#but for some reason jane eyre i find beautiful ever time

[lukeskylovr]

cracking open my (my mum’s) copy of jane eyre for the 20th time for some fucking reason

[mybookplacenet]

Featured Author Interview: Claudia Ricci

Tell us about yourself.: I started my professional life as a journalist for two major newspapers but turned to fiction writing three decades ago. During a bout of cancer in 2002, I started painting and it has flourished over the years. Where did you grow up, and how did this influence your writing?: I grew up in the Hudson Valley of New York State, and always loved to read. I remember spending summers with piles of books. Living in a beautiful rural area, I felt close to nature and that surely influenced my first book, Dream Maples, a story of women artists set in a sugarbush in southern Vermont. Do you have any unusual writing habits? For many years I "saw" my fiction like a film strip inside my mind. All I had to do was sit down and the words just poured out. More recently, I have been writing out of a more spiritual energy. I meditate every morning and often ideas come to me during this quiet time. What authors have influenced you? I grew up in the Hudson Valley of New York State, and always loved to read. I remember spending summers with piles of books. Living in a beautiful rural area, I felt close to nature and that surely influenced my first book, Dream Maples, a story of women artists set in a sugarbush in southern Vermont. Do you have any advice for new authors? Try to write every day. Try to say the things that are deepest in your heart. Try to lay the images and ideas out in the most poetic prose possible. And then, after you publish, don't get bogged down worrying about how many people are reading your writing. You are writing for yourself. You are writing out of a deep psychic need, so just keep showing up at the computer. I think of the writing practice as if I am going outdoors every morning with a beautiful silver cup. I hold the cup up and let the words flow in. Some days the cup is sparsely filled but that's OK. And some days the cup is overflowing!!! The best book I can recommend to young writers is Brenda Ueland's classic, "If You Want To Write." As Ueland points out, "No writing is a waste of time." And "Inspiration comes very slowly and quietly. When I wait with inspiration, my time is not wasted." Ueland wrote some six million words in her 93 feisty years! What is the best advice you have ever been given? "Just keep writing!" I got my PhD in English at UAlbany, SUNY, in 1996 in a program called, Writing, Teaching and Criticism. I became very close friends with another fiction writer, PM "Peg" Woods. We continue to write together every week on Zoom. Whenever one of us gets stuck we remind each other that the only way forward is to "just keep writing." So that means you might write some 2,500 pages (as I did with Dreaming Maples) to produce a 425 page finished book. And it might take you 23 years to finish a book, as it did with my third book, Sister Mysteries. What are you reading now? "The Oracle of Stamboul," by Michael David Lukas and "Hell of a Book" by Jason Mott. Both are very very strong works of fiction (for very different reasons.) I try to find books that are not only technically masterful but also offer characters I can really care about. Too many "fine" works of fiction leave me wondering why I should care about the characters. What's your biggest weakness? I am impatient by nature, so I have to work at slowing down and appreciating small steps in the writing process. (That's also true for my painting.) What is your favorite book of all time? Ah, it has changed over the years. As a youngster I loved Jane Eyre and I have read it many times. In high school, it was Faulkner's "The Sound and the Fury," as I had no idea that you could write in stream of consciousness as he did. In grad school it was "The Song of the Lark" by Willa Cather, the captivating story of a young woman becoming a singer. Today I'd have to say that there are many favorites, including "Beloved" by Toni Morrison, "The Hours" by Michael Cunningham, "The Keepers of the House" by Shirley Ann Grau, and my own novels, which are like children to me. When you're not writing, how do you like to spend your time? Hiking in the Rocky Mountains and the Sierras, canoeing, traveling, especially in Italy, sewing and gardening. And of course playing with my grandchildren, who are gifts from heaven. Exercise is essential to my writing process, as it clears my mind and calms me down. Do you remember the first story you ever read, and the impact it had on you? As a very young child, I loved "The Bobbsey Twins, again, because I loved the characters, two sets of twins, Nan and Bert, and Flossie and Freddie. I still have the books on my shelf! What has inspired you and your writing style? I have been inspired most of all by nature, and by writers who write beautiful poetic prose about nature. I have been inspired by music, especially flamenco, in my second and third novels. I have been inspired by paintings, most of all the work of Impressionists, especially Renoir. I have been inspired by the stories of my Italian ancestors too. What are you working on now? I am working on a book that is both memoir and fiction. It's a tale about my great grandfather, Pasquale Orzo, who was born out of wedlock in southern Italy in 1870. (He was given the name Orzo, a type of macaroni, and I believe it was a way of branding him for life as an "illegitimate".) Most babies born out of wedlock in those days in Italy perished so it's a miracle that he lived. I have started to write his story and his mother's, and it is forcing me into fiction. What is your favorite method for promoting your work? Hosting parties and readings in bookstores and other venues. Also, I am an avid blogger and a lover of Instagram so I try to promote my work on each. What's next for you as a writer? I have all I can do writing the book I am writing now (I started it two years ago.) How well do you work under pressure? I was once a daily newspaper reporter (most recently with "The Wall Street Journal.") I could meet any deadline, even with complex stories. But these days, I see no reason to pressure myself with artificial deadlines. I live day by day, in deep gratitude and appreciation for the bounty of blessings I've been given. How do you decide what tone to use with a particular piece of writing? The tone comes with the words. The first chapter of my new novel, "Pearly Everlasting," poured out of me in a breathless staccato voice, in part because it was about a sexual assault. Other writing in the same book is slow and very poetic. It all depends on what is happening. If you could share one thing with your fans, what would that be? I would share my deep appreciation for writing and reading -- which are gifts. What a miracle that we have brains to create the words and images and characters and worlds we create. How amazing that we then have hands and fingers to transfer these complex ideas to paper and ebooks, and astonishing eyes to read the books that are written. All of it is part of a great great mystery and one I am constantly thankful for. Claudia Ricci's Author Websites and Profiles Website Amazon Profile Goodreads Profile Claudia Ricci's Social Media Links Facebook Page Twitter Instagram LinkedIn Read the full article

[ethanesimp]

AMAMI PER SEMPRE // E.T.

Pairing: Ethan Torchio x Fem! Reader

Summary: Ethan isn’t the brightest—or the best—when it comes to surprises, so his attempt at proposing to you causes a few misunderstandings...

Word Count: 2.8k

Warnings: Swearing, a tiny tiny mention of death, some angst, other than that it’s pure fluff and me projecting my obsession with old books onto the reader.

Request: Ethan planning to propose and acting super nervous and strange (a bit angsty bc the reader doesn’t know what’s happening) and ending in pure fluff.

Masterlist // Taglist link in bio

A/N: After more than a year of stepping foot into a bookstore for *cough* obvious reasons, I got to go to one yesterday. While looking at some second-hand books I had an idea that I decided to combine with @kawaiiwxnnabe​’s lovely request to bring you this. I hope you enjoy! <3 

Ethan had been mindlessly listening to Damiano sing Amandoti when the thought of marrying you first seriously crossed his mind. It had been a thing he’d thought of countless times ever since he started dating you, but it had never remained with as much intensity as it had that time. 

Damiano, who had noticed his friend’s face illuminate all of a sudden, had a talk with him that once and for all convinced Ethan that it was the right time and you were the right person. He didn’t sleep at all that night because he couldn’t stop thinking about what would be the perfect way to propose to you. It was no secret to him—or anyone who knew you—that you were a hopeless romantic. 

There was nothing that made you happier than simple and small details that came from the heart. That was the reason why you had developed an affinity towards old books. Not only did they have a particular and special scent that reminded you of vanilla and chocolate, but some had the luck—as you liked to call it—of being embellished by notes on margins or dedications on covers. Whether they were about love, sorrow, or maybe even hate, they still showed a small glimpse into the life of the person who had once owned it. Those notes told a story that would prevail even long after they were gone from the earth. 

Ever since he had noticed that small obsession of yours, Ethan had tried to help you expand your treasured collection by bringing you back books he found at antique stores from every country the band played in. 

