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solarmorrigan · 4 months ago

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Silly idea I talked about ages ago with @azure7539arts, inspired by a similar event my workplace hosts every year. Would minors be allowed to participate in such an event? Probably not! But then again, it was the 80s, who can say for sure. Anyway, it's my birthday and I'll post nonsense if I want to <3

“I need you to buy me.”

Eddie looks up from his notebook, effectively jarred from his campaign-plotting fugue state by Steve’s declaration.

Steve is standing at the other end of the dining table, staring at him expectantly.

“Y’know, this is the part where someone usually follows up their completely bonkers demand with an explanation,” Eddie says slowly.

“At the charity auction,” Steve clarifies. “I need you to bid on me, and I need you to win.”

Ah, yes, that weird Rent-an-Athlete charity auction the school runs every year; anyone on any Hawkins High sports team could volunteer to be “auctioned” off in order to raise money for said sports team, to spend a day at the beck and call of the highest bidder (within reason, supposedly). It’s generally restricted to students, but occasionally, prominent alumni are invited to participate – and Steve certainly fits the bill, especially after the story the government spun about his heroism in the face of “serial killer” Henry Creel last spring.

“And what, deny all those pretty girls a chance to get at you?” Eddie asks drily (he’d never turned up at previous auctions himself, but you could hardly avoid gossip in a school their size; it had usually been some cheerleader bidding with daddy’s money who won a date– that is, a day with Steve Harrington).

“It wasn’t always a girl who won,” Steve says, crossing his arms over his chest. “One time it was Mrs. Dalton – you know, the lady on the school board who lives on my block? I just spent the day doing yard work for her. She gave me lemonade. That was pretty cool.”

“Right,” Eddie drawls. “And I’m sure she definitely didn’t sit outside and stare at your ass while you were working.”

“She did not– she– I mean she was on the porch, but, like– she wouldn’t have– she’s, like, seventy, Eddie,” Steve splutters, and it’s all Eddie can do not to laugh.

“Older gals have needs, too, Steve,” Eddie says, giving in to a smirk. “So she was checking you out from the porch, huh?”

Steve goes red. “Shut up, that isn’t the point. I’m trying to ask for your help.”

“Right, right, your absolutely reasonable request for me to buy you at market. Why, again?” Eddie asks.

“The kids are planning to bid on me,” Steve says gravely.

Eddie blinks at him. “Okay?” he says, when no further explanation is forthcoming. “You basically do most of what they ask, anyway, so…?”

“Okay, believe it or not, I actually say no to at least half of what they ask me to do. I would literally never get anything done if I gave in to all their demands.” Steve jabs a finger at Eddie, who holds up his hands in mock surrender. “Anyway, this is all Henderson’s fault.”

“It usually is,” Eddie agrees, nodding sagely.

“He decided that he was going to bid on me and then use that day to finally make me play your nerd game with you–” Eddie snorts, and Steve shoots him a look, “but Wheeler doesn’t want me to play, so he said he was going to bid against Dustin and make me do anything but sit in on a session with you guys.”

“So let Wheeler win.” Eddie shrugs.

“No! I can’t let fuckin’ Mike win, he’ll probably make me do something even more ridiculous!” Steve exclaims. "He’ll make me play chauffeur for him and El on a date, or something, and he’ll probably include the stupid hat.”

“Wait, I thought El broke up with him,” Eddie breaks in.

“No, they’re on again,” Steve says absently, shaking his head. “Which is why Max has been in a bad mood lately.”

Eddie bites back the reflexive need to ask “How can you tell?”, going instead with, “I thought she and Sinclair were on again.”

“No, they are. That’s why no one’s been actively murdered,” Steve says.

“How do you keep track of all of this?” Eddie asks, squinting at Steve.

“It’s a natural skill. And we’re getting off track,” Steve says quickly. “Normally, I wouldn’t be that worried, because Dustin regularly blows his savings on weird science gadgets or whatever, but then Lucas and Will started taking sides.”

“This is getting very involved,” Eddie says.

