#I come back with a little writing!!!

[jaylleoo14]

I met you at a Laundromat

>GN!ReaderxRuggie

[disclaimer] characters are aged up and fluff! You get robbed....

[characters] Ruggie

Being independent has its perks. You have a job, a stable income, you have your own living space, your own car, almost everything going for you is turning out well for the most part

Although not entirely well off because you recently just got out fresh into your adult life, you still find yourself struggling getting accustomed to the new changes 

Yes, being independent is nice and all but you sometimes miss home. You can cook for yourself, but nothing beats the way pops makes his stews or how momma makes her delicious chicken curries. Missing the familiar views you’d see when passing through town to get groceries or how you’d go walk in the park sometimes. 

 You can always visit, but it's the day for you to head on over to the laundromat once again. Your washing machine and dryer unfortunately broke down and until maintenance comes over to fix it your only choice is to go over to the laundromat

It's not so bad really, the only bad part about it though is that you have to go late at night and it's only because your work lets you out late. Not only that but you were in a rush to finish running your errands as well. 

Thankfully the laundromat you go to opens till late for people who tend to be busy throughout the day, giving busy people like you a chance to do your laundry!

When you arrive you always note how there isn't a lot of people there to begin with

The single dad is there occasionally, the girl who works at a nearby retail store is here today (seems like she just got off work and straight to the laundromat seeing that her uniform and tag is still on), the kid and his mom is finishing up folding their laundry, a rugged slouched man, and a rather young man with animalistic features 

The man with the ears and tail always stick out to you, because well, although you have seen beastmen around the area, he usually is the only one that you see come here at this hour

You think to yourself, “Oh, he must be a busy man” if he usually comes this late at night usually almost all the time that you come here

You cant help but stare at him a little while longer until you notice some movement in the corner of your eye

As you turn around you find that the old rugged man is kneeling down besides you, picking up some fabric softener that he dropped

Though he already finished before you could help him 

As he gets up he turns around to make his leave. I guess he finished up washing his load of clothes

As you go back doing and minding your own business, you start thinking to yourself. “Wait… I don't remember him walking out with any clothes. Nor did it seem like he was waiting on anything.”

As you make that realization your eyes widen and you quickly turn back around only to see that the man had disappeared 

You search your pockets in hopes that you weren’t a victim to thievery of any kind

And would you look at that? Your wallet is gone. 

Fuck. 

Rushing out of the place you look both to your right and your left, only to find the man nowhere at a distance. 

Goddamn it! All your receipts and your credit cards and memberships and your money and-

“I think you dropped this shishishi~”

A voice calls out to you in a lighthearted manner. As you turn around to find the origin of that voice you’re met with that beastman holding what seems to be your leather wallet

He shakes it in his hand as if you were a little dog being received a treat 

As you quickly run over with your worried face, quickly running back to snatch your most valuable item on you currently, you rummage through just in case he took anything valuable

“Relaaax, I made sure everything was there”

As you take note of everything there you let out a sigh of relief, holding it closely to your chest. “Thank you so much. You saved me there” A warm smile on your face. 

He whistles out playfully and shrugs, as if it was nothing. “No can do. I’m quite swift myself if I do say so.” 

As you two start talking more, you think to yourself what an interesting guy this was. He seemed awfully busy himself, and with all his jobs and special talents- something tells you he’s rather money hungry.

Nevertheless, the night felt so short because of how long you two talked and hit it off the road. It was a shame that you both had to leave so soon, time went by so fast when you had a nice conversation with someone who shares the same chemistry. 

As you make your way to your car you notice a piece of paper slipping out from your pocket. As you pic it up, you read what it is written on there: “Come thank me by taking me out for some food sometime :p” And on the bottom a number is written 

A chuckle escapes your lips, and you could feel some sort of undefined excitement rush to your chest as you look up into the night sky. It feels like something new is about to happen in your life. Based on your conversation you just had with Ruggie, you know that the both of you have a rather productive and proactive lifestyle. However, you don't mind making time for him and trying to get to know him. I’m sure the same could be said for him as well.

