#I was debating with myself for a long long time on posting this
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🎶For the twelfth day of Christmas, my Ketto gave to me-🎶
Closure!!!!!
So, I've been talking about this for a fair bit now and debating the logistics, and I have decided to do it: A Christmas of Closure!
I have so many unfinished/on hiatus fics, some that never got past the first part, and this is my effort to (1) relieve myself of the guilt of not finishing them and (2) give a bit of closure to the readers who still wanted more from the story.
How does it work? You guys can choose any story of mine that you wanted to see more of, and the first twelve will get a little love this holiday season, with me posting one update every day leading up to Christmas, and ending on Christmas day with either whatever I was most excited to share, or what took me the longest and I needed more time for LOL
They key to this is that it's stories I've already started, so rather than spending half my writing time trying to figure out what it's going to be about, I'll hopefully just be giving words to something that's sat in my brain for the last few months/years. I'll get to share with you what was supposed to happen, while maybe jump-starting my own creative process so maybe (no promises) I'll actually be able to finish the story! (Again, NO promises, but also I hope so!!!)
(Specifics below)
All stories are on the table with the exception of TBBU, since that's already a work in progress and I will get there independently (*she lied, like a liar*). There might be others that have reached their natural end as well, and I'm not up to making zombies, but I can't name any right off, so go nuts and choose whatever you feel has been on life support for too long :)
Whumptober/Sicktember/Febuwhump prompts are up from grabs, but only in the form of continuations of already written pieces. I will not be writing prompts that I failed to post on time in this challenge (maybe another time)
The age of the fic doesn't matter, but be aware I might not be able to capture the same voice as I used to use. My writing style has changed and developed, but I will try and match my own freak when I can.
You CAN ask for specific things! I will not take unkindly to you popping in to say "write an update for story XYZ and maybe have ABC happen?" I can't promise that ABC will happen of course, because maybe that's not what was meant to happen, but I promise to consider any and all suggestions regardless, and try and make a Christmas present that you'll enjoy :)
The stories will get posted starting on the 14th of December and ending on December 25. There will not be an Ao3 collection, but I will have a master-list here on tumblr.
I hope that covers everything, but if you have any questions I didn't answer, please feel free to send an ask, so I can answer publicly, in the case others had the same question <3
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What It Cost
****THIS IS A FICTIONAL STORY BASED ON REAL PEOPLE. 18+ ONLY. I DO NOT OWN THE RIGHTS TO THE PEOPLE OR MUSIC MENTIONED IN THIS STORY OUTSIDE OF LILITH AND SADIE AND MAYBE A COUPLE OTHERS. DO NOT READ IF YOU’RE NOT UP FOR FANFIC INVOLVING REAL PEOPLE***
Terrible summary: Five years since she last spoke to him. Since she last saw him. Now his face and his voice is everywhere. She can't escape him.
Five years ago Noah destroyed her and the life they had built. Now he’s back and seeking to make amends. As much as she wants to say that it's too little too late, is it?
CW/TW: Angst, mention of addiction, cheating. Mention of character death. Language. Smut (later on). PinV, unprotected PinV (wrap it before you tap it, friends), oral (f&m receiving). All smutty warnings happen later on, so I’ll update TW/CW warning labels as those parts are written and posted. If I forget anything, please let me know so I can fix it! Thank you!
Part 6 - Lilith
Noah had text her two hours ago, asking if they could talk. Again. Since then she'd been an anxious mess. Part of her was shocked he hadn't just shown up like the last time. Everything in her told him to tell him no. That there was nothing to talk about anymore. He had said he was sorry and they could go about their lives. But she couldn't bring herself to do it. Couldn't bring herself to tell him to leave her alone. What the fuck was wrong with her? She should hate him. So why couldn't she?
Sadie joined her on the back porch, handing her a takeout container and a fork. Lilly couldn't help the smile at the small gesture. She'd sort of started the tradition back when the two of them had just met, always giving Sadie food from her and Noah's dates. Now it was her doing it after hers and Jolly's.
"He wants to talk."
"So, no stomach for food at the moment?" Sadie took the food back, knowing too well what happened if she ate while nervous. It wouldn't stay down long.