“So you see why I’m stressed!” Steve insists, smacking a hand to his forehead (personally, Eddie thinks Steve is stressed for many other reasons, but he figures pointing that out just now won’t be appreciated). “Lucas is on Dustin’s side, and that kid does odd jobs like nobody’s goddamn business; he actually has shit saved up. And usually I’d have faith in him being more, like, sensible than to spend it all on this, but the little shit is really fucking competitive.”

“Wonder who he got that from?” Eddie mutters.

“Okay, we do remember that I’m not actually biologically related to any of these idiots, right?” Steve snaps.

“Well now we’re just getting into nature versus nurture–”

“Eddie.”

“Right, sorry, continue.”

“Well, Will took Mike’s side–”

“Shocking.”

“Right? But anyway, I don’t know if the kid has much saved up, but between him and Wheeler, they might be able to win.” Steve sighs, looking far more world-weary than Eddie feels the situation really warrants.

“You know you don’t actually have to do what they ask you to, right?” Eddie points out.

Steve rolls his eyes. “If an auction winner complains to the school that the person they bid on didn’t fulfill their end of the bargain, they can get their money back. It’s a whole…” he waves his hand vaguely, “thing. Happened once when I was a sophomore; Deacon McNab. Lost a good chunk of change for the football team, and they vandalized the shit out of his car.”

“Ah, right. Forgot we went to school with literal psychopaths,” Eddie hums.

“So, I just need you to bid on me and win, so I’m not stuck wasting a Saturday on whatever the hell the kids are going to try to make me do. Or not do. Or– whatever,” Steve says.

“Okay, not that I don’t understand your predicament here, but I think you’re forgetting something kind of important, Steve,” Eddie drawls.

Steve’s brows draw together in question. “What?”

“I’m fucking poor.”

“Oh.” Steve shakes his head. “I didn’t mean– no, I will give you the money, you don’t have to spend a dime, man, I just need you to get me out of this.”

“Why not have Buckley do it?” Eddie asks.

“That was Plan A, but she actually has a date that night, and it’s kind of a big deal, so I don’t want her to cancel,” Steve says. “But I assumed you wouldn’t be busy.”

“Wow, rude,” Eddie scoffs, and Steve sighs.

“Fine, sorry, I just really hoped you wouldn’t be busy.” Steve gives him the most lethal set of puppy dog eyes Eddie has ever seen, as if there had been any chance from the beginning that he’d be able to say no. “Please?”

Just for show, Eddie lets out a long sigh, falling against his chair and letting his head flop over the backrest like he’s deflating.

“Fine.”

“Thank you,” Steve groans, sounding so genuinely relieved that Eddie almost feels bad about how quickly his thoughts dip into the realms of the inappropriate. “Oh my god, I owe you.”

Eddie glances back up at Steve, tongue darting out to wet his lips almost unconsciously. “You know I’m not as easy to appease as a couple of fifteen-year-olds, right?”

Steve’s eyes drop for just a second—maybe down to Eddie’s lips, maybe not; who can say?—before he looks back up, cocking an eyebrow at Eddie. “I think I can handle it.”

Slowly, Eddie grins. “We’ll see.”

#steddie #steve harrington #eddie munson #steve & the party #stranger things #solar wrote #this is very silly but I had fun writing it so I hope it's a fun short read #obviously Eddie does win the auction (surprisingly stiff competition; he may or may not end up throwing in a little of his own money #even though none of the kids are the top bidders at that point)#and then you can choose your own ending:#either Eddie chickens out and just asks Steve to play roadie for the band on their next gig night #but it works out in his favor anyway because he gets to spend the night watching Steve lifting and carrying and being supportive #while Steve gets to watch the band perform and is lowkey starstruck by Eddie and they smooch about it at the end of the night #OR; Eddie demands the same treatment Steve gave those cheerleaders who won a date with him back in the day #he's sort of joking but Steve takes him very seriously and takes him on a date so sweet and fun that Eddie is almost mad about #being swept off his feet by it #and at the end of the night Steve walks Eddie to his door and Eddie asks if the treatment ends here #or if Steve did anything... else for those girls #Steve; eyebrows raised: Are you asking if I slept with those girls for money?#Eddie; blanching: WAIT SHIT NO-#Steve: Nah I'm kidding. Come inside and fuck me #and Eddie does

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stevebabey · 2 years ago

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you thought it would be all sweetness??? nooo u got to have a little miscommunication angst before anyone gets any hickies. but they will. in time >:) part one. part two. this is a part three :)

Steve blames it all on the clock.