And that my dear children, is how I met your father. At a laundromat ~ ☆

[weepingwillows-sweethibiscustea]

I’m currently thinking about an AU where the Justice League confuse Danny for Jason.

Like, they know Batman’s second Robin met an unfortunate end, & now his newest partner is the ghost of an upbeat, scrawny, teenage boy.

Excuse them, for thinking the ghost being Batman’s dead son was more believable then Batman somehow having picked up not just another stray, but a dead one. How did he even do that?

Bonus points if Jason is very much so resurrected already, but none of the bats told the justice league because apparently Gotham’s newest crime lord, who’s 6’ whatever & built like a brick shithouse, isn’t obviously the same malnourished little kid that used to say “Robin gives me magic!” & literally died. Who knew?

[poorly-drawn-mdzs]

Normal boy spotted.

[First] Prev <–-> Next

[solarmorrigan]

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.”

[canisalbus]

hello! i've written a short little machete fic, and i wanted to share it with you as thanks for all the incredible art and generous question-answering you've been doing these last few months. i hope that if you give it a look, you enjoy it. <3 keep up all your amazing work! archiveofourown [.] org / works / 50945128

✦ A Voi ✦

[arachine]

dry humping w josh. you’ve got bruises in your hips from how hard he moves you back and forth ah hell

cw: like 10% dry humping, fingering, mean-ish!josh (barely), mischaracterization (maybe, trial's still out), litch took creative liberty sorry girlfriend

when you're fucking around with josh, it's always either slow and drawn out, or intoxicatingly heavy and feral. very rarely does he leave bruises on your body—only ever does it upon request or when he's so blind with pleasure that the only thing at the forefront of his mind is getting closer to you. and it's usually the latter.

sometimes he wishes he could devour you. consume you whole so that nobody could ever have you. and he supposes that since he can't quite do that—this is the next best thing. when he's got you like this, sat on his cock, pressing you down, down, down, like a piece of clay waiting to be molded. kneaded. made pliable.

and it's always too much. the pleasure. the way he forces you to stay down against him, mercilessly rutting up into you, long after you've already gone limp in his arms.

"oh, c'mon," he drawls, tone teasing, "not giving up on me now, are ya?"

"'s t-too much," you all but cry, "can't take it!"

"both know that's not true," he laughs, temporarily pausing his movements. swiftly, he slips his hand past the waistband of your shorts. slides a finger over your slit once, twice, before burying it inside to the hilt.

there's a cocky grin plastered over his face that you can't see but hear. "i've seen this pretty pussy take on a lot more," he whispers into your ear. the next time he speaks, he adds another. uses the pad of his fingers to rub up against the smooth velvet of your walls, curling and uncurling them in a manner so cruel, that it has you clutching his shoulders for stability.

you're getting closer and closer to another release, and you're almost there until he withdraws his hand from your pants unceremoniously. confusion settles between your brows.

"why...why'd you stop?" you query, panting from the loss of friction. he sits there with a sly smirk, amused by your visible frustration before opening his mouth to say, "said it was 'too much', right? think we should just stop there..."

"i can..." your words are barely just above a whisper, and josh takes advantage of this.

"what was that? don't think i caught it."

"i can do it," you affirm, placing your hands back onto his shoulders for leverage, "wanna keep going." hesitantly, you resume your movements. you start with a slow, methodical roll of your hips, gradually increasing speed along with pressure—the way he likes it.

"atta girl," he praises, leaning back into the cushion of the sofa, "now show me how you get off."

[teethkid67]

PAYDAY

aka a valentine for the lovely @itsnotmystic / @corvids-calling - fanart for stars fic of the same name, which you can read here !!! i really enjoyed this concept and wanted to do some art for it :3 hope you like it because i REALLY loved your work & i hope this shows that !!! HAPPY VALENTINES DAY !!!!

this is also a loose love-letter to the wonderful @arginnit 's crazy background-drawing-ability and style/skill at portraying environments . wadds your stuff is insane and i love it

happy @mcyt-valentines exchange !!!!

