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wavesoutbeingtossed · 4 months ago

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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.)

#What if i told you I’m back lol #Time for me to finally just post the thing after it’s been sitting in my drafts for so long so I can rid myself of it lol #Writing letters addressed to the fire #the tortured poets department #Consider this a treat before Eras comes back for its swan song leg idk #Would you believe that as long as this is #i deleted quite a few chunks of it from the original draft i sent to a friend(s) in the interest of ~propriety~#Because they were a little too rambly and um— ~speculative~/personal/etc and we are flying too close to the sun #And i tried to be as tactful and more or less stick to things we can point to in the music and such #So hope people catch my drift lmao but also iykyk i guess #I have so many other themes I want to talk about but I never have any time #I have so much more i want to say and yet #wavesoutbeingtossed: The Anthology #Also if things get weird i will turn off reblogs/delete the post tbd #This is not an invitation to get into muse ranting or debate in my inbox and I ask that you please respect my boundaries :)#Midnights #lover #folklore #evermore

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sunsetsandsunshine · 6 months ago

Note

If I may request a Rise fic!! I’m a huge sucker for comfort/cheer up tickles, so could you possibly write a disaster twins fic with Lee Leo and Ler Donnie where Leo’s been having a pretty bad day (because of what is your choice!) and ends up feeling self conscious about himself and stuff, so Donnie decides to cheer up his twin!! Please don’t feel rushed and make sure you’re taking care of yourself ^_^

~ 𝚂𝚝𝚘𝚙 𝚋𝚎𝚒𝚗𝚐 𝚜𝚘 𝚛𝚎𝚌𝚔𝚕𝚎𝚜𝚜!!! ~

💜💙 𝙵𝚒𝚌 𝚛𝚎𝚚𝚞𝚎𝚜𝚝𝚎𝚍 𝚋𝚢: 𝙰𝚗𝚘𝚗 𝙽𝚘𝚗𝚗𝚒𝚎 💜💙

·̩̩̥͙＊*•̩̩͙✩•̩̩͙*˚𝙼𝚂𝙺𝙽𝚂𝙽𝙺𝙼𝙳𝙽𝚂𝙹 𝙽𝙾𝙽𝙽𝙸𝙴 𝙾𝙷 𝙼𝚈 𝙶𝙾𝚂𝙷 𝚈𝙾𝚄. 𝙶𝙴𝚃. 𝙼𝙴!!! 𝙶𝚛𝚎𝚊𝚝 𝚖𝚒𝚗𝚍𝚜 𝚝𝚑𝚒𝚗𝚔 𝚊𝚕𝚒𝚔𝚎 𝚋𝚎𝚌𝚊𝚞𝚜𝚎 𝚘𝚑𝚑𝚑𝚑𝚑 𝚖𝚢 𝙻𝙾𝚁𝙳 𝚌𝚘𝚖𝚏𝚘𝚛𝚝 𝚝𝚒𝚌𝚔𝚕𝚎𝚜 𝚊𝚛𝚎 𝚖𝚢 𝙹𝙰𝙼!!! 𝙴𝚜𝚙𝚎𝚌𝚒𝚊𝚕𝚕𝚢 𝚠𝚑𝚎𝚗 𝚒𝚝 𝚌𝚘𝚖𝚎𝚜 𝚝𝚘 𝚝𝚑𝚎 𝙳𝚒𝚜𝚊𝚜𝚝𝚎𝚛 𝚃𝚠𝚒𝚗𝚜…𝙶𝚘𝚍, 𝙸 𝚕𝚘𝚟𝚎 𝚝𝚑𝚎𝚜𝚎 𝚝𝚠𝚘 𝚝𝚘 𝚍𝚎𝚊𝚝𝚑. 𝙻𝚒𝚔𝚎 𝚜𝚎𝚛𝚒𝚘𝚞𝚜𝚕𝚢..𝚑𝚞𝚛𝚝/𝚌𝚘𝚖𝚏𝚘𝚛𝚝 𝚠𝚒𝚝𝚑 𝚝𝚑𝚎𝚜𝚎 𝚝𝚠𝚘 𝚓𝚞𝚜𝚝 𝚝𝚒𝚌𝚔𝚕𝚎 𝚖𝚢 𝚙𝚒𝚌𝚔𝚕𝚎…𝚊𝚗𝚍 𝚒𝚏 𝚝𝚑𝚎𝚛𝚎’𝚜 𝚘𝚕𝚍𝚎𝚛 𝚝𝚠𝚒𝚗 𝙳𝚘𝚗𝚗𝚒𝚎??? 𝙻𝚎𝚐𝚒𝚝 𝚖𝚢 𝚍𝚛𝚎𝚊𝚖 𝚏𝚊𝚗𝚏𝚒𝚌 𝚛𝚒𝚐𝚑𝚝 𝚝𝚑𝚎𝚛𝚎!!!˚*• ̩̩͙✩•̩̩͙*＊·̩̩̥͙

