#alright finally out

[likeadevils]

Red Timeline (Pt. 2)

This is a very long post that puts all the songs on Red in order of Taylor making them, with as many specific dates as possible. I’ve also included other songs she wrote while writing Red and quotes from Taylor and her collaborators talking about her process. 

Because she wrote so much for Red, I’ve had to split this timeline into two parts. This one covers the songs she wrote in 2012:

Treacherous, I Knew You Were Trouble, 22, We Are Never Ever Getting Back Together, The Last Time, Holy Ground, The Lucky One, Everything Has Changed, Come Back... Be Here, Girl At Home, Nothing New, Babe, Message In A Bottle, Forever Winter, Run, The Very First Night (2010-2011 songs here)

If you don't want to read the whole post, check out this playlist of the album in order or this playlist of her entire discography.

KEY:

Song Dates:

🟢: There is some type of official source for the date

🟡: There isn’t an official source, but everything points to that date

🟠: I’m pretty sure that this is when it was written, but I wouldn’t be shocked if I was wrong. Or the period of time is just too large to be a definite date

🔴: Unknown, year comes from copyright

Other:

✍️: Record of Taylor (possibly) writing a song

🎤: Record of Taylor (possibly) recording a song

📌: Misc. Album activity

📌 January 2012: Moved to LA to work with new producers

Taylor: "With Red, [Scott Borchetta] came to me in January and said, 'I think the album's finished.' This time, I said, 'No, it's not – I need to keep writing.'" Taylor: "I turned in 20 songs and I had this immediate sinking feeling, this can't be done, this can't be it. I think the reason I said that was because I made the record exactly the same way I made the last three. I knew I hadn't jumped out of my comfort zone, which at the time was writing alone and working with Nathan [Chapman]."

🟠 January 2012: Girl At Home

Girl at Home is a little blip in the timeline– it's the only song that was produced by Nathan Chapman in 2012. There's lots of ways you could speculate about that– perhaps she was trying to see how producing a pop song with Nathan would turn out, perhaps it's evidence for the persistent rumors that Girl at Home is a demo. Either way, I'm inclined to put it as early in the timeline as possible. Nathan Chapman posted some behind the scenes photos of the Red and Speak Now sessions on instagram. The one below was likely taken while she was recording Girl at Home– it shows Taylor in Nathan's home studio with bangs and straight hair, and the only song recorded in his home studio after she had cut her hair is Girl At Home. (She is also bundled up, adding credence to Girl At Home being recorded in winter. But then again, Taylor is fond of being bundled up, so I wouldn't read into it too much).

🟡 January 2012: I Knew You Were Trouble (First Draft)

Taylor: "I wrote this melody for this chorus on the piano." Taylor: "I remember bringing in this slow, sad thing that I had written, called 'I Knew You Were Trouble.' I had originally called it 'Trouble'" Taylor: "'I Knew You Were Trouble' was an idea that I got almost six months before I was scheduled to write with Max Martin, and I emailed him and said 'I just got this idea, I can't wait to bring it to you. I know that we're not writing for a few months, but I just, I need you to know, I thought of this thing, I can't wait for you to hear it.'"

Taylor first wrote with Max Martin in late April, meaning Trouble was possibly conceived as early as October 2011. However, it seems like she didn't know she would write with Max Martin until December 2011 at the earliest, so I'm inclined to place this in January 2012, six months before they finish writing Trouble in June.

🟢 February 2012: Holy Ground

Lover Diaries

📌 February 13, 2012: MTV interview:

"So far, I've been writing so much in the last year and the label keeps telling me, 'All right, we're finished; all right, we're satisfied; OK, this is done now.' And then I just keep writing and I keep turning it in in different versions [...] I'm going to work on it until I literally have zero time left to work on it, because I'm having so much fun working on this album [...] I'm getting to work with people that I've always wanted to work with, from all different places in music. I'm trying to be as much of a sponge as possible. You have to evolve and try new things and change and that's what I've loved to do with this album."