[deoidesign]

Thinking about vampires, death, life, and the space they occupy in between

[audliminal]

Survivability Bias Pt 4

Masterpost Ao3

“Cassiopeia,” Danny murmurs, his eyes never leaving the glimmering void above him. “Though epsilon looks dimmer than it usually is. I wonder if it still has a ring...” Around him, the world is shadowed, the distant lights of cities visible on the horizon but not bright enough to truly disrupt his view of the night sky. It had been a bit nerve-wracking leaving the town, but he’d been making an effort to lay low for the last week, and had seen nothing to indicate anyone was coming to search for him. The idea of visiting the firefighters still makes his skin itch, but a little trip to stargaze had started seeming like a reasonable risk to take, and with the calm expanse of void above him, Danny can feel something deep inside of him settle. The buzz of fear that’s been around since before he even got here evaporates, as he counts the stars and constellations. They’re not all the same, Cygnus seems to be mostly missing, and a few of the individual stars Danny remembers seem to be gone, but for the most part, it’s the same. Certainly more familiar than anything else has been so far. The technology here is all far more advanced than anything Danny’s seen before, which is ironic considering the portal.

It’s funny, really that he can be this far away from home (a literally incalculable distance), and the stars are still generally the same. Even the ones that are new are still stars; still the same burning masses fueled by fusion and gravity, and feeding the universe at large with new material. They're still millions of light-years away, and yet they’ve been there for so long, streaming their light into a void, where it can eventually reach this very spot where Danny’s currently standing. All his problems seem so small in the face of the great expanse of space.

“Amazing!” Danny exclaims, letting himself just laugh with delight. Maybe he’s alone here, but has he ever felt this free before? Nobody to drag him away, or force him into fights, or yell at him about the chores he hasn’t done yet. Hell, if he really wanted to, he just take off, go hang out in space, maybe fly until he finds one of those alien planets that he’d seen mentioned on Wikipedia. Sure, it would probably take a stupid amount of time to get there, but he could , if he wanted.

Behind him, there’s a rush of air, and the sound of a person taking a breath, and Danny tears his gaze away from the stars, flipping himself into a fighting stance as he runs through the list of heroes he’d read about, trying to remember which of them could fly. As he turns, his eyes lock on to another boy, though, that looks to be close to Danny’s own age.

“Woah, dude.” The boy says, holding his hands up and floating a few feet backwards. “I’m not here to fight?”

“Then why are you here?” Danny asks. He is just a kid, so like, maybe , it’s safe, but also the symbol on the kids chest is the same one Superman was wearing, so he could just be a recruit or something.

“I dunno, man, I just heard you talking and got curious? Not exactly many people around that can just hang out in the sky, you know. I can leave if you want.” The other  boy’s expression seems sincere. Mostly he looks startled and a bit uncertain, and deeply unlike the weird, heroic, confident posture that Superman seemed to have in every picture. This guy looks like he’s trying to look confident, sure, but not like he actually is .

“You’re not Superman, but you’re wearing his logo.” Danny says. Dropping his stance, but not letting himself fully relax. Just because it’s not a fight, doesn’t mean he’s safe, after all.

“Yeah, uh, I’m Superboy.”

“Superboy,” Danny echoes. “I read something about sidekicks? Is that-” Danny cuts himself off when the other boy winces.

“No, I’m not his sidekick. More like he’s helping to train me. We’ve got the same powers, so... Yeah.”

“Huh. Training sounds... Nice? What’s that like?” Honestly, training sounds downright miraculous. Danny hasn’t been able to stop thinking about the destruction caused by the train crash, and how everyone in Amity had always complained about the damage caused by ghost fights. He hasn’t forgotten how much he’d gotten himself hurt in those early days either, not that anyone else had ever noticed that bit.