𝙶𝚎𝚗𝚛𝚎: 𝙷𝚞𝚛𝚝/𝙲𝚘𝚖𝚏𝚘𝚛𝚝

𝚆𝚘𝚛𝚍𝚜: 𝟺,𝟹𝟿𝟺

𝙻𝚎𝚎: 𝙻𝚎𝚘 🐢💙

𝙻𝚎𝚛: 𝙳𝚘𝚗𝚗𝚒𝚎 🐢💜

𝚂𝚞𝚖𝚖𝚊𝚛𝚢: 𝙳𝚞𝚛𝚒𝚗𝚐 𝚊 𝚖𝚒𝚜𝚜𝚒𝚘𝚗, 𝙻𝚎𝚘 𝚍𝚘𝚎𝚜 𝚜𝚘𝚖𝚎𝚝𝚑𝚒𝚗𝚐 𝚜𝚝𝚞𝚙𝚒𝚍…𝚋𝚞𝚝 𝚠𝚑𝚊𝚝 𝚎𝚕𝚜𝚎 𝚒𝚜 𝚗𝚎𝚠, 𝚛𝚒𝚐𝚑𝚝?

(𝙰/𝙽: 𝚂𝚠𝚒𝚖𝚜 𝚒𝚗 𝚖𝚢 𝚜𝚎𝚗𝚜𝚊𝚝𝚒𝚘𝚗𝚊𝚕 𝚜𝚎𝚊 𝚘𝚏 𝚊𝚗𝚐𝚜𝚝…𝙱𝚞𝚝 *𝙰𝙷𝙴𝙼* 𝚖𝚘𝚜𝚝 𝚒𝚖𝚙𝚘𝚛𝚝𝚊𝚗𝚝𝚕𝚢: 𝙳𝚘𝚗’𝚝 𝚋𝚎 𝚝𝚑𝚊𝚝 𝚐𝚞𝚢! 𝚃*𝚌𝚎𝚜𝚝 𝚊𝚗𝚍 𝙺𝚒𝚗𝚔/𝙽𝚂𝙵𝚆 𝚋𝚕𝚘𝚐𝚜 𝙳𝙽𝙸!!!)

𝚃𝚊𝚐𝚐𝚒𝚎 𝚝𝚊𝚐𝚜: @shut-up-jo @itzsana-kiddingmenow @aceofspades-doodles @ziipzeepzop-eez

@tmntheadforever123 @rice-cake-teen10 @aninabanina6969

@savemeafruitjuice @cedarrthefluffylee @saturnzskyzz @titters-and-tingles

@someone1348 @my-l0v3r-v3rse @snipersiniora @mistyandsnow

𝚆𝚊𝚛𝚗𝚒𝚗𝚐𝚜: 𝙰𝚛𝚐𝚞𝚒𝚗𝚐, 𝚊𝚌𝚌𝚒𝚍𝚎𝚗𝚝𝚊𝚕 𝚜𝚎𝚕𝚏-𝚑𝚊𝚛𝚖 𝚜𝚝𝚒𝚖𝚖𝚒𝚗𝚐, 𝚢𝚎𝚕𝚕𝚒𝚗𝚐, 𝚊 𝚖𝚒𝚗𝚘𝚛 𝚊𝚞𝚝𝚒𝚜𝚝𝚒𝚌 𝚜𝚑𝚞𝚝𝚍𝚘𝚠𝚗, 𝚊𝚗𝚐𝚜𝚝 𝚊𝚗𝚍 𝚝𝚒𝚌𝚔𝚕𝚒𝚗𝚐. 𝙿𝚕𝚎𝚊𝚜𝚎 𝙿𝚕𝚎𝚊𝚜𝚎 𝙿𝙻𝙴𝙰𝚂𝙴 𝚛𝚎𝚊𝚍 𝚊𝚝 𝚢𝚘𝚞𝚛 𝚘𝚠𝚗 𝚛𝚒𝚜𝚔!!! 𝚃𝚑𝚒𝚜 𝚘𝚗𝚎 𝚒𝚜 𝚊 𝚍𝚘𝚘𝚣𝚢…

＊*•̩̩͙✩•̩̩͙*˚𝚃𝙴𝙴𝙷𝙴𝙴 𝚊𝚗𝚐𝚜𝚝 𝚖𝚢 𝚋𝚎𝚕𝚘𝚟𝚎𝚍 🕺🏾✨💞🎶˚*•̩̩͙✩•̩̩͙*˚＊·̩̩̥͙

“I can’t believe you’re doing this to me again.” Leo grumbled under his breath as he rested his mouth on his palm, glancing away from his brother as he sighed loudly.