📌 February 15, 2012: Extra Tv Interview: 

"I'm really excited about the next record. I'm so excited about it. I've been writing it since before the last record came out, so there's been so much that has been amazing to write about, and you know right now I'm just having to pick from like the 30* songs that I have, that I love, and pick the best ones." [...] This has got to be the best form of revenge, just write hit songs about it. "Yeah, it’s not bad. But there’s the pressure of, like, it has to be good, and if it’s not, then your ex is kinda just like, "Ha-ha, it’s not good." So there’s the pressure of, you have to make a great record. And for me, I’m just obsessed with it when I’m making an album because I just want it to be better than all the ones I've made before, and I kind of compete with myself. I just drive myself insane with it." *Grain of salt: The amount of songs Taylor says she wrote for Red at different points doesn't add up, so give or take 5 songs.

🟢 February 29, 2012: Nothing New

In the below journal, Taylor mentions writing Nothing New on the plane ride from Sydeny to Perth. She arrives at the Sydney Airport on February 29, and was in Perth on March 1.

✍️ March 2, 2012: Lover Diary entry:

"I've been thinking a lot about getting older and relevancy and how all my heroes have ended up alone. I wrote a song on the plane ride from Sydney to Perth on the appalachain dulcimer I bought the day of my flight. I bought it because Joni played on most of her blue record. I taught myself to play 'A Case of You.' Anyway, I wrote a song on it called "Nothin New" and it's about being scared of aging and things changing and losing what you have. It says "I'm getting older and less sure of what you like about me anyway." And in the chorus it says "How can a person know everything at 18, and nothing at 22? And will you still want me … when I'm nothing new." It's a really vulnerable song, but I think it's important to say."

🟢 Early March, 2012: The Lucky One

Taylor: "'The Lucky One' is a song that I wrote while I was in Australia. And it kind of talks about some of my fears, through telling the story of other people that I was inspired by. But, more than their stories being told... I'm pretty much singing about what I'm scared of."

Taylor was in Australia from March 1-14, 2012.

📌 April 1, 2012: 99.5 WYCD interview: "I've been in the studio in the last week."

Just based on when the songs were written, she was probably recording Holy Ground and The Lucky One with Jeff Bhasker.

📌 April 1, 2012: Philippine Daily Inquirer interview: When you meet someone that you're attracted to, do you go, "Here's a song"? "That can happen. I get inspired by the smallest or the biggest things. You meet someone and you wonder if you'll ever see them again. I could write so many songs about that. I have written so many songs about that. Wait till you hear my next record, it's all about that."

📌 April 2, 2012: Train: "Last night @/taylorswift13 told me DRIVE BY is her favorite song right now. Took this long to get my speech back. Big deal 4 us! Thank u, T!"

Babe was written with Pat Monahan, the lead singer of Train. To me, this implies that they hadn't yet worked together– Train seems genuinely surprised that Taylor likes their music. –

📌 April 5, 2012: Rolling Stone interview: "I have the entire summer just to finish up the rec­ord," says Swift, "so that will be awesome." Expect some new tricks: "There are a few songs that are completely from another person's perspective," adds the singer. "I really like the feeling of making little departures musically."

📌 April 12, 2012: Twitter: "Recording the next album. So happy"

This appears to have been taken in Dan Wilson's house, her producer for Treacherous and Come Back Be Here

🟡 April 12, 2012: Treacherous

Dan Wilson: "With Taylor, we had been kind of circling around, very much aware of each other's work for a while. We figured out these two days to work together and she came to my studio super excited and said, "I had an idea in the car." And she sang me the first three or four lines of it and said, "I want to call it 'Treacherous' and maybe the chorus can go like this." And we were writing the song in 10 minutes and she was just so full of excitement."

🟡 April 13, 2012: Come Back… Be Here

Dan Wilson*: "We squeezed in two days, before a trip I was taking, and we did a song each day, totally countryside. But it was extremely inspiring. She gets such backhand appreciation from the press, but it's a bunch of bullshit. She's so spontaneous, and she was really on fire for the sessions we did together." *I can not find the original source for this quote. It started popping up on multiple sites around August 2013.

🟡 April 23, 2012: Message in a Bottle

Taylor: [Before writing WANEGBT] "I was in the studio with [Max Martin and Shellback] and we were writing a completely different song, about like, liking someone who doesn't know you like them or something."