“Yeah, I guess it’s nice. I take it you don’t have a mentor, then?”

“I’m not a hero.”

“No? I thought- I mean, you look a lot like the description of the guy who helped with the train crash over in Concord.” Superboy frowns, glancing off in the direction of Danny’s hometown.

“I mean, yeah that was me but I’m not. I don’t wanna fight anyone.”

“Oh, yeah that’s totally fair.” Superboy immediately responds with a laugh. “Honestly most of what we do isn’t actually fighting people, so y’know. You don’t have to be a fighter to be a hero.”

“Oh.” That kinda makes sense. After all, Danny had done a lot of fighting back home, and nobody had called him a hero there.

“Yeah, it’s like. There’s a lot of stuff about emergency response and civilian rescue and stuff. Hell, from what I understand half of what the Bats do is just, like detective work. That’s a lot of what my training’s for, actually. I’m pretty good at destroying stuff, I guess, but Supes says I need better control, before I can be trusted to handle relief stuff, because I might accidentally hurt people with my strength or something.”

“That’s. Cool, I guess?” Danny risks a glance up at the stars. No attack comes with Danny’s split attention, though after a moment, Superboy slowly floats over to his side.

“What are you looking at?”

“The stars.”

“Just, like, in general?” Superboy asks. He sounds dubious, and Danny can feel him glancing between him and the sky every couple seconds.

“What, have you never gone stargazing before?” 

Superboy doesn’t say anything for a minute, and Danny glances over. The false confidence has completely evaporated from the other boy’s expression, and instead he just looks unsure.

“I’ve never really had the opportunity before.” Superboy finally murmurs, quieter than any of their conversation so far.

“Well, I guess you’re in luck!” Danny says, offering his new companion a smile. “Because I’m something of an expert in it!” And Danny begins to point to the different constellations, and tell Superboy as much as he can about all the stars and planets above them.

“You really are an expert, huh?” Superboy eventually says, in the middle of Danny’s tangent about why Pluto isn’t considered a planet anymore. That had been one of his most interesting discoveries in his Wikipedia explorations. He’d been kind of surprised at first when it hadn’t shown up on the list of planets, but he’d specifically searched for it, he’d learned about it’s reclassification, along with all the reasoning behind it. He’d been a little sad at first, but the realization that it came alongside the implication about a whole number of other bodies orbiting their sun had been exciting in it’s own way.

“Yeah,” Danny responds with a laugh. “I, uh, really like space. I actually wanted to be an astronaut as a kid.”

“But you don’t want to be one now?”

“I mean,” Danny hums. “It’d be nice, but I don’t think it’s really a plausible goal anymore. It- the way I got my powers came with some... complications. And anyway I kind of don’t legally exist anymore, so it’s. I can’t even go to space camp, let alone go to actual space.”

“Is that, uh, why you don’t have a normal heart beat? I didn’t wanna ask and be rude, but like, you sound kinda like a really large bee.”

“Yeah, that’s, um. I mean I’ve never been called a bee before, but yeah.”

“Wild. But like, if it’s meta stuff, then aren’t they legally not allowed to discriminate against you for it? They’re not just gonna be like ‘oh you don’t have a heartbeat guess you can’t go to space.’”

“I mean, there was, like, a meta scholarship on the website, but...”

“You’re worried about revealing your identity.”

“Yeah, pretty much.”

“Well, that’s fixable. I mean, I didn’t have an identity to even reveal until this year, so the Justice League can definitely-”

“I don’t want them to know about me,” Danny interrupts.

“Oh.” Superboy says. “Well, what about just, like one person? Because Robin could definitely make you a whole new identity all by himself, and I know he has no qualms about keeping shit secret from everyone else.”

“Robin.” Danny thinks he remembers that name being referenced in relation to Batman. Something about a boy wonder. “Is he our age?”

“Yeah.” Superboy looks excited. “I could introduce you sometime if you want?”

“I dunno.” Even one Justice League associate knowing about him is concerning, and if Superboy knows about the thing with the train, then probably the adult members do too.