During a visit to Spain after he initially had his stirring thought, Ethan took the chance to visit one of the second-hand shops he’d found during a night stroll with Victoria, who had disappeared into a bakery. His main goal was to find something different from the usual books he brought back for you. 

After he walked into the store and vaguely told the old lady at the counter about his idea in the best Spanish he could muster, she smiled warmly at him and guided him to the very back of the tiny shop where a beautiful and worn out bookshelf sat in all its glory, filled with as many books as it could hold. 

He immediately started searching around for the perfect book, but it proved to be harder than he initially thought it’d be. After searching around for more than an hour, all he had found was a collection of Edgar Allan Poe’s tales and poems with a heartbreaking note to someone’s dead lover. While it had almost brought him to tears and was a special thing he’d buy to give to you later, it wasn’t exactly the best thing to help him carry out his plan.   

Victoria walked into the shop when he was about to give up and, fully aware of his plan, started looking around without saying a word to him. They both searched around the messy piles of books for something. It didn’t take long for her to stumble across three books held together by a lilac satin ribbon. 

Wuthering Heights by Emily Brontë, Pride and Prejudice by Jane Austen, and Jane Eyre by Charlotte Brontë. All three contained a note on the very first page right under the title, but the last one stood out above the other two because, according to his basic knowledge of Spanish, it ended with the very question he wanted to ask ¿Quieres casarte conmigo? Or ‘Will you marry me?’. He bought all three of them after a huge smile and a thumbs up from Victoria.  

What he hadn’t expected was for them to remain hidden in a drawer he knew you never opened underneath piles of clothes. Ever since he came back from their small trip to Spain, Ethan had tried to ask the question about six times, but always ended up choking on his words and saying something else. In fact, the first time he ever tried, Ethan chickened out at the last second and ended up giving you the Edgar Allan Poe anthology instead.

You were still none the wiser to his plan even after he’d asked about your opinion on marriage a few times. Anyone would’ve probably caught up with what was going on already, but you were always so busy with things happening around you that you didn’t connect his awkward and nervous attitude with his questions.

You didn’t start giving his actions a second thought until one night… You had been cooped up in your office all day working on a new project you were supposed to present to your boss by the end of the week when you suddenly felt the urge to get up and walk around the house.

Ethan was casually sitting on the couch as he whispered unintelligible words into his phone. You supposed he was on a call with a friend or maybe his manager and was trying to be quiet to avoid disturbing you, but then he hung up the call with a panicked expression the moment he noticed you. After that, you started thinking back on the way he had been behaving ever since he returned and it all raised the suspicion that there was something strange going on. 

It didn’t get any better when he kept on acting weird. Simple things that he had allowed you to do, like using his phone to take pictures because it had a better camera than yours, now seemed to make him almost mad. He’d even snapped at you once when you tried to grab it to take a picture with him. Even if Ethan had apologized right away, it still didn’t calm you down, especially because he had gone as far as to change the password on it.

It almost felt like he was walking on eggshells around you and you didn’t like it one bit. Your relationship had always been about honesty and worked because of constant communication. Everything was just so strange that your mind couldn’t help but think of the worst.

You were an imaginative person who never had any difficulties when it came to envisioning things clearly. Unfortunately, that also applied to every negative thought that crossed your mind, so it wasn’t hard for you to start coming up with the worst explanations as to why he was acting so suspicious. It didn’t help much that he had been busier than normal because the band was wrapping up on their latest album, so you hadn’t had the opportunity to sit down and voice all your concerns, to ask if something was going on and if there was a way to fix it. 

The morning of your anniversary, you’d finally had enough. You had woken up, expecting to feel Ethan’s arm tightly wrapped around your waist and to receive a shower of kisses the moment he noticed you were awake, but no. There was no Ethan and the side of his bed was already neatly made.

Your disappointment only grew when he wasn’t in the kitchen or his small studio where he had his drums. You doubted he was in the house at all. 

It was a thing that wouldn’t have affected you much had he done it any other time, but with everything that had been going on as of late, you could only fear the worst. So, without being able to control yourself, you started making the worst conclusions. You’d always been fully aware that he loved you, but all the signs undoubtedly pointed at him meeting someone new… And maybe he was going to leave you for them as well… during your anniversary.

That was all you needed to break into tears. You climbed back into bed and cried for what seemed to be hours. Even since you got together, you had thought of him as your person, your forever. The thought of him leaving you broke your heart into tiny pieces.

Ethan arrived home only a few minutes after you’d buried yourself underneath all the blankets and cried out all your worries. When he was about to open the door to your bedroom, he stopped. Were you crying? 

He stood there in complete silence for a few seconds until he was more than sure that you were, in fact, crying. Ethan rushed inside and he felt his heart break at the sight of you looking so heartbroken, and it didn’t get any better when he heard a whimper come out of your mouth at the sight of him. You cuddled deeper into the bedsheets and turned away from him.

Ethan sat on your side of the bed and, as delicately as possible, he cupped your face into his warm hands and wiped your tears with his thumbs, “Amore,” He said in a quiet voice, “Hey, what’s wrong?”

You tried to turn away from him, but his grip on your face stopped you from doing so. You placed one of your hands on top of his and gave it a firm squeeze. No part of you was ready to have that conversation with him because that was going to be it and you were going to have to watch him leave…

So, with a lot of courage, you spoke the first words that came to mind, “You know, i-it’s okay if you’ve found someone else,” You caressed his cheek softly as more tears started spilling down your face, “You can tell me if you have.”

His eyebrows furrowed at your words and the only thing he could do was shake his head no, “What? Found someone else? What would make you say such a thing dolcezza?”

Then, before you could even answer, realization hit him like a ton of bricks and he felt like the stupidest living being on the face of the Earth. He pinched his nose and sighed, annoyed at himself.

“Fuck… I’m so fucking stupid. Please don’t ever think of something like that. I was just… I-I,” Clueless as to what to say, Ethan pressed his lips against yours to kiss you slowly, hoping it spoke more than his words ever could. He could still taste a trace of the salty tears that had fallen on your lips and he couldn’t help but shed a few of his own at the thought that he’d been the one to make you cry.

After pulling away, Ethan pressed his forehead to yours and brushed his nose against yours while his arms held you as close as possible, “Will you close your eyes for just a second, amore mio? I promise everything will make so much sense soon.”

You nodded and kept your eyes closed as you felt him get up from the bed. You heard him open and close a few drawers, and look around for something for a while before he sat back on the bed. Ethan grabbed your hands in his and slowly slipped the three small books into your grasp.

You opened his eyes after a small sound of approval from him and smiled when you saw the three old books held together by a ribbon and the pretty pink rose that had been carefully been slipped into the first book and the ribbon.

You gently removed the flower and placed it on your side. Then you undid the simple knot and picked up the first book, “Wuthering Heights?” You questioned.

He nodded, “Yeah… At least I think that’s it. I hope I didn’t bring back some sketchy book or some shit,” Ethan scratched his neck and you giggled as you opened it on the first page. Your fingers brushed over the letters neatly written down in fountain pen.  

After clearing your throat, you started reading the first dedication out loud. Since your Spanish wasn’t exactly the best either, you had to pause every once in a while to translate all the words, “May 17, 1850… My dearest Helena, I hope this book reaches you in great condition, being apart from you is one of the hardest challenges I have ever had to face, one of the most painful as well. I hope you can find me in between these pages as you read and remember how much I love you, remember how much I long to be back in your arms and kiss your lips. Sincerely, Alejandro.”

You closed it and placed it back on the bed before opening the second book and doing the same thing with the third, “January 24, 1855. Carolina, nothing I’ve ever experienced has gotten close to being as terrible as not having you in my arms. Apologies are overdue… long overdue. Words have never been my strongest suit, yet I still hope I can coherently express just how much I love you, all of you. I’m afraid I’m already too late since you will soon be betrothed to someone else and there will be nothing I can do by then.