That stupid cuckoo clock on the wall of the Munson trailer. It's an absolute horror of interior design that would make Steve’s mom shiver if she ever laid eyes on it. It’s probably why Eddie loves it — and the god-awful cuckoo! noise it makes when it goes off.

Because the moment Eddie utters that delightful question, asking for a hickie, the nerve of him, Steve loves it — and Steve is more than ready to oblige him — the stupid clock goes off.

It gives them both a fright, Steve more than Eddie. He gives a whole-body twitch that shifts them both, his head snapping to the wall, a breath forced out of his lungs at the sight of the mustard-coloured bird. Shit. Stupid fuckin’ clock, Steve thinks.

But it seems to break the trance over the room. The sweet tension of their shared closeness is sucked out of the room in an instant. Steve is suddenly aware of the time the popping out bird is announcing. It’s late. Far later than Steve intended to stay over, especially considering work tomorrow.

Without meaning to, the prickle under Steve’s skin rolls through his body. It steals away the comfort that he usually feels with Eddie, tenseness filling his body. Steve hates it — hates how he can’t stop himself from tensing up beneath Eddie.

Eddie notices. He's quick to to retract himself from Steve, pushing up and back, giving Steve his space. He sits beside Steve on the couch, still close. Not close enough to touch.

It helps. The rigidness of Steve's body relaxes just a bit but Steve doesn’t want that. He wants Eddie back on him. Wants his hands gripping Steve’s side. His breath fanning over Steve’s face, cheeks cherry red and pupils blown wide. Steve doesn’t say any of that and he sure is shit isn't brave enough to ask for it.

Instead, he croaks, “It’s late.”

Steve reluctantly pushes himself up from his slumped position, eyes already searching for his scattered shoes. He misses the way Eddie’s face falls, the way he tries to tug his hair in front of his face to hide the hurt. It takes another second to school his expression.

Steve hears a cough and then Eddie agrees with a murmur. “Yeah, sure.”

The words ache. No part of Steve is relieved to have Eddie agree with him. He’s not sure what he wanted; for Eddie to egg him to stay just a little while longer? To prove that their kisses hadn’t been a heat of the moment impulsivity? There's nothing to prove they weren't.

No, it was Steve who said he had to go. It is late. But then again maybe, Eddie wanted him to leave. But, no— Eddie just asked for a hickie, he wouldn’t—

“Don’t you have work early tomorrow?” Steve’s spiral cuts short at Eddie’s voice, tinged with… irritation?

O-kay. Now Steve’s not sure what to think. What had been the source of immense joy because Steve had asked for a kiss and Eddie said yes is suddenly… tilted.

The beginnings of embarrassment begin to cling to Steve like a thick fog. He’s done it again. Been overly eager. Asked for too much, too soon— fuck, that had been Eddie’s first kiss too.

“Yeah,” Steve replies, standing and shoving his foot into the one shoe he can find. He spies the other one under the table and wiggles it out with his toe. He can’t find in it to look at Eddie, not just yet. “Yeah, uh, I should get going.”

It’s all wrong. Steve shouldn’t be leaving — not on these terms. Not when he can’t look at Eddie for fear of what he’ll find. Regret? Steve’s not sure if he could face Eddie again, not if there’s even a trace of it on his face. It would feel like Halloween all over again, a bludgeon on Steve’s too-soft heart. It’ll crumble, he just knows it.

Steve wants to stay. He really wants to. He wants to ask for another kiss, ask for a dozen more kisses. Wants to give the hickie Eddie asked so nicely for and receive one back; matching love bites, like a gentler version of their matching twisted scars adorning their sides.