“Well, you don’t have to decide now! I have super hearing so if you call my name I’m almost guaranteed to hear it!”

“You can just hear me anytime?” Danny asks.

“Oh, uh. I mean technically yes? But generally it’s like effort to just tune into one person from a distance. But I listen for anybody calling for me, in case they need help or whatever, so I’m always kind of listening for that.”

“I’’ll keep that in mind, I guess.”

“Right. Uh, do you wanna tell me more about the planets?”

[sunnibits]

potentially hot take but this is a pet peeve of mine

[turtleblogatlast]

Small but significant character moments that I actually really adore are from both the times we see the boys as tots. There is a reoccurrence that happens in both of them that I find so incredibly interesting.

For the turtle tot short, Splinter leaves the boys with weapons. In the short, Raph is the one who suggests they do “what Lou Jitsu would do” and Leo is the one who takes point when Splinter comes back to reprimand them. Leo, in taking point, is the one to defend them and get Splinter off their tails.

And then, in the flashback regarding the Kuroi Yōroi helmet, Raph is the one who grabs and throws “Skully” as a way to replace their missing ball which breaks it into pieces, but Leo is the one who speaks for the group and rushes into action to fix the teapot.

I love this for multiple reasons, but the biggest are how it shows that Raph has always been inclined toward the bold and fun and making the plans to include his brothers in what he loves and believes they’d love, whereas Leo has always been inclined to be the “Face” of the group and shoulder the attention even if it’s potentially negative all while coming up with on the spot attempts to fix the situation.

[fatedroses]

And some days, I just wish you wouldn't look at me at all.

[girlsdads]

https://www.tumblr.com/girlsdads/762007245755170816

It looks like daniel is peeing

em!!! you put this in my brain and i promptly had a crisis, so of course i had to give Max that same crisis, and somehow this became 1.3k 🫡

cw: (consensual?) voyeurism, romanticized peeing

Practice gets red-flagged early on. Max doesn’t see who is in the barrier as he slowly passes, just knows it isn’t Daniel. He’d been assured of that down his radio almost instantly, though he hadn’t asked. He thinks it must be team protocol to tell him this, that it’s not his teammate in the totaled car. Still, Max flushes bone-deep, feeling too exposed, too obvious. Feeling like they know, everyone must know, his brain turns to goop around Daniel and he never catches himself in time.

He trails Daniel to his driver’s room anyway, knowing how it looks. Daniel grins over his shoulder at Max, starts skipping ahead, makes Max chase him. Warmth blooms in Max’s belly. He may be always following behind Daniel, but Daniel is always looking back.

Daniel shrugs his race suit off his shoulders, lets it hang open around his trim waist. The humidity has stamped dark patches on his white fireproofs where he’s started to sweat through. Max closes the door behind himself and stands there awkwardly, trying to think of something to say that will make Daniel laugh, trying not to make direct eye contact with Daniel’s sweaty armpits, lest he shove Daniel against the wall and stick his nose there.

What happens instead is much, much worse.

Daniel is making a beeline to the bathroom, thumbs hooking into the elastic over his flat pelvis. Max’s vision tunnels, the air in the room seeming to close in around him with a swoosh.

“What are you doing?” He hears himself ask, stupidly.

It’s obvious what Daniel is doing. He’s shimmying his hips side to side as he nears the toilet, wiggling the Nomex down. He’s left the door wide open. He stops and smiles at Max, blinding. “Gotta drain the snake, as they say.”

Who is saying this other than you, Max wants to shoot back, knows he should match Daniel’s cheeky tone, rib him a little then leave the fucking room like a normal person. He hears the wet pop of his own bottom lip dropping open, feels the weight of the words against his larynx, but is struck completely dumb watching Daniel pull out his flushed, soft cock.

Max has of course seen Daniel’s dick before, it would probably be more weird if he hadn’t, like he was purposely trying not to. But the handful of other times have only been glimpses in his periphery, nothing like this. Like this, close range and staring openly because Daniel knows Max is there and still he didn’t close the door, Max can see everything.