 “Still, I hope with everything in my being that this arrives sooner so you’re aware of how sorry I am. I hope you remember that I would do anything you asked without a single complaint just to watch that lovely smile I adore so much appear on your face. If you ever come back to me, I promise with every fiber of my being, and I’ll be dammed if I don’t keep my promise, that I will leave everything behind and escape with you. Anywhere, any time. So with that, I ask a question that will hopefully have a yes as an answer. Will you marry me? With love, Javier.”

Before you could close it, Ethan stopped you and timidly asked for you to open the book on the very last page. You did it and looked back at him with confusion at the sight of his writing on the page, “Read this one out loud for me. Will you Y/N?” You nodded and mumbled a small ‘of course’ before clearing your throat to get rid of the knot that had formed. 

“October 21, 2025… Y/N, my one true love, I’ve always hoped to make a gesture that will remind you of your treasured books. I’ve never been one great with words spoken out loud, so I sought inspiration from those before me who were just as in love with someone as I am with you. Ever since I met you I dreamt of one day settling down with you, of having our small home in the countryside as you’ve always dreamed of. Maybe even doing some of those cloying gestures people seem to do in fiction and dedicate to you the most beautiful love poems I lay eyes on. 

“I’ve wondered for a while how I could ever take the step that would bring me closer to that goal, yet every time I try, words seem to get stuck in my throat with no way out and I end up in square one all over again. It is with this note that I hope to finally take a step in the right direction because I know you’re it for me. You’re my person, my forever, and there’s nothing I would love more than to share my life with you. Sei la mia migliore amica e il mio unico vero amore. Ti chiedo di accettare il mio amore, il mio nome e tutto quello che sono.” (You are my best friend and my one true love. I ask you to accept my love, my name, and everything I am.)

When your eyes spotted the four words that followed, you slowly lowered the book, “Will you marry me?” You both said at the same time, although yours sounded more like an unintelligible mumble. Only then did you notice him down on one knee right in front of you. He held a velvet box with one of the most beautiful rings sitting inside of it 

A hand went to cover your mouth as tears started falling down your face. This time, happy and free of worry. You could only nod repeatedly, overcome with pure joy as your heart swelled with love.

He slowly slid the ring into your finger and grabbed your face to kiss you once again, “I’m so sorry I made you think something else was going on. I just kept backtracking every time I tried to tell you. Not because I was regretting the decision but because I didn’t want to lose you.”

You shook your head as a silent way of saying it was alright and brushed his hair back with your fingers, “The important thing is that you’ve done it and you’re not going to lose me, no matter how hard you try. I’ll always be right here because I love you and I’ll always be yours.”

[djarinbarnes]

me olvidarás - two

･ ⋆ ･ ⠄⠂⋆ ･ ⠄⠂⋆ ･ ⠄⠂⋆ ･ ⠄⠂⋆ ･ ⠄⠂⋆ ･

Pairings: Javier Peña x female reader

Warnings for the chapter: charming javi. (yes he needs his own warning) kissing. making out. doubtful javi. curse words. in thoughts. flirting. a lot of it.

Word count: 5.2k

Summary: an undeniable warm summer vacation in Bogotá. simply trying to get away from your nosey, boring parents and live for once, you meet a man who impresses you beyond where your imagination could ever take you.

a/n: the slow burn is here. ugh.

previous chapter · series masterlist

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You made your way through the stuffy bar, eager to finally try a Colombian specialty of a drink. You had done some researching from home, and it excited you. You knew you wanted to try the traditional aguardiente you had read about, and that was exactly what you were going to try.

You propped your elbows onto the counter of the bar, liquids smearing against your elbows as you leaned over the bar to place your order to the bartender. With a nod directed toward you, he places the shot in front of you.

It’s clear as water and with shaky hands you empty the shot into your mouth. It’s strong in your mouth, and you wince slightly at the taste of anise lingering on your tongue. You’re not used to the heaviness of anise and liqueur in this way, and with an intake of breath you’re coughing roughly, having inhaled the fumes stuck in your mouth.

You wince as you hear a voice beside you, flagging down the bartender to get you something to take the edge off your coughing. The music is loud in your ears and you feel slightly uncomfortable in the given situation. You smile warily when something bubbly and orange is placed in front of you, a straw being presented to your lips.

You open them reluctantly before taking a big sip of orange soda. You sigh in content before you take another sip, feeling the way the stranger beside you is eyeing you up and down. You feel the stranger’s eyes linger on your exposed ribcage, barely covered by the silver, glittering low-cut top you’re wearing over your bralette.

“First time tasting guaro?” His voice is smooth as velvet, the words rolling off his lips sensually as he brings his elbow to the bar, leaning his chin against the palm of his hand, watching you as you wipe your mouth with the back of your hand.

For the first time, you turn and look at him. And holy shit. The white button-down he’s wearing is neat, very neat, the mustache on his upper lip so perfectly groomed, his brown eyes watching you intensely as you stand there, possibly looking like a fish out of water - gaping and lacking breaths.

He’s hot, beautiful even, and you’re easily taken aback by the way he moves when he orders a double whiskey for himself. His hair is slightly unruly - tousled to what you would call something between perfect and what would be left after hands had run through it under… Stop it. He’s a stranger, for god’s sake. You bite your lip, trying to slowly compose yourself as he looks away, bringing a stray strand of hair behind your ear.

“First time in Colombia,” you tell him and take another sip of the soda he’s bought you. The right side of his lips draw up slightly as he nods and you feel a surge of heat go straight from your heart, into your cunt. God damn it he was a sight for sore eyes.

“You up for anything else than a shot of guaro and soda?” You can’t tell if he’s teasing or not, with the way one of his eyebrows raises as he turns back to you, but you shrug slightly before moving a tad closer to him, to hear him better over the noisiness of the bar.

“If you’re offering to show me what’s good, then I’m not one to decline.” You retort with a sly smile, grinning inwardly when he braces himself slightly against the bar. You watch as he flags down the bartender yet again, ordering something you don’t hear over the music.

You blink slightly when another six shots are placed in front of you, slightly scaring you. Was he trying to get you drunk and take advantage of you? You weren’t really sure, but… you decided now was the time to get drunk with a stranger in a stuffy bar in a city you just landed in.

“Three for you, three for me.” He says as he moves two at a time, three toward you and three toward himself. “Let me know what you think.” You grasp the first shot in between your fingers at the same time as him and bring it up to your lips simultaneously with him. Then you halt.

“Wait.” You stop, still holding the shot by your lips. You watch as he raises his eyebrow just once, yet again, as if it was the twitch of a muscle. “I don’t even know your name.”

He smirks before letting out a short puff of laughter, shaking his head slightly. You pout slightly at his reaction before you decide to defend yourself. “What? I wanna know the name of the handsome stranger whom I’m about to get drunk with.”

His teeth tug his bottom lip between them swiftly, before you both down your shots at the same time, maintaining eye contact through the whole ordeal. He leans in closer to your ear to shield his words from the noise. You can smell the alcohol radiating between the two of you - you’re not sure if it’s your own breath or his - but it’s good. New. Exciting.

“I’m Javi.”

─────•~❉᯽❉~•─────

You have no recollection of how much time you and Javi spend at the bar. The two of you hit it off so easily, like you’d known each other for a long time. Maybe it was the alcohol continuously spilling in between you, or the fact that he was charming and transparent with you.

You learned that he was pushing 40, had worked at the Colombian embassy for a couple of years as an agent in the Drug Enforcement Administration, and was currently on leave after a gunshot to the shoulder. He told you it barely hurt anymore, but you definitely noticed slower movements from his injured shoulder.

You also learned he hated being on leave, and that he was better off working his days away than relaxing and being bored, as he said so himself. It was a very last-minute idea he’d gotten, to go out on a Wednesday evening to get drunk, but he made it clear that it was more than worth it.

