#and i have such a weird personality LOL
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Missed drawing these two too
Bonuses
#rendoc#still thinking about them a lot#always#hermitshipping#sorry for the weird empty area in the first one. It was my attempt to make it take up less of people's timelines#this art is so embarrassing lol but man I like when Doc's drawn as a big goat man I have no defense I plead the fifth#or well at least it becomes embarrassing when its. shippy#whatever Tumblr people are usually cool so here goes!!#I am 99% a fluff and hurt/comfort person. Idc how frisky these guys get in fanon all I can ever think of is fluff sorry#Also contemplated implementing Doc's accent into the dialogue but I am forever paranoid of offending someone lol#idk how to write accents etc but you guys will make it sound fine in your heads I'm sure#hermitblr#tubby art
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Diversity win! All the male mannequins in the nursing class I was in had vaginas (literally all)!
Diversity loss! Everyone was Weird about it
#trans#transgender#lgbt#lgbtq#ftm#nonbinary#how are you wanting to be an LPN or EMT but can't stand the sight of a vagina. genuinely.#the only person who wasn't weird was the instructor (an older nurse who took No shit)#i would entrust her in an emergency situation because she gives No fucks about bodies#also i was normal about it. for obvious reasons. honestly i really loved that about the class. they just laid there in their gowns.#it felt like... oh this is a normal thing. it would have been easy to just not make them the male models but they did#because otherwise those medical models are very binary and conforming and whatnot#this was a while ago but i think about it still sometimes#i had to take that class but i don't want to be in nursing. however that class really was useful and this is only a part of why lol
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The more I think about it, the more I question Arcane S2's politics and themes, which were so foundational to S1. Like, a tiny example [SPOILERS AHEAD]:
Singed wins. He gets exactly what he wants in the end. All his "efforts" are rewarded. What does that say about people who share his ideology of eugenics? He is the source of nearly every horrible thing and conflict that happened (Shimmer, the factory deaths, Jinx, Vander as Warwick, the corruption of Viktor), and he gets a happier ending than any other character. Not even a 'he got what he wanted but he has become completely unrecognizable/monstrous to his daughter' tag at the end. You can say they're setting him up and need to open his daughter to future shows, but the way you end a character's story says something about what you think about that character. What does it say when the eugenicist war criminal gets the happy ending he doesn't deserve?
#personal#delete later#and you can say “it's not that deep it's just what makes sense to end his character” but lets not kid ourselves#this past month people have been chattering about microexpressions in animation or metaphors and symbolism in interactions#and random props and set details. the end of a character's arc MEANS something thematically.#and it just feels offputting that the most unforgivable character wins while everyone else is dead or suffers alone#and don't give me that “sometimes the bad guy wins” look this is an extreme lol.#i would be fine with this outcome for singed if literally EVERY other character wasn't suffering. only singed got what he wanted#honestly fans who have been completely unwilling to consider negative analysis and criticisms of arcane annoy me so much#y'all chirp about how amazing it is that arcane is so political until the politics get weird. then it's a completely apolitical show#specifically the final “dirt under you fingernails” line. that felt so weird and offputting coming from vi#a part of this is definitely just reactionary anger at a fictional character. like. you caused untold amounts of suffering and agony#all for your daughter. fuck you you don't get your daughter
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feelin' weird
#every time the number of selfie requests in my inbox equals my lucky number i have to post for luck#lol thats all#weird woman#somebody requested a smile but im too sad to make it look normal so have a kiss perhaps#im so tired i could sleep for days and miserable lol but oh well right#stoned as fuck and very bleary sorry#personal
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mira !!! :]
#isat#in stars and time#isat mirabelle#isat spoilers#<- due to act 3 optional content !#the img might be being chewed due to weird canvas size oops ah well#one of these miras is not like the other#one of these miras doesnt belong ASFASFSDAFA#a majority of these are based on things mentioned / that happen in the house cuz i thought itd be fun to draw :D#so like the wilting plant is from gardening room dialogue#the poster with ppl holding hands and sparkly eyes is (i think??) from some SAPSAPSAAP dialogue in one of the first rooms#i tried looking around ISAT to see if it's also in there too but couldnt find it so uh correct me if im wrong if thats NOT an exclusive LOL#side note the 2 in the poster are some old nuz ocs isatified ASDFASFA#funnily enough tho they are from 2 different games if they actually ever met they would hate each others guts i think. hmm...