#(not deleting the draft just the post)

[tndo]

Bad day?

[blackkatdraws2]

[Blank Scripts AU]

The Narrator [Black] and reality-warping.

[linolinoing]

Paddington (2014) — dir. Paul King // As we are (2024) — dir. Soze Yoon

[wavesoutbeingtossed]

The TTPD Deep Dive (Part ?)

It’s no secret that I have a lot of Thoughts about The Tortured Poets Department and it has lived rent-free in my head since it came out earlier this year. I’m absolutely blown away by how underneath the chaos, it’s actually an exceptionally cohesive story and is probably the closest to a concept album Taylor has ever done.

There are so many themes that have stood out to me over the last five months, and there’s one in particular that I think not only drives the entire album, but ties into previous albums to help deepen understanding of it.

This is it, my fangirl magnum opus, my months of posts consolidated into one place. This is also my disclaimer that this is just my interpretation of the album, and my summary of the story it tells, and I don’t pretend to have any special insight or authority. I’m not saying I’m correct at all, do not take any of this as fact, it’s just what it sounds like to me, and these are my silly not-so-little thoughts about it.

(Under a cut because it’s way too long and involves discussion many may not care for or be sick of.)

Come one, come all, it's happening again (I'm thinking too hard about Taylor music)

The overarching theme in TTPD to me is: Grief. If you’re looking at TTPD as a story being told (instead of just as someone’s real life), the inciting incident of TTPD is loss, and the grief from that loss is what drives the narrator’s actions and the fallout, as well as unpacks those complicated feelings and how they apply to the her life in general. By the end of the standard album, it’s also about recovering from that pain, moving on from it and learning from it.

The loss specifically is the loss of the dream of having a family (with one’s partner). One thing that is abundantly clear both on the top line and under the surface in TTPD is how Taylor (as a person and as narrator) longed not only to for marriage but specifically parenthood, and the fear and then realization of losing that chance absolutely wrecked her— which is why the next lover’s (the conman's) wooing worked so well, because it preyed on that yearning. Yet that loss also dovetails into the grief of many things: of youth, of idealism, of relationships, of ideas, even of self, which causes almost a deconstruction of a belief system to piece one’s life back together by the end.

THE CONTEXT

TTPD weaves in the topics of marriage and motherhood both explicitly and in the subtext, in various forms and scenarios. The cheating husband in “Fortnight.” The wedding ring line in “TTPD” the song. “He saw forever so he smashed it up” in “My Boy Only Breaks His Favorite Toys.” All of “So Long, London.” Running away with her wild boy in “But Daddy I Love Him,” fantasizing about weddings and joking about babies. The imaginary rings in “Fresh Out The Slammer.” The cheating husband (again) and the friends who smell like weed or “little babies” in “Florida!!!” “You and I go from one kiss to getting married,” “Talking rings and talking cradles,” and “our field of dreams engulfed in fire” in “loml.” (And arguably: “I wish I could un-recall how we almost had it all.”) “He said he’d love me all his life, but that life was too short,” in “I Can Do It With A Broken Heart.” They may not sound like much on their own, but they paint a picture about how the topics pervaded her thoughts and her writing, and in many cases express her desires, and her pain.

It’s something that goes back several albums when you pick up on context clues. You get the first hints on Reputation with “New Year’s Day,” and “you and me forevermore.” Then Lover is very forward with it: “Lover” is basically wedding vows, “Paper Rings” is very engagement-coded, “I Think He Knows” is cheeky but low-key “you better put a ring on it,” “It’s Nice To Have A Friend” has wedding/marriage imagery in the last verse. As a self-professed diaristic writer, it’s the type of stuff one presumably doesn’t put out there unless those conversations have already happened, and she was very excited about it at the time it was released.

Then the pandemic happens and folklore comes out, and while there is still happy love there (“invisible string”), there are also the first indications that something has happened to put a halt to whatever future she once dreamed of (“hoax,” “the lakes”) and that she’s trying to reassure herself and him that it can still happen even if she’s scared it might not (“peace”). Notably, as far as I can remember it’s the first time Taylor explicitly brings up the idea of family (with her partner) with “you know that I’d give you my wild, give you a child,” which stood out at the time because it’s so incredibly vulnerable, but it’s even more poignant when you really take in that the whole song is like a confession of her deepest worries, and this is her vowing to give him these things that she holds most sacred if he’ll let her. These are what she cherishes most dearly and wants to return in kind: her youth and commitment (my wild), the family she craves (a child), unconditional support (swing for the fences/sit in the trenches) and understanding/compassion (silence that only comes when two people know each other).

Evermore follows an even darker path, and suddenly the album explores relationships that end and grappling with loss. There are toxic relationships (“tolerate it”), dangerous marriages (“no body, no crime,” “ivy”), failing/broken relationships (“Coney Island,” “champagne problems,” “happiness,” “‘tis the damn season”), as well as grief (“Marjorie,” “evermore”). Even some of the happy songs have uncertainty in them: in “willow” she’s begging for him to take her lead, like she’s still trying to decipher him and ask him to commit; in “cowboy like me,” still a beautiful love song, she’s thinking, “this wasn’t supposed to work and we were supposed to bail on each other but we fell in love instead”; “evermore” is about the depths of severe depression (and more) with the love story being the one saving grace in her darkest hour. And it’s also notable that after all the “fiction” writing, shortly after this album she writes “Renegade” where she’s telling the subject: I’m ready to start the next phase of our life now, why aren’t you? Is it me you don’t want after all? It’s like there’s something telling her that this stall might not just be a stall.

Midnights is a jumble (in a good, but in hindsight, also sad way) with the “sleepless nights” concept, but it seems pretty clear now that the themes and events and relationships she was revisiting tied into a lot of what she was feeling in her present life. I wrote the cliff notes version awhile back, but she’s questioning so much of her life that’s reflected in past events and relationships. Am I actually always the problem? How did we lose sight of each other and what we had? We only seem to work when we block out everyone and everything else. Can we ever go back to when things were good? Why are you neglecting me? I once thought I was going to lose everything but you saved me in the nick of time, can that happen again? I chased my career, but did I give up my chance at having a family in the process? Nobody knows what I really suffer from behind closed doors and I’m all alone.

And so on, which in retrospect now that we have TTPD, is very much what she was grappling with in private while writing and releasing the album. The inspiration behind the songs may have been different events and muses, but regardless of their origins they all end up feeling too familiar, like she's seen this film before (ahem). We’re seeing her view of commitment change too, or rather how she writes about it: she’s not making the outright declarations of it like on Lover, or even the implied ones on folklore, nor is she talking of the dark side of it like evermore. For the most part it’s a return to the early days of some relationships, before things got hard, or the end of them when there was nothing left, and also pushing away the discussion of it altogether by the outside world. “Sweet Nothing” is a sweet slice of life, but even at that, it’s the peace of the home in conflict with the pressure of the outside world. Now that we have “You’re Losing Me,” which was written at the same time as the rest of the album, we can probably deduce that she was going back to the start because something happened that made her doubt the future.

THE SETUP

So much of Midnights directly ties into TTPD, and I said in the post I linked that it’s like Midnights is asking the questions that TTPD answers. But there’s one song in particular on Midnights that sticks out to me as being key in the broadest sense to understanding the state of mind that led to the events of TTPD, and that’s “Bigger Than The Whole Sky,” because the way it expresses grief is reflected in the theme of mourning a life built and the dreams along with it that are never realized in TTPD. There are several instances in TTPD that are basically variations of: “every single thing to come has turned into ashes,” and that’s what makes her snap, and leaves her vulnerable to someone who promises her those things when she’s bereaved at losing them in the first place. (In other words: “the deflation of our dreaming leaving me bereft and reeling.”) The song tells a story about how that loss of hope colours one’s entire mindset, and in some ways is a bridge to TTPD to understand what such a low point feels like.