🎤 April 23, 2012: Twitter: "Sitting in my kitchen. Listening to music. Don't want to go to bed. Was in the studio tonight. Writing tomorrow. Should go to bed. Ok I will"

🟡 April 24, 2012: We Are Never Ever Getting Back Together

Max Martin: "Me and Johan [Shellback] had our first date with her at Conway Studios. I was a little nervous, you know, the good kind of nervous. Maroon 5 was recording in the studio next door. This guy shows up, a friend of theirs. We literally haven't started the session yet. The guy says, "I heard that Taylor Swift's here. I gotta say hello". I was like, "Really?" and the guy says, "I totally know her, it's fine, we're friends". He walks in and it turns out that he didn't know her. And I started sweating cause I was vouching for that guy. He started talking about some ex-boyfriend of hers. It was really messy. He leaves and I apologize, but she was super cool, no problem at all. Then I asked what that was all about and she told me the story about this guy that she was dating. I can't remember exactly what she said, but she said, "One thing's for sure, we are never ever getting back together", and I said, "That's pretty harsh". She said, "No no, we are never ever ever getting back together". And we're laughing about it, saying, "That sounds like a song title". Then we started on something else. The next day, she said, "I thought about what you said", and she played us this idea that became 'We Are Never Ever Getting Back Together'. I was so mad at that guy who ruined our session, but it turned into love, cause it never would've happened if he hadn't walked in." Taylor: "It's a definitive portrait of how I felt when I finally stopped caring what my ex thought of me. He made me feel like I wasn't as good or as relevant as these hipster bands he listened to…So I made a song that I knew would absolutely drive him crazy when he heard it on the radio. Not only would it hopefully be played a lot, so that he'd have to hear it, but it's the opposite of the kind of music that he was trying to make me feel inferior to."

🟢 May 15, 2012: Run

Taylor (May 15, 2012): "Eating cheeseburgers, scribbling on guitars, writing songs with @/edsheeran :)" Ed Sheeran (May 15, 2012): "In and out burger, defacing guitars and writing music with @/taylorswift13 ;)" Taylor: "We had both reached out to each other's camps at the same time. I showed up at his hotel in Arizona and we just wrote songs all day." Ed: "So the very first time we met… So I played Nashville, and her mum, Andrea, came down to watch me at the Ryman [...] and we sorta met after that in a hotel room in… I want to say like Seattle* or something? It wasn’t like Los Angeles, New York, L.A., Nashville, it wasn’t like that, I think it was Seattle?" So Taylor Swift’s mom Andrea introduced you? "Well, originally it was Frank, who was her radio guy, so that was the original meeting. And then we were in a hotel room, had some, I think we had burgers? Had some burgers, had a guitar, and we wrote this Run song, and I think like, part of another song?" *It was definitely in Arizona. Ed had just played in Phoenix, and there is no In-n-Out in Seattle.

🟢 May 17, 2012: Forever Winter

Mark Foster: "We actually wrote a song that day [we were photographed]. It's a really cool song, you know? We kind of just went into it casually, like let's just jam and just have fun, and something really cool came out of it. So yeah, we'll see what happens with it. She's been writing a lot for her next record. But yeah, it was a lot of fun working with her, she's super talented."

Taylor and Mark Foster, her co-writer, were photographed having lunch together on May 17.

🟢 May 27, 2012: Everything Has Changed

Taylor: "The first idea that hit me was this part of the song [...] there's a part on this song that goes 'I just want to know you better, know you better', and I got that idea while I was riding in the car with my friend Claire [Winters, probably], and she's talking about, like, 'Oh my God and then my sister says to me, this this this–' and she's like, 'What are you singing?' and I'm like [muffled] 'I just want to know you better–' and then the next day, I had demoed up the song with Ed, and she's like 'That's what you were singing in the car!'" Ed Sheeran: "When I landed in Los Angeles to record [Run], it was like the day before, she just said 'come round my house, we'll jam,' or whatever, and we jammed and wrote 'Everything Has Changed'. So those two songs were written probably in the space of two weeks." Ed Sheeran: "She has a little Taylor guitar, she got it out and she's like, 'I had this idea for this song,' ... and she pretty much had the verse, bridge and chorus done, but we argued about that one chord: "I just want to know you, better know you" – she didn't like that, and I kind of forced it upon her. It was quite a funny situation. [We were] surrounded by Grammys; she has like seven or eight, and like, Billboard Awards and Songwriting Guild, and I'm like, 'this chord,' and she's like [pointing to her awards]."

It's possible Taylor was flubbing the timeline a little bit, and actually came up with EHC while hanging out with Claire Winters on the 23rd, but it's also possible her and Claire hung out without posting it to Instagram.