But he’s always asking for more. Steve always needs more. It’s greedy. It’s embarrassing how much he wants it, how he’s already gotten patient touches from Eddie but it’s not enough. Eddie had sounded a pinch annoyed — even aggravated at Steve.

It doesn't cross his mind that it might be for any other reason. Really, Steve thinks he’s doing Eddie a favour.

“Um,” Steve clears his throat, takes the wobble out of his words. Nods to himself and chances a glimpse at Eddie. The older is staring down at his lap, locks of hair trapped between twitchy fingers. They should talk about it. Steve’s not brave enough to risk his heart tonight.

“Well, g’night.” He says quietly, letting himself out the trailer door. He closes it behind him gently, shoes tapping against the stairs on the way down. It feels wrong, it feels wrong — but it would be selfish to turn back.

He repeats the sentiment over and over, raspy whispers beneath his breath as he climbs into his car. It would be selfish. The engine turns over and he hesitates for just a moment, hoping to catch a silhouette in the kitchen window. It’s empty. Of course, it’s empty.

Of course, Eddie is not chancing for a glance at him on his way out because Steve just asked for more and more and more, and he took Eddie’s first kiss and then— He whispers it to himself again. It would be selfish to turn back.

When he thinks about it on the drive home, Steve’s sure it all comes back to that stupid fucking clock.

Eddie stares in the mirror.

He’s not sure why he was so convinced there would be some radical change in him upon popping his make-out cherry but… well, here he was. Staring in the mirror like he had this morning. Except 10 hours earlier, he had been unkissed.

Tonight, the difference shows. His lips are rosier than usual, a swell to them given by hasty sweet kisses. It’s the only evidence of his spit-sharing moment of passion with Steve on the couch. The rosy colour is already beginning to fade.

Eddie sinks his teeth in. He doesn’t want the only physical proof that he even got to kiss Steve to be gone so soon. Even if that fact seems terribly bitter now.

“What the shit did you do, Munson?” He murmurs to himself in the tiny bathroom mirror.

It’s got toothpaste specks splayed across it. Eddie stares past them. Stares into his own face, reading every change in his features as emotions inside him churn. It’s heading for a distraught expression, the upturn of his brows and quiver in his lips giving him away. He always was a crier. Eddie really wishes he wasn’t.

“Idiot!” He pairs the word with a bang on the wall beside the mirror, frustration leaking out. The toothbrush on the sink shudders in its cup with a clink.

Eddie hates the welling in his eyes. He hates that he ruined the first fuckin’ good thing to happen to him in this town. Loathes that he drives away the first person who actually knows him and still wants to kiss him.

Well, wanted to kiss him.

Eddie’s pretty sure Steve scampering out of the trailer is more than a big enough sign. It’s a blazingly bright neon sign — light up words that say ‘This was a mistake!’

Except, it hadn’t felt at all like a mistake to Eddie. It had felt wonderful, better than anything he had thought, the soft curve of Steve’s lips, the grip on his hands on Eddie’s face, the heat in his face, the— Eddie growls, wiping his hand down his face to shake the thoughts. Too good to be true was what it was.

It’s because of what he said. Of what he asked for. It had to be that. But— but Steve had looked eager and almost excited and then the stupid clock had gone off, scaring the shit out of them both. Maybe it was then that Eddie’s words had sunk in and Steve realised what he’d gotten into— and who he’d gotten into it with.

“You had to ask for more, huh?” Eddie scolds himself angrily, wiping his cheeks harshly when a tear streaks free. Another follows, just as fast. Eddie wipes roughly at his face to clear them. Doesn’t care about the streaks of red he leaves on his cheeks. Another trembling reprimand comes out. “You just had to push it, huh? You fuckin’ idiot.”

Eddie can’t stand his reflection anymore. He tears his gaze away as he spins and heads straight for his room.