#however both are also the most qualified to help with promotional stuff so theres that ASDFAFA#mira looking at her bonding proposals is sorta on the tin but#the fact that she has like right next to her while she sleeps in her dresser makes me :(#cuz to me it potrays how much theyve been weighing over her cuz of how close shes been keeping them with her vs putting them on a bookshelf#or something idk if that makes sense i dont have proper words atm#but uhhh moving on chalkboard is from one of the optional events#which i think is! important!!! i dont think ive seen many ppl talk about it but!! yeah!#however i too do not have words on it atm but!!! yeah!!!! moving on for now!#the 'mira' that is really just the change god is ofc from the change god event :]#aaand ofc the iconic finish from mira towards the king#and then some misc miras with swords for funsies tbh ASFAFA#but yeah! i like mira a lot actually but as with many things i do not currently have many words to properly articulate *why*#all i know in my heart of hearts is that she is near and dear and special to me personally#one day. one day i will be able to gather my thoughts in a cohesive manner but that day. is not today!#anyway tag talk over :]
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some WIPs from the 80s AU i never finished
#so… hi#i think…. i might start making some stuff here soon#i’ve been gone a lot longer than i intended to be#& i feel a lil bad about it bc i really miss my boys & bein here & all that but#idk it’s just been a rough month#but i’m starting to get the itch to create again#i have a very silly idea for the mbz AU#i also just really want to draw some stuff#i miss making things. i’m going nuts. i’ve hardly done anything fun in WEEKS#i’ve sort of started working on some new OCs but ngl#doing anything that doesn’t involve dhes or kel genuinely feels like i’m betraying them#but i have a concept that i really want to explore so that’s what i’m trying to do#i have been working on a few AUs here & there too but#but mostly nothing fun#i need to do something fun while i still can bc i’m starting at uni next month#& i just know i’m gonna have shit for free time then#i’m taking all in person classes which makes me very nervous#i’m trying to be excited about it but mostly it’s just causing me anxiety lol#but anyway. um. yea. hopefully i’ll catch up on everything & reply to the tags/asks i’ve gotten since i’ve been gone#if i reply to something you said/sent to me a month ago… pls just act like that’s not weird. thanks.#rainyrambles
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Chilchuck analysis speedrun: As a hardworking half-foot who grew up poor and discriminated against and had his gullibility taken advantage of multiple times in his early adventuring days, Chilchuck thinks optimism is a dangerous flaw. He’s stressed and strict all the time because his job is noticing details like traps that could get everyone killed before anyone knows it, he takes the lives of everyone to be on his shoulders, and with the way he speaks about it that probably partly reflects how he felt about taking it upon himself to provide for his family too. His life’s always been pretty centered around work and has become even moreso now that his wife left and everyone is independent, and due to past events he’s very iffy with bonding with coworkers. He thinks feelings and job are a disaster mix. Like with his wife or with parties hiring him as sacrifice, being open or having good faith is vulnerability which can get you hurt, so he processes and shows all his stress as anger instead of worry. Doing strict dieting probably isn’t helping the irritability what with hunger, and on top of being a hunger suppressant alcohol might be the main stress reliever he has.
His grey hairs are so earned
#Chilchuck tims#dungeon meshi#analysis#HAPPY CHILCHUCK DAY#You know what yeah understandable have a good day#Alcohol be a ticket straight to chilling out town I suppose#Spoilers#dungeon meshi manga spoilers#Thinking on if I should split my family masterpost into diff posts for max reach hmm#I’m def editing in the second page into that post that “I’ve got three people to think of here” sounds sooo much like that’s#how he’d think about it in a family setting as well. He works so hard for them 🥺#I could have put 100 pics on this post to justify everything I mentioned but this is a speedrun for a reason. I’m planning so many#compilations rn i need a break from rereading lol#He’s just here to do his work!! He just wanna do his work!!!#I’m always rotating him in my brain like rotisserie chicken :( Hopefully this doesn’t sound disjointed or insane to average readers#He’s always on his guard so he has a short fuse and his type of humor & liking for snarky remarks doesn’t help#Also bc he knows nothing lasts he has a very work hard play hard mentality where ‘dying doing something you love. Like drinking’#is nice in his opinion#This post makes it all sound so dry. Chilchuck is so messy thinking about him is thrilling I swear. This is concise but at what cost…#OH ALSO he has weird self-hate issues where he really values his skills but devalues himself on a personal level.#‘I am a coward. I only care about myself. I cheated on my wife (lying for no reason)’ etc etc#Can’t disappoint people and make them leave you if they already have no expectations and esteem of you 😏💡#Laws are important to him bc he knows how bad punishment is if you break them and how they’re the key to getting better rights
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Two skeletons in a trench lab coat (Patreon)
Bonus:
He’s very careful! Everything was fine before you interrupted!