🎤 May 28, 2012: Taylor and Ed were photographed entering a recording studio.

📌 May 31, 2012: Scott Borchetta: "Was with miss Swift yesterday... Omg... She is writing like crazy... I know it's hard to wait but I promise it will be worth it..."

🟢 June 1, 2012: 22

Taylor: Taylor says she wrote that particular "big" chorus [...] on a plane, on her way to a co-writing session with hit making writers and producers Max Martin and Shellback. "I walked in and I was so excited about it, and I played it for them and they were like, 'All right. Let's do this!' They loved it, too," Taylor recalls. "It was really, kind of, an exciting moment for me...[that] they loved it enough to not really change much about it and just to build out from there, and to write the rest of the song."

🟢 June 2, 2012: I Knew You Were Trouble

Taylor: "I brought it to Max Martin and Shellback, and I said, "At the end of the chorus I just want this to go crazy. I want it to be really chaotic; I want the bass line to do this, like [makes loud GUH GUH GUH sound] [...] I don't really know what to call it, but I just kind of sing it how I want it to sound. And they're like, "Oh, sort of like a dubstep thing." And I'm like, "I guess, I don't know? Whatever that is, whatever that ridiculous sound that I made with my mouth when I was trying to figure out what to say." You end up doing a lot of that when you're recording and writing, being like "It kinda sounds like this! [Does a laser-y SCHOOM sound]." I wanted the song to sound as chaotic as the emotion felt. I wanted it to be loud and out of control." Taylor: "I was like, 'I don't know if we could have some kind of intense bass drop or something, like dubstep is really awesome…' And they were just like, 'Yes, absolutely!' And then Shellback was like, 'In the verse, let's do this really frantic drum beat.' And it just was something I would never have thought of; to make the beat of the verse really up-tempo, and then make the intensity drop off the chorus, and then have it build back up, and then have a production explosion at the end of the chorus. It was so thrilling! I couldn't believe the song started where it started and then their added ideas with production. They ended up seeping into my brain and I started thinking the way that I would hope they would think. I would write a verse and Max would be like, 'This is this many syllables, can you shorten it and make it more succinct, but convey the same message?' And I would just go off into a corner and I felt like I had this amazing assignment. So the challenge of it was so thrilling for me."

🎤 June 5, 2012: Twitter: "It's been a wonderful week in the studio. I'm so excited about so much."

🟡 Early June: The Last Time

Gary Lightbody: "Her and Ed were recording the song they did on the record together in Santa Monica, about two blocks away from where I am standing right now. Ed invited me, with Taylor's permission, to come into the studio and say, "Hi." I'd never met Taylor. She said she was a fan. Apparently, the night before, she and Ed had been playing and singing "Set the Fire to the Third Bar" together. It was lovely to hear that she knew our music, you know. I can't remember if I was bold enough to ask if she wanted to work with me. But it might well have been me. Or if it was her who said, "Do you want to write a song together?" I can't remember. We wrote "The Last Time" together and that was great. The three of us collaborated on it really well." Gary Lightbody: "It was so fast. She works really fast. She's extraordinary. We actually did that song, wrote it and recorded it in a day. And that was the version of it on the record, which is very rare. Normally you write and record something with somebody and then down the line they'll record it, if you're lucky. With her, the whole thing was done in nine hours. I hope we can do it again sometime!" Jacknife Lee: "Taylor came to Topanga. Body guards, big black car. We wrote a song in a couple of hours and sang it sitting on the sofa. She had a handheld microphone. Then we had pasta for dinner and hung around with my kids. She left and I finished the song off. Owen Pallett [Arcade Fire/Final Fantasy] did some strings very quickly. [...] It was out of my field of expertise and interest, but I was intrigued and my girls were thrilled. Taylor was nice and very professional. She knew what she wanted and there was no fucking about."

This was definitely written after May 29, when Taylor and Ed recorded Everything Has Changed, and before June 10, when Gary tweeted: "Last day in LA 2dy. Have had a great time writing, relaxing & clowning." Taylor and Gary's schedules don't line up until June 3 at the earliest.