The button on his stereo is sticky and it takes a few forceful clicks to turn it on, but when he does, he cranks it. It’s loud enough he’ll surely wake some neighbours. Eddie can’t find it in him to care, not even when the neighbours dog starts off with its incessant barking. Anything to stop hearing himself cry.

“Something’s up with Eddie.” is the first thing Robin says when she comes in the front door.

Steve’s mid-yawn when she does, a result of a night of tossing and turning, and he somehow manages a strange choke at her words. In a haste to shut his mouth, he chomps on his fingers covering his mouth — then hisses, pulling it away from his face. He ignores Robin’s perplexed expression, shoving the hand deep in his pocket. His ears feel a tad hotter.

“What? Why? What makes you think that?” Steve asks the questions in rapid succession. Very chill, he chides himself. At this rate, Robin would have him all figured out 10 minutes into their shift.

And it’s not like— well, Robin’s advice is usually great. A bit cut-throat, sure. She doesn’t have a problem trodding on his feelings on her way to tell him the hard truth. Usually, it’s fine. Steve could probably do with a bit of ego-bruising.

Today, he’s… It’s different. That’s what Steve tells himself. This thing with Eddie, he wants to fix it himself. And with too much meddling from Robin’s advice, even if it was with the best intentions, might mix things up too much. It’s hard enough keeping his half-baked apology that’s been brewing since last night in proper order in his mind.

Thankfully, Robin doesn’t comment on his odd demeanor. She just bustles into the back room — there are a couple sounds of her dumping her stuff. When she comes back out the front, she’s fixing her Family Video vest. It looks perfectly straight to Steve.

He checks his own — it’s sitting askew, part of the collar flipped over. He hastily fixes it, running his hands down the front to smooth it a bit.

“Just,” Robin starts, talking as she sits in front of the computer, beginning to take a crack at the admin she managed. She likes doing things as she talks, Steve knows. Helps keep her from letting words run away from her.

Steve’s thankful for it now because she isn’t looking at him when she says, “I think he might have had a bad nightmare last night, or something of that sort. I don’t know. Maybe I’m way off — you know how I am with trying to read people, Steve. I’m not good at it! But when I saw him, he just seemed…”

Robin seems to take an extra moment to deliberate her word choice. Steve’s really glad she’s still facing the computer so she can’t see the myriad of emotions that show on his face.

“…Off.” is the word she decides on.

Which means bad. Steve feels like he’s swallowed a stone. It sinks deep into his stomach. It burns, sour and scorned, twisting up his gut. It means Eddie is bad — it means disappointment, means he regretted it. That Steve had been right; that he’d been too eager, too soon. Too much.

Right. Of course, this happens again. Really, Steve had brought it on himself by asking for so much. It had been one thing to ask for a hug — who actually has to do that? — and then to expect he might get Eddie to kiss him too? What a overstep. Christ, he's an idiot.

“That’s not…” He hears himself say, still lost in his thoughts. It's only when Robin turns on the stool, brows raised, that Steve realises he hasn’t finished his sentence. “Good. That’s not good. To hear.”

Steve turns and starts shuffling around the films on the returns cart, picking them up at random. He stares at a copy of ‘The Princess Bride’ in his hands, a new release, and forces out a causal question.

“What made you think that?” He asks, shoving the film into an empty slot, like he was arranging them. He’s relieved when Robin’s clicking on the keyboard resumes, along with a dramatic sigh.

“I don’t know. I don’t know if I can be trusted to read anyone’s emotions correctly at any given time, honestly. Remember that old lady? I thought she was being sweet that whole time and then you told me she was being rude! And I couldn’t even tell…”

Robin’s ramble is comforting and helpful to Steve in a way he didn’t know they could be. He presses the cart out, finally getting a move on with it, but delivers a quick nod to Robin when she’s looking to let her know he’s still tuned in. He listens to her get distracted by another topic and leaves Eddie’s name in the dust. It’s a silent relief.

It’s a task to multi-task, listening and devising a plan, but Steve has all shift to find the balance. It’s sometime between finishing re-stocking the action section and starting the romance that Steve decides he should apologise. He should go over today and apologise.