He told you about how toe-curling he found the telenovelas constantly playing on the only three channels his tv could take in his building, how he almost only listened to American artists like Lionel Richie and Prince (even though The Supremes were his favorites) and how he always had a cup of coffee before and after every meal.

With the number of cigarettes he smoked, you wondered how he was able to keep his shirts so white. Every time he put out one, barely five minutes passed before he’d lit another. You wondered where they kept coming from - if he had a whole carton on him, just for the sake of it. You remembered hearing somewhere that smoking excessively would leave awful stains on everything, but so far, you didn’t see where that statement was coming from.

You told him about yourself too, and how boring you found your parents to be. He laughed with you as you told him one of the most embarrassing moments you had experienced with your parents, which they hadn’t found embarrassing at all.

How you had trouble finding someone like-minded like you. You told him how you hated when your parents would set you up with whomever friends’ sons, they were meeting, as if they could find a perfect fit for you to date.

That was one of the main reasons you hadn’t had a boyfriend yet. Because there just weren’t any alluring men in your city that could be a potential man for you. They were just boys. You weren’t even sure they had proper knowledge about the female genitalia.

You told him that your favorite book was none other than the classic Pride and Prejudice, how you’d read Jane Eyre more than ten times because of the storyline Jane has, which you find so heartbreakingly beautiful, and how you sort of relate to it.

You also tell him about how hard it is getting through uni as an English Lit major, with the period you’ve just finished. “Right now, I hate the renaissance. I mean… Shakespeare is amazing and all but analyzing so many of his works in tow of each other is just tiring.” You sigh and take another sip of the rum and coke in front of you. Javi is listening to you intently, watching your every move as you explain.

“I mean, Cervantes is truly one of the best Spanish writers of all time, and Don Quixote is a masterpiece that deserves all the recognition it’s getting, but I also feel like we’re all oblivious to everything else it stands for.” Your breathing is heavy as you finally stop yourself from rambling and you look at Javi with wide eyes.

“I’m sorry, I’m… rambling...” you feel the heat spreading through your cheeks with a giggle, wondering if you’ve scared him off completely by impersonating a waterfall. You can feel his eyes on you when you look away, like they’re trying to get through to something hidden inside you.

“It’s alright.” Your eyes return to his face and there’s that smile again - it makes your heartbeat faster in your chest. “You’re passionate about literature. It’s impressive.” He reaches out, and for a moment you’re sure he’s going to take a hold of your hand. Instead, he diverts his hand when he notices you watching him and brings it back to rub at the back of his neck. He breathes out, whispering out another word you can barely make out. “Impressive.”

“Oh… Okay,” your words are too barely a whisper, and you’re unsure if he’s heard it. You feel all the shyness that hadn’t been present all night slowly seep into your body while watching him through your lashes as he takes another swig of his whiskey before lightning another cigarette.

You silently admire the way the orange hue makes its way toward his lips, slowly dissolving the tobacco. It was almost like art - watching him suck the dangerous fumes into his lungs before exhaling the white smoke. You watch as his fingers tap the body of the cigarette, flicking the spent ashes into the tray on the bar.

He sighs, his hands find back to its original spot on the bar, and you discretely reach out to caress the underside of his arm, where the white sleeve of his shirt is stretched over his tan skin. It’s like the last few hours didn’t happen, and you’re back to strangers. It’s a bold move of you to even reach out for him.

Why did it have to get awkward now? You think as you swiftly play with the hem of his sleeve, watching your fingers as you twirl a thread around them. His hand finds yours and you look up at him, catching the way the lights reflect in his eyes. He has put out the last of the cigarette just seconds before, his exhale still white from smoke.

You close your eyes slightly, enjoying the way the smell of nicotine lingered on him. You had never been one to like the smell of cigarette smoke, but the way he wore it made your nerve ends tingle. What you wouldn’t do to taste the nicotine on his lips. You flick your eyes up, meeting his gaze again.

His face is closer now than when he whispered in your ear, and you find yourself blushing again. You really want to kiss him. His lips look so kissable as well, like… like soft, plump pink rose petals. You felt every sense of restraint disintegrate slowly, while you unhurriedly gather enough courage to lean into the heat radiating off his body.

You’re watching his face as you deliberately lean in, closer, closer, until your lips are resting just over his. You should be disgusted with the smell of his cigarette filling your nostrils, but the way it mixes with the scent of him, you find yourself loving it. Craving it. Wanting more.

“Don’t want to take advantage of you,” he whispers against your lips, the gentle brush of his lips against yours setting your every nerve ending on fire, causing electricity to burst through your limbs. “Want you comfortable,” he breathes again, tilting his head just the slightest before flicking his eyes over your face. “Want to taste you.”

He takes in the gradual reddening of your cheeks and the way your lashes rest against them. “I am comfortable,” you murmur, before tilting your head sparsely, your lips finally meeting his. The feeling that hits you is indescribable, like somebody has ignited a thousand firecrackers behind your eyes and in your body.

It sounds cliché - the first kiss with someone drawing out those reactions in you. It’s the cliché of every teenage romance movie you’ve ever seen, like the way fireworks go off behind them or the casual leg-bend that happens every time. That’s what it feels like, though.

His lips move against yours ever so softly, his tongue gently swiping across your lower lip as his hand finds the side of your neck. The rough pads of his fingers are considerate and tender as they softly caress your skin, his touch leaving a trail of fire in their wake.

You silence a whimper into his mouth as his tongue finally gains the access it’s begging for, the tip of it gently meeting yours. It’s unfamiliar, both the feeling of a foreign tongue in your mouth and the coarse feeling of his mustache against your upper lip.

It feels amazing, though. Your fingers, previously playing with the sleeve of his shirt, are now gripping the front of it tightly, holding him close. Your heart is beating so loud against your ribcage you’re afraid he’s going to hear it over the deep bass still flowing through the speakers of the club.

You find it hard to breathe, mixed with the breathlessness of kissing him, finally, and the lack of air from you not wanting to breathe into his mouth directly. Your lungs are struggling with the lack of air, and you squeeze your eyes tighter, to hold on for as long as possible.

Your parting comes sooner than you would’ve liked - way sooner - you silently wish that your lips would’ve stayed connected for eternity. His forehead is resting against yours, your breaths mingling in the sparse space between the two of you. You flick your eyes upwards slightly, taking in his closed eyes before they fall again, focusing on the way his shoulders are rising languidly.

Before you know it, he’s kissing you again - pulling you closer to him with one single pull. His arms are holding you tightly, one hand swiftly caressing your back as the other holds the back of your neck, softly caressing your hairline.

This time it’s your mouth that’s insistent on getting another taste of him. Your tongue explores the soft pillow that’s his bottom lip, tasting the lingering essence of tobacco and whiskey. A small moan escapes your lips as his tongue meets yours in the opening of his mouth, pressing against yours to let him back into your mouth.

Your hand comes up to grasp the back of his neck, fingers intertwining in the short, dark brown curls resting at the nape of his neck, urging him on. Your other hand is working its way under the arm that’s holding your body close, landing against his shoulder blade like it’s where it belongs.

His mustache is tickling your upper lip as his mouth ravishes yours in the most intense kiss you’ve ever experienced. Well, it was easy to make out the intensity scale with the two kisses you had ever experienced. This one definitely took the crown.

You didn’t even know how it had come to this point, kissing a stranger on your first night on vacation - well, not exactly a stranger anymore, but certainly not a previously known acquaintance. All you knew was that it felt so damn good, and that you wanted to stay right there in his arms forever.

Your hand slides down swiftly, feeling up the side of his body, and there’s no doubt he’s in shape with the number of tensing muscles you feel under his shirt as he holds you, but it’s also clear to you that he is indeed an older man.

There is a soft bagging over the top of where his belt is resting on his slim hips, and it ignites something inside you, that you hadn’t even thought possible. There’s no doubt this man has experience, but you’re not exactly keen to find out just how much. All you want to do, is to stay lost in the flurry of emotions you’re feeling at this point.

