found

The following exchange also is a bit edited. Here's how it went pre-Broadway:

(ENJOLRAS)

I can't let you go, it's too much of a chance

(MARIUS)

And the same can be said for any man here

(VALJEAN)

Let me go in his place, he's no more than a boy

I am old and alone and have nothing to fear

Post-Broadway, it instead goes as follows:

(ENJOLRAS)

I can't let you go, it's too much of a chance

(MARIUS)

And the same is true for any man here

(VALJEAN)

Let me go, he's no more than a boy

I am old, I have nothing to fear

Finally, Gavroche's final lines are as follows pre-Broadway:

So never kick a dog

Because he’s just a pup

You’d better run for cover when the pup grows up

And we’ll fight like twenty armies and we won’t give…

A small edit is made for the Broadway production, so that the latter two lines are reversed:

So never kick a dog

Because he’s just a pup

We’ll fight like twenty armies and we won’t give up

So you’d better run for cover when the pup grows...

I'd say this is an improvement, since Gavroche's death is all the more impactful when his literal last unfinished words are about growing up.

Not long afterwards comes the Final Battle. Leading up to Enjolras' climactic moment, the original lines went as follows:

(ENJOLRAS)

Come on my friends, though we stand here alone

Let us go to our deaths with our face to our foes

(COMBEFERRE)

Let 'em pay for each death with a death of their own

(COURFEYRAC)

If they get me, by God, they will pay through the nose

(ENJOLRAS)

Let others rise to take our place

Until the earth is free

The sequence was edited for Broadway, giving a bit more breathing space:

(ENJOLRAS)

Let us die facing our foes

Make them bleed while they can

(COMBEFERRE)

Make them pay through the nose

(COURFEYRAC)

Make them pay for every man

(ENJOLRAS)

Let others rise to take our place

Until the earth is free

"Dog Eats Dog" is a very heavily-edited number. First off, the vamping at the beginning originally lasts about 30 seconds. By Broadway, it has been reduced to about nineteen seconds.

After Thenardier's "As a service to the town" line, he originally sung the following lines:

It's a world where the dogs eat the dogs

And the worst is as good as the best

It's a stinking great sewer that's crawling with rats

And one rat is as good as the rest

I raise my eyes to see the heavens

And only the moon looks down

That entire sequence was cut for Broadway.

Soon afterwards, Thenardier originally proclaims "Here's a little toy". The Broadway edit changes it to "Here's another toy", perhaps to make it seem less repetitive after his "pretty little thing" line.

The exact same lines from after "As a service to the town" are repeated in the pre-Broadway number after Thenardier's "When the gutters run with blood" line, with one more line added afterwards:

It's a world where the dogs eat the dogs

And the worst is as good as the best

It's a stinking great sewer that's crawling with rats

And one rat is as good as the rest

I raise my eyes to see the heavens

And only the moon looks down

The harvest moon shines down

Unlike the first instance of those lines, they aren't completely excised for Broadway. They are, however, significantly rewritten:

It's a world where the dogs eat the dogs

And they kill for the bones in the street

And God in His heavens, He don't interfere

'Cause He's dead as the stiffs at my feet

I raise my eyes to see the heavens

And only the moon looks down

The harvest moon shines down

I really like how the edited version focuses more on godlessness than on how gross the sewer is. Not that a lack of a god is inherently sinister; I am quite agnostic myself and I think the unbreakable connection between religion and morality alleged by some is ridiculous. But it is blatantly obvious that Thenardier sees no reason to be moral provided no one will punish him.

As a side note, the 1985 London official soundtrack oddly uses this variant, yet the 1986 bootleg audio I have uses the original. Perhaps the original was experimented with, reverted, and later put in again? Who knows...

After the number, Thenardier now shouts Valjean's name.

The encounter in the sewers between Valjean and Javert originally ended as follows, with Javert's first two lines here in a tune not heard anywhere else in the musical to my recollection:

(VALJEAN)

Come, time is running short

(JAVERT)

Go take him, I'll be waiting at the door

I've never met a man like you before

A man such as you

The sequence was extended for the Broadway libretto, to the tune of "Look Down" and the "Work Song":

(VALJEAN)

Come, time is running short

Look down, Javert

He's standing in his grave

(VALJEAN - simultaneously with the next two lines)

Give way, Javert

There is a life to save

(JAVERT - simultaneously with the previous two lines)

Take him, Valjean

Before I change my mind

(JAVERT)

I will be waiting, 24601

A slight change can be heard in "Every Day". Originally Marius sings that he and Cosette will "remember that night and the song that we sang". The Broadway libretto edited this into the decidedly less medium-aware "remember that night and the vow that we made".