Eddie’s a big boy but Steve’s fairly certain now, if he regretted it, Eddie had probably felt obliged to kiss him back. Probably hadn’t minded the first kiss but- but— Something sticks in his brain; it was Eddie’s first kiss.

It makes Steve feel worse. It doesn’t matter, really, Steve should say sorry for all of it. God, he’s such an idiot.

By the time he’s clocked out, it’s all set in place. He’s got a dozen different apologies running in a loop in his head, reciting the words in time with his anxious tapping on the steering wheel. It’s not a long drive out to Forest Hills Trailer Park. The drive is well-known now. Steve tries hard not to wallow in what he might be losing today. What he lost because he’d been too greedy with want.

The sight of a brown van parked roadside yanks him from his thoughts. Eddie’s van. Steve’s stomach turns, nerves gnawing faster. He slows, trying to catch eye of the other boy as he rolls to a stop behind the van. The sun is beginning to dip closer to the horizon, the temperature going with it.

At the same time, they see each other; Eddie’s head popping around the raised hood to see who had stopped, right as Steve pops his door. Eddie retreats in an instant. Steve's chest grows a bit tighter.

Gravel crunches underfoot as Steve takes a few wary steps closer. It doesn’t take more than a couple before Eddie calls out. He doesn’t bother poking his head out again.

“Go away, Steve.”

Steve swallows thickly. Yeah, okay, he deserves that. He deserves probably worse than that. But more importantly than that, Eddie deserves to hear this. And Steve... needs to not lose Eddie.

“Can I… can we talk?” Steve asks, taking a couple steps closer. A car whizzes by on the road, hidden from Steve's view behind the van. He still keeps his distance, hovering. His hands clench nervously at his sides. Steve shoves them deep in his jean pockets, wiping the sweat off them as he goes.

“What part of ‘Go away’ isn’t clear enough for you?” Eddie snarks back. He still doesn't stick his head out, still won’t look at Steve. It stings.

“I know, I’m sorry,” Steve starts, another instinctive step forward taken. “I-I just, I shouldn’t have left like I did last night. I wanted to apologise.”

There’s a clattering from behind the hood like Eddie’s dropped a tool. He swears. Steve wants to take another step, wants to see Eddie — wants to read every emotion and apologise for causing any of the ugly ones.

“Well, apology accepted,” Eddie responds. There’s a bite in his words. His next words are grumblier, quieter. “And message fuckin’ received.”

What? “What’s that supposed to mean?”

“That—” Finally, Eddie steps away from the van, rounding the hood to march up to Steve. His arms cross over his chest, a wrinkle set between his brows that pull his face into a glare. Robin was right; he is off. This isn’t normal Eddie. Fuck, Steve had fucked up bad.

“That means message received, Steve.” Eddie seethes. He uncrosses his arms to gesture wildly. Steve misses the wobble in his bottom lip. “Message received loud and clear! I get it!”

And all Steve wants to ask is: get what? He doesn’t ask that. He should know what. That would be an idiotic question, would make Eddie more irritated. Lord knows, Steve has been enough of a fool in the last day. So, he doesn’t ask.

“Look, I just…” Steve starts, words a bit weak. They die in his throat as he tries to recall a single apology he had practiced all day and comes up empty. “I’m just- I just wanted—look, I’m sorry I took your first kiss!”

It’s not exactly what he means to say, but Steve certainly is sorry for it. Eddie’s expression wavers, some anger slipping away. Confusion takes its place.

“What?” Eddie says with a tone of bafflement. “What are you talking about?”

“And I’m sorry I kept… kept asking for more.” Steve continues on, pulling on the thread inside him, connected to the terrible stone he swallowed earlier. He tugs it. Hopes pulling it will unravel the guilt sitting heavy in his stomach.

Steve scrunches his eyes shut and rubs the bridge of his nose. “I know, okay? I know that I can be a lot.” He sighs and drops his hands.