The double-stacked waistband of his briefs and fireproofs is tucked up snug under his balls. Max can see where the dark, stubbly hairs are starting to grow back, on his sac and around the base of his cock. Daniel has joked before, about manscaping, but to see the evidence of it like this is dizzying. Max wants to go to his knees and pull each ingrown hair free with his teeth.

Daniel holds himself loosely in his left hand, the ruddiness of his shaft clearly visible through the gaps between knucklebones. The head is peeking out past the circle of his index finger and thumb, fat and flushed a little darker than the rest of him. Even soft, his cock looks heavy and full. Max’s mouth floods with saliva and he sucks it back with his cheeks pinched in, hoping Daniel won’t hear the wet slurp.

His skin feels hot. He’s stuck like an ant under a magnifying glass in the sun, his insides incinerating as he watches an arc of piss flow from the gorgeous tip of Daniel’s cock, noisily splashing into the bowl.

Daniel groans, his chin bobbing down toward his chest like someone cut the string that was holding his head upright. Piss hisses out of him, harder now, like he’s pushing it. It is so loud and the walls are thin—anyone lingering nearby must be able to hear, to know. Max wishes he could put up a forcefield, shelter them both inside where only Max can hear the sounds Daniel’s body makes.

It is all over so quickly. The stream trickles to a stop and then Daniel is shaking off the last little dribbles before he’s tucking himself away. Max feels a pang in his chest like grief—he hadn’t finished mentally cataloguing every angle of this moment, needs the image 3D printed into his brain so he can remember forever. Daniel will probably never speak to him again after this, will certainly not let Max anywhere near his bare cock once he turns and sees—Max is hard.

Daniel is shrugging back into the shoulders of his race suit and Max is standing there tenting his own, mortifyingly obvious. Max braces for whatever awkward joke Daniel will try to make to mask his disgust, as he faces Max finally.

He watches Daniel notice. He watches his eyes go slightly bigger and rounder, watches his jaw tick like he’s going to drop it. His gaze feels like a physical weight. Max’s dick throbs once, twice. There is no way Daniel cannot see.

Daniel says nothing, in the end. He smiles at Max, easy as anything, as if Max isn’t a complete freak of nature with a boner from watching his teammate take a piss. He even claps Max on the shoulder as he passes on his way out the door, doesn’t seem to catch how Max sways, knees wobbly, under his touch.

And then Max is alone in Daniel’s driver’s room. Alone and hard and—fuck, a realization burns through him—Daniel didn’t flush.

Max lurches forward before he can stop himself. His foot catches on some part of the floor and he stumbles, nearly going to his knees right there in front of the toilet.

It should be mostly clear, with how they are supposed to be staying hydrated, but apparently Daniel is not doing a very good job. Max has to steady himself with one hand on the wall as he stares down into the bowl, dazed. The water is tinged an unmistakable yellow. It hits Max viscerally, that Daniel has bodily functions and that he did one of those right in front of Max, was comfortable enough to not care if he saw. It’s unbearably intimate in a way that Max can’t think too hard about or he’ll forget how to drive his car, probably. He thinks, wildly, that he wishes he could live inside Daniel’s body, surrounded by all the microscopic things that make him him. He wants to kiss every single one of Daniel’s cells and thank them for keeping him alive.

Even more wildly—he wants to massage his bladder from the inside, tell it he’s sorry it had to get so full, that Daniel should never have to hold it for too long, that he could always if he cannot wait tell Max to go to his knees, and Max would, anywhere, tip his head back and open up for everything Daniel has to give—

Max rips his layers off, feeling frenzied. Elastic stretches around his thighs as he squats lower, his cock now leaking bare over the bowl full of Daniel’s pee. He had foregone underwear earlier, the crotch of his fireproofs now absolutely soaked through with precome. It will be cold and sticky around his cock and balls when he gets back in the car, he will have to drive again and feel it and he will think about Daniel and his dehydrated piss and the sound he made when he let go—

Max comes, shaking, aiming his cock so that it splatters into the bowl, milky white swirling with yellow. Max and Daniel together, like it should be always.