“Well maybe if you weren’t so fucking reckless I wouldn’t need to.” Donnie growled lowly, glaring down at his twin.

“I’m not a baby, Don. I don’t need to be supervised like I’m some bomb triggered to explode.” The younger said in exasperation, lying down on his bed whilst grabbing a comic book to read off of his desk.

If Leo was going to be told off and scolded by his dear beloved brow-loving brother, he should at least have something to occupy himself with in the meanwhile.

The softshell groaned eternally at his little brother’s action, quickly snatching the piece of literature out of the other’s hands and throwing it effortlessly to the ground.

Uninterested lime green eyes locked with a determined yet fierce light golden, both of them refusing to look away or blink to show their dominance.

But after a while, the red eared slider grew more impatient, looking away again as he picked a hangnail on his thumb, “If you’re going to yell at me, can you just get it over with? I saw a reddit post predicting what’s going to happen in The Umbrella Academy season four and I need to read it.”

“You can read that later, Nardo. I promise you, that reddit post isn’t going to fly away.” The elder said as he pinched the bridge of his snout, “What I need you to do right now is acknowledge what you did today was stupid, alright?”

Leo looked away from his older brother, scoffing lightly, “I do stupid things all the time. What stupid action of mine are you wanting to scream at me for this time?”

The softshell turtle took a couple deep breaths at that comment, drumming his fingers on his left arm in a soothing motion because he was NOT going to give into the urge of strangling his twin brother…

…No matter how much he deserved it.

“I’m not planning on screaming at you— that won’t help anyone or anything.” The purple banded turtle explained calmly…but you could see and tell he was starting to lose his paitence.

“But you want to.” The red eared slider pressed on.

“Leo…please. I don’t want to argue right now.”

“We’re not arguing. We’re just kindly discussing my oh-so stupid descision that unfolded earlier today, right?” The younger twin smirked smugly, his eyes locking once again with his brother.

When it came to arguments, the leader in blue always had this wonderful tactic to avoiding things: attempting to annoy the other person so much that they drop the subject they wanted to discuss with him completely.

It always worked with Raph…which the red eared slider didn’t know whether that was a good thing or a bad thing.

But the only downside of doing this tactic was his dumb twin saw right through it…

…And Leonardo despised it.

“Nardo…you know what I’m referring to. And stop picking, please. Your going to hurt yourself.” The older attempted to say in a tranquil voice, but it personally just sounded like he was one second away from losing. his. shell.

“I sadly do not know what your referring to.” The blue cladded teen said coyly, picking on his hangnail more desperately now, “Care to enlighten me, Tello?”

Donnie’s expression hardened ever so slightly at his younger brother’s absolute persistence on annoying him out of his right mind so he could eventually drop the subject…but the softshell turtle was not budging.

His twin would have to try way harder than that.

“I’d love to.” The light golden eyed mutant said in a fake sweet tone as he walked over to lean his shell on Leo’s closed door, crossing his arms in disaproval. The elder grabbed his brother’s sword, planting it right next to his foot so the blue banded turtle couldn’t reach for it.

The red eared slider’s cocky grin turned to a small grimace (shake) as he soon came to terms with what his older brother was doing…

…He physically could not leave from this conversation…literally.

Leonardo crossed his arms, trying to mimick the other’s serious demeanor but was only met with an icy glare in return.

“What you did during today’s mission was completley reckless and idiotic, Leonardo…and you know it.” The second oldest said, “I had that thug exactly where I wanted him but noooooo. Because you saw me trip you thought it would be a spectacular idea to throw yourself on top of me as that hooligan tried to hit me with his bat!!” Donatello seethed.

“We’ve been over this multiple times, Leo! There was no reason for you to do that!” The light golden eyed teen yelled, his glare only hardening more as he saw the younger stuttering over his words to try to defend himself.

“I’m not done.” The taller teen growled, all of his calmness and collectiveness thrown completley out of the window.

The slider slightly flinched (which went un-noticed by the other) at his brother’s genuine angry tone, his left leg fidgeting and bouncing up and down like crazy.

His tactic was really starting to not work in his favour at all…

“Just…stop putting yourself in the middle of danger like you’re just expecting the rest of us to just watch. We’re your family…and most importantly, we can defend ourselves just fine.”

“Well ihisn’t that hypocritic!” Leonardo scoffed before creasing his eye ridges together in genuine confusion, mumbling to himself, “Hyp…uh…hypocrotic? Hyp…Hypocratic…?”

“Hypocritical?” The older deadpanned.