#Doodles#Handplates#UT#FJdlsafjdsf Handplates fuzzes my brain#I cannot tell you how weird it feels to draw Gaster with the Lost Soul head after all this time away haha#It drops me back into the person I was when I first read Handplates - for better or for worse. It's a very strange feeling#Even drawing Sans and Papyrus again sends me back! Not as strongly but certain little details stand out#Sans' eyes especially... Very strange feeling#Anyhow! Since Fellplates sent me back down the rabbit hole and I've gotten back into rereading lightly - still not a full commitment!#Maybe soon tho 👀 I feel like I always say that haha#But in the meantime thinking of the pre-Plates Handplates time period <3 Since that's the one I'm still most familiar with haha#I love when they're still growing and learning ♪ Scaffolded baby talk! Twin language! Love 'em ♥#And fearless* mischievous little troublemakers hehe#They're so cute <3 I love the little ways they interact as young'uns - like when Papyrus will just lift Sans by his arms lol#I'd been thinking about and then had to go read the one of Sans as a the blanket/coat tickle monster and then - this ✨#''Excuse me sir I'd like One Ticket to the R Rated movie I am an adult Monster'' lol#Probably another one of those moments where Gaster is just *nervously sweats in Dad* lol - stop being so cute!#Also there's no particular meaning to when I use WingDings for his text :P Just convenience and if I remember to lol#Comics where he talks a lot are not convenient XP I have enough trouble editing on this paper ugh I will Not miss it when it's done#Even attempted this comic in as few pencil strokes/erasing as possible and it was still a pain to work with! >:0 Rude#Doubly so that I've had a Handplates comic idea for past like - year lol - and /this/ was the first one I finished pfftbl#To be fair to the other I do want to at least attempt making it a look-alike hehe ♪ You know how it is with Ideas™#I can't be too mad about it haha ♫ It did turn out quite cute after all :3
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loop and mirabelle. That's it that's the ask
DAY 84: enrolled in the gossip wars
#codacheetah#isat#loop isat#mirabelle isat#isat spoilers#vaguely. mostly for the tags#i think it'd be sooo funny if like. loop and mirabelle postcanon.#loop has rejoined the party somewhat recently and they are not at all adapting. to be honest. reunion probably happened too soon#bc they are a siffrin which means they are disgustingly sentimental. their ass is not taking the time to discover themself as a new person.#do you really think loop is gonna take their own advice.lol.#lmao even#Ok so anyways i think the party and loop would have a weird thing going on#like theyre all extremely grateful to loop. and they trust loop through the general basis of theyre apparently very dear to siffrin#but fucking nobody knows what to make of this bitch. odile knows they are hiding Something but she has no certain evidence to pin it down.#isabeau can't catch loop alone for more than 5 seconds. has the distinct sense they're avoiding him and he does not know why#bonnie....well tbh i think they'd vibe with loop. bonnie win.#mirabelle. i think she wouldn't really like loop? not at first anyways#do you remember in sasasap mirabelle telling siffrin(loop) that for a long time she thought they were a callous sort of person#bc they never took anything seriously at all. like the whole journey didnt mean anything. until they took an eye for bonnie#i think mirabelle would catch a similar vibe towards loop(lol.) bc like#like loop's main presence in the group is negging siffrin and being weird and dodgy around everyone else#i don't even think they'd be mean to the others but they would do everything in their power to throw the party zero bones#so all mirabelle has to go on for loop is that they're kind of a dickhead to her friend and that they're not receptive to normal group#social activities. i think being on the receiving end of mirabelle's kindness would make loop kind of sad and she'd pick up on it#but like. loop is inexplicably important to siffrin. she doesn't know the details bc neither of them want to talk at all about the loops#and i think siffrin would be especially dodgy abt talking about loop in the interrim between them rejoining and them being Presumed Dead#so mirabelle tries a new strategy to bridge the gap between her and loop. the power of Mutual Haterism#more specifically i think mirabelle would get the impression of loop as being much more of a bitch than they actually are#due to the aforementioned siffrin negging#so like. maybe that's just how they socialize maybe they'd be down to talk about hot takes and gossip a bit
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winter holidays at the mystery shack (party billiam edition)
Stan celebrates what he calls "Cash-mas", which is just slapping a cheap felt santa hat and a 300% Christmas special markup on anything- and several things he can't- get away with in the gift shop
more sincerely, the Pines do a fairly low-key Hanukkah. if the twins are visiting, they do a much showier double christmas/hanukkah celebration
And Bill... well...