"I don't know what to say." Lilly sighed, her stomach starting to churn more forcefully.
"Listen," Sadie began. "I know we all know I'm still pissed at him. But, maybe hear him out? He at least seems like he's trying."
Lilly huffed out a laugh, dropping her head into her hands, elbows resting on her knees. She had expected Sadie to tell her to ignore him or to tell him to fuck off. Which almost would have guaranteed she agree to talk to him. Probably something Sadie had counted on, actually.
"I don't know-"
"Lilly, I heard him, too. He's never sounded like that. Jolly said he's been locked up in his room since." She sighed. "Maybe talk to him. If you don't want to hear what he has to say, that's fine, but at least give him a chance to do what he should have done years ago."
Sadie had a point. Never had she seen Noah like that. Sure, she had seen him close a few times when things weren't going right, but never to the point that he was on his knees, clutching his chest like that. The way he had sounded, like he was breaking. Shattering right in front of her. How unfocused his eyes had been. He hadn't been there in the present. Noah had been somewhere else in his mind.
Chewing on her bottom lip she picked up her phone, debating between texting him back and just calling him. Suddenly Sadie reached over, taking her phone from her.
"Hey!"
"Jesus. You both need to learn how to just get on with it." Sadie laughed, typing out a response for her and hitting send. "He'll probably be here soon. I'll make myself scarce."
***
Her heart leapt into her throat as she watched him pull up, her hands beginning to shake. Fuck. Right now seemed like a real good time to start smoking. Maybe she should have had some wine or something first. Either way she needed something to calm the nerves. Yet here she was empty handed, watching as he climbed out of his car, a tall iced coffee in hand. No hoodie this time. Just a pair of shorts and a plain white shirt.
She watched, helpless, as he climbed the steps onto the porch. Watched as he walked over to her, holding out the iced coffee for her. Her stomach flipped at the realization that he had brought her some kind of peace offering.
"Iced spiced chai, double shot, with a pump of pumpkin, right?" He asked, his voice soft.
"You remember my order." It wasn't a question, more of an observation than anything. Carefully, she reached out, taking the coffee from him, grateful to have something to hold. "Thank you."
Noah nodded, sitting in the chair opposite her. She had to admit to herself she was shocked that after all this time he had remembered something so small. Then again, she clearly hadn't changed much in five years if she still got the same coffee every day. Nervous, she took a sip, not daring to look up at him.
"Sorry about the other night," he started.
"I don't know. I think that's the most honest I've ever seen you, Noah," she quipped, wincing at her own harshness. "Sorry."
"No," he chuckled. "That's fair. That's really fucking fair."
"I'm not sorry that I finally was honest with you. I am, however, sorry that I started having a fucking panic attack, though."
"You're okay, though?" She asked, finally looking up at him.
Now that she looked at him she could see just how tired he was. Like he had barely slept. And deep down she felt bad for him. And maybe a little guilty. Maybe she shouldn't have been so hard on him the other night.
"Honestly? Been better. But, comes with the territory, I suppose."
The two of them sat there, a heavy silence falling between them. There he was, being honest again. The Noah she had known would have said he was fine. He would have skirted around the issue entirely and made a stupid joke.
"Listen, Bambi. I fucked up. Royally. You didn't deserve any of the shit that I did. Even the stuff you overlooked from the start." He grimaced, remembering some of the shit he had done.
"Noah-"
"Nope. Not done. You are also the first person I should have reached out to once I got sober. Instead I've been too chicken shit, as Nicholas loves to point out, to face you because the shit I put you through at the end? That was beyond fucked up. Like, way beyond. I was doing shit just to hurt you. And you deserved better. You still deserve better."
Lilith sat there, gripping the coffee he had brought her, feeling like she was going to vomit. Tears blurred her vision, her mind racing. Here he was, giving her more of an apology than she had ever thought she would get. And as much as she wanted to be angry, she just couldn't anymore. She wanted to scream and yell and call him an asshole, but the anger and the words just wouldn't come. Where did she go from here?