“But I didn’t mean to… shit,” He wrenches his eyes open. Eddie’s a bit wide-eyed now, brown eyes watching him intently. Steve doesn’t know what expression he’s wearing, can’t tell if it’s good or worse. He continues, soft words scraping out his throat.

“I didn’t mean to be like that with you.”

Eddie searches Steve’s face, eyes darting and wild. He licks his lips. His hands are in motion, fingers twisting rings, quick and fast. It’s a nervous action.

“What do you mean by ‘like that?’” Eddie asks, voice gentler. It's lost its snarl from before.

Steve blinks, a scrape of teeth worrying his bottom lip. He murmurs his admittance lowly, just one word, “Selfish.”

Eddie doesn’t try to hide his surprise; it ripples across his face in a wave. Confusion melts away into something closer to, Steve hopes desperately, relief. Steve can feel his own heart thudding hard inside his chest — can feel the beat it skips when Eddie steps closer.

“Steve?” Eddie says, sounding unlike himself. Steve’s never heard his voice that small. He nods, wordlessly. Eddie searches his face once more — wide brown eyes scanning and devouring. Steve can’t help but do the same.

He drinks in the details of Eddie’s face; the soft scruff along his top lip, the darkness of his lashes and the way they kiss in the corner that Steve adores. The pink of his lips. The familiar ache to kiss Eddie surges up within him, still as violent and strong as it had been the night before.

Steve should really stop looking at Eddie’s lips. He’s supposed to be apologising. He drags his eyes up and meets Eddie’s gaze full-on, prepared for whatever he might say. Except, he’s not expecting him at all to say;

“Can I... try this again?” It comes out a ragged breath, Eddie's scared eyes conveying the weight behind his words.

And this time Steve doesn't even need to ask what because he knows. Because Eddie's hands are reaching up and holding either side of Steve's face so gently. Steve can't recall a time he's ever been held so softly. His own hands come up slowly, draping around Eddie's wrists to hold them, to keep them there.

Eddie's thumb traces. It draws a sweet line of that familiar fire beneath Steve's skin along til it's settled on Steve's bottom lip, resting. The blood under Eddie's thumb thrums, gloriously warm, aching with want. Yes. Steve thinks. Yes, yes, yes.

"Yes, please." Steve breathes, so sincere the words comes out as a kiss against Eddie's thumb.

So, Eddie kisses him.

now with a part four !

tags below! sry if i tagged u and u didn't want it just tagging everyone who replied <3 @they-reap-what-we-sow @impeachy @anaibis @resident-gay-bitch @ediewentmissing @newtstabber @original-cypher @invisibleflame812 @hunterbow04 @leather-and-freckles @dracoswifeandlokispet @foolofentirelytoomanyfandoms @lfaewrites @sundead @call-me-big-eyes @the-redthread @goblinmanifesto @etaka @bishopextractions @ketterfuck @persephone13 @beckkthewreck @maya-custodios-dionach @autumnal-dawn @yourstrulyjoko @gleefully-macabre @princess-eddie @savory-babby

#EHEHE SORRY I CANT RESIST A LITTLE BIT OF MISCOM ANGST #MORE SWEETNESS COMING THO!!!#on god eddie needs his hickie #and im gonna GIVE HIM ONE #AND SO MUCH LOVE!!!!!!#BEST BOYS NEED TO BE HAPPY IN LOVE!!!!#maybe one more part :)#i had only one more idea for the can i's and i BET u can guess what it might be <3 #and it needs to draw back to touch cos that was the POINT of this fic originally #IM ALL BOUT PARALLELS BABEY #hope u find this delicious #gay ppl in my phone... this for u #can't wait to write the relieved kisses w the 'YOU THOUGHT WHAT???'#they're such goobers <3 #steddie #steve x eddie #steddie fic #steddie ficlet #can i series #HOW MANY CAN I'S CAN U SPOT THIS TIME !!!#ruby writes steddie #steddie angst #steddie fluff #uhhhh don't flop challenge #or do flop. i can't control the masses #hopefully this hits the brainrot just right

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wavesoutbeingtossed · 25 days 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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