[internetskiff]

Brother rly went "so yeah about that beer :)" immediately followed by implying he had (and still has) to beat at least a couple of people to maintain his position in Civil Protection. Really creates way more questions than it answers. What did u do Barney Calhoun. Is beating people up all it takes? Is there innocent blood on his hands? Is there weight on his conscience? Despite everything, did he still partake in the perks the position offered, the better housing, the extra food? How trusted is he in the resistance, really? It's probably well known that he still has to participate in the Combine's oppressive system, right? They can't all possibly view it as a completely necessary evil. I mean, some rebels hate Odessa Cubbage and his only crime seems to be "being an idiot".

Okay completely unrelated train of thought now but I wonder if he smuggles the melons Kleiner feeds to Lamarr. You can see some watermelons in a Civil Protection outpost/apartment so I assume that's one of the "better" foods the Combine provide to those that serve them. Goddd there's so much to this guy but it's all implication.. Wish he had more screentiiiiiiime I wanna see more of him. I wanna see what he's had to do to maintain cover, and what he's actually done to earn the Resistance's trust. How do the rebels feel, knowing that while they have to take shelter in the canal system, he's able to sleep in an actual apartment with an intact door?

[wavesoutbeingtossed]

The TTPD Deep Dive (Part ?)

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

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

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

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

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

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

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

THE CONTEXT

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

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

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

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

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

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

THE SETUP

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

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

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

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

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

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

THE STORY

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

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

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

THE ALBUM

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

Fortnight

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

TTPD

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

Down Bad

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

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

My Boy Only Breaks His Favorite Toys

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

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

So Long, London

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

But Daddy I Love Him

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

Fresh Out The Slammer

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

Florida!!!

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

Guilty As Sin

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

Who’s Afraid of Little Old Me

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

I Can Fix Him (No Really I Can)

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

Loml

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

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

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

I Can Do It With a Broken Heart

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

The Smallest Man Who Ever Lived

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

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

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

The Alchemy

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

Clara Bow

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

The Manuscript

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

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

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

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

THE SUMMATION

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

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

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

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

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

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

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

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

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

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

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

[junosmindpalace]

May I request Senku developing a crush on his childhood friend after the petrification? fem!reader if possible (if not gn!reader is completely fine)

hope you have a good day :)

Something is different. 

Senku isn’t referring to his environment, which is so far removed from everything he used to know and love. Instead of brick buildings and concrete pavements, there is seemingly never ending forestry, green and gravel beneath the heels of his makeshift shoes. 

It isn’t Senku’s clothing, which is only some thin tattered animals skins that he had spent days working to hunt down the material for, then skin, then tan, and then stitch together with whatever he could to make the haphazard, ugly garment he wears on the regular to provide him with whatever kind of protection from the elements he can with the resources available to him. It’s a stark contrast to the color he used to wear long ago. 

It isn’t even the new friends (and enemies) he’s made since freeing himself from his petrified state. A whole village of people, now, who look toward him for guidance and instruction, upon him with admiration and reverence. People who help him against the newfound stakes, newfound work, newfound responsibilities that haven’t in the slightest been easy to take on. 

Something is different, and amongst nearly everything in his life becoming dirt and dust nearly overnight, Senku is referring to something different about you. 

But he isn’t referring to the environment he’s used to seeing you in, a school setting, perhaps a park, maybe his own room. There’s no new observation to make about a change in your room or a decoration in your locker, because like him, those things are long gone. 

It isn’t your appearance, a similar reflection of your new environments and state of the world. Random pieces of tanned skin poorly stitched into something that resembled clothing, a Frankenstien’s monster of a garment. More simple and plain assuming compared to the various designs and fabrics you wore way back when you’d spend time on an experiment with Senku. He watched you mature from one phase of your life into the next, and this was no different.