“YES! THAT WORD!” Leo said, “When we were fighting Kraang Prime on the ship and he went to take a blow at Mikey…what did you do?”

Donatello scowled, his eyes not leaving his twin, “…I went in front of him and shielded him with my mystic tech.”

“Exactly.” The lime green eyed mutant scoffed, “And how is that any different from what I did, hm?”

“BECAUSE I HAD A PLAN!!!” Donatello shouted, “I planned to accordingly go in front of Mikey so my sheild could protect both him and me. Did it end up turning out perfect? Fuck no. Kraang Prime slashed right through it and me and Mikey went tumbling towards the ground…” The glasses wielding teen said through clenched teeth.

The light golden eyed teen rubbed his face tiredly, his hands clenching and unclenching in frustration, “But I had a plan. You on the other hand, just zoomed recklessly on top of me and hoped for the best.”

“…I saved you, didn’t I…?” The younger twin mumbled out meekly, causing Donatello’s blood to absolutley boil.

“That’s not the point!!!” The elder said as he clenched his hands at his sides again.

“Then what is?!” Leo said desperately, “Because from the looks of it, it just seems like you want to yell at me for just doing my job.”

Leonardo pulled on his mask tails anxiously, trying to calm himself down but ultimately just making himself feel worse by doing the action, “I’ve been trying to be a better leader—“

“Leo—“

“—For you and Mikey and April and Raph and Casey and C.J. a-and Dad! But it seems like no matter what the hell I do there’s always something I’m doing WRONG!!!” The younger twin shouted, blinking back tears as he glared at the ground as if it took his Jupiter Jim comic.

Which…it did. The blue banded mutant wanted it back now, actually…

“I saved you! I-I didn’t even get hurt by doing it but somehow there’s an issue…” The lime green eyed teen murmured, both of his legs bouncing up and down as he tugged on his mask tails harder, “There always is…”

“Leonardo can you please just listen to me?” The older twin said in irritation.

“But Don I’m—“

“No, Leo! Just listen! That’s all you need to do!” Donnie snapped as he cut his brother off, “I don’t want you leaping head first into harms way! At all! Especially if you don’t have a plan!” The softshell turtle exclaimed as he flapped his hands against the side of his thighs, but his eye contanct remaining on his little brother.

“Oho so now you don’t trust me well enough to know that I can handle myself in combat?” Leo said in a last desperate attempt to make his brother drop the conversation.

“I…” The young scientist’s eye twitched, his eyebrows creasing together as he had to physically restrain himself to not beat the ever living crap out of the other teen, “THIS IS NOT ABOUT TRUST, NARDO!” The light golden eyed mutant screamed desperately, his hands flapping faster as the red eared slider shrunk at his usage of tone, “This is about you not even thinking about what would happen to yourself when you do reckless nonsense like this.”

Leo glanced to the side, his eyes watering as he bit the inside of his cheek.

He just wanted to help and be the leader his brother’s deserved…

But he always found a way to fuck it up without even noticing, huh?

"You don't think about what could happen to you and I hate it!” The elder cried, “What would’ve happened if Raph didn’t come behind the guy and knocked him out cold at the last second, huh?! Would you have just stayed right on me as he continued to beat you with his bat?!”

Leonardo bit the inside of his cheek harder, his legs bouncing up and down more as his fingernails dug unforgivingly into his arms, “I-I’m sorry, Donnie—”

“Or would you have tried to fight him instead?! Mind you, you dropped your sword before coming to me so you’d have no weapon to defend yourself.”

“You don't think about how much it scares me when you do dumb shit like that! I hate seeing you get hurt…I freaking loathe it.” Donnie rested the back of his head on Leo’s door, taking a couple deep breaths and hugging himself in an attempt to calm himself down.

Jeez…when the hell had he started yelling? His throat stung like a bitch now…

And when had he started shaking like a bobby head?!

The older twin’s expression softened, pinching the bridge of his snout once more, “I care about you…so fucking much, okay…?” The purple banded turtle said gently as he gradually started to simmer down and become more calm, “Your my twin…my little brother. And I hate to be repetitive but I-I just despise seeing you hurt…physically or emotionally…so please just…”

The young scientist’s eyes widened, peering down at his brother who did not seem to be following…at all.

Leo’s eyes were wide as saucers as he hit his arm with his fist repeatedly whilst obviously trying to suck in whatever tears dared to try and escape.

The taller turtle basically ran to his distressed twin, trying to stop him from harming himself any further but was only met with a low grunt.

Shit.

Shit. Shit. Fucking shit.

Wonderful job, Donatello! You yelled at your brother so much he shut down!