In a shortage of breath from both of you, you finally peel yourselves from each other, taking in the others disheveled state. There’s a slight pause between the two of you, before you both break out into grins, soon thereafter joined by giggles and laughter.

You finish the rest of your drink swiftly, watching him over the rim of your glass before you put it down. “One more?” He smirks and you offer him a smile, before you nod.

“If you’re offering.” You watch as he nods before signaling the bartender again, for the 10th time that evening. You watch as he makes your drink behind the bar before placing it in front of you. He looks between you and Javi swiftly, before speaking up.

“Cerramos en 20” he says, leaving you two again, but this time with a bill in front of Javi. You look it over with a smile, wondering how much you had to contribute with. Javi blocks your view before pulling out his wallet from his back pocket, throwing a good amount of pesos on the bar to cover the bill.

Your mouth falls open when he turns to you, his eyebrow raised at your expression. “He should be the one tipping us for the show we just gave him.” He laughs, and you can hear it comes all the way from his stomach. You can’t help but join in. Well, that’s one way to say it.

“They’re closing in 20. Finish your drink,” he pulls on the leather jacket he draped over the back of the bar stool he’d been sitting on, and damn if that one piece of garment doesn’t suit him startingly. “You mind if I walk you home? I’d like to make sure you’re getting home safe, so I have a chance of seeing you again.”

You can’t help but smile at his question, giggling as you quickly down the drink the bartender has placed in front of you, before you’re getting off the bar stool you were sitting on. “Sure.” You whisper in his ear as you walk out of the bar with Javi hot on your heels.

You can feel his eyes on your hips as you saunter out of the bar, twirling once to see if he’s still following you. He is. And his eyes are trained on you like a hawk on its prey. His lips tug between his teeth as he watches the curve of your body being engulfed in the dim rays of the rising sun.

It’s like you’re some kind of ethereal being right then, sent to him by the gods. He never truly believed in heaven and anything else superstitious before this exact moment in time. Seeing you right at that moment - it changed something within him. He usually did the whole relationship without the aspect of love. Scratch that - he never did proper relationships.

Yet he couldn’t help but think that you, at that moment, could be a part of his future. He felt his heart pick up the pace when you smiled at him, as you reached out your hand for him to take. It was like he imagined what your whole future could look like, right there.

He steps out into the morning light overshining Bogotá as he takes your hand, his eyes reacting poorly to the already brightly illuminated city. He brings a hand to rest against his brows as he halts in his steps, squinting his eyes to get his vision back. As the whiteness clears from his eyes, the first thing he sees is you.

It’s in stark contrast to the dim lighting of the bar - out in the sun he can see just how beautiful you are. He can’t pinpoint exactly what it is, but he feels his heart pick up the pace again. He feels like a teenager again. Your voice fills his ears and at first, he doesn’t really hear what you say. Your plump pink lips are just moving angelically, taking his breath away.

Then you’re pulling him by the hand, and he follows you. He’s amazed that you manage to hurry through so many small passageways, since it’s only your second day in Bogotá. He watches your back the whole time you’re leading him wherever the two of you are going.

He notices a constellation of freckles on your shoulder that slithers its way up the back of your neck, and he finds himself wanting to kiss the skin there. He almost runs into you when you come to a stop, turning to face him with rapid movements.

“How do you still have this much energy?” He breathes - he is out of breath. He watches you, your chest rising rapidly as your smile beams at him.

“You’ve paid for my drinks through the night. Let me repay the favor.” You grin as you gesture toward the small restaurant you’ve led him to. The small restaurant is already buzzing with life, and Javi still has no recollection of what time it is.

It doesn’t really matter when he’s in your company. “I walked past this place yesterday when I was exploring. I wanted to try their pancakes and a cup of real Colombian coffee.”

His hand is still intertwined with yours, and you’re swinging it slightly between you, as if it would help you convince him to let you buy breakfast. He nods then, making you smile even wider.

“Guess I could use a cup of coffee that isn’t homemade.”

─────•~❉᯽❉~•─────

The pancakes you’re eating are the perfect combination of sweet and spongy dough. You almost moan when the freshly made syrup-glazed bite fills your mouth. You notice Javi watching you from the other side of the table, and you offer him a close-mouthed smile.

Your cheeks are full of pancakes, and in that moment, he realizes just how young you are compared to him. It unsettles his stomach just slightly - he’s never been one to overthink hooking up with someone, but right at this moment he’s starting to second think his decision.

He’s afraid he’s gonna be the one who ruins you completely with who he is, and the story he has. It’s never been easy for him to have relationships. He even had the audacity to leave his former fiancée at the altar.

He never knew why he was unable to commit himself, yet he found so much hate within him, diverted at himself. He just didn’t understand the impulses he would have. He could fuck three different women in the same day, if he wanted to. He didn’t even know where his libido came from.

He watches you as you chew your way through your sugary breakfast, all while occasionally taking a few sips of your coffee. He sips his own coffee in silence, just observing you as you fill your empty stomach. He should be eating something.

When you finally lean back against the backrest of the chair, your plate cleared and your mouth swallowing the last bite of pancake, you offer him another smile. This time it’s with teeth, though.

He feels his heart beat like that again, and he doesn’t fucking understand why you’re doing this to him. He knows he shouldn’t be feeling this way about someone he just met. Yet he can’t help himself.

He watches you without a word, simply observing you as you look around the small restaurant, the street in front of it bustling with life by now and your eyes observing every person walking by.

He admires the way your tongue darts out to lick your bottom lip, your tongue most likely finding some residing syrup. It runs over your lips twice more and he feels a jolt run from his heart right into his groin.

It ignites everything inside his body, and he closes his eyes slightly, imagining things he definitely shouldn’t be imagining at this point. He barely knows you. He sort of feels bad. Yet he can’t stop himself.

When he opens his eyes, you’re looking directly at him. “Where did your head run off to?” You tilt your head with a slight smile playing on your lips, and he finds himself getting lost in your eyes again.

This is the first time he’s actually getting to look into them properly. Dazzling orbs are watching him through lashes, compelling him to do things he’s sure he’s going to regret later. He’s simply mesmerized by your eyes. He feels like you can see right through the barrier he’s been working on and putting up for so many years to shield himself from the problems of the world.

“You really don’t wanna know, hermosa.” The words leaving his lips make your heart beat faster in your chest, again, and oh man if this man isn’t going to be the end of you. Even with the little-to-no experience you had, you were sure you would let him do anything he wanted with you.

You scoot to the edge of the chair you’re sitting on, feeling a sudden surge of confidence overcome you as you let your chin rest on your palm. Your foot slowly extends out, finding the inside of his calf under the table before it makes its way north lazily. “Try me. Maybe I’m thinking the same thing.”

He feels a breath getting stuck in his throat. That he definitely did not expect from you. With the little knowledge he had about you, he hadn’t expected you to come onto him so strong. He definitely didn’t mind your interest in him - you were a beautiful woman.

He leans forward slightly, over the table to get closer to you. He doesn’t need the whole restaurant knowing their business. “Maybe I’m not the man for you, hermosa.” Your hand unexpectedly takes his, and he yet again finds himself taken aback.

“Maybe I’ll let me decide for myself.” You whisper to him, before retreating yourself from his personal space. You dig through your small handbag to find your purse, pulling out pesos to cover the bill along with a tip. You rise from your seat with a smile, scooting the chair back under the table.

He’s reluctant to follow your movements, so you speak up. “Were you going to follow me home, or have you changed your mind?” You challenge him as you watch him stand as well. His eyebrow raises slightly at your statement before he signals you to leave the restaurant with his hand.

“So, where do you live?” You ask him as you both leave the restaurant. He walks beside you with his hands deeply buried within the front pockets of his jeans as if he’s scared of touching you.

You walk beside him with your hands clenched at your sides, desperately wanting to touch him again. There’s something infuriating and infatuating about him at the same time. It’s not easy to read him, and he knows it. He loves it.