It wasn’t even the new people you surround yourself with, found comfort within. It wasn’t listening to their stories, the things that made these people, so far removed from your time, human. It wasn’t the small, pleasant things that he knew grounded you when you got too caught up in your head, the new habits you made out of retrieving materials, crafting things to keep your hands (and mind) busy, new skills you learned (or were forced to learn) and previous skills you learned to develop.

But for the life of him, Senku cannot figure out what it is that’s different. He drives himself a little further mad each time he looks on at you. There’s something in his mind, almost like an itch, that intrusively takes hold on the rest of his senses when there’s a moment between the two of you, whether it’s a quiet one, whether it’s one of shared excitement or mutual understanding. There’s a warmth and a chill that wash over him at the same time when your gaze settles on him a little too intensely, or when you say something wise and agreeable. There is something he’s missing, and he can’t figure out what. 

Maybe it’s your laugh that’s different, though Senku doesn’t know why that would be a thing of prominent notice, or notice at all. It’s a little rougher, and at times with a little less heart than he’s accustomed to after so many years of hearing it bright and enthusiastic. But it’s still kind, and most of all, genuine. Perhaps something about that makes it distinguishable from another. 

Or perhaps it was your new approach to, your new outlook on, life. No, perhaps it was the way you applied your already existing approaches and outlooks to your new, unique circumstances. To help cope, to help others, to help him. 

It was something different, Senku was sure of it. However, he hasn’t had much time to linger on what could possibly be the source of such…irritation, for very long. 

Perhaps a more irritating point was the fact that Senku could hardly place a time when he first observed this difference. 

At the very least, he could estimate it to be sometime after the both of you emerged from the stone. 

The simplest solution, perhaps, could be for him to just ask you directly. It’s the easiest way to confirm or deny hypotheses’. He would ask if you had gotten haircuts in the past, ask if you had gotten any sleep after noticing prominent circles under your eyes and sluggish movements. This was no different.

But when Senku finds himself hesitating on an evening when the two of you are working in the lab together, Senku thinks that maybe this is the different thing. For some reason, he’s slower to communicating such personal things, despite it being nothing more than simple, casual and menial conversation. 

You’ve had hundreds of conversations about a million different things over the years, from careers you aspire to pursue in earnest to the more daunting topics about love and loss. He’s seen every side of you, good and ugly, he’s heard every side of you. Every insecurity, every point of pride, about every friend who’s come and gone and stayed behind; and in a more Senku like fashion, you’ve heard the same from him, in that straightforward and logical way of communicating that you’ve always been able to see through from the wavers in his voice to the passionate glints in his eyes. 

But something is different. Something has been different. 

Yet the two of you work away in the lab as if it were any other evening, the twinkling stars in the sky he admires so much hidden away by the walls and bamboo roof. It’s what you’ve been doing since you’ve established some sort of lab to work out of ever since the petrification. Senku has felt quite disturbed by this difference of yours, but at the very least, he finds it comforting that it doesn’t affect this routine that the two of you established early on in your relationship. The content, collaborative efforts the two of you put in to create something satisfying, worthwhile; exciting. 

It’s what he’s always felt with you in your relationship. Thrill to indulge in something he’s passionate about together, thrill to create something with you, thrill to be with you--

Senku pauses his work for a moment. He shifts his gaze from the notes in front of him to where you stand just down the opposite end of the table, completely enamored with the tests you were performing. 

Something is different. He thinks, at that moment, that he’s almost figured out what. 

But the realization he was about to reach disappears from him suddenly, and he can’t seem to become conscious of the conclusion when he stares at you. He tries desperately to recall it, reach for it in his mind, through a frantic look at your features. The warm light against your skin, the gentle movement of your hands, the concentrated furrow of your brows. 

His heart feels like it might burst out of frustration the more he looks at you, and he forces himself to turn away. It’s there, it was there!

(And it still was.)

He’ll figure it out eventually.