Tag: @collisionofyourkissmakesitsohard
#bad omens cult#noah sebastian fanfiction#noah sebastian#bad omens fanfiction#noah sebastian smut#angst#noah sebastian angst#noah sebastian fic#fluff#noah sebastian fluff
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Where were you the day Mondatta died?
a self insert fic about loss, grief, and the stages we go through.
Ramattra was in a Talon meeting, under an agreement he’d regretted making. He was mad, he was rash, and now he’d face the consequences of his actions
Akande Ogundimu, more commonly know as Doomfist, stood proud, a live feed from Talon’s best assassin playing on a holo projection before him. Next to Ramattra was Maximillien, the highest ranked Omnic in Talon, just there for the ravager’s personal comfort.
They’d both assured him of this assassin’s efficiency, how she always hits her mark. One shot, one kill, they’d all said. When he’d had a moment, Ramattra couldn’t help but question her on this reputation.
“Everyone misses” she had answered, and now here Ramattra stood in a room of people he despised watching the brother he loved through the eyes of a killer he himself requested.
Ramattra’s grip on his staff would be enough to crush the woman’s spine three times over, as he stared unwavering at the screen, and prayed for the first time in a long time for a miracle
In an hour, the deal would be set. Mondatta would be dead, and Ramattra, his troops, his Omnics, his skills, would belong to Talon.
He would have no time to mourn in the long hours following his brother’s death. He would have no time to reflect on those back at the Shambali, the family he’d abandoned, and how they may be dealing with the loss. He would have no time to allow the pain of his choices to sink in.
And in the quiet hours, the few of them he had, he would return to the day he’d met Mondatta. Caked in blood and oil, alone on a battle field somewhere in New York city, he’d point his gun to the Monk, trembling. Mondatta would approach him and gently lay the gun to rest. He’d embrace the ravager, staining his beautiful white and gold robes in blood and oil, and Ramattra would cling to him, whimpering like a child, unable to face what he’d been made to do.
Could he face it now? Could he stand on battle fields of his own making and face his past again, knowing for sure this time his brother would not come to embrace him as he once had, sharing in the stains of his past
He had no time to ponder such things. What’s done is done. He had no time for regret, he had no time for doubt. It was time to push forward, to take what he’d been given and what he’d asked for and use it to better his people’s lives.
The time for action is now.
---------------
Genji and Zayne, Shimadas healed in the Shambali temples, were on tour. A journey of helping, of time off, of moments spent together free as they’d ever been.
They’d stopped in Point Pleasant, West Virginia, a small city with a little silly bit of history they both enjoyed looking into.
In moments they’d overhear someone watching the news a little too loudly in public about the loss of Mondatta. Their carefree moment of exploration around a funny man moth driven town ruined. They’d be left crushed, huddled together in a back alley attempting in vein to calm each other down
Moments from now they’d both experience grief worse than they’d felt sense Genji first died, grief over a man who loved them, who welcomed them into his home and brought them to a family that would stand by them as they healed and grew.
They would find a hotel, and grieve over night. They next day they’d pack up, and return to the Shambali to find the village quiet, in mourning, monks locked away in their homes in meditation, grieving as Zayne and Genji had.
Emile would force a smile to welcome them, and apologize for the quiet. They wouldn’t see Zenyatta.
A week would pass, sitting in silence by a crackling fire, Genji would face his little brother.
“I want to find Hanzo.” The older couldn’t bare to loose any more family, and his brother was out there, lost, thinking himself alone in a sea of his own thoughts, thinking Genji dead and gone from this world. “I want him to know I’m still here. That I still.. love him.”
It would be hard on them, the older and younger so close, and yet still so distant. A love just rekindled, splitting.
They would continue to travel, separated by entire oceans. Would they keep in contact? Could they keep in contact? A family split, miles and miles of land and sea separating them.
That would be their future. For now, in this moment, they sit together in an alley in Point Pleasant, West Virginia, crying together for the loss of someone they’d known their entire new lives.
-----------------
Emile was in a bar, packed full with his family, other students of the Shambali, Omnics big and small.
The bar tender had turned on the live broadcast of Mondatta’s speech. They didn’t have a television in the Monastery, and this bar was the only place open late enough to catch most of Mondatta’s touring live.