"Valjean's Confession" has been reworked to the point that it can scarcely even be considered the same song. After Valjean's "There's something now that must be done", this was how the song went:

(VALJEAN)

Monsieur, I cannot stay a night beneath your roof

I am a convict, sir, my body bears the proof

My name is Jean Valjean

I never told Cosette, I bear this guilt alone

And this I swear to you, her innocence is real

Her love is true

Our love, our life, are now her own

And I must face the years alone

(MARIUS)

I do not understand what's the sense of it all?

Is the world upside down?

Will the universe fall?

If it's true what you say, and Cosette doesn't know

Why confess it to me?

Why confess it at all?

What forces you to speak after all?

(VALJEAN)

You and Cosette must be free of reproach

It is not your affair

There is a darkness that's over my life

It's the cross I must bear

It's for Cosette this must be faced

If I am found, she is disgraced

(MARIUS)

What can I do that would turn you from this...

After the Broadway rewrite, Valjean's "There's something now that must be done" is followed by this:

(VALJEAN)

You've spoken from the heart, and I must do the same

There is a story, sir, of slavery and shame

That you alone must know

I never told Cosette, she had enough of tears

She's never known the truth, the story you must hear

Of years ago

There lived a man whose name was Jean Valjean

He stole some bread to save his sister's son

For nineteen winters served his time

In sweat he washed away his crime

Years ago

He broke parole and lived a life apart

How could he tell Cosette and break her heart?

It's for Cosette this must be faced

If he is caught she is disgraced

The time is come to journey on

And from this day he must be gone

Who am I?

(MARIUS)

You're Jean Valjean

What can I do that will turn you from this...

The few lines afterwards are the same, but as you can see not much else in the song is! Even the tune diverges a lot between the two variants. I'm very conflicted about which one I prefer. I gravitate towards the final one, though it's nice that the original actually tried to address to confusing notion that Valjean wants to tell his son-in-law of his past yet not his own daughter.

"Beggars at the Feast" originally ended with a solo for Thenardier:

(THENARDIER and MME. THENARDIER)

We know where the wind is blowing

Money is the stuff we smell

(THENARDIER)

And when I'm rich as Croesus

Jesus, won't I see you all in Hell!

The Broadway libretto switched this to a group line:

(THENARDIER and MME. THENARDIER)

We know where the wind is blowing

Money is the stuff we smell

And when we're rich as Croesus

Jesus, won't we see you all in Hell!

I much prefer the revised version, as the two Thenardiers clearly are in this act together. It seems more appropriate to let them both have the last laugh.

A small change occurs in the Epilogue. Pre-Broadway, Fantine sings "You raised my child with love". However, post-Broadway, she instead sings "You raised my child in love".

Another change occurs later in the epilogue. In the pre-Broadway show, Cosette tells Valjean that "It's too soon to ever say goodbye". The post-Broadway libretto instead has her sing "It's too soon, too soon to say goodbye". Repetitive as it may be, I prefer it over the original because the original awkwardly combines language clearly denoting the moment with language implying eternality.

Phew, we're finally at the end! Rest assured this is almost certainly the longest changelog you'll ever be forced to endure. I'm fairly sure it's complete, but this particular rewrite was so extensive it's not impossible that I missed something. Please feel free to let me know if that is the case.

As a side note, both for this project and my own enjoyment, I want as complete a collection of Les Miserables audios as possible. I already have most of what’s commonly circulated, but if you have any audios or videos you know are rare, or some audios that you haven't traded in a few years, I’d love it if you DMed me!

Until the turntable puts me at the forefront again, good-bye…

#les miserables #les mis #changelog #les mis changelog #marius #valjean #cosette #javert #eponine #enjolras #thenardier #1985 #1987 #broadway #part 3 #long post #the les miserables changelog

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