📌 June 10, 2012: Lover Diary entry:

"I've been in the studio non stop. This week I was in with Max Martin and Johan Shellback, the guys I wrote 'Getting Back Together' with. The first day, I had to do this corporate performance for an arena full of managers [...] When I finished there, I got on the plane and this idea came to me "I don't know about you, but I'm feeling 22." I wrote the entire chorus on the plane ride to LA. When I landed, I went straight to the studio and played it for Max and Johan. They loved it. I was so excited. I wrote 22 about how much fun I've been having this summer and this year in general. It's so carefree and sounds like a summer anthem. I was floating on a cloud after we wrote it. The next day I brought them a chorus called 'Trouble' that's about how I should've known what I was getting into. We came back to 'Trouble' and it turned out to be absolutely amazing. It's so edgy and unexpected. It's almost dub step. My friends love that one the most. I love writing so much. It's the only thing that makes total sense to me. If I missed a day in the studio, I'd be so mad at myself. God I've been having such a beautiful life lately. I can't believe it. It's like there's magic in the air."

🔴Spring 2012: Unknown song

Ryan Adams: Adams [...] got a call from Swift while she was writing songs for her 2012 album Red, asking if they could work on a song together. "She basically already had this thing done [...] I just sat down and went, 'What about this?' And 'What about this?' We worked on a bridge, and we finished it. I guess I was the guy who could call people that would come in around 11 or 12 to jam."

🟠 Summer 2012: Babe

Pat Monahan: When he told Taylor that he wanted to collaborate with her on a song for Train's next album, she asked him to write a song with her for her album, Red. The track didn't make the album, but Pat says eventually, when Taylor puts out a deluxe re-released version of Red, "the song, I think, will be on there [...] It's a song called 'Babe,'" continues Pat. "So it's her song; I was just lucky enough to be a part of it with her, and I'm gonna ask the same of her in the future."

Pat could mean two albums when he says "He wanted to collaborate with her on a song for Train's next album"; California 37, released April 13, 2012, or Bulletproof Picasso, released September 12, 2014. Either one is a bit of a stretch. California 37 would've probably been wrapped sometime in early 2012– February, at latest. Taylor was still working in Nashville in Jan, but she was in LA in February, meaning it is possible for them to have worked together then. BUT we also have that Train tweet in April ("Last night @/taylorswift13 told me DRIVE BY is her favorite song right now. Took this long to get my speech back. Big deal 4 us! Thank u, T!") where they seem surprised that she likes Drive By, which was released in January– before they would've worked together. On the flip side, it would be weird to not only start writing for Bulletproof Picasso when they had just released an album a couple months before, but to be reaching out to collaborate. So just pick whatever feels less weird for you.

🟠 Summer 2012: The Very First Night

Espionage, the production team behind this, is based in New York, and are Train's longtime collaborators, meaning Taylor likely started working with them on Pat Monahan's recommendation.

📌 July 9, 2012: Finalized the album

Facebook: "Oh hey! I'm writing you from Nashville, where I just sat in a big room with a lot of people and made a lot of decisions about a lot of things happening very soon. And as vague as that sentence was, I think you know what it means. Stuff is about to happen. And I love you more than ever. Taylor"

📌 August 13, 2012: Album announcement

Taylor: "I ended up having to pick from between 30-35* songs that I had written that I really wanted to make the album. It was really hard to get it down to 16." *Grain of salt: The amount of songs Taylor says she wrote for Red at different points doesn't add up, so give or take 5 songs. In February, Taylor said she had written roughly 30 songs for the album. Taylor made 14 songs between that quote and this one. 

That's all for this timeline! Red Part 1 is here, and you can check out the other albums in my pinned post!

[senblades]

there's a friendly face at the end of the road

[chiricat]

a different kind of justice

[shuakeweek2024 | day one: roleswap]

[rookanisstuff]

“Oh Lucanis… I’m going to miss you.”

Lucanis funeral in like 30 years….. there was supposed to be a second part where she kissed the coffin but frankly it’s too damn sad!!!!! I can’t take drawing this anymore!!!!

[king-of-docks]

Some people have really long shadows

[ahhrenata]

Steve tries to stay quiet while he gets ready for work, but Eddie hears him. He keeps his eyes closed and just listens- to Steve grumbling to himself when his hair doesn’t sit quite right, who starts to hum and whisper some catchy song. Eddie turns his sleepy gaze onto Steve as he shuffles around their room- watching quietly as he slips on his clothes, his shoes, a simple chain with Eddie’s ring around his neck. A warm, affectionate smile breaks across his face. Before he leaves, Steve glances at what he expects to be a sleeping Eddie, but instead, he’s met with a rasped, ‘Hey.’ Eddie sits himself up, stretches his arm across Steve’s side of the bed, and reaches, fingers wiggling. Steve crosses the room to cradle his face.