The room was hot with tightly packed monks, machines whirring and scraping together as they chatted amongst themselves, always a buzz to leave the temple.
Emile sat at the bar, a cup of orange juice in hand as he once again thanked the bar tender of letting them all take control of his television. He never minded, liked seeing the monks, he’d say, they always seemed so chipper.
In just a few seconds the atmosphere would change. All would go dead silent as Mondatta fell limp on the television.
No one would speak, no one would move. The humans in the rooms would hold their breath and wait.
Waiting for anything other than what they’d just witnessed to be true.
They’d all wait for hours in that little bar. They’d barrow phones from passers by. They’d knock on near by doors. The entire town would be up, awaiting an update, news on Mondatta’s situation.
Within two hours it would be officially announced that Mondatta has died.
There was only one who could shed tears in that bar that night, despite the near hundred people packed in together. He would cry enough for all of them.
In the coming days the Shambali Monastery would grow silent. Monks holed up in their homes, deep in meditation and prayer. The village would become a ghost town, spare one little human.
Emile just couldn’t do it. He couldn’t sleep in that home, knowing Mondatta would never return. He couldn’t wear those robes, knowing Mondatta would never straighten them for him again. He couldn’t sit to meditate, knowing Mondatta could never sit by his side once more.
So he cleaned, in his sweater and jeans that no longer fit quiet as nicely as they once had. He swept snow off the stairs and dusted the sanctum and washed laundry that had already been cleaned thrice over.
He would not eat, he would sleep, for a near 4 days the human kept himself busy, and never once would he step foot in Mondatta’s home.
He’d smile when Zayne and Genji would come back. He’d tell the townsfolk the village was doing just fine when he’d go to get supplies. He’d keep himself busy as the monks around him mourned.
And in 5 days time, he would collapse in the snow, dressed in few too little clothes, just as he had the day he’d arrived at the Shambali. And like that day he will be saved by a monk he’d come to know better than all the rest.
---------------
On that day, the day they’d lost Mondatta, Zenyatta was at home, in meditation. He loved his brother dearly, but watching his speeches at protests was starting to get rather same-y. The monk needed new lessions, Zenyatta had thought to himself.
He’d be unaware of the loss for another 2 hours, until the chimes of the temple rang out, and he would join his siblings at the sanctum, and hear the news from the group that had gone into town.
Like everyone else, Zenyatta would lock himself away in his home. Sat against a wall he would stare blankly, perusing the web in his own head for any and all sources he could find on Mondatta’s death.
He’d loose track of days, reading article after article, watching video after video, scanning for anything new he could find.
Why, he would ask himself, why would anyone take out Mondatta? What could he have done, who could he have hurt just trying to spread love?
Zenyatta would spend time wishing death on whoever would do something so awful, just to retract the thought moments later. His brother would not want such a thing for even the person who would take his life.
On the third day of mourning Zenyatta would stumble into something he would wish he hadn’t. An image of the assassin.
A face to put to his desire of vengeance.
A woman with blue skin and long dark hair, an awfully tight purple suit and a large sniper rifle.
For the next few days Zenyatta would spend all his time staring at the blurry photo of this woman, wishing the worst upon her. May she loose those closest to her and may it be her own fault. May she feel the worst pains imaginable and survive. May she live the rest of her life with these regrets and no way to return. May she find a path to recovery just to have the door slammed in her face.
On the fifth day, these thought plaguing Zenyatta’s head would finally drive him mad. He would storm from his home with a bag of few things, vengeance his only thought as he crushed snow beneath his feet.
His plan to leave the village, to find the woman who did this, to put her in the ground himself, would be interrupted as a white haired man with puffy red eyes would collapse in front of him.
Thoughts of her would leave the monk alone after so long of obsession as he found himself in the company Emile, the human had taken the loss of Mondatta just about as well as Zenyatta.
That night, they would stop avoiding the truth. They’d lost Mondatta, their brother, their master, their family, and it hurt. Together they would face this, over hot tea and by a dying fire, they’d relive stories of their life in that Monastery.
Stories of sneaking out of meditations, of snow ball fights, of counting stars atop the mountain, of learning, and laughing, and being home and happy.