I think that that grief, and most importantly losing hope for an imagined future in its wake, is fundamental to understanding TTPD on so many levels: both the decline with one partner that kept her hanging on then led her such a dark path, and why she fell for the conman's apparent bullshitting because it offered an express pass to what she was losing with her partner. And I also feel like it plays a part into the ruminating she’s doing all over Midnights, trying to make sense of where she finds herself when she’s writing the album, which directly leads to “You’re Losing Me.” Loss permeates so many of the stories on Midnights: of lovers, of innocence, of youth, of faith, of control, of life’s work, etc. “BTTWS” is just one of the ways in which it is expressed so fully, capturing that deep depression and subsequent extinction of faith in something that once felt assured and very much wanted. (Which is also mentioned in her writing process in the “Depression” playlist on Apple Music.)

If you understand why that feeling of loss in general across so many parts of life is so important to Midnights, then it illuminates so much about the “narrative” in TTPD too. If on Midnights she’s wrestling with the seeds of grief and loss (on multiple fronts), TTPD is her reckoning with it in its full form. “So Long, London” is the song that is the most explicit about it: How much sad did you think I had in me? How much tragedy? Just how low did you think I’d go before I’d have to go be free? You swore that you loved me, but where were the clues? I died on the altar waiting for the proof. It’s the sequel to “You’re Losing Me.” It’s, the air is thick with loss and indecision, I know my pain is such an imposition, I’m getting tired even for a phoenix, all I did was bleed as I tried to be the bravest soldier, I’ve got nothing left to believe unless you’re choosing me, my heart won’t start anymore, but from the other side of the break.

This is highly speculative, but if you follow the thread about the topic and the relationship as told from Rep through TTPD, in broad strokes it goes: young love with a serious connection (Rep) -> growing up and making life plans (Lover) -> something happens that delays those plans or makes them grind to a halt (folklore) -> serious doubts arise and cause a loss of faith in their future (evermore) -> struggling with the loss of that future and trying to make sense of the problems in a last ditch attempt to save the relationship (Midnights) -> fallout from that grief after the blowup of the relationship (TTPD). Understanding that progression of events (through the music) explains not only the storytelling side of TTPD (e.g. the jump from the partner to the conman) but also how the experiences/muses blend in the music, and how the music that on the surface is about the short-term relationship is really driven by the destruction of the long-term one.

Following the music, it’s IMO implied that Taylor (the narrator) was holding out for marriage and family with her partner, for years, and it seems like it was at one point a shared dream until something happened to pump the brakes, and seemingly on her partner’s end. And extrapolating further, given how the sorrow expressed in former albums bleeds into TTPD, it sounds like a plan that had been concrete in some form before it had fallen apart, and losing something that once felt so tangible is what drives her in her grief to find any kind of respite from the pain. Which is why the situation with the conman becomes so appealing as the one with the partner splinters further and further.

(If everything you’ve once touched is sick with sadness and you don’t want to be sad anymore, what are you left to do?)

THE STORY

So (one part of) the story kind of sounds like this from the standard album: the relationship with her partner as well as his mental health slowly deteriorate and he withdraws emotionally (“London,” “Fresh Out The Slammer”) and physically (again, “London,” and “Guilty As Sin?”) and takes his resentment out on her (“London” and arguably “My Boy Only Breaks His Favorite Toys” even though I don't want to get into muse speculation here). As she sinks deeper into her own depression as a result, the weight of the failing relationship starts feeling like a cage— or a noose (“London,” “Guilty”), but coming to terms with the loss of their life together and the future they’d dreamed of was killing her (again, “London,” but also “I Can Do It With A Broken Heart”).

Enter the conman who she reconnects with at the very point where this is coming to a head (knowing that IRL she reconnected with him around the time Midnights was being worked on) , and if you read between the lines, she confides some deeply personal things to him (“Down Bad” and “hostile takes overs”/“encounters closer and closer,” “Smallest Man” and the entire sleeper cell spy imagery which is one of my favourite things and I could write a whole essay about the meaning of it, “loml” and “A con man sells a fool a get-love-quick scheme”). Then after she’s confided these secrets to him, he insinuates himself back into her life (“Guilty,” “Down Bad,” “Smallest Man”) and sells her a dream that HE can give her all these things she hopes for (again, “Down Bad,” “Smallest Man,” “loml,” song “TTPD,” “Broken Heart”).

But the thing is, he only knows these are the things she wants because she’s revealed it to him, and presumably, told him that was what she was losing by staying with her partner. And instead of the normal response of, “that is really sad that your partner is not supporting you and you deserve to be treated better,” to a friend in growing distress, it seems like it was, “well I can give you all those things!!!! Right now!!!! Trust me!!!!” And worked on her until she believed it, and jumped at the chance at a precarious time in her life. And one thing I want to underscore is: Taylor has agency in the situation always, it’s not like she’s been kidnapped and brainwashed. (In fact, she implores on songs like “But Daddy” that SHE is in charge of her own choices, good or bad.) She chose to rekindle the friendship and then relationship, and she chose to eventually leave her long term relationship for another man, and she reiterates on the album that she owns this all. But it’s also: nothing exists in a vacuum, and she makes choices based on emotions and information she has at the time, which is why it gives so much whiplash.

THE ALBUM

When you look at it as, the situation with the conman only happens because of what happened with the partner first and that the appeal of the conman and the fantasy he sells her is a direct reaction to that, it makes the “swirliness” of the music make so much more sense. And for much of it, even many of the “conman” songs on the surface are really “partner” songs underneath.

Fortnight

A suburban gothic allegory about a broken marriage with a distant husband with a wandering eye, which makes the rekindled romance with the neighbor so appealing. She’s miserable caged in her stifling house because she’s been abandoned by her spouse, so the reappearance of this past love reignites the passion that’s dead at home.

TTPD

“So tell me, who else is gonna know me?” “I chose this cyclone with you.” I’m gonna kill myself if you ever leave. Everyone knows we’re crazy. She’s laying it out there that she’s already in a dangerous state of mind, and she’s actively putting herself in more danger by pursuing the conman. “At dinner you take my ring off my middle finger and put it on the one people put wedding rings on, and that’s the closest I’ve come to my heart exploding,” spells this whole thing out so clearly: whether it’s an actual event (likely) or a metaphor for the promise he makes to her, the reason why it makes her heart explode is because it’s the thing she’s been waiting for forever with no movement, and here this person comes in and slips it on her finger in an instant like it’s nothing. (And eventually, as we’ll come to know, it is absolutely nothing to him.) You mean it could have been this easy this whole time?! (Well, no. Not until a certain other suitor makes his appearance later.) It feels like she’s finally getting everything she wanted in the blink of an eye! How lucky! How convenient! What was that about the get-love-quick scheme you say? (Unsaid: the reason why this feels so urgent is because there’s a sense that time is running out in so many aspects of her life and not just the obvious. Which reappears later on.)

Down Bad

“Did you really beam me up in a cloud of sparkling dust just to do experiments on?” sets the scene for this euphoric experience in the moment that starts to feel violating once the dust settles (which is then followed up in “Smallest Man” and the spy mission on her). The bridge spells out how he weaselled his way into her life, preyed upon (intentionally or not) her emotional state, sold her a dream and then vanished, without the benefit of hindsight yet we see later in the album.

The alien abduction metaphor is pretty brilliant, because it shows both how she was desperate to escape the place she found herself in, and how much it screwed her brain to then be left stranded when the affair was over. “[I loved your] hostile takeovers, encounters closer and closer,” is so evocative because it details how the situation came to be: his overtures under the guise of friendship blurred lines until he made her an offer that she eventually couldn’t refuse (hostile takeovers) as he infiltrated her life more and more intimately. The sad thing is that the song has parallels to how her relationship with the partner started too in earlier albums, in that they ran away to live in their own bubble (or planet) only for him to metaphorically abandon her as the years went on. (Oven, meet microwave.)

My Boy Only Breaks His Favorite Toys

Being continually emotionally broken down by a person who knows he’s hurting you but still acts the way he does. (The original voice memo version makes this even clearer and it’s rather heartbreaking.) “He saw forever so he smashed it up,” speaks to the loss of a future the person became scared of, and the original lyrics (“he saw forever so he blew it up”) somehow cut even deeper to me because it feels so much more intentional.