Even though you knew he can’t fucking stand being yelled at and the whole point of you even being here was to explain what he did wrong collectively and calmly because that was the exact oppositeof what Raph does when he’s worried…

But no! You yelled at him anyway.

Wonderful job, Donatello…wonderful. job.

The older twin sighed sadly, gently grabbing his brother’s wrists so he would stop hitting himself. The two brother’s shared eye contact once again, an unsure lime green meeting an understanding yet uncertain light golden.

“Nardo…” The softshell started, squeezing the other’s hands gently, “…Are you with me, bud…?”

Leo just nodded quietly, squeezing back.

“God…Nardo I’m so sorry…” The older muttered, “I don’t…I don’t know why the hell I lost my cool like that. I-I’m sorry I yelled. I shouldn’t of yelled…I-I just…” Donatello sighed, squeezing his brother’s hands once again. “I’m not angry with you. I…I was just frustrated.”

“Well, no…let me rephrase: I am angry with you— livid even. You know damn well enough that when you do those kinds of things my heart literally jumps out of my shell. I need you to put into consideration that I would like to live to at least seventy-seven…”

The younger twin giggled wetly, fidgeting with his brother’s fingers as he spoke, “…Why seventy-seven?”

“Albert Einstein died when he was seventy-six…I can and will outlive him.” The light golden eyed teen said matter-of-factly, “But back to what I was initially saying…I know you meant well. You saw that I was in trouble…and you dropped literally everything in order to help me get out of said trouble. You don’t think of what happens to you…you just do it because you’ll know if you do we’ll be alright…”

“I-I just…I just wanted to protect you…I-I just wanted to help…” Leo tried to explain.

“I know. I know, Lee…” Donatello sighed, rubbing the slider’s knuckles gently with his thumb, “But you need to understand that with you trying to protect us that way, your putting us in the same situation your trying to keep us away from.” The elder explained lightly, smiling softly as him and his twin’s forehead’s touched.

“You’re getting hurt— or at the very least almost getting hurt. We’re feeling the same anguish and guilt you would feel if any of us did that. I get that you want to be a good leader and shit…but you can lead well without doing that…okay?”

Leo fiddled with the other’s fingers a bit more, his bouncing leg starting to calm a bit, “I’ll…try to be more careful when it comes to me protecting you guys like that. When I see you all in trouble…I just…react. I don’t really care about what happens to me as long as you guys end up okay. But…I’ll try to be more careful. And if I ever end up, like, being a bit too reckless…you can just tell me…deal?”

“Deal.” Donnie nodded, squeezing Leo’s hands one last time before letting go, wiping his twin’s eyes with his hoodie sleeve, “Now please stop crying or you’re going to make me start crying.”

Leo snorted, examining the other’s now tearing up expression, “I think it’s a bit too late for that…”

“GAH! FUHUCK!” Donnie cursed, wiping his own eyes as the slider laughed loudly at his exclamation.

“Leo…don’t you think you’re getting a bit too big for this…?” Donatello grumbled as Leonardo was on his lap, getting all nice and comfy as he rested his chin on the older’s shoulder. “Noooope.” Leo drawed out, making a dramatic popping noise at the end of the 'p', “'Sides, this is what you get for making me emo earlier.”

“…I said I was sorry…I didn’t mean to shout at you like that. I was just concerned…”

“I know that, you worrywart. I was just kidding.” The lime green eyed teen said lovingly, squishing his brother into a tighter embrace. The older let out a short shriek at the hug but of course didn’t mind the other being so clingy.

If the young scientist really and truly did mind? Leo would’ve been pushed to the floor by now.

The two twins shared a comfortable silence…well…a semi-comfortable silence.

The purple banded teen felt…off. His younger brother had this…look in his eyes; like he wanted to say something but was afraid of what Donnie would say or how Donnie would react.

Which was so damn dumb Donatello didn’t even know how to explain it.

“…There’s something else on your mind.” The taller turtle hummed, his suspicions only rising as the other glanced to the side. “Uhm…no there isn’t. See? This is why I call you a worrywart.” Leonardo said, tapping his fingers on his thigh nervously.

Very convincing Leo…very convincing.

“Don’t even try lying to me, Leon. My older brother and twin senses are tingling. You can’t argue against that kind of logic.” The scientist said matter-of-factly.

“What are you, Spiderman?” The younger snorted.

“We shall never know.” The older shrugged, a small smile spreading to his face as he saw the other snort softly at his statement, “Now stop deflecting. Spill.”

“…Can you…adjust my elbow braces…?” The red eared slider muttered.

“…Why can’t you do it?” The other questioned. Not in a malicious way; he was just genuinely curious.

“I like it when you do it. You make it more firm, y'know?” The blue banded turtle whined dramatically, “Pleeeeeease?”