The night would pass and they would still be sat there, at Zenyatta’s low tea table Mondatta had gotten him for his birthday two years ago, sitting back to back in a comfortable silence.
“I want to find Ramattra,” Zenyatta will say, his hand laid gently on top of Emile’s. “He is lost, wherever he is, I am sure he is as lost as we were” He thinks back to the day Ramattra left, the fight he and Mondatta had, the last words he’d said to their brother... He knew Ramattra regretted that, now more than ever.
“We’ll find him.” Emile will smile over his shoulder, “Together.”
And in that moment, a moment of calm between storms, Zenyatta will look back and realize quietly to himself
He is in love. He has been in love for years. This. This was what love was for him.
#Emile's Writing#Oooooooooh I had a long day and am very very tired BUT#HERE WE ARE#I was debating with myself for a long long time on posting this#Sense it's like. Part of MY self insert fic like a thing I wanted to eventually cover#but whatever we post out of order here you go have my emotional writing#In which we are all in mourning#Every Overwatch Self Inserter you HAVE to tell me what you were doing and where you were when you learned of Mondatta's death#It's THE big deal to me for Overwatch plot so I just always need to know how everyone else handled it#The fact is pretty often Not Great#A lil Zayne and Genji moment I'm back and forth on deleting but hhhhhhhh whatever#There it is a little moment of them of their feelings if you want the full thing go check out probably-some-goat#for The Dragon and The Fox his S/I fanfiction it's very good#These scenes sit with me man I'm thinking thonking them all the time#I believe Ramattra agreed to join Talon ONLY if they took out Mondatta#And then immedetly regretted that#Because he makes very rash choices and defaults to violence and needs things done NOW#This is my belief and if anything at least that part of this fic was good#I've always had where I was worked out and it's simply always heart breaking#Aight 1am gonna go to bed soon probably#Will try to get the actual in order 3rd part of my s/i fic out like soon-ish#We're gonna have to see on that one besties
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Lan Wangji Goes To Lotus Pier AU: Part 3: Enveloping Feelings.
(Part 1, Part 2, Part 4)
#poorly drawn mdzs#mdzs#lan wangji#Yungmeng Jiang training arc AU#I wanted to try out a different paneling style for this one - sorry I'm a day late! (there will still be a post tomorrow to keep on track)#The original 3 panel comic idea was fine but the point of this new schedule was to take time to push myself a bit more.#I was taking a look back through some comic artists I felt inspired by#and I really loved how Lynda Barry fills her gutters with patterns and doodles!#Obviously I'm not going as absolutely wild with it as she does but it was a great exercise!#I truly think the gutters are the most important and most overlooked part of any comic. There's lots going on in that space.#It's the same with timeskips. The implied movement between moments that we don't see changes depending on how wide that gap is#You're here for the funny tags so here's some that ties this time talk together:#I think LWJ was thinking about that second note from day 2 but it took him 7 days of hazing to commit it to paper.#I think he sends it a day later and immediately regrets it. Chasing down the messenger and everything.#You know if something actually happened to his brother he would never ever forgive himself for putting the bad vibes out there.#Third time skip was the hardest because there was so many possible flavours of jokes here. Day 8/9 was a personal favourite.#day 14 was also funny (week by week). I think the debate on 'how long does lwj take to catch feelings' is more or less:#'how long does it take for him to arrive at a particular stage of grief and yearning (and awareness of it all)#This is a symphony. There is an act by act structure. Every day he is fighting to keep his old sensibilities. He is losing so badly.#(I'll be returning to the main comic soon but there is more of this AU to come!)