Also in the original version, “he was my best friend and that was the worst part,” also speaks not only to the loss of an entire partnership in the wake of this hurt, but also to the feelings of betrayal that the person you trust so deeply has the ability to hurt you in this way too, and how it’s a one-two punch of not only losing the relationship but also your closest confidant. (It’s like the sequel to “Renegade” and the missiles firing to me.) Again, there are shades of both/many situations in the song, pointing to an unfortunate pattern in some ways. The situation in “My Boy” is part of why she was so low, and why the “get love quick scheme” was so appealing later on. And it dovetails nicely into…

So Long, London

The most explicitly “partner” song that puts a coda on “You’re Losing Me,” and is Track 5 because it’s the emotional underpinning of how she got to where she was, and drives the events of the rest of the album. It spells everything out: He withdrew, she tried to fix it for both of them, eventually even that stopped working, he was oblivious to or minimized how badly she was suffering and his (in)actions couldn’t reassure her, he wouldn’t move forward on their future plans and stewed in his own struggles, she was spiralling out of control trying to hang on and ultimately felt like she was going to die if she didn’t leave.

But Daddy I Love Him

Like a direct reaction to “So Long, London” in that she breaks free from the death of one relationship and throws herself with reckless abandon to the next, fuck the haters. How dare you judge me, when the relationship you think I should have stayed in was killing me? (Dutiful daughter all the plans were laid. All you want is gray for me.) Fuck all of you, I’m going to choose whoever I want! (So what if I have a baby with HIM, huh?! I tried doing it the proper way and look where that got me so now we're back to square one) It’s again her imagining how wonderful and freeing this “wild boy” is going to be for her, and how wrong she’ll prove everyone. THIS TIME she definitely got it right. So what if she has to run away! So what if she scandalizes the whole town! They don’t know what she really wants or needs anyway! She’s the only one of her (hee-hee-hee) and she’s the only who gets to decides how this goes. (Because: she longs for control in a situation she’ll eventually realize she has little of it in, which we’ll find out is a recurring theme in her life.)

Fresh Out The Slammer

Also spells out what happened with the partner in the first verse and the pre-choruses, which is what makes the conman so appealing as the imagined jailbreak. The bitter loneliness vs. the sultry passion she builds up in her head as she awaits her release from prison is key to understanding the two sides of the story in the album. There’s this whole outlaw imagery (which is also carried through in “I Can Fix Him”), but it’s contrasted in the end with her and her reunited lover sitting on park swings like children with “imaginary rings” — because “Ain't no way I'm gonna screw up now that I know what's at stake.” What’s at stake is lasting love and the promises that come with it (marriage/family) that are precious and time-sensitive. The imaginary rings are both a nod to the youthful dreams of her and her new/old lover, but also has a double meaning to me because those promises aren’t built on anything together; they're made up, intangible. (They’re no more concrete than the plans that went up in smoke with the partner.) Like with most of the conman situation, it’s all a fantasy in her head that has yet to happen, and as we find out later in the album, reality ends up leaving much to be desired.

Florida!!!

Broadly speaking, it’s running away from your problems and wanting to disappear from your life. (But again: the life she’s disappearing from is the cheating husband she may or may not be feeding to the swamp-- another miserable marriage.) What kind of flies under the radar though is the “I don’t want to exist,” line, which points to her dire state of mind that led her to fleeing to that metaphorical timeshare down in Destin. In many ways about cheating death.

Guilty As Sin

Yes it’s the “masturbation song,” but again the nuance is that she’s left to pleasure herself because her partner has abandoned her emotionally and even physically, i.e. “my boredom’s bone deep.” To be blunt: they aren’t even intimate anymore, so she starts fantasizing about the guy she used to have chemistry with who’s reentered her life and is making moves on her. And realizing that she’s now finding release in another man (albeit imaginary) breaks her even as it reinvigorates her because she finally understands that the relationship she’s in is effectively dead. (“Am I allowed to cry?”)

Who’s Afraid of Little Old Me

This isn’t about relationships, but about society and its reaction to them in a general sense. But again, she’s left to stew in all this anger and hurt as she’s been abandoned at home, then abandoned by public opinion, and the public attack on her is part of the origin as well as the end of that story. The trauma inflicted upon her detailed in the song is the reason why she felt trapped in the first place, which led to the decisions she’s made and habits she’s leaned on ever since.

I Can Fix Him (No Really I Can)

This is one of the few songs that is the most completely conman-coded, and shows when the delusion finally breaks at the end of the song. She spends the whole song being like, “no really, I alone can make him better! You’ll see! I know he’s gross, but he’s mine! It’ll be fine I swear! You don’t know anything! Uuuuuum hmm wait actually what the fuck—“

Loml

Oof. THE song. Again the surface reading is about the “conman” who comes in and sells her the lie, but the pain is because all the dreams she writes about are HER dreams and implied that they were the dreams she built with her partner that the conman sold back to her. I could do a deeper dive on this but most of the song is applicable to both relationships, which not only shows the “swirliness” of her writing, but also how they both ultimately did the same thing to her in different shades.

The bridge and the last chorus are kind of fundamental to understanding it all, and her ending it with “you’re the loss of my life” is about, among other things, how falling for this trap blew up the life she built and dreamed of for good. (I could talk about this one forever.) “You shit-talked me under the table, talking rings and talking cradles” to “Our field of dreams engulfed in fire” is a hell of a line and progression, and again, indicative of what the real driving force behind the whole album is. The shit-talking is because he took her dreams (of marriage and children) and hyped it back up to her tenfold whether in a moment of his own delusion or for more nefarious reasons — much like how the man prior kept promising these things but never followed through, which left her vulnerable to someone who appeared to offer them enthusiastically. The field of dreams isn’t just the one with the conman, it’s the one with the longterm relationship she’d built the dream with in the first place, because the conman’s actions are part of the reason the LTR went up in smoke. (Not the reason for the rift, but the consequence of the final break.) And THAT is why it’s the loss of her life, so completely.

When she says “I wish I could un-recall how we almost had it all,” IMO it’s not just the fake future that the conman lures her into, but also (and perhaps mainly) the once-real one she had with her partner and the loss of which that made her susceptible to falling for the con in the first place. There’s honestly so much between the lines in this song that covers every theme and speaks to the grief of seeing the life she imagined slip away, slowly by the first man then annihilated by the second.

I Can Do It With a Broken Heart

The juxtaposition of “He said he’d love me all his life, but that life was too short” and “He said he’d love me for all time, but that time was quite short” sums it up to me (and parallels “loml”), because they are two different situations, but they cut her just the same. In the first, “that life” IMO was the life they’d built with the dreams that went along with it and it was too short because he never followed through, and in the second, the “time” was quite short because it was the frenzy of the whirlwind romance that fizzled as quickly as it began. The life that was too short led to the time that was quite short.

The Smallest Man Who Ever Lived

This is definitely THE conman song. The rage, the shame, the violation, it’s all in there. But the key to it is the bridge and the espionage imagery woven through it. A honeypot scheme is when spies target a mark and seduce them to gain their trust and their privileged information for their homeland. So her likening him to a sleeper cell spy who set her up just to mine her deepest secrets and use them against her is a heavy, loaded statement. And implied: that valuable information she unknowingly held were her longings of marriage and family (the aforementioned shit-talking about rings and cradles she never got to have), and more importantly, those dreams preceded him reentering her life and then beginning his mission on her.

The insinuation then is: she confesses these are her deepest wishes which are now seemingly unattainable in her current situation (e.g. with her partner) -> he convinces her HE will give them to her and make the dreams she pines for come true -> she falls for him and blows up her life to make it happen -> he gets what he wants (thrill of the chase/sex/the idea of her/whatever his intent was) -> he abandons her when he gets what he wants, or rather it isn’t what he wants or can handle -> she’s left a) all alone b) with dreams unfulfilled c) with no answers d) feeling used at having her most sacred wishes used against her.