Their foreheads press, noses bump, and Steve brushes his fingers across scars and dimples.

He breathes a quiet,

‘Sorry, I didn’t mean to wake you.’

Eddie huffs a tired laugh,

‘You know I never mind.’

Because, yeah.

Every morning Steve tries to stay quiet while he gets ready for work, but Eddie always hears him.

( another one from the poll | WIP )

[justaz]

battle of camlann but merlin wasn’t ancient as shit. he blasts the warriors around arthur away and arthur turns to see a glowering, golden-eyed merlin. he tightens his grip on his sword but isn’t able to raise it. the inconceivable notion that merlin has betrayed him runs through his mind but he cant quite grasp it. his father is screaming in his head to kill the wretched sorcerer but all arthur can see is his friend wearing a face that looks too much like morgana’s. merlin glances up at arthur and the expression of rage fizzles into one tinged with fear and concern - all too confusing for him to unpack in the midst of battle. merlin is slow to approach his side and even then he keeps his distance. before either of them can say anything, mordred appears, sword in hand, glaring at arthur.

merlin tries to draw the former knights attention away from arthur, tries to goad him into fighting merlin instead, but mordred is deadset on fighting arthur. he calls morgana over instead and says emrys’s fight is with her while his is with arthur. with the extra seconds of back and forth, arthur isn’t as shocked when he raises his sword against mordred’s. morgana and merlin blast each other great distances until they’re far away from modred vs arthur and land on the front line between the two armies. both armies back off and watch the light show as morgana and emrys battle until morgana’s army uses the distraction to close in on camelot’s army.

three battles occurring at once until morgana gets a lucky hit in and merlin goes flying. he lands next to a gwaine who is currently bleeding out. he smiles when he sees who’s next to him “merlin!” which sounds so much like his greeting every time they ran into each other before gwaine became a knight. he reaches out and heals gwaine’s wound and leon just looks up at him for a moment before going “you’re always full of surprises, aren’t you merlin?” merlin grins and goes “i got one more” he stands up on surprisingly steady legs and calls on kilgharrah. in for a penny, out for a pound. arthur is already fuming at him, might as well rip the bandaid off right?

kilgharrah attacks morgana’s army while merlin orders aithusa to stand down. camelot’s army is able to march through the charred army and bring down those who remain, mordred is loosing but persevering through rage and spite alone, morgana is screaming (like she always is nowadays). merlin and morgana battle once more until mordred and morgana’s armies have fallen. merlin makes a tactical retreat to arthur who is still staring at him wearily (and definitely irate). he requests permission to kill morgana which is baffling but she is his sister and he’s always cared for her even after her betrayal so he supposes it makes sense. once he gives it, their fight doesn’t last longer than a minute. emrys was always stronger than her, he was just buying time.

camelot emerges victorious though they don’t seem all that excited about it. the other warriors cheer and clap each other on the back, but arthur is just watching merlin. the knights watch them uneasily. merlin returns arthur’s gaze. “is that the fucking dragon i killed?” merlin looks up at kilgharrah who is needlessly burning the remains of morgana’s army. merlin turns back to him “yes.”

[twinkskeletons]

🐑✨💙welcome.. he’s here :3 💙✨🐑

[heartkade]

egg kids :]

[slavhew]

DO YA THINGKU

for a twitter trend of redrawing miku as album covers!! i wanted to do one of my favorite single from gorillaz. Cover-accurate ver + closeups:

this was definitely the biggest thing ive drawn this year!! and a good chunk of it on stream. thank you everyone who tuned in!! it was loads more fun to make in company :]

[ricky-mortis]

What a horrible rat bastard of a man ❤️

[royalarchivist]

Pac: Take care of Ramon, take care of Richas, ok? See you on the other side, big boy.

Fit: [Laughs] Take it easy, big boy. Take it easy, big boy. Actually, nononono– You can't just say "big boy" and then just expect me to not drag you outta here. [Fit tries to lasso Pac] You're coming with me.

Pac: No, I need to leave!

Fit: You're coming with me. You are not dying today! You are not dying today!