“Ugh, Jesus— fine. But drop the pout…you look ridiculous.” The taller mutant sighed, lightly grabbing his brother’s arm as he readjusted the braces.

The purple banded turtle meticulously took off the other’s left arm brace, tracing his twin’s elbow to make sure it was healing correctly— which the slider couldn’t help but wriggle slightly to.

As the older twin put the brace back on, he looked at the other turtle in complete worry, “…Why are you squirming around so much?” Donatello asked in confusion.

“…No reason.” Leonardo stated, but let out a tiny squeak as Donnie lightly pinched his forearm.

“Yohou okay…?” The glasses wielding mutant giggled.

“I-I’m fihine!” The smaller turtle insisted, covering his mouth as he let out a loud shriek in result to his brother now lightly scribbling his forearm. “EEEEE! P-Plehease moohoove yohour hahahand!!” The younger sputtered out, hiding his face in the crook of the scientist’s neck which the older turtle couldn’t help but let his heart melt to.

“Oh.” Donatello hummed, biting back an amused laugh, “Sorry. Sometimes I forget how ticklish you are…”

“Snrt I-Ihihi’m nahat ticklish. I juhust don’t wahant your hand thehere…”

And isn’t that quaint.

If Donnie had a penny for every time Leo said he 'wasn’t ticklish', the softshell would be richer than Elon Musk.

“…Right. So…you wouldn’t mind me doing this then?” The young genius mused as he scribbled one hand over his twin’s ribs. “EEEEHEH! Duhuhude noHOH!! F-Fuhuck yohou!” The younger twin managed through his small giggles, pushing on his brother’s plastron to try and escape while he still could.

The elder laughed fondly at his little brother’s futile actions, hugging him closer as he lightly tickled him, “Nahardo! My brohohother in Christ gehet back here or you’re gohoing to fahall off of the bed!

“N-NOHO!! LEHET ME GO!” The lime green eyed teen screeched loudly, kicking his legs and pushing even harder on the other’s plastron, his eye’s widening in panic as his older brother casually lifted him up and pinned his arms above his head, his plastron now facing up on the bed.

Eugh boy…

Donnie grinned, sitting on the other’s thighs as he wiggled his unoccupied fingers in the air near the slider’s side, “That’s better~!”

“WAHAIT WAHAHAIT snrt PLEHEASE DEEHEE!!” The red eared slider cried, kicking his legs from underneath the scientist.

If he was going to go down…he would at least go down fighting.

“I haven’t even touched you yet, you goof…” The older twin chuckled.

“B-BUHUT YOHOUR GOHOHONNA!”

“'Gonna' what, exactly?”

“TihiHICKLE ME!!”

“Tickle you? Well, why didn’t you just say so in the first place?” Donatello snickered, using his free hand to skitter his fingers along the crook’s of the younger’s neck.

The blue banded turtle squealed, shaking his head back in forth whilst scrunching his shoulders, “GAHaha— snrt EEEEHEEHEH oho cohome snrt OHAHAN!!”

“What’s wrong, Leo? I thought you said you weren’t ticklish~?” The older teased.

“Snrt STHDHAHAH! Shuhut UP! IHI’M naHAT!” The younger shouted, tugging and pulling his arms to try and get his hand’s free from the other’s grasp. Donnie just laughed softly at the action, wiggling his fingers above his little brother’s stomach.

The lime green eyed teen’s eyes widened in panic, thrashing in the hold to try and loosen his brother’s grip but the purple banded turtle did not budge even a smidge.

Leo’s laughs became more giddy and loud as he continued to squirm, small squeals and snorts escaping his beak as his twin brother’s hand went sloooooowly to his stomach.

“N-NOHO NONONONO DAHA— snrt DOHON!!” The smaller turtle snorted, hiding his face in the side of his arm which Donnie couldn’t help but giggle to.

The light golden eyed mutant rested his hand on the slider’s plastron, making the younger turtle’s laugh raise almost a thousand octaves.

“DOHON’T snrt DOHON’T DOHOHON’T snrt YOU DARE!! YOHOUR SOHO MEEHEEHEEAN!!” Leonardo whined, hiding deeper into his arm and becoming a giggly flustered mess.

The older twin shook his head fondly at his little brother’s embarrassed state, taking the opportunity to tickle the younger’s stomach while he wasn’t looking.

Leo let out a loud scream, descending into high-pitched cackles as even louder snorts followed, “HAHAHAHELP!! IHI’M SNRT BEEHEEING SLAHAHAUTERED!!”

“I’m quite literally only using one hand, Nardo. Stop being dramatic.” The light golden eyed teen mused whilst watching his brother snort and squirm, “And here I thought I was the dancer of the family. Look at you! You’re making up a whole dance routine right now!” He said as he let go of Leo, crossing his arms in amusement.