Again, the song is unquestionably about the way the conman absolutely destroyed her, but he was able to do that because there was this thing she wanted more than anything, that was dying in her previous relationship, that he was able to prey upon to seduce her, then discarded her and her dreams as soon as it was inconvenient for him while absolutely hollowing her inside out. (And again: the devastating thing is that this also applies to other relationships she’s written about, in different ways.)

The Alchemy

Not about either the partner or the conman directly, but it (loosely) touches on her finding herself after the whole oven-to-microwave experience and opening herself up to life and love again. #GoodForHer

Clara Bow

This isn’t about the romantic relationships on the surface, but it is about how damaging the entertainment industry and public life are on women, and how women are only valued for their beauty as commodities until they can be discarded and destroyed in the process. Which I think plays into the circumstances that led her to make the decisions that she did years ago, and why she makes the ones she does now. (But also, being valued for physical traits and appeal for the male gaze brings us to…)

The Manuscript

The “original sin” that kicks off all of this. Again, at first light this isn’t about the partner or the conman, but the person it is about is the reason why she has made all the decisions she has ever since in relationships (and that’s Mr. Plaid Shirt Days from “All Too Well”). The realization that her first serious adult relationship is what cemented these patterns, and this view of herself and her worthiness in relationships, is profoundly sad. An older man who valued her for being so mature for her age and implying that the mature activities ahem associated with that were the performance benchmarks in her ability to carry a relationship, only to leave her, was earth shattering. She placed her faith in this person, but then the way he treated her changed her view of love and of herself.

She took his innuendo about “pushing strollers” as a sign of potential commitment, whereas he ultimately meant it as foreplay, and she was too young and naive to know the difference. So not only did she learn from that that this man (and men) didn’t view commitment and family the way she did and that it was something to be toyed with, but she also learned that her value to them among other things was sex. Imagine being an idealistic 20 year old and your boyfriend ten years your senior tells you, “if the sex is anywhere near as good as our dates have been, we’re going to be making babies before you know it,” (e.g. this is relationship is serious) and then he dumps you: does that imply that the sex was not in fact that good? (E.g. that you’re not worthy after all?)

No, obviously from this side of life, it’s because he was a commitment-phobic playboy, even if he did love her, but she couldn’t have known that at 20 and instead internalized that shame. But, it did send her on a path of how she approached sex and love and relationships for over a decade afterwards. And her coming to the realization that that first act of (perhaps unintentional) manipulation is what informed her actions thereafter helped her break the pattern. Her worth to men is not just sex, she has value and her hopes and dreams have value, she doesn’t have to change into a different person to please anyone, because if that is what they want, they won’t ever want her anyway.

It’s been described here on Tumblr by people more eloquent and astute than I as a song that encapsulates the album as this: one did it slow (partner), one did it fast (conman), and one did it first (first love)— and that is haunting. After years of men minimizing her dreams and desires, if not outright using them against her, she’s finally at the point where she can let it all go and move on for good. (There’s a whole other tangent about consent and shame and manipulation, but that’s an entirely different kind of discussion. But it is so devastatingly contrasted with “you said if we had been closer in age maybe it would have been fine, and that made me want to die.”)

THE SUMMATION

This is just my interpretation of it, but in going through the standard album, it feels pretty clear how cohesive the album is about a story of love and loss and grief, then reckoning with what caused it all in the first place that set a person on this path. It’s a formative experience at a young age that was traumatic and led to certain coping mechanisms and a shaping of one’s self-perception, as well as the reaction to external pressures that try to dictate behaviours and influence how one feels one deserves out of love which makes it harder to know when one absolutely deserves more and better. And leaves one struggling to cope with loss when there isn’t anything else to hold onto. Then in light of one’s life blowing up, learning to find oneself in the aftermath all over again.

On another tangent that is somewhat related to the theme of loss, the way she writes about the two main muses on the standard album also ties into how the situations converged to create absolute carnage on her emotional and mental well-being. With one situation, she’s talking about a concrete life that crumbles under the weight of their struggles; with the other, the entire thing is a fantasy that she builds up in her head, and when it comes to fruition it falls far, far short.

If you look at the “microwave” (conman) relationship, you realize that almost everything she writes about it happens before it actually becomes reality, and it’s mostly her imagining how great it’ll be, but with few exceptions, when she writes about what actually occurred, it doesn’t even come close to living up to her expectations. “Fortnight” is an imagined future where she escapes to Florida and his touch finally starts her stalled engine (ahem). “TTPD” is perhaps the most positive retelling of their time together, but even that implies he was better off stoned and when he sobered up he succumbed to his demons all over again, and more importantly she conveys how she also is in extreme distress, barely concealed by the veneer of being infatuated with him. (E.g. saying to that she’ll kill herself if he ever leaves her — the implication is that she is absolutely serious about it when she “felt seen.”) And that the warning bells are going off in her head, but she feels like this person is the only one she can be with (because they’re equally fucked up and the chaos he brings into her life makes her feel alive when she felt so close to death).

“Down Bad” is the most explicit about being in love, but she’s also left completely confused and disoriented by him disappearing, wondering if any of it was real and the seeds of violation creep into her consciousness (“did you really beam me up in a cloud of sparkling dust just to do experiments on?” “Waking up in blood.”). “But Daddy” is her imagining she can tell everyone to fuck off for telling her what to do with her life. “Fresh Out The Slammer” is her fantasizing about this man while feeling trapped in her relationship — but never in the song is she actually reunited with him; she’s using him as the projection of all the things she’ll make right after being wronged by her partner. “Guilty As Sin?” Is very obviously about her fantasizing about sleeping with him, but again it’s such a minefield for her because it hasn’t happened yet; they’ve only just reconnected. “I Can Fix Him” is the only song other than “TTPD” that shows them actually together, and it’s the one where she keeps saying, essentially, “I know he’s gross but I can rehabilitate him into an upstanding person, trust me,” until the mic drop at the end of the song where it finally hits her that no, she can’t, because this is who he is, not the person she’s built him up to be.

“Loml” is when it all comes crashing down, and the song emphasizes everything he did and told her, e.g. that she’s the love of his life, but she doesn’t return the sentiment in the song about their time together. Because now that it’s past tense, she knows it wasn’t actually love. (And says as much in the album epilogue poem.) “Broken Heart” is her reeling in the aftermath, but again, it’s “he said,” not “I loved.” And then there’s “The Smallest Man,” where she eviscerates him: he also pursued an idea of her but didn’t care much for the real her in front of him (who else is gonna know me?), he love bombed her only to hurt her (crushing her dreams), he was constantly stoned (and not just in the funny munchies kind of way), and he wasn’t even a good lover (despite the fantasy she’d created before). That last point is especially striking because she spent albums singing about the importance of and pleasure in (sexual) intimacy in the relationship with her partner (sometimes to both their own detriment) and how it was at times the only way they could connect, but in this case, the idea she hyped up and acted on in her head about this lover never panned out in practice. She spells it out in the epilogue: it wasn’t a love affair, it was a mutual manic phase.

In contrast, there’s a lot more tangible action in the “oven” (partner) parts of the album, showing how hard she tried to make the relationship work in real life instead of just in her head. All of “So Long, London” is her detailing how she tried to break through to him and support him, even when he rejected it and pushed her away, thinking she could carry them both until they ultimately sank, but she did it because she “loved this place for so long.” (The place? Not just the city, but the home and perhaps most importantly, him.) In “Slammer” she stayed with him even as things disintegrated for “one hour of sunshine.” (E.g. holding onto the rarer good times even as they were fewer and further between, hoping things would eventually turn around.) And like in “London,” she held on despite people in her life pleading with her that it was hurting her. (Which is also echoed in “Slammer.”) In “Guilty” her boredom is “bone deep” because the passion that once drove their relationship (and papered over their problems) has finally gone out too, so there’s nothing left to hold onto, leading to her fantasizing about the new suitor, which makes her realize her relationship has passed the point of no return. “Loml” is about the conman on the surface, but the undercurrent of all the things she says about him is that he was co-opting the dreams that she was clinging onto for dear life in the previous relationship, which is why the con is so painful; the field of dreams he sets ablaze isn’t just the fake painting he sold to her, but the original artifact (her life with her partner) too.