“I live in one of the apartments ordinated to me by the organization. They have some apartments close to the office.” He tells you, and the rest of the way home to your rented apartment is with small talk between the two of you. You feel the distance between you now, like he regrets the fire he undeniably has started within your body.

You turn to him when you finally stand in front of the small apartment, you’re currently residing in. You offer him a small smile, unsure of what to do at this point. How were you ever going to say goodbye to him? You didn’t really want to.

His fingers move a strand of hair out of your face before he’s grasping your head in his hands again, placing his lips against yours again, finally. You realize by then that you have been craving the feel of his lips against yours, the smell of him once again making its way to your nostrils. Tobacco, whiskey and something you can’t place - maybe sandalwood or cedar.

Your lips move against one another slowly - sinfully - and you catch yourself grasping the front of his jacket within your fists so tightly it hurts. His hands are persistently holding your face close to his, further deepening the kiss.

The kiss leaves you breathless yet again, and you find yourself craving more and more of him. You want to know everything about him. You want all of him. You detach your lips from his with a sigh, your eyes closed as you await something, anything.

Yet nothing happens. When you open your eyes to look at him, he’s already watching you. You turn your body slightly, digging through your handbag to find your key. You unlock the door swiftly as he watches you, slightly out of breath himself. He watches you step into your apartment, feeling a slight sense of anguish at the way you’re not inviting him in. Or so he thought.

“Would you like to come in?” Your words are low and soft as you ask him, almost like you’re afraid he’s going to refuse. Your heart falls in sync with your face, as he hides it in his face. You watch as he rubs his fingers over his eyes with a sigh.

“I better get home. I need to sleep for a bit. I am an old man, after all.” He tells you and watches the way your face falls. You nod though, as if you’re letting him know that you’re alright with it, even though he can clearly tell you aren’t. “I’ll come pick you up later today? Maybe I can show you some of the city.”

Your face brightens instantly, and yet again he has to remind himself just how young you are. He knows already he’s going to hurt you, but how he’s going to do it is unclear to him.

“I would love that. I think I may need some sleep as well.” You say with a smile before you’re stepping back out through the door to place another kiss against his lips. You know by now that you will never get tired of the feeling of his mustache against your skin. And boy were you wanting to feel his mustache against other parts of your skin as well.

“I’ll see you then.” He says as he departs from your front step, and you watch him as he walks down the road, occasionally looking over his shoulder to see if you’re still watching him, before he turns around a corner, and out of your sight.

･ ⋆ ･ ⠄⠂⋆ ･ ⠄⠂⋆ ･ ⠄⠂⋆ ･ ⠄⠂⋆ ･ ⠄⠂⋆ ･

next chapter

[athenadione]

"Kissing on sofa, foreheads pressed together, breathy, soft tender" with damirae please <3<3<3

‘you are good’ 

This one was a bit more challenging, and definitely mushy. Thank you Vi for being my beta, and giving me some super helpful suggestions to wrap up this one-shot. 

Hope you enjoy :) -AD

Pairing: DamiRae Words: 1,360 Rated: G with implied mature scenes

At first glance, one would think he’s gazing mindlessly at the television ahead, pondering just how stupid Shaggy can be to open that closet door. And he is, for a moment. 

Of course the perpetrator is behind it, ax poised to strike. His brow twitches, distaste tugging at the corners of his mouth. 

He must have hit a new low, resorting to watching Cartoon Network— though that was her show of choice and there’s nothing he will deny her; But how she’s able to watch this show and enjoy it is beyond him. 

She’s not even watching it. It’s more background noise than anything else, but if she’s happy, then what else can he ask for? And he is too… for the most part.

By the time the whimsical chasing scene ensues his eyes are already glossing over again, hands fisting ever so lightly in his lap as persistent, deprecating thoughts swarm his mind.

Of all the things to obsess over, he wouldn’t have had the slightest notion it’d be over a flippant comment, but now he can’t stop. 

“Are you kidding me? Almost everyone we fight has an identity crisis! How too far gone do you gotta be to not know killing people is wrong? Psychos.”

Ever since their debriefing this morning after Gar’s mindless jab, one ever-pressing question has been consuming him the entirety of the afternoon. 

And even though Gar couldn’t have known how his words would have affected him, Damian had been surprised to feel the short pang in his chest that spoke of a deeper level of pain and insecurity. One that he realized just then that he hadn’t quite healed from. 

Is he still in the midst of an identity crisis, after all this time? After all of his growth? 

Logically, it makes sense that he would continue to… question himself. After all, he'd been groomed for successorship of the League from birth until he was ten years old, then tossed into a world of vigilantes with strict moral codes that went against everything he had previously learned. 

He had thought he’d come to terms with it all. Especially after living at the monastery. 

It’s true that he still finds himself withholding that final decapitating strike, and maybe more than once he’s considered how much more effective it would be if he didn’t. Justice, not vengeance. He doesn’t know how many times he’s held onto that mantra like a lifeline, especially after he nearly killed Dollmaker. 

Is he really second guessing his rectitude? Surely I’ve established a clear sense of morality by now. I’m not too far gone, no matter what Gar says.

Something pokes at his thigh, pulling him from his thoughts, and he looks down to see a dainty barefoot pressed into his leg, toes wiggling enticingly. Despite his inner calamity, he can’t help the light smirk that plays at his lips. Cute isn’t a word anyone would hear spilling from his mouth, but if he ever had to describe her feet, that’s the word he’d choose. 

His gaze flicks up a pale, slender leg, hovering there a moment, before moving on to the novel that’s now slack in her hands. Jane Eyre— of course. She’s always loved the classics. Continuing his quest up, he reaches pools of lavender— and to his chagrin he finds that they’re filled with mirth. 

“You’re thinking up a literal storm cloud, habibi. You’re supposed to be relaxing.”

He gives her an affronted glare, though they both know he doesn’t really mean the anger behind it. Grasping the arch of her foot, he arches a brow while he begins to massage it absentmindedly, taking mental note of the soft moan that escapes her lips. “I’d never call watching that ridiculous show relaxing,” he cocks his head, gesturing towards the t.v., “It’s more infuriating than anything— and poor detective work if you ask me.” 

Her lips quirk upwards. “It’s a cartoon, Damian. It’s not meant to be realistic, it’s meant to be funny. Relaxing.”

“Tt.”

She nudges him again. “So what’s wrong?” 

He presses his lips together, taking care to keep his face emotionless. “Nothing.”

When she gives him an inscrutable look he scowls. Of course I had to fall in love with an empath. 

He sighs when she doesn’t relent. Resisting the urge to fidget his leg, he tenses and finds a spot at the floor between his feet. Just ask her. 

“Habibti, am I still… good?” he asks, too tentatively for his taste. 

Raven’s brows draw together and she gives him a reflective, silent stare. He knows that she’s trying to get a read on his emotions, to string together the reason why he would ask such an aimless question. 

It doesn’t take her long to figure it out, and her face softens only a few moments later. “Oh. This is about what Gar said earlier, isn’t it?” 

He frowns and nods once, then turns back to the t.v. The next episode has begun to play, and the music of the theme song does nothing to deter him from the rolling wave of disparate emotions swelling up in his throat. 

Arguably, he had a more traumatic upbringing than many of the villains they fought on a daily basis. What if he is still that person?? He can hear the voice. What if his carefully constructed restraint slips during a battle? 

What if one day I don’t stop that final blow? What if I’ve just been pretending this whole time?

“Habibi.” Raven calls out to him and he turns his head once more as she moves, folding her book and placing it aside. “Come here,” she murmurs. 

Her hand reaches out to him and he leans forward just as she shifts one foot underneath her to sit up comfortably on the couch. With a wave of her hand the volume on the t.v. turns to a mere whisper, and the other hand that’s reaching out to him finds the back of his neck, tugging him even closer to her. Then she rests her forehead directly against his, and his eyes flutter shut as his nose brushes against hers. 

All of a sudden he’s enveloped in solace. 