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MERMAY (where i lie i will draw mermaids the whole month and give up after the 1st)
#had a long debate with myself if its mermegulus mermulus or mermreg#friends said mermulus so its sold#posting this and running#stared at ot too much and now im unsure abt it#<- me every time i have to draw a background#marauders era#marauders fanart#regulus black#james potter#regulus black fanart#jegulus#james potter fanart#jegulus fanart#my art
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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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something i've already posted about in the past but am thinking about again because of the conversations in this episode is that i still truly do not understand bells hells'(well, particularly ashton's) view on what is going to happen if the information about aeor gets sent out to the people of exandria. obviously, i'm not an average person living in that world and am instead a viewer of the media with fairly extensive knowledge of the lore, so i could definitely just be missing what the impact would actually be! but the insistence that it would be a world shattering revelation that completely turns everyone against the odds just... doesn't make sense to me?
unless ludinus has a way of editing the information he presents and can take away the context, which would basically make the "footage" even more strange, what they're going to be seeing is... the gods saving themselves from people with the active ability to murder them all and having a rather humanizing crisis of what they should do about it? i guess the working with the betrayer gods part could be considered the controversial aspect of it, but overall, considering everything else that was destroyed in the calamity, aeor really was the one instance that was closest to being "justified". i don't think anyone who cares enough about the gods for this to cause any sort of big disruption of faith would have as big of a problem with it as they are assuming, nor do i really think it's something that would cause mass revolts against the gods in people who aren't devout.
#critical role#cr spoilers#i have spent so much time thinking abt this tbh. so much of my brain power is dedicated to thinking about religion in exandria#i do admit that i'm thinking about it in a way that is very logic-driven when if in the scenario itd be more emotion-driven#this is just nonsense from my thoughts attempted to be put into words that make sense to anyone besides myself LMAO#i was gonna add another part about why their idea that it will Massively interupt their power is strange also#considering the fact they watched a freshly Completely wiped out of followers everlight have the same power as all the other gods in aeor#but this post is long enough and i feel like whenever i post about this im worried abt how it comes across#so i dont feel like adding on to it anymore than i have sjskfn#i am honestly just very tired of god debates. i think there was more interesting parts in last night's than some of the others#but it feels so circular every time. and i still love you orym for being the one who sees this and i want to give him a kiss about it
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Happy Birthday to Ferdinand von Aegir!
I actually made 33 emotes, affectionately known as Aegirglyphics to some, for my own personal use on discord. However, I figure why not share some of them! They're free to use for discord servers/icons/pfps or whatever. However, my only request is Do NOT use them as subscriber emotes on Twitch. You can make them free follower emotes but you are not to make them locked behind a paywall.
#fe three houses#ferdinand von aegir#discord emotes#i thought long and hard about this bc idk the actual want for emotes i made ages ago but#i still love my son and its his bday ad so i should be nice and share#since i no longer have nitro and can no longer use them myself#the fact i can technically post 30 at once was tempting but#some of them arent living up to my standards and also just might not be easy to use in most contexts#so those im gonna skip on lol#whoever wants 21 aegirglyphics tho have at em#i think i might have posted some before? but only 10 and i dont recall which ones#if you want a secret the last three and the middle on the second row are my favorites to use#i used concernednand (the upper one) so much#the internet concerns me guys it was a valid use every time#debated sharing heartnand but honestly the world could benefit from it imo because gotta spread that love#fun lil trivia i love making emotes and so when i was in a server and people knew me as the ferdinand fan and artist#someone was like why hasnt salmon made a ferdinand emote yet#and im like bc i dont run the server and i cant just demand they add my art#and then a mod was like i didnt wanna put pressure on salmon but i thought about it so i was like bet#and then drew a server exclusive happy ferdinand emote#and that was the start of me somehow being able to have like.... ten emotes in that server#some of them were just me joking and then mods encouraging me#cause i used to use felix for every single art prompt theyd give and one week someone said the prompt was pog#and i just was so upset because dude why would i wanna draw felix for that hes not pog#so a mod was like hey if you make a pog felix emote we ill add it to the emotes here#so i once again was like bet and then posted it and then they really added it lmao#anyway sorry for so many rambles please feel free to use them on discord in whatever server#i cant really expect everyone to credit me but also im not really concerned since i fear people know my nands a mile away
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OOC:
Good morning!
As the long-term writer who has had this political muse for two full U.S p.residental cycles, I've decided this time I'm going to do something about it.
There's a good chance that people will find today stressful. I can't guarantee I'll be here the entire time because of time zones. However! Should you wish to have something to take your mind off things, the three blogs I write (this one, Wilf, and the "multi") are open! This also includes reaching out privately to chat (... d.iscord is a maybe, but it's fine to use if we already shared them).