All the physical and emotional labour she puts into the relationship with her partner ends up reflected in the fantasizing she does in the one with the conman, which is why it is so confusing in the moment and so lethal when he leaves her without any answers. She wants to get married and start a family with her partner which keeps getting stalled; the conman mock-proposes which makes her think he’s immediately serious (“TTPD,” “loml”). She feels caged by having to hide with her partner and shrink herself; the conman promises he’ll stand by her side publicly and let her shine (“Smallest Man”). She sinks into a deep depression in her loneliness as the relationship with her partner careens off a cliff; the conman convinces her they’re meant for each other in a them-against-the-world way (“Down Bad”). The intimacy (in all senses of the word) in her relationship with her partner fizzles; the conman stokes the fire by sending her secret messages and reigniting passion (“Guilty”). She spent years trying to help her partner to no avail; the conman makes her think she has the power to reform him (“loml”). She feels misunderstood by her partner; the conman acts like he’s the (only) one who truly gets her (“TTPD,” “loml”).

In short: there’s nothing that the conman does or says that isn’t a direct response to what her partner did first, and it’s even worse because the conman knew how much her partner’s actions hurt her and he used that privileged information to paint a picture of what he could give her, but in doing so in some ways aimed at her heart with even deadlier accuracy. (I’ve likened it to him borrowing someone else’s life for his own joyride, until he crashes the rental car and flees the scene.) It’s why in the aftermath, the difference in emotions are so different: she feels nothing but rage and violation towards the conman for getting in her head and using her, whereas her feelings towards her partner are more complicated. There’s anger (at her lost youth and being taken for granted), but there’s also sorrow (at their lost life and future), disappointment (that he never could step up the way he’d promised or she’d needed), even compassion (towards his struggles) and a tiny measure of appreciation (for the good times they did share).

When you look at the bigger picture, the story the album paints is just so painfully normal. You have two people (Taylor and her partner) who once loved each other deeply, and despite warning signs early on telling them they have fundamentally different needs and ways of living their lives they fight like hell to make it work (the epilogue) until those warning signs become grenades that destroy their home (“My Boy,” “London,” “Slammer,” arguably “loml”). Having already been through at least one rough patch/break/breakup that she felt almost destroyed her (harkening back to Midnights on “You’re Losing Me,” “The Great War” and “Hits Different”), the final and fatal downward spiral of the relationship (“YLM,” “London”) and the grief over losing that future sends her into a tailspin, just at the time where a flame from the past (the conman) reenters her life and tells her all the things she’s been longing to hear and feel (“TTPD,” “Down Bad,” “Guilty,” “loml”) and, crucially, missing from the relationship that was once her entire life.

So in her panic, she falls prey to the (empty) promises of the past lover (“loml,” “Smallest Man”) and decides he’s actually what will save her from the free fall, because the alternative (that she will end up in a situation she doesn’t think she can survive) is too painful to bear. When she finally acts on these circumstances (leaves her partner/runs to the conman), she snaps, acting on pure emotion and adrenaline (“But Daddy”), but before she knows it, the new lover abandons her, and she’s left to reckon with the fallout of the episode and process everything that has happened (“Down Bad,” “loml”) — with the conman, with her partner, with the choices made in her adult life personally and professionally which leads her back to the moment she feels set her down that road at the start.

The TL;DR of this unintentionally long essay is that the reason the conman affair was so serious was precisely because it was meant to fulfill the promise of what was her life with her partner. To me, a large part of the story is that she projected that life onto the conman (or he projected her life back to her for his own purposes) because she wasn’t ready to deal with that massive grief and the life raft he offered felt like the only alternative to an even darker end. Whether the conman actually believed what he told her, or he went along with it or encouraged it because it served his purpose, we’ll never know, just like we’ll never know the finer details of what went on (nor should we). But no matter what, the album is just an extreme deep dive into all the ways grief can consume us, and whether it’s a long, drawn-out death or a sudden, inexplicable one, it can turn a person’s life into such a trainwreck that they act in ways unfathomable to even them, let alone the people around them. It can also unleash repressed trauma and mental illness that can crater your sense of self. And when those situations are compounded? It makes for a nearly impossible type of breakdown to unpack. (Which is why you might need a 31 song album to process it.)

[acid-ixx]

i'm heavily leaning on the idea of posting the first half of chapter 4 as chapter 4 and the second half as chapter 5, i swear... i'm actually so tempted to post the first half right now (if you guys ask me to, i will be right at this moment), just because i don't want my blog to feel dead, rahhh 💔

[literaryvein-reblogs]

Do you use AI generators to compile or scrape this information?

no

[inkpotsprite]

An old deleted snippet from my work 'Cats and Communication.'

[whatstheoccasion]

"You are the rock on which I stand, Steady me, please take my hand, Hold me now until the break of day."

— Charles Wiles.

Pirates don't help people, he used to spit. I was not born into this world to help anyone.

Yet, as the fabric of your shirt softly shifts up your skin making you shiver, Law finds himself unable to stop the hand raising his blanket, keeping you warm.

You're not just people, though, he poorly excuses himself. You're more than just anyone to him.

Which is why he pretends to not notice how clingy you get when the sun's barely peeking through the windows, warm and bright enough to make out the shape of your face, features he awkwardly traces with the tip of his fingers, finding himself needing the intimacy, this closeness with you.

He cherishes these slight pieces of yourself you only show him. Asleep, vulnerable and soft to the touch, trusting this callous man to keep your dreams safe, Law has to bite his tongue to hold himself from repeating the same three little words to you like a fool.

He chastises himself for even thinking about it.

And then you start to wake up, with bloated cheeks and messy hair, your eyes still fighting sleep, and God, it's useless, Law thinks. It's an urge too hard to resist– but he refuses to say it out loud. He's content with protecting you as it is, tightening his blanket around you and trying to fix your hair.

Will it be too much for you, he wonders, impatiently waiting for your eyes to fully open, if he physically gives you his heart to keep, to protect?

"Law?"

You shove your face further down his neck, eyes scrunching in a tender way that makes Law's hands clench and unclench with the need to touch.

He hums low on his chest in response, bringing your body closer to his. When you don't continue, eyes closing again, he grumbles out, "Morning."

He feels your smile on his neck, one sleepy kiss pressed against it. "Good morning, love."

It hurts.

Up to this day, Law's guilt clenches with a vice-like grip around his chest, reminding him how he doesn't deserve this warmth, this forgiveness you give him.

It's a hole his heart still aches to fill– this disgusting need for affection, a need he can't allow himself to ask for out loud, but one he desperately looks for anyways.

When you're out and about on a new island, linking pinkies and pressing your side against his, teasing him for his pink cheeks and burning glare.

Aflot in the Polar Bear, dragging his tired self up deck to get some much needed sun in his system, his palms tingling where your hands held him.

On nights he's blessed with your pleasure, where he's insatiable until he makes you his– unsatisfied until every part of you is marked with his name, his traces.

So when you pull him closer to you now, he doesn't say a word. He doesn't tease you like he would any other day, doesn't call you out on how your body seems to always gravitate towards his– today he's not sure if his good intentions would come clear enough, and what if one last remark is what pushes you to finally leave him for good?

Law instinctively holds you closer, letting your body soothe his restless mind. You're here. You're staying. You love him.

You hug him even tighter in your sleep, entwining your legs together, impossibly closer to eachother. He's usually not positive for anything, but you're for sure a gift from his loved ones up above, because only those who cared for him enough could guide you to him.

He has one final thought before dozing off again, as the tiny fluttering of your eyelashes on his skin and the slight rise from the waves of the New World lull him to sleep, carrying so much fondness he doesn't even put up a fight when his eyes start to drop.

His heart is staying right where it belongs.