“You are good.” She whispers, lips ghosting over his own. “I would know. I can feel you, remember?”

He breathes in deep, catching the peppermint shampoo of her hair. Her thumb strokes the back of his neck soothingly and he relishes in the feeling, allowing her calming empathy to sweep through him. 

It’s almost funny how quickly she grounds me, in just a few short words. She had said so much more though, in the way that she held him.  

“I love you,” he whispers, smiling into the kiss that she presses against his lips. She responds in kind, humming into his mouth, “I love you too.” 

This concern won’t ever go away completely, but at least I have her by my side to help me through it. Watch over me, habibti.

“I know of something else that we can do to help put your mind at ease.” Raven’s voice drops to a low, husky sound that sends his heart racing.

“Oh?” he asks, mildly amused when she pulls away from him to push at his chest, and the back of his head hits the arm of the couch with a light thud when he falls. She follows. The sight of her, hovering over him with parted lips and hooded eyes is nothing short of divine beauty. And she’s all mine. “As long as it has nothing to do with that halfwitted cartoon,” he says as an added quip. 

“I’m thinking of a more… hands on approach.” The smirk she throws him makes him chuckle. That is, until she straddles his waist and rocks into him languidly. Then it dissolves into a groan of pleasure.

“Whatever you think is best habibti.” 

She draws closer to him with a smile, and he reaches up to thread a hand through soft, silky locks. 

His last coherent thought before she takes precedence over all his senses is that if this is his reward for being good, then he’ll do whatever it takes to never be bad again.

[taylorswifthongkong]

Taylor Swift broke all her rules with Folklore — and gave herself a much-needed escape The pop star, one of EW's 2020 Entertainers of the Year, delves deep into her surprise eighth album, Rebekah Harkness, and a Joe Biden presidency. By Alex Suskind

“He is my co-writer on ‛Betty’ and ‛Exile,’” replies Taylor Swift with deadpan precision. The question Who is William Bowery? was, at the time we spoke, one of 2020’s great mysteries, right up there with the existence of Joe Exotic and the sudden arrival of murder hornets. An unknown writer credited on the year’s biggest album? It must be an alias.

Is he your brother?

“He’s William Bowery,” says Swift with a smile.

It's early November, after Election Day but before Swift eventually revealed Bowery's true identity to the world (the leading theory, that he was boyfriend Joe Alwyn, proved prescient). But, like all Swiftian riddles, it was fun to puzzle over for months, particularly in this hot mess of a year, when brief distractions are as comforting as a well-worn cardigan. Thankfully, the Bowery... erhm, Alwyn-assisted Folklore — a Swift project filled with muted pianos and whisper-quiet snares, recorded in secret with Jack Antonoff and the National’s Aaron Dessner — delivered.

“The only people who knew were the people I was making it with, my boyfriend, my family, and a small management team,” Swift, 30, tells EW of the album's hush-hush recording sessions. That gave the intimate Folklore a mystique all its own: the first surprise Taylor Swift album, one that prioritized fantastical tales over personal confessions.

“Early in quarantine, I started watching lots of films,” she explains. “Consuming other people’s storytelling opened this portal in my imagination and made me feel like, Why have I never created characters and intersecting storylines?” That’s how she ended up with three songs about an imagined love triangle (“Cardigan,” “Betty,” “August”), one about a clandestine romance (“Illicit Affairs”), and another chronicling a doomed relationship (“Exile”). Others tell of sumptuous real-life figures like Rebekah Harkness, a divorcee who married the heir to Standard Oil — and whose home Swift purchased 31 years after her death. The result, “The Last Great American Dynasty,” hones in on Harkness’ story, until Swift cleverly injects herself.

And yet, it wouldn’t be a Swift album without a few barbed postmortems over her own history. Notably, “My Tears Ricochet” and “Mad Woman," which touch on her former label head Scott Borchetta selling the masters to Swift’s catalog to her known nemesis Scooter Braun. Mere hours after our interview, the lyrics’ real-life origins took a surprising twist, when news broke that Swift’s music had once again been sold, to another private equity firm, for a reported $300 million. Though Swift ignored repeated requests for comment on the transaction, she did tweet a statement, hitting back at Braun while noting that she had begun re-recording her old albums — something she first promised in 2019 as a way of retaining agency over her creative legacy. (Later, she would tease a snippet of that reimagined work, with a new version of her hit 2008 single "Love Story.")

Like surprise-dropping Folklore, like pissing off the president by endorsing his opponents, like shooing away haters, Swift does what suits her. “I don’t think we often hear about women who did whatever the hell they wanted,” she says of Harkness — something Swift is clearly intent on changing. For her, that means basking in the world of, and favorable response to, Folklore. As she says in our interview, “I have this weird thing where, in order to create the next thing, I attack the previous thing. I don’t love that I do that, but it is the thing that has kept me pivoting to another world every time I make an album. But with this one, I still love it.”

ENTERTAINMENT WEEKLY: We’ve spent the year quarantined in our houses, trying to stay healthy and avoiding friends and family. Were you surprised by your ability to create and release a full album in the middle of a pandemic?

TAYLOR SWIFT: I was. I wasn't expecting to make an album. Early on in quarantine, I started watching lots of films. We would watch a different movie every night. I'm ashamed to say I hadn't seen Pan's Labyrinth before. One night I'd watch that, then I'd watch L.A. Confidential, then we'd watch Rear Window, then we'd watch Jane Eyre. I feel like consuming other people's art and storytelling sort of opened this portal in my imagination and made me feel like, "Well, why have I never done this before? Why have I never created characters and intersecting storylines? And why haven't I ever sort of freed myself up to do that from a narrative standpoint?" There is something a little heavy about knowing when you put out an album, people are going to take it so literally that everything you say could be clickbait. It was really, really freeing to be able to just be inspired by worlds created by the films you watch or books you've read or places you've dreamed of or people that you've wondered about, not just being inspired by your own experience.

In that vain, what's it like to sit down and write something like “Betty,” which is told from the perspective of a 17-year-old boy?

That was huge for me. And I think it came from the fact that my co-writer, William Bowery [Joe Alwyn], is male — and he was the one who originally thought of the chorus melody. And hearing him sing it, I thought, "That sounds really cool." Obviously, I don't have a male voice, but I thought, "I could have a male perspective." Patty Griffin wrote this song, “Top of the World.” It's one of my favorite songs of all time, and it's from the perspective of this older man who has lived a life full of regret, and he's kind of taking stock of that regret. So, I thought, "This is something that people I am a huge fan of have done. This would be fun to kind of take this for a spin."

What are your favorite William Bowery conspiracies?

I love them all individually and equally. I love all the conspiracy theories around this album. [With] "Betty," Jack Antonoff would text me these articles and think pieces and in-depth Tumblr posts on what this love triangle meant to the person who had listened to it. And that's exactly what I was hoping would happen with this album. I wrote these stories for a specific reason and from a specific place about specific people that I imagined, but I wanted that to all change given who was listening to it. And I wanted it to start out as mine and become other people's. It's been really fun to watch.

One of the other unique things about Folklore — the parameters around it were completely different from anything you'd done. There was no long roll out, no stadium-sized pop anthems, no aiming for the radio-friendly single. How fearful were you in avoiding what had worked in the past?

I didn't think about any of that for the very first time. And a lot of this album was kind of distilled down to the purest version of what the story is. Songwriting on this album is exactly the way that I would write if I considered nothing else other than, "What words do I want to write? What stories do I want to tell? What melodies do I want to sing? What production is essential to tell those stories?" It was a very do-it-yourself experience. My management team, we created absolutely everything in advance — every lyric video, every individual album package. And then we called our label a week in advance and said, "Here's what we have.” The photo shoot was me and the photographer walking out into a field. I'd done my hair and makeup and brought some nightgowns. These experiences I was used to having with 100 people on set, commanding alongside other people in a very committee fashion — all of a sudden it was me and a photographer, or me and my DP. It was a new challenge, because I love collaboration. But there's something really fun about knowing what you can do if it's just you doing it.