“S-Shuhuhut snrt up…” The younger twin wheezed out, hugging his middles as he playfully glared at his purple loving brother.

Then, a lightbulb went on in the scientist’s brain, a smug smile spreading to his face, “Hm…you know, Lee—”

“Dohont call snrt me thahat!” Leo giggly interupted.

“Uh-huh. Well, Lee…did you know that the underarms are one of the warmest places on the human body?” The scientist said.

The lime green eyed mutant cocked his head to the side in confusion, “Soho?”

“Soooo my hands are cold. Very cold, in fact. I’d be forever in your debt if you could—”

“NO! NONOHO WAHAY IN HEHELL! G-GOHO AWAHAHAY!” Leo squealed, reaching for his brother’s wrists as the elder tried to tickle his neck once again.

Sigh…Leonardo made this too damn easy sometimes.

The glasses wielding teen wasn’t just going to miss this oh-so-definetly-not-planned opportunity! The softshell scribbled his fingers along the slider’s underarms, making the younger let out a loud squawk as he shot his arms down.

“NAHAH AHAHAHA— snrt GEHET THEHE HEHELL OHAHA— snrt OHOHOUT!!” Leonardo cried while banging his heels on the bed.

“What~?” Donnie hummed inocently.

“GEHEHET AHA— snrt GEHET. OHOUT. OHOF THEHEHERE!”

“Awe…why~?”

“BEEHEECAUSE IHIT’S SOHO BAHAHAD!!!”

“And?” Donnie chuckled, “That sounds like a you problem, little brother.”

“AHHHAHA— snrt GAHAHAD FUHUCK YOHOU!!!”

“Pardon…what was that?” Donnie questioned as he pinched where Leo’s hip met his thigh. “N-NONO— snrt NAHAHAH!! I CAN’T— snrt PLEHEHEASE I’M snrt SORRY!! I-IHI TAHAHAKE IHIT BAHAHCK!!”

“Nah…I think I’ll just stay riiiiight here for a bit…” The taller turtle smiled, using both of his hands now to tickle Leo into a laughing and snorting blob.

The younger weakly hit his big brother’s arms, throwing his head back as he squeezed his eyes completely shut.

“…And you know what, Lee~?”

“WHAHAHAT NOW?!”

“I’m feeling…kind of famished.” The elder mused, his smile almost looking like the signature Joker’s as he saw his younger brother’s face pale.

Leonardo scrambled to sit up, fighting with his brother’s arms as he giggly protested, “PLAHA— snrt PLAHAHEASE! PLEHEASE snrt D-DOHON’T!!”

Donnie pinched his brother’s thighs unforgivingly, “You should have thought about that before yapping such ill nonsense about yourself.”

“WHAHA— snrt WHAHAHA— snrt WHAHAT DIHID snrt IHIHI snrt EVEN SAHAHAY?!” The lime green eyed turtle cackled, flapping his hands on the mattress.

It took literally everything in the older twin not to coo his baby brother’s adorable actions; instead, he lightly moved Leo’s hands away, smiling evily as he lowered his head to the other’s plastron, “You don’t even know. Guess you really want this, huh~?”

The blue banded teen kicked his knees into his brother’s shoulders and shell, throwing his head back in complete hysterics whilst waiting for him complete and utter demise.

The softshell wasted no time blowing raspberries after raspberries in the middle of his younger’s stomach, making sure to move the other’s hands away any time he tried to push at the young genius’ head.

Donnie didn’t feel like getting brain damage after all.

Plus, he had his signature glasses ᴅᴏɴᴀᴛᴇʟʟᴏ ᴛᴍ on! And those were trademarked…as you can wonderfully see.

“God…can you get more ticklish?” Donatello giggled, squeezing and squishing the red eared slider’s knees with one hand and scribbling his sides with the other whilst contuinung to raspberry Leo’s stomach.

“DEEHEE DEEHEEHEE SNRT PLEHEHEASE!!! IHI SNRT DAHAHAH— SNRT DAHA— SNRT DAHUNNO!!” The smaller turtle screamed, happy stimming with his arms on the taller twin’s shoulder.

Donnie couldn’t help but chuckle, deciding to show his twin a tad bit of mercy as he nibbled his stomach lightly.

The slider let out bloody murder from his beak, happy tears threatening to fall from his eyes as his bubbly cackles and snorts bounced off the walls of his room.

“Jeez…I think Peppa Pig has some competition, huh~?” The light golden eyed mutant snickered.

“PLEHEHEASE!! TEHEHELLO SNRT IHI’M GOH— SNRT GOHOHA— AHAHA SNRT MYHYHY SNRTGAHAHAHAD!!!” The smaller teen pleaded.