Pac: I need to leave, Fit! I'm sorry, I'm sorry!

Ironmouse: Are you guys like, having sexy time?

Fit: There's homosexual activity going on Mouse, don't worry about us, ok?

Ironmouse: You guys, we don't have time to be gay right now.

[ Full Transcript ↓ ]

-

Pac: I'm just here to say goodbye to you, Fit.

Fit: Goodbye? We're not– we're gonna be fine, we're going to get out of here, don't worry.

Aypierre: Yeah, don't worry!

Pac: I know, but like– I will sleep until the end, you know? I will pass through this moment sleeping, man. I won't be able to be awake for the moment.

Fit: [Laughs] You know, it's– I mean, if that's how you wanna go, but– I mean, that- I mean, isn't that bed kind of like.... I don't know, it's–

Pac: No no, I will be staying on the sofa, you know, I will be staying on the sofa.

Fit: Oh the sofa. Ok, that's a nice sofa! Yeah, that is a pretty nice sofa.

Pac: Yeah, it's a nice sofa right? No, yeah– I'm going to stay on the sofa, you know? So, since I will be going Fit... [Pac starts tossing Fit all his items]

Aypierre: [Not paying attention to their conversation] Is that bigger cell? I don't think it's a bigger- biggest one.

Fit: Oh... Thank you Pac, thank you.

Pac: Everything you need to survive, ok?

Fit: Wow.

Aypierre: Wow.

Pac: And if you need this one also, maybe, who knows? [Throws him more items]

Fit: Ohhh, well hey– just take this to remember me by, ok? [Tosses him a photo of himself – the same one Aypierre was carrying all day yesterday]

Pac: [Laughs] Ok, I will sleep holding the picture you know, like this. You know, I will dream about you, Fit. And I hope this is gonna be good dreams. I see you in the other side. Good luck, my friend.

Fit: The other side... Yeah, you know, yeah, we– we– you know? It's been an honor, Pac. It's been an honor, you know?

Pac: Yeah, for me too, you know? Take care of Ramon, take care of Richas, ok?

Fit: Ok.

Pac: See you on the other side, big boy.

Fit: I will sing your praise– Oh yeah, hey– [Laughs] Take it easy, big boy. Take it easy, big boy. Actually, nononono– You can't just say "big boy" and then just expect me to not drag you outta here. You're coming with me.

Pac: No, I need to leave!

Fit: You're coming with me. You are not dying today! You are not dying today!

Pac: I need to leave, Fit! I'm sorry, I'm sorry!

Fit: Sorry, there's–

Pac: I'm sorry!

Ironmouse: Are you guys like, having sexy time?

Fit: There's homosexual activity going on Mouse, don't worry about us, ok?

Ironmouse: You guys, you guys– we don't have time to be gay right now, come on. There's no time.

Pac: No, there's no time! Oh, goodbye Fit...

Fit: Ok, c'mon, no no no, come on, we got this we got this!

Pac: Goodbye Fit, I'm sorry!

Fit: [Laughs] Oh no...

[brawlmetaknight]

what if i told you guys i had an elaborate smash bros AU and incidentally meta knight is dating princess peach. what then

[im-kinno-hello]

and if i made a comic about them making a blog for the weird demon dog they found in the woods just because they are being brainwashed by it and it told them they need to spread the word of what word they don’t even fucking know?

[crescenthistory]

hi my darlings 🤍 sorry for disappearing on you — a lot happened at once. often i turn to writing when life gets tough, but now i’ve just needed a breather.

i’ve just been hospitalised for a while because of my chronic illness and disability, which was hard, but at least i’m getting the help i need. i’m officially back on the streets! the downside is i’m now too ill to work and am scrambling to get some sort of financial support to pay my rent lols:,)

my lovely lovely dog and companion also passed away. her name was tinka and she is one of the best things to have happened to me 🫂 look at this cutie!! i will miss her always.

i’m alright and will be back whenever i get my bearings — i just had to get off any and all social media for a while. i’m doing better and have thankfully been able to defer my exams, so i’ve only got to crank out some essays, which i can do from my bed 🙏

genuinely from the bottom of my heart, thank you to all the people who reached out! and to the people who kept interacting as if i was here<3 it truly means the world to be faced with persistent compassion like this, all my love goes out to you<33 take care of yourselves 🫶 big hugs xx

[lavendermaster]

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