[wikiangela]

sometimes it feels like some people don't even like eddie as his own character (same often goes for buck for that matter), they only exist for each other and with each other, and ppl bend over backwards, twisting all the words said in canon, trying to make all their individual storylines about each other. it's insane lol

let them be their own characters jfc, there's so much more to them than whatever you want their relationship to be😫

[danwhobrowses]

I'm not sure how much good this vent will do, I'm not even sure I want to post this vent after my last one, but I'm writing it just so it's out of my head and into words because it seems once again fandom has chosen to send vitriol Ashton Greymoore's way.

What for? They talked to a 'specter' of the primordial titan within them, through their connection to the earth, the natural flow of creation and destruction. They ask what will happen to the world, it responds that it'll endure, they ask what of the people, it responds that the strong will survive and the weak will be remade into something stronger, to which Ashton replies they think they understand. To fandom this means that Ashton is becoming a fascist, that they have a 'Make Exandria Great Again' attitude for wanting the Primordials back, that they need to be beaten up or 'get what's coming to them' in order to change their mind, and I can only sit here and stew and wonder if this hate is really well-founded? Ashton is among my favourite characters in C3, I get frustrated by them at times too but if I think about it a big percentage of my frustrations is more towards people disliking them than me disliking things they do, or Matt setting up scenarios that doesn't do them any favours towards the fandom that hates them. Some of these are knee-jerk reactions of course, but for others it does feel like they have it out for Ashton, and I don't wanna engage with that, which makes it quite lonely when most of the fandom hones in on it.

For the most part I can understand how the whole 'the weak will be remade' bit can be taken badly; it's definitely iffy, but every other plan we have is also very iffy. The Release Predathos option literally involves unleashing an entity that wants to genocide the gods, the Maintain Status Quo option ('option' the status quo imo is impossible, in my mind the Gods can stay but the dynamic will still have to change) maintains a relationship where the gods pick and choose who they feel deserves help, using their power to covet more power, strongarm and demand loyalty, and overall choose fellow gods over mortals when the chips are down and not owning up to it. We should also remember that entities can speak in riddles, 'remade into something stronger' doesn't necessarily mean death; it could mean to adapt and grow, to become strong enough to bear and overcome it as many of the PCs of Critical Role have done with their hardships and trauma. It's worth reminding that the sad truth is that people will die whatever outcome happens - the aim is always to lessen the amount but if the Gods leave it's a power vacuum, if we linger too long it's a Calamity, and if the Gods stay it's a holy war on a more wild and less organized scale - and that Ashton isn't saying they approve of such death, merely that they think they understand. The commune doesn't tell Ashton which way to go; it only tells them that the world will endure, there will be change and it will change people, trees will still grow, the wind will still blow, the waves will still flow along the coasts of the sea, and people will survive. I know the interpretation can differ from people thanks to Matt's patented vague or riddle-mounted choices in phrase, but I also think if it was the Wildmother who told Orym or some other follower that 'nature is a cycle, everything must adapt to change or else it'll die - this world will change, but it will also survive' nobody would be calling Orym a fascist, people would accept it because the Wildmother's domain is nature, and nature is not always kind.

While we're mentioning Orym - and because this is gonna come off as critical I must preface that I like and enjoy All of the Hells, that's not changed - I also gotta call it out here because it does very much feel like the people who hate Ashton hate them for the reasons they love Orym. Both are stubborn, they're diligent in their personal code, they care deeply for their friends and would give their whole being just to keep them safe, they believe in the Hells' power and greatness more than each member does and more than they believe in their own, but Ashton gets the hate mainly because these fans agree more with Orym on the god stuff. What confuses me though is how these same haters can despise Ashton for being consistent but love Braius, the literal Devil Worshipper who secretly is on board with the Chase Away plan only so he can help the Devil rule the world, the compulsive liar. Where's Braius' scrutiny? A world under Asmodeus will be a far worse 'survival of the fittest' scenario, why does Braius get a pass in all this stuff huh? Because he's funny? Seems people ignore the whole morality talk when they're discussing Braius' dedication to Exandrian Satan.

I find it irksome too that even the group seem to criticize Ashton reaching out to Primordials too - as if that wasn't what we wanted them and Fearne to do anyway. They don't dislike the gods simply because they're a 'great entity', it's because they're a great entity that holds power and doesn't use it equally or fairly; they pick and choose who to help, a lot of the time in Ashton's experience for their own self-service, but they won't prioritize mortals over another god no matter who cruel or heinous the god is being, and the following of these gods are so intertwined with politics that most religious motivation also ends up being political. Ashton has no connection to the gods, they reached out and got nothing, an Angel looked at them and made them feel like nothing, but they do have a connection to the Primordials; from the Earth Golem to the Titan Empress they're literally a vessel of, they experienced something significant in their connection to the Earth, so I don't like how that they're almost mocked for having it. In addition, Ashton's behaviour during this commune differs because of that connection, but also because the titans are a natural flow; they don't demand or test or politic or prejudice, and despite being a Great Entity in its own right it never made sure Ashton felt small for their own satisfaction, they asked a question and got an answer, it's the same reason Ashton has disdain for most political leaders but likes and respects Keyleth, Allura, Kima, Pike, and (eventually) Percy despite also being people in power. To call on Orym and the Wildmother as an example again; Orym's an Air Ashari, the Ashari are guardians of the Elemental Planes - made from the Primordials - not tied to a god, but nobody criticizes his connection to the Wildmother despite both not being a follower and his culture being more tethered to Primordials and their descendants. I'm not saying it's all correct for Ashton to want things to go back to how Primordials ruled, but we must remind ourselves also that we only know a story written by victors when it comes to the Schism - a story which could very easily have been altered and edited to make it feel more justified for the Primes and mortals to actively genocide all the Primordials, the native species and creators of this world, and desecrate their remains to make weapons, soul anchors, and cities - the specter didn't say 'fuck em, all mortals should die' after all, if they believe mortals would survive then they must be at the least tolerant of mortal existence. Why is it okay for god followers to say they wanna keep the world with the gods they have a connection to (and I'm not saying they aren't) but Ashton is out of line for wanting to have a world which has something active that they also have a connection to? It seems rather unfair to allow one side to have and the other to have not, picking and choosing because our audience's bias has spent more time with the gods, Ashton wanting something they can connect to doesn't feel all wrong either, the Eidolons still exist with faint worship hiding away so they're not smited by the gods, why can't faith exist so they're not in hiding? I sincerely doubt the Punk Rock that is Ashton is asking for the Primordials to fill the Gods' roles the same way the Gods have been running things either, they want to break the throne remember? There needs to be a balance in ideals and practice of course, and in an ideal world there could even be a more fluid and all-inclusive Exandria where gods and Eidolons live harmoniously with mortals without hierarchy and class systems, I think Ashton could happily live with something like that, they did say the world needs 'a little chaos' to call back to Matt hinting that the current world doesn't have enough.

Which leads us to those wishing violence upon Ashton - and I really don't like that. People who say 'hitting them over the head is the only language they understand' seem to misinterpret Ashton as if everyone around them have been on their hands and knees begging Ashton to reconsider and them ignoring valid points and pulling a Leroy Jenkins. In reality, nobody is actually talking to Ashton about it, a lot of the frustration with Bells Hells right now is that they aren't talking to each other, even about the end goal! Ashton has valid reasons for their thinking, so being violent isn't gonna change their mind; undermining, dehumanizing and trying to effectively bully anyone let alone someone with chronic pain and low self worth will never truly convince them to your way of thinking. All people understand the language of violence, but that language is not used justly, those who truly wish violence upon Ashton don't want it in hopes it'll force Ashton to change their mind, they want it for their own satisfaction of seeing them in pain; so they can further push them away from the rest of the group and go 'that guy's not one of us', make it so the people Ashton calls family after a lifetime of loneliness, confusion and abandonment - the people they promised they won't abandon, and have kept true on that promise even at their lowest - make them feel small and worthless, and force them into box where they can't be themselves, and I hate that people would want to treat them that way. Ashton IS capable of listening; they've stepped back and trusted the other Hells to do their own thing even when it's ridiculous like staging a play where they pretend to be Ludinus to trick Unseelie emissaries into thinking that he attacked them, they listened to the gods even when they didn't have to like they promised they would and despite it being very personal they held themselves back for the benefit of the group, and if the group talked to them calmly where they were all allowed to healthily discuss the pros and cons, the ideals and compromises, and the risk and reward of all plans that have been proposed then they would listen, and they would try - you don't need to slice bread with a broadsword.