Want to figure out dynamics? Talk about your muses? Just talk in general about the franchise (except E.dge of S.leep since that hasn't released here yet)? That's fine too!
Let's keep the overall dash space open today and keep the energy levels positive!
#(I feel like I shouldn't need to give the disclaimer but just in case: this only applies to rp blogs)#(I don't think I can call myself 'your local mayor mun' but imagine that sorta vibe)#(... also there will not be any political talk outside of this: VOTE. It's a great thing to be able to use your voice!)#(can you believe when I started this blog I was debating about having a plot where the mayor term ends?#he's been 2 years into a 4 year term for a very long time now...)#on the tablet#just the assistant (ooc post)
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Rating: Teen And Up Audiences Category: Gen Characters: Sister Lilith (Warrior Nun), Shotgun Mary (Warrior Nun), Mother Superion (Warrior Nun), Ava Silva, Jillian Salvius, Sister Beatrice (Warrior Nun), Father Vincent (Warrior Nun), Cardinal Duretti (Warrior Nun), Adriel (Warrior Nun), Sister Camila (Warrior Nun) Additional Tags: Angst, It's all of their relationships to one another and to the halo, Alternate Universe - Canon Divergence
A short AU for if Mary hadn't arrived on time and Lilith managed to get the halo in 1x05.
#warrior nun#narratives and similar#i debated myself for a long time about tagging so many characters BUT they arguably DO all have an importance in this one#and i suppose my concept of angst might be a tad more tame than most people's but at least you know it's not... happy#anyway i am NOT tagging everyone here lol#i mentioned au's that stick closer to canon the other day and i suppose this qualifies. one small detail...#anyway i was dying to post this one as soon as the challenge closed#also because now i get to post The Other Thing for the valentines bingo#i'll post that on friday instead of the usual drabble so stay tuned for it#also if you're wondering about the title... the challenge was the word precious#so of course i just had the song precious by depeche mode in my head all the damn time. it's a line from it.#if god has a master plan/ that only he understands/ i hope it's your eyes he's seeing through#you can interpret why i chose that and whose pov i used as you will lol
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guys !! thank you so much for the support on my poll !!
i've started designing keychains for the most popular characters and i'll show them to you all as soon as im happy with them!
this is the first time i do anything like this and it's very exciting to me! it Will however take a little bit of time, especially for the manufacturing process, i've already sent the order for some samples from a manufacturer and i want to make sure these come out okay before placing a larger order !
i also need to open up an etsy or ko-fi shop so you guys can actually buy the merch! (feedback on this would be appreciated <3)
this is all so exciting !!!! i appreciate your patience and understanding and feedback! aaaand ill update whenever i can !
#im literally so excited to design and sell things i've been thinking about this for so long and it really feels like its so close to me!!!#i also have some more gijinka's i want to finish and post#waugh... i love drawing.. i love penguins... i love art#really debating promoting myself.. i'll think about it still.. wanna post more and make it worth u guys' time <3#OKAY RAMBLE OVER!
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behind-the-scenes rambling now that part one is FINALLY posted
#goddd i forgot how fucking long proofreading takes too#but the first-pass rough draft (VERY rough) is done literally through part five LMAO#i think the file was ~13k words last time i checked? that includes notes for myself that don't make it to the posted version#i ended up going with 'psychology consultant' for the term and if that was wrong then welp.#also initially had another T/N to describe the difference between “turning yourself in” and “confessing” (in chn it's 自首 vs 坦白) but decided#decided to handle it by making the translation slightly more descriptive (and forced myself to commit to that decision)#also briefly considered making a note about mung bean soup but... i didn't care about it that much! and it's been mentioned in the game b4#i only found the BDL entry when i was about to upload and was looking for the card images#there was the briefest moment when i realized i wasn't done translating for part one and i wanted to Scream#the extra disclaimer is something i was debating with myself about (whether to say something and what to say)#bc the sentiments and explanations aren't totally out of the blue for this game but some of the stuff was still quite 😬#especially upon reread. there's parts of this card i really like and parts that also make me uncomfortable#another thing i was wondering is if i should mention my translation/posts on relevant reddits. i'm active there but for console otome games#and i haven't (explicitly) connected this blog to that account (or vice versa)#maybe a question to revisit when all parts are posted
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There's something about the way crisp snowflakes flutter smoothly down from the sky and the way she yearns for a home she is no longer able to return to that leads Kid to suspect something in the universe has changed. In which Hat Kid, now grown, returns to the planet her adventures began on and teams up with an old friend-turned-enemy to take down someone who serves as a bigger threat to the universe than anything she's ever known… and realizes that if she's not careful, this adventure might be her last.
