#best part of the event for me

[egophiliac]

IT WAS ERIC AFTER ALL!!!! I'm so glad we got to meet him (before Vil snaps him away with those Infinity Gauntlets) (can't wait to see what happens when we get the matching Infinity Tiara to go with them, there will be no survivors)

(sorry to be so slow/rough lately, just got a lot of stuff on the ol' brain at the moment! alas, if only I could spend all my time drawing incredibly stupid characters I mean I do but)

[marimbles]

i miss carpisuns sometimes </3

[mass-convergence]

Tbh I think my favorite little Abby scene in TLOU2 is when she’s scared af on the bridge (Abby … you don’t need to be afraid of heights to find that OSHA and just general civil engineering code violation of a “bridge” absolutely terrifying)

And Lev just casually asks about what’s going on between her and Owen and she just responds with “Oh my god Lev! Now?!”

Like that is some fucking peak sibling energy.

[aibouart]

i drew a streamer i started watching recently who was playing LN1~

their name is obakechan !

[theragamuffininitiative]

.

[undertale-fic-librarby]

Howdy! Apologies for the lack of answered asks! I've been a bit distracted/unmotivated lately! I'll try my best to answer at least some of them, if not all, over the next week!

[celestialrealms]

if they only wanted to have kisses for the brothers in this event it should have just been beel and belphie since they're the box UR cards. instead it's just giving 2021 event with how it treats the other dateables :/

[thevioletcaptain]

was just making my morning cup of tea when my brain inexplicably dished up a long forgotten memory of what must be the most poorly thought out and cartoonishly offensive reality show ever produced (yes, even worse than milf island manor or whatever it’s called) and i had to google it to make sure it was actually real because frankly it seems like it should only be a wildly problematic fever dream.

but no, it was real.

it was called black. white. and it followed two real american families™ supposedly "swapping races" using hyper-realistic "makeup effects" and then going off to interact with society looking like rdj in tropic thunder and the wayans brothers in white chicks in order to "understand" racism and privilege (i mean presumably that was the point but yikes)

and this was not a show made in the 80's when you might expect some coked up executive to have thought it was a good idea, either. it was in fact made in 2006. and wikipedia is telling me that ice cube was one of the producers??

genuinely what were they thinking with this mess??????

[nguyenfinity]

Kohaku would be the flower boy, obviously

[egophiliac]

innocently logging in to look at the Twst schedule for May like

[yesjejunus]

the dopamine hit in my brain every time I get to click the little dice in bg3

[momorgan00]

This two friendship is not what I expect but you know

Wholesome + wholesome makes an amazing result

[yourlocaldisneyvillain]

i'm overwhelmed by the amount of positive comments i got on my latest fic! my heart goes out to all the survivors of sexual abuse, and i'm glad my fic has helped many of you process your own trauma. <3

[unproduciblesmackdown]

omgg lol [guy who won't stop going "more like scapeGOATED" voice] now hold! on!! lmao [same guy just saw encanto voice] Hold on!!!

[juniperhillpatient]

I mean I’m kinda not against a lore dump & a quick reveal of Appa in an adaptation. this is a show for existing fans. if we were getting a 1:1 what’s the point? I don’t mind that everything is getting explained real fast so we can jump right in on the ground that I’ve decided to view this exactly how I view book to movie adaptations. I get why this stuff would bug some people but for me this is a little like how I felt watching the Harry Potter movies as they came out after I read the books as they came out. Like ok we’re seeing a new version of our faves it won’t be totally true but that’s ok

[wavesoutbeingtossed]

I have thoughts about the TTPD speculation/two years/loneliness/sharing feelings through songs train but I'm putting them under a cut because. Yeah.

OK, so I'm giving a warning:

I'm talking about BTTWS, but NOT about the speculation/inspiration behind it. Just about the feelings in it and the Midnights of it all/the idea that sharing the difficult things brings comfort/companionship. So getting that out of the way so we can remove that part of the discourse out of it.

Regardless of whatever the inspiration/event behind BTTWS may be, whether it's about a loved one or personal, I've long felt that its inclusion on Midnights, an album about things that have kept her up at night, is significant in the feelings it portrays.

For instance, we can be fairly certain that Taylor wasn't actually turning in Scooter B. to the FBI and conspiring with his ex-wife to bring him down (or was she?) in Vigilante Shit, just as we can safely guess that she probably did actually pick up that pebble in Wicklow that reminded her of a peaceful time in Sweet Nothing. The line between fiction/reality, personal vs. narrative matters less on Midnights in this case than the feelings she was expressing in the songs, which are very personal and truthful. The revenge fantasy in Vigilante Shit is her working through her anger over having her masters sold and how she's fought hard to have the last laugh over someone who is a sworn enemy. Sweet Nothing is her reflecting on the dichotomy of her (presumed) quiet home life she felt was safe and the noise of the outside world. (Now, we might speculate on why she was ruminating on this, but that's another story.)