No one is entirely sure if it's a Euclidean thing or just a... Bill thing. But he's SO enthusiastic!
HAPPY WINTER FUNTIME BOYS & GIRLS!
#gravity falls#party billiam au#billford#obligatory holiday special#it is a nightmare realm thing#but since Bill was in charge for so long#that doesn't actually clear anything up#christmas#hanukkah#cashmas#HAPPY WINTER FUNTIME#REJOICE#and lean to one side!#olives for EVERYONE!#big furry hats and big furry boots are traditional attire#bill says that hypoten-moose fur is classier but squar-rel will do#...neither of those exist in this dimension#he had to improvise#stan be nice to your weird brother-in-law#the adults get to booze up that olive juice later#you don't have to suffer for long#bill was totally down for adding more holidays to his personal calendar#festival of lights? sign me UP#ecological destruction and free stuff? yes please#if ANYONE actually knows this reference I will draw any gravity falls gift art request for the first correct answer#within reason#lore dump#non euclidean geometry au#idk if i'm drawing them celebrating too but it is also canon to them lol#my art
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oooooo white people in my replies really saying ‘I can excuse racism but I draw the line at homophobia’
Not surprised since this is the site that only talks about racism and thinks it’s a big deal when they see it demonstrated in the cartoons and comics they like *coughs* dungeonmeshi *coughs* (for example at least. I haven’t seen THIS many white ppl talk as in depth about racism on here as much as these fandom nerds, man. I stg. Like “Ohhhh, so you all DO acknowledge that racism is real? Just not in real life even if you could feel it slapping you in the face at high speed. Gotcha.” It’s crazy.
Tumblr is like, 90% white and is extremely centered around them. That’s why you barely see stuff that’s important to black and brown people ever trending here or being talked about. It has to be something incredibly huge to the point where even white people can’t ignore it like they usually do, to talk about it here.
They only talked about George Floyd here because the topic of his death became world news. Even people in other countries were talking about it. Before him, it was probably Ferguson and Trayvon Martin… most of them are still trying their best to ignore the genocides because it’s a “touchy subject.” What do you expect from white people who live in their own bubbles of comfort and refuse to pop it with a needle??? They find comfort in their privilege and faux ignorance (they love playing stupid to avoid conversations about important things outside of fandoms like, are these mfs born with half a brain dedicated to fandom or what.) That’s literally all these mfs make a big deal out of, especially on this annoying ass platform. The ao3 mfs will go to war for the site that allows racist ff and cp like it’s no big deal. I wonder how many people here even donated to the site while actively scrolling past dono posts from folks who really do need help. They act like they’re doing a civil service by defending this site that makes over the amount of it’s intended dono goal in minutes.
Then you already know as soon as you even bring up racism in the stuff they like, they start ganging up and harassing black bloggers especially, calling them TERFs and the whole nine. Anything to make that person look bad for being concerned about the racism that they have such an intense aversion to. God, it’s absolutely exhausting knowing that these people would have no problem choosing a cartoon character over your entire existence if they COULD. Isn’t that fucking sad, man?
#:(#it’s like what can you do#as a black person I get why sm black bloggers here have ‘don’t follow me if you’re white’ in their bios#they’ll call it racist or whatever (it’s fucking not you guys just treat black ppl like shit here and most of us feel unsafe to interact#with y’all. you guys always turn on us at the drop of a hat)#i remember commenting on a HS post funny enough years ago#because the punchline of the post was literally the white mfs saying nigga#and I was so annoyed that I told them off and one of my white mutuals unfollowed meanjsjsjsl#like right after that#and another unfollowed me because I talk about racism and the like a lot like this is a really well known artist too so I was like 🧍🏾♀️?#because I talk about racism a lot??? it’s weird lol#like they’ll tolerate you for a while then when they feel offended they start to act weird and act like you’re not supposed to talk about#the stuff that effects you#tkf replies#karmelarts#they don’t give a shit about anything if it doesn’t personally Involve them#they act like they can’t relate to anyone or anything it they aren’t marginalized themselves (being gay or trans which they treat as a#personality trait)#notice how you never see movies/ shows about black and brown ppl trending here? it’s always white centered shit no#matter how hot and popular that show might be#you’ll never see something like the wire snowfall or power trending here#all of the black ppl are on twitter anyway so#sm black ppl got ran off of here by annoying white ppl
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ive been thinking about the red string superstition recently and also sol bufo always and it makes me sick how uncannily caldwell tanner has made sol to perfectly target me personally
(+ cropped versions !)