Chapter 11: Give Me an Answer, Part One
Mu wants answers. Kid has them... even if she claims otherwise.
#im actually still not sure how i want ot format my fic posts but i am leaning towards this i think. looks nice :3c#i actually was really debating having the little strikethrough on like the Official Summary for a really long time. ended up going without#but i like it enough to keep it so... tumblr exclusive? anyways#its so nice to be updating consistently. time to shoot myself in the foot#ahit#a hat in time#hat kid#hat adult#mustache girl#hatstache#twtt posting#fics
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Everyone keeps saying how tattoos are addictive, and "you'll see, once you get one, you're gonna want more". But honestly, my first tattoo left me pretty satisfied with my experience, and with no desire to get another one.
If my friend didn't die suddenly I would probably never want a second tattoo.
#personal#tattoo#tattoos#putting this under a read more because.. you know#sorry for being dark#I can't help myself#I think I want to get the memorial tattoo#Right now I'm debating whether I should wait for my first choice of artist to visit from berlin (far!)#or go to a local one who has a unique style but I'm a little unsure of how his work would look after a long while#he has a hatching style that looks amazing#but his oldest healed photo is only 8 months post heal#is that enough to know? I'm not sure#I don't know enough about tattoos to tell#I'm also a little scared about having to explain people what the tattoo means#I'd rather not bring up my dead friend every time thank you very much#anyway#can I debate the idea with anyone who knows more than me maybe?#thanks#(yeah that's why I tagged my personal post)
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Imagine being so far down a bigotry rabbit hole that you think people hating you must be because you're Not Part Of A Minority Group. Imagine being too self absorbed to consider the much more simple and plausible possibility that people hate you because you're... yknow... being an asshole. voldemort deluding himself into believing everyone hates him because he's straight and not because he's a white supremacist, mass murderer, literal personification of evil, etc
Girl help I'm being demonised and dehumanised for *checks notes* not being trans. Nothing to do with the hate and vitriol I'm spouting ahaha
She ain't even subtle anymore lmao
#im sorry but queer and trans people and allies are not hanging around all the time going. lol we should murder all the cishets.#yknow when somebody who us cheating on their partner gets really paranoid that theyre being cheated on?#i cannot fathom any reason to believe trans ppl want to kill you. other than literally just projecting how much you want to kill them.#cw transphobia#cw jk rowling#fuck terfs and fuck jk rowling#long post#im sorry to engage and put this bullshit on peoples dashes i just#it makes me so sad and afraid to see myself and my loved ones being spoken about like this and its treated like its a healthy and#reasonable point for debate#i hate that there continues to be a platform for people who are willing to compare their blatant nazi allegory to a group of people who#were literally targeted by the nazis#i know i shouldnt live in the doomscrolling bad news everything is terrible hellscape all the time but it feels closer and closer#every god damn day at the moment
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Wash day was so calming today
#I'm talking about my hair if it wasn't clear#taking out the pre-detangle step worked wonders because I wasn't wanting to rip my hair out when it came time to detangle for styling#I'm growing my hair out longer and each time I do it I ask myself why I want it longer when it already takes me 2+ hours.#I used to want waist length hair but I think I'd shave my head if my hair was that long it's too thick and dense for that shit#mid back at the longest so I'm like 3 inches away#I don't use twitter and I don't like bothering my friends with random texts when they're at work so you get posts like this lol#speaking of friends the friend I said was having trouble a year or two ago is doing really well now#she's graduated and is now a practicing nurse she's debating on closing on a townhouse or becoming a traveling nurse
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