Will Ashton 'get what's coming to them'? Maybe, but what is that exactly? We only assume to know the full vision of what Ashton wants to act on. All of Bells Hells are gonna face the consequences of the choice they make on Ruidus - when they finally make one that is - in and out of the world they live in, so won't that apply to everyone? So what for Ashton? do people want Fractures 2.0? Does everything Ashton wants in life have to blow up violently in their face? Family, Closure, their best friend's safety, why does 'what's coming to them' have to be something aggressive and harmful? People change through positive reinforcement and good experiences too! Caduceus Clay would remind you that it's love that makes people. Don't mistake this rant as me wanting Ashton to be exactly as they are now, I too want to see growth from Ashton and we ARE seeing it happen; I see it in small instances where they think twice about rash actions and try not to fly off the handle, when they sit just to listen or understand or to defuse tension, and that when they're going somewhere or doing something they let the group know in advance, those who think Ashton hasn't changed since ep. 1 aren't paying close attention, but that doesn't mean that they don't still have more ground to cover. I believe that Ashton grows the most through kindness; when they're treated like a person and not a blunt instrument or a nuisance, and I hope what's 'coming' for Ashton isn't rejection, bitterness, and isolation, but acceptance, empathy, and for someone - if you know me you'd know who I'd want it to be - to convince them that they are worthy of living, that they're special not because of their powers or blood or because they have died and been put back together again (honestly, it does irk me a little that both Keyleth and Imogen chose that for titles and to brag to the Matron, I know it isn't intended this way but sometimes it feels like saying 'your best defining quality is that you've died a lot') but because while they have every reason to hate everything they still chose to be kind to those who deserve kindness, they have a good heart and they mean well. Are they perfect? No! They're in their 20s very few people irl have their lives together at even twice that age, but I want them to have good things in their life; things that help them feel happy and safe and like they can still feel comfortable in their own skin without having to appear more 'palatable' for people who've already decided that they don't like them. I want them to know that they've always deserved to live and they still deserve it now, I want that not just for Ashton but for all the Hells, and hopefully they'll all live to have it.

And most of all I want the people who hate them to be wrong about Ashton Greymoore, and I want Taliesin to prove them wrong.

[ganondoodle]

I fully understand the pain you feel with TLOZ now. I mean, I understood it before, but after Arcane becoming League's canon, after watching the second season, I feel so broken and conflicted and like I spent time loving something just for it to amount to nothing.

reliving my totk nightmares just a few months after finally being able to cope with that

[patheticpeoplesupreme]

TW// Panic Attack// Derealisation /Derealization //

Multiple names used interchangeably// ambiguous ending

read the side notes at the end!//

Sometimes, this world feels fake. Sometimes, he doesn’t feel like he lives in it.

When he was Houhua, he tries wave the fog away and picks up his brush and does his duties. He makes way too many mistakes in those days but no one pays any mind to him. No one pays any mind to his bruises anyway.

No one would care to find out. Why would they?

He was just a pathetic, puny little mouse, scurrying to survive. Canon fodder destined to die and return to the earth below for his sins.

This was his world. His story brought to life.

When the sun glimmers through his window, he wonders if the glow is artificial, like the failing bulbs he used to change when he was falling behind in his rent.

He opens his eyes, trying to blink away the fog, trying to bring back clarity , but to no avail, time slips by again. It’s warmer now, so he forces his limbs to move.

Stumbling into the bathroom, he takes a deep breath and reaches out for a hair tie before locking eyes with himself in the mirror.

Distantly he thinks, ‘this isn’t who I am.’

The colour of his hair was as bright as a chestnut, different from what it should be, shorter dark curls floating in the wind instead of being in a bun. His eyes glaze over— his bright amber compared to the hazelnut shade— scanning himself in the mirror.

His height—the body’s height was shorter by a few inches. He tries to breathe. It only serves to tighten the space in his chest. Finally, with his clumsy fingers, he wrangles his messy, unbrushed hair into a low bun, having no energy to do his usual high bun.

He wished he could cut it.

His hand lifts up to touch the body’s face . Shang Qinghua’s face. Shang… Houhua…?

He tries to think about true name.

He remembers projecting himself into his story, the story that he loved so much, even if it devolved into horrible cliché plots that never went anywhere. Even if the stories were left buried under, he still loved this world.

洛梅花

Luò Méihuā

A plum blossom. Blooming in the midst of winter.

Haa…

He feels like he’s wilting. He steps outside of his room, dizzily fumbling with his accessories, the buttons, the sashes messily wrapped around him

He thinks he smells smoke, a Pringly feeling rubbing against his fingers. He remembers the day he dies, the currents and volts electrocuting him. The sound of thunder never used to scare him.

Now he trembles at the sight of a storm. The percentage of getting hit by lighting is low, but it still terrifies him. To die. To feel that excruciating pain, to feel that excruciating loneliness at the same time, it was unbearable.

~~

Feiji blinks, suddenly standing right infront of his office door, a disciple of his holding the side of his shoulder. He remembers watching her stumble around as a young student, her name being on the tip of his tongue. He didn’t write her, he knew this, yet he couldn’t stop the wave of unease.

“Shizun?” She frowned in concern. He tries to smile and pat her head. Her frown doesn’t disappear, but she does scatter out the front gate.

Feiji wonders if Gua-xiong (Cucumber bro) feels like this sometimes. Like the world is floating away against his will.

“Shang-shidi?” He blinks again. A different person steadying the body— he didn’t even know the body was swaying.

Hm… Yue Qingyuan should be pretty and likeable… but no one likes a one-dimensional character. Though, they really don’t care as long as the protag gets their wives huh… hm…

Maybe I can scrap the Xiao Jiu storyline? The sect leader is gonna die anyway… it’ll be super bittersweet.



Yue Qingyuan’s brow was furrowed as he stared at the body. Shang—Hua flinched, remembering the descriptions that he’d thought of to make the pair suffer even more.

“All you do is apologise, and for what!? You left me behind!” Meihua laughed slightly as he wrote Xiao Jiu’s lines, thinking to himself, this will surely satisfy the readers angsty desires!

Meihua grinned with the artist he had commissioned to make official art of the peak lords, “this is exactly what i think they look like in my head, thanks!”

Shang Qinghua opens his mouth—

and chokes on a sob, “S—“

he gasps as his knees buckle beneath him, “Sorry.”

Fortunately, Yue Qingyuan jumps in quickly and reaches out to steady him, lowering him slowly instead of plunging to the ground. “Shang-shidi? What’s wrong? Your disciple ran into me and told me that you were acting weird—“

His eyes go wide though he’s not quite sure why and his hearing suddenly shuts down, muffling everything the worried man is saying.

Feiji is sorry, Yue Qingyuan— he’s sorry—he’s so incredibly sorry—!

—

“Are you sure there’s nothing that could’ve possibly sent him into such a severe qi deviation?” Mu Qifang questioned once more, desperate to get any answers on how to help his patient.

Yue Qingyuan shakes his head, grimacing, “No, the disciple I saw told me that he’s been that quiet since the start of the day.”

He paused thinking for a little longer before sighing, “She did not mention if Lord Mobei had visited either… there was nothing that could have triggered it. And nothing is calming him down.”

Mu Qingfang gazed over to the sobbing man boy, “I wish I knew how to help him.”

“Perhaps we should ask Shen-shidi for assistance. He…”

Yue Qingyuan’s expression closed as he thinks about it, “The two of them has been quite close in the recent years.” He reminds himself to calm down.