“Do you promise to stop putting yourself in between danger and your family?” The older hummed.

“YEHEHES!!” The younger cried loudly.

“Do you promise to go easier on yourself?”

“YAHA— SNRT YAHA— SNRT YEHEHES!!!”

“Do you promise to accept your doing an amazing job as leader and we all love you—”

“MY SNRT FUHUHUCKING SNRT GAHAHAD!!! IHIHI SNRT GEHET IT!!” Leonardo shouted, his blush now completley blending into the red stripes on his face.

The softshell turtle got off of the other, sitting next to his little brother as his little brother in question hugged his middles and giggled tiredly.

“Y-Yohou could ohof juhuhust sahaid ahall of thahat wihihithout tickling meeheee…” The younger grumbled despite the evident smile on his face.

“And where’s the fun in that?” Donnie smiled back, his expression softening as Leo got up and leaned against him softly. The older wraped an arm around the younger’s shoulder, pulling him closer into a warm, protective gesture.

“Ahand would yohohou look ahat that! Ihi got yohour emo bahad boy ahahass to smile todahay. Your eheeven hugging me~!” The blue banded leader spoke softly, his voice filled with affection as he poked his twin’s forehead cheekily.

“You tell anyone that and I will not hesitate to deny that extremely untrue statement.” The scientist huffed, rolling his eyes fondly as his smile spread.

·̩̩̥͙＊*•̩̩͙✩•̩̩͙*˚𝙵𝙸𝙽˚*•̩̩͙✩•̩̩͙*˚＊·̩̩̥͙

(𝙿.𝚂.: 𝙸𝚏 𝚢𝚘𝚞 𝚎𝚗𝚓𝚘𝚢𝚎𝚍 𝚝𝚑𝚒𝚜 𝚏𝚒𝚌, 𝚙𝚕𝚎𝚊𝚜𝚎 𝚛𝚎𝚋𝚕𝚘𝚐!!!)

#Rottmnt tickle #Rottmnt tickle fic #Lee!Leo #Ler!Donnie #WHOOOOOO BOYYYYYY…#I’m sorry but I’m not sorry 🫶🏾#Angst is like my second child 👶🏾💘💞💝💖💗#But I feel like I need to explain some stuff bc this fandom is probably holding me at gunpoint rn 😅🔫#The reason why I feel like Leo and Raph had so many disagreements when Leon became leader is bc Leo can’t handle yelling #LIKE AT ALL— he just sees it as whomever is yelling means their mad #So if Raphie boy was like: “I CARE ABOUT YOU AND LOVE YOU SO FUCKING MUCH YOU DUMB ASS BITCH WHY CAN’T YOU JUST BE CAREFUL⁉️”#Leo would hear it as: “I HATE YOU SO MUCH RN WHY CAN’T YOU DO ANYTHING RIGHT⁉️”#This fandom has been sleeping on AuDHD Leo for Y E A R S and I shall not be silent anymore its SOOOOOOO OBVIOUS 😭‼️#I could not remember the word “hypocritical” for the LIFE of me…when I searched it up I probs wrote “hippopotamus”#Leon is trying PLEAAAASE catch him a break 🙏🏾🙏🏾🙏🏾#Older twin Donnie is canon idgaf I was in the writers room TRUST 👏🏾💗💞💝💕#Big bro senses 🤝🏾 Twin senses #Donnie is fucking UNSTOPPABLE 🤌🏾…bud does need to learn how to control is volume when upset tho eheheheh #He genuinely doesn’t know when he’s gradually getting louder or more upset…that’s why he was so panicked when Leo had his lil meltdown LOL #Raphie just expresses his worry with yelling…ex: “AND NOT EAT POSION‼️‼️‼️”#Oh yeah this takes place a couple months after the Invasion…so everyone is like healed and everything but yk they’re still traumatized obvs #😌👍🏾#Leo’s lil tactic on dropping convo’s is a HC I have so don’t quote me on it 🙌🏾#GDGDGSHSN I ALSO NEED PPL TO DRAW DON WEARING HIS GLASSES MORE OFTEN HE’S SUCH A CUTIE PATOOTIE 💝💘💕💗💖💞💓🩷#But tysm Nonnie!!! This was a TON of fun to write!#Make sure your taking care of yourself and drinking water— or at least get a snack 🥰#But after the mission Raph was SEETHING…and usually Don tries to talk to Leon instead cuz like he doesn’t want either party being upset #Nor does he want either of them to feel overwhelmed. So when Leo was like “Ur doing this to me again?!” Hes referring to all the times Don #<- has done that #Leo doesn’t like feeling pitied but it’s not Don’s intention to make him feel that way he just loves him family

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