So with that preamble out of the way, BTTWS's inclusion in the tracklist I feel is just as important, again regardless of the inspiration behind it or her personal connection to it. Even if it is a song about someone other than herself, including it as the only "not personal/not diaristic" song on an album as ostensibly self-reflective as Midnights would stick out if that were thecase, though obviously it's her album so she can do whatever she wants and could have her own reasons. (Just like she included Ronan on Red and Soon You'll Get Better on Lover about similar themes, it could just be a tribute to a loved one.) But given all the thematic arcs and parallels on Midnights, I do feel like it's there to include a specific set of feelings being processed, even if the origin on the feelings may or may not be her own. (I'm trying to be really sensitive in my word choices here, hope they make sense.)

BTTWS is a song about loss and grief, and specifically the fallout of an event outside of her/the narrator's control. The person in the song has nothing to turn to to deal with their pain: no faith to guide them, no wisdom to tell them everything will be alright. Throughout the song there is a pervasive sense of isolation: everything is over, they're living without something that was once theirs but suddenly was not. It captures the fog and confusion of living through a painful event without having any way to process. She even says from the start that, "no words appear before me in the aftermath," which for someone like Taylor who has stated over and over how writing is literally how she processes her life would be the ultimate reflection of the depths of her hurt.

(To be clear I do not think this is a song about a breakup whatsoever: IMO it clearly is not about a relationship dissolution of any kind. I just think that the feelings of grief and loneliness in the song may have felt relevant to whatever she was going through during the time the album was coalescing in 2021-22.)

Knowing what we know now about at the very least the period between 2021-2023, Taylor was going through a time of significant difficulty in her life behind the scenes, which is how The Tortured Poets Department came to be, right on the heels of her completing Midnights sometime in early 2022. She has said herself that making TTPD was a lifeline, that she had to keep writing to deal with whatever it was that she was experiencing and going through. And as I posted about earlier today, she's also said repeatedly on tour that not only is writing about her feelings how she processes her pain and loneliness, but that then sharing that music with fans brings her great comfort because it makes her feel less lonely to know people understand and relate to what she's going through.

And we know that she has self-edited her albums over the years (including Midnights) to protect herself and perhaps even the subjects of her songs, which we have seen with the inclusion of the vault/bonus tracks in the re-records and on Midnights. Obviously some of these reasons are logistical -- album was too long, cut songs sounded too much like others, maybe she or her producers felt the ones that were originally chosen were stronger, narrative or sonic cohesion, etc. -- but with what we've seen over the last few years, these songs also filled in the lines of the stories being told and reframed the narrative being told.

Nowhere is that clearer than with You're Losing Me, for example. It's pretty obvious why it was held back: presumably she wouldn't want to release a song about a relationship at its breaking point when she was still actively in the relationship. Yet as soon as the relationship ended, she released it, we can only assume because of her realization that sharing the music and having people respond to it validates her feelings and makes her feel embraced, as it were. Then with the announcement of TTPD and how it's been brewing for essentially the intervening period between when YLM was written and now, we can also surmise that these songs will be dealing with feelings she also felt the need to hold back for whatever reason at the time, but has now decided should be out there so she can feel more whole.

So coming back to BTTWS, it being included on Midnights the way that it was strikes me as a form of sharing feelings that may have been too difficult to process. Again, not implying I have any insight into what the origin of the song is about, or imposing my own beliefs onto her, or that she was sending some sort of secret message with its inclusion! But thematically, BTTWS deals with an intense loss and feeling completely unmoored and alone as a result, which is present in her other work. And that the dreams the narrator once held have gone up in smoke, leaving her reeling about what's to come next. She's cut off from the world because of the event, unable to speak about or grasp what has happened. Similar feelings are also explored in You're Losing Me for instance, and even Dear Reader (not to mention on past albums like evermore, this is me trying, arguably hoax, etc.). Just reading context clues from TTPD and her surprise song choices of late, I don't think it's outrageous to presume some of those emotions are going to be present on the new album as well.

So this is just a long-winded way of saying, I feel like the sense of loss, confusion and uncertainty about the future likely resonated with both what she had gone through in the past, and the story as a whole she was trying to tell on Midnights. And while the origin may or may not be personal or relevant to the new story she's going to tell, I also feel like these same kinds of themes are going to be present on TTPD because they're so important for her to share. (I could even mention that the response to BTTWS may even provide evidence that people sharing their experiences in general brings comfort to those going through it, but that may be veering too far into parasocial "why did Taylor do X" speculative territory.) She sings about these kinds of all-consuming losses so eloquently and mindfully that I know the new album is going to be an absolute gut punch.

(not being self-promotional but I delved a little deeper into the Midnights 3am tracks including this one a few months ago so it's why it's top of mind and why the connections and thematic parallels are so resonant to me lately.)