#naddpod#ba2mia#ba2umia#solum bufo#swag daniels#calliope petrichor#calder kilde#alexandrite#posts by me dot com#okay..... SECRET TAGS RAMBLE!#so basically this superstition is like ... i think a chinese/buddhist/taoist superstition?#ive taken some creative liberties with it... but its mostly accurate to how its been told to me?#but of course theres lots of variations! some more abt bad luck; some say to tie it on the doorknob#etc etc ... lots a variations#i was also rlly interested in the .... weird illogic? of the thing?#like the red attracts and repels spirits at the same time#so thats something i was thinking about with too. red is assocuated with both swag and alexandrite. which to me was kinda reflecting like#i think what murph said . swags place in the wild is in a way. an extension of what he learned from the network#mothership s inextractivle from sol and swags lives. they will always be held doen by it. thats the spirit that will follow them forever#that they choose to hold on too! as much pain as it brought ... some of the experience was worth it#and anyway. theres somethingwrong w me that the minute someone brought up this superstition my brain went#'ohhh just like sol!' < needs to touch grass moment#but i CANT BELIEVE. CALDWELL DID THE RED STRING. AND ITS LITERALLY A MOURNING RITUAL#caldwell keeps accodentally makig that frog ASIAN. to MEEEE!!!!!!#but. anyway. idk. ive always hced sol kept the piece of yarn and it makes me kinda .... what if y let the malicious spirits follow you.#and haunt you. what if its the closest you can get to keeping the person still around#and sol and swag obviously have so much about homes .... so!#(ok. weve reached the pt where maybe nobodys reading? so confession is this is sort of a well. ive just been doodling this comic everyday#after a wake. and it was sort of inspired after realising i was even a bit sad about it maybe. so. idk its about sol but also?#i guess the projection doesnt end at him being asian. hehe. is what i mean. LOL. okay secret tags over . buried lore. dont look here folks)
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smashing together my interests like a freight train crash
#trafficshipping#gempearl#<- just for the little bonus lol#gem#pearl#my art#cw suggestive#I have like. about 10% thoughts about comparing kaine and gem as characters btw#it's a lot but like. the boisterousness and brattiness and the way they both express frustration very outwardly#but also both of their weird relationships with femininity and the way their designs juxtapose their more headstrong personalities#s10 gem kinda moves away from that by wearing pants but it's cool. new character arc or smth#the other 90% is just “kaine's design is really hot” sorry#Idk if I'll ever draw anyone as 2B but if I do it'll be etho btw
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fuck you [small-animal-izes your sonic characters]
#sonic the hedgehog#sonic#sth#tails the fox#miles tails prower#miles prower#not an ask#ooc#manic's personal projects#i wanna design a sonic small animal style echidna but echidnas are such weird animals i'm having a hard time lol#sorry knuckles
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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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Kingdom Hearts Dream Drop Distance - Traverse Town
#kingdom hearts dream drop distance#khddd#traverse town#scenery#my gif#trying my hand at giffing the worlds of this game despite the lack of a first person view (something i'm very upset about)#so i have to obtain and edit these shots in a very awkward manner#all while constantly being shoved around by my dream eaters#i'm so serious when i say making this set was really really frustrating lol#i can't find a free roaming camera mod or anything else that would be helpful for me#but i'll keep at it because i love looking at still shots of video game environments#and being able to share it with other people who enjoy it too#ANYWAYS traverse town is so beautiful in this game they added so many gorgeous areas with pretty glowing lights#i like the wacky whimsical mail room too and how there's this entire secret workshop hidden beneath that weird mailbox haha#the world really does feel magical and dreamy especially with its updated music#just realized the stars in the first gif are moving which is strange
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