Shang Qinghua to him, is like having a younger brother, he could feel totally at ease with the oddly anxious peak lord. Despite that, it’s hard to let go of one’s protective instincts. One day, he hopes his instincts will protect the younger as well.

—

“Hey,” a familiar voice called out from the darkness, “Bro?”

Feiji opens his eyes—he didn’t even know he had closed them— and sees the Scum Villain he had created. His breath hitched, thoughts running at a million miles per hour.

The—The backstory that he had scrapped in order to chase the trends and feed into popular tropes—

“Sh—Shen—“ Feiji stuttered out. Shen Qingqiu softened (!???) his expression, before holding his hand out.

“Hey, it’s okay, it’s just me, Shang Qinghua. Mu-shixiong told me that you were—“

shangshidishangshidishangshidi

In a burst of weird emotions, He swats his hand away from him, his voice almost going to a shrieking level, shocking everyone in the room.

“STOP—! That’s not my name—! Please! Shen—Shen—shixiong.”

The two names were fluttering in his mind.

Yuan. Jiu.

He didn’t know what to do anymore. He didn’t understand what was happening anymore.

“Yu—Yuan—xiong please—! That’s— that’s not my name!” He pleaded, “N—Not Shang Qinghua, not Houhua! That’s not me!”

He remembers vaguely the destiny of the body he’s residing in. “He’s not me—“

The two peak lords behind him blink in shock and panic, both frozen, not knowing what to do or say. ‘Yuan…?’

“Okay, I’m sorry, I know you’re not, you’re not him,” Shen Qingqiu nodded comfortingly, “It’s okay, Feiji—ge Gua—xiong is here.”

Feiji shudders at the nickname, one that would usually make him feel safe when it’s Shen Yuan uttering it, yet— all the name does is remind him that he had written all of these characters, all of their suffering, caused by him.

He shakes his head desperately.

Luckily, the man understands. “Alright, this master won’t call you by that name, it’s okay. Can you tell me what you want me to call you?”

It takes a very long time for his mind to catch on, for his mind to send signals on how to respond, he shivers, bowing his head, he grasps at the strings, pulling the cord that would finally make his voice work.

“Meihua— L—Luo Meihua! That’s—“ He sobbed, cutting himself off and desperately clinging to the one person he knew was real. “Gua—Xiong.”

Despite not being good with physical touch, Shen Qingqiu allows the mousy man to grab on as a crutch, he nods along to his mumbles, gesturing Mu Qingfang to help put the panicked and stressed man to rest. “Okay, thank you for telling me Luo Meihua, This one won’t leave you.”

—

“Please. We will explain it all, but please just trust us.” Shen Yuan whispers as the author in his arms falls quiet with his breathing at ease.

—

Blue =Airplane(Feiji)/Meihua(my Airplane’s original name) / & Shen Yuan / Gua-Xiong (cucumber bro)

Green=Shang Qinghua /Shang Houhua( Sqh’s original name?)’s body and original self (or what he perceives to be the original)

also, green refers to SVSSS characters in general and differentiates from real people

It’s honestly super cool I can do this on tumblr

Also side note:

PIDW to Shen yuan feels like Miraculous Ladybug to a lot of fans

it’s so funny

In general, a lot of mlb fans absolutely hate the way Chat and Ladybug is written and I just can’t help but think of Shen Yuan. But at least here, Airplane is likeable haha

[kindahoping4forever]

Bts of the boy EP visuals via lamajamakeup

[soundwavemain]

“You just don’t get it, Leo. I’m the oldest here.”

[generalsdiary]

Moze x Jiaoqiu

warnings: none

word count: 900~

description: just them being domestic (pre-2.5 events)

moze is the type of husband who always cleans, keeps everything neat, he will run (quite literally) anywhere and do any errand without complaint, nothing is too hard or difficult for him. he is v protective, „I promise I will bring him back“, nothing is stopping him from getting his husband back, he is confident in his abilities, to the point he isn't even worrying. he always attentively listens to jiaoqiu’s ramblings, his full attention on the foxian. he will eat anything jiaoqiu puts before him, no matter his preferences. uttering simple praises after the meal and never letting his husband clean up.

at night he cuddles with him, being the big spoon, holding his husband close, face buried in the orangey pink hair. like a touch starved kitten, he gravitates to him during the day, always hugging him- backhugs are his favorite. jiaoqiu always smiles, a sparkle in his eyes with each embrace. moze is often quiet, very thoughtful- usually ending up blunt in his words but not cold, never cold. the care and love for each other shown in the soft words, gentle embraces and lingering gazes. moze doesn’t do causal touches, his hands don’t wander to jiaoqiu’s soft tail, or even softer ears, or to caress him. he doesn’t want to overwhelm his husband or make him uncomfortable. yet when they stand close he bumps his nose against his. and when he is so so tired he rests his forehead on the shorter man’s. recharging, seeking comfort, love. luckily for him, his husband knows his main love language is physical touch. jiaoqiu bringing his hands to cup his cheeks, thumbs caressing the rough skin. he misses the smile that brightens the foxian’s face, his eyes shut relishing in the sensations. such a sensitive and responsive man. jiaoqiu is the only person moze allows to touch him, to drag those soft fingers across his scars, through the silver hair, to see him shirtless. he is the only one with whom he makes and keeps eye contact. moze is the type of husband that even without being close jiaoqiu can feel his touch on him. sitting across him, over a hotpot. lilac eyes on him. full of love. as if he is caressing his husband’s cheek at that moment. making jiaoqiu’s chest feel warm from the feeling of such a silent expression of admiration.

on the days jiaoqiu voices that he feels tired a quick response is given in turn “I can carry you.” a blunt, straightforward, and the same offer every time. he is more than happy to carry him + he enjoys showing off for his hubby. not caring for the public opinion or any observers; it doesn’t even cross his mind, jiaoqiu’s happiness the only thing on his mind. sadly, he is always rejected (occasionally making him pout). moze doesn’t even know why (painfully obvious why, the rare blushed jiaoqiu further confirming it). shadows are his safe haven, but jiaoqiu is his peace. they fill each other's needs, like puzzles fitting together, completely domestic in their behaviors; perfect for general feixiao’s safety and well-being. despite working together they don’t get tired of each other. work is work and their house is home.

coriander is not allowed under this roof and no big lights are ever on. when they have guests, jiaoqiu compensates with many small lamps, fairy lights, and a bunch of candles. unscented ones. otherwise, they would clash with the meal. sometimes, jiaoqiu will light a scented candle, but it won’t be lit for longer than an hour, otherwise, he would get overwhelmed due to how sensitive his nose is to smells. moze being the clean freak, and insistent on maintaining really good hygiene and not strong perfumes so he can do his job perfectly would just make jiaoqiu purr if he could. type of husband truly only for him. jiaoqiu is quite a social butterfly and he drags his husband with him, who will grumble a bit and then go along, and behave politely to the best of his capabilities. moze cannot read a room to save his life, short in his sentences and straight to the point despite pondering his words prior, they end up always coming off blunt. he means no harm and what he says is usually of little matter, and none of it holds any weight to him when all he needs is to hear his darling chuckle or gaze at him and all is well in his world. the only result he could possibly ever wish for.

and when they kiss? the lighting and shadow with fire and spice? the I talk a lot, flirtatious, rarely flustered with I listen to you with heart eyes, mainly unaffected but you make me smile. well… they keep it private. such actions feel too personal and intimate for them to be shown in public and given for anyone to see on display. they hold it too close to their hearts, it matters in a different way to them. something near and dear. they won’t be caught showing pda, not even holding hands- well they rarely hold hands either way. it is behind closed doors and in the privacy of their home that their lips meet, and hands wander, leaving soft touches in intimate places that they’d never do in public (unlike many others). it means too much to them.

[philshotcocoa]

This post is so funny to me. The fact that its just that one photo uploaded to tiktok. The #marketing. The way that the music over it is just a peaceful instrumental sound and nothing else.

Dan wasn’t safe on ANY platform 😭