Did you find it freeing?

I did. Every project involves different levels of collaboration, because on other albums there are things that my stylist will think of that I never would've thought of. But if I had all those people on the photo shoot, I would've had to have them quarantine away from their families for weeks on end, and I would've had to ask things of them that I didn't think were fair if I could figure out a way to do it [myself]. I had this idea for the [Folklore album cover] that it would be this girl sleepwalking through the forest in a nightgown in 1830 [laughs]. Very specific. A pioneer woman sleepwalking at night. I made a moodboard and sent it to Beth [Garrabrant], who I had never worked with before, who shoots only on film. We were just carrying bags across a field and putting the bags of film down, and then taking pictures. It was a blast.

Folklore includes plenty of intimate acoustic echoes to what you've done in the past. But there are also a lot of new sonics here, too — these quiet, powerful, intricately layered harmonics. What was it like to receive the music from Aaron and try to write lyrics on top of it? 

Well, Aaron is one of the most effortlessly prolific creators I've ever worked with. It's really mind-blowing. And every time I've spoken to an artist since this whole process [began], I said, "You need to work with him. It'll change the way you create." He would send me these — he calls them sketches, but it's basically an instrumental track. the second day — the day after I texted him and said, "Hey, would you ever want to work together?" — he sent me this file of probably 30 of these instrumentals and every single one of them was one of the most interesting, exciting things I had ever heard. Music can be beautiful, but it can be lacking that evocative nature. There was something about everything he created that is an immediate image in my head or melody that I came up with. So much so that I'd start writing as soon as I heard a new one. And oftentimes what I would send back would inspire him to make more instrumentals and then send me that one. And then I wrote the song and it started to shape the project, form-fitted and customized to what we wanted to do.

It was weird because I had never made an album and not played it for my girlfriends or told my friends. The only people who knew were the people that I was making it with, my boyfriend, my family, and then my management team. So that's the smallest number of people I've ever had know about something. I'm usually playing it for everyone that I'm friends with. So I had a lot of friends texting me things like, "Why didn't you say on our everyday FaceTimes you were making a record?"

Was it nice to be able to keep it a secret?

Well, it felt like it was only my thing. It felt like such an inner world I was escaping to every day that it almost didn't feel like an album. Because I wasn't making a song and finishing it and going, "Oh my God, that is catchy.” I wasn't making these things with any purpose in mind. And so it was almost like having it just be mine was this really sweet, nice, pure part of the world as everything else in the world was burning and crashing and feeling this sickness and sadness. I almost didn't process it as an album. This was just my daydream space.

Does it still feel like that?

Yeah, because I love it so much. I have this weird thing that I do when I create something where in order to create the next thing I kind of, in my head, attack the previous thing. I don't love that I do that but it is the thing that has kept me pivoting to another world every time I make an album. But with this one, I just still love it. I'm so proud of it. And so that feels very foreign to me. That doesn't feel like a normal experience that I've had with releasing albums.

When did you first learn about Rebekah Harkness?

Oh, I learned about her as soon as I was being walked through [her former Rhode Island] home. I got the house when I was in my early twenties as a place for my family to congregate and be together. I was told about her, I think, by the real estate agent who was walking us through the property. And as soon as I found out about her, I wanted to know everything I could. So I started reading. I found her so interesting. And then as more parallels began to develop between our two lives — being the lady that lives in that house on the hill that everybody gets to gossip about — I was always looking for an opportunity to write about her. And I finally found it.

I love that you break the fourth wall in the song. Did you go in thinking you’d include yourself in the story?

I think that in my head, I always wanted to do a country music, standard narrative device, which is: the first verse you sing about someone else, the second verse you sing about someone else who's even closer to you, and then in the third verse, you go, "Surprise! It was me.” You bring it personal for the last verse. And I'd always thought that if I were to tell that story, I would want to include the similarities — our lives or our reputations or our scandals.

How often did you regale friends about the history of Rebekah and Holiday House while hanging out at Holiday House? 

Anyone who's been there before knows that I do “The Tour,” in quotes, where I show everyone through the house. And I tell them different anecdotes about each room, because I've done that much research on this house and this woman. So in every single room, there's a different anecdote about Rebekah Harkness. If you have a mixed group of people who've been there before and people who haven't, [the people who’ve been there] are like, "Oh, she's going to do the tour. She's got to tell you the story about how the ballerinas used to practice on the lawn.” And they'll go get a drink and skip it because it's the same every time. But for me, I'm telling the story with the same electric enthusiasm, because it's just endlessly entertaining to me that this fabulous woman lived there. She just did whatever she wanted.

There are a handful of songs on Folklore that feel like pretty clear nods to your personal life over the last year, including your relationships with Scott Borchetta and Scooter Braun. How long did it take to crystallize the feelings you had around both of them into “My Tears Ricochet” or “Mad Woman”?

I found myself being very triggered by any stories, movies, or narratives revolving around divorce, which felt weird because I haven't experienced it directly. There’s no reason it should cause me so much pain, but all of a sudden it felt like something I had been through. I think that happens any time you've been in a 15-year relationship and it ends in a messy, upsetting way. So I wrote “My Tears Ricochet” and I was using a lot of imagery that I had conjured up while comparing a relationship ending to when people end an actual marriage. All of a sudden this person that you trusted more than anyone in the world is the person that can hurt you the worst. Then all of a sudden the things that you have been through together, hurt. All of a sudden, the person who was your best friend is now your biggest nemesis, etc. etc. etc. I think I wrote some of the first lyrics to that song after watching Marriage Story and hearing about when marriages go wrong and end in such a catastrophic way. So these songs are in some ways imaginary, in some ways not, and in some ways both.

How did it feel to drop an F-bomb on "Mad Woman"?

F---ing fantastic.

And that’s the first time you ever recorded one on a record, right?

Yeah. Every rule book was thrown out. I always had these rules in my head and one of them was, You haven't done this before, so you can't ever do this. “Well, you've never had an explicit sticker, so you can't ever have an explicit sticker.” But that was one of the times where I felt like you need to follow the language and you need to follow the storyline. And if the storyline and the language match up and you end up saying the F-word, just go for it. I wasn't adhering to any of the guidelines that I had placed on myself. I decided to just make what I wanted to make. And I'm really happy that the fans were stoked about that because I think they could feel that. I'm not blaming anyone else for me restricting myself in the past. That was all, I guess, making what I want to make. I think my fans could feel that I opened the gate and ran out of the pasture for the first time, which I'm glad they picked up on because they're very intuitive.

Let’s talk about “Epiphany.” The first verse is a nod to your grandfather, Dean, who fought in World War II. What does his story mean to you personally? 

I wanted to write about him for awhile. He died when I was very young, but my dad would always tell this story that the only thing that his dad would ever say about the war was when somebody would ask him, "Why do you have such a positive outlook on life?" My grandfather would reply, "Well, I'm not supposed to be here. I shouldn't be here." My dad and his brothers always kind of imagined that what he had experienced was really awful and traumatic and that he'd seen a lot of terrible things. So when they did research, they learned that he had fought at the Battles of Guadalcanal, at Cape Gloucester, at Talasea, at Okinawa. He had seen a lot of heavy fire and casualties — all of the things that nightmares are made of. He was one of the first people to sign up for the war. But you know, these are things that you can only imagine that a lot of people in that generation didn't speak about because, a) they didn't want people that they came home to to worry about them, and b) it just was so bad that it was the actual definition of unspeakable.

That theme continues in the next verse, which is a pretty overt nod to what’s been happening during COVID. As someone who lives in Nashville, how difficult has it been to see folks on Lower Broadway crowding the bars without masks?

I mean, you just immediately think of the health workers who are putting their lives on the line — and oftentimes losing their lives. If they make it out of this, if they see the other side of it, there's going to be a lot of trauma that comes with that; there's going to be things that they witnessed that they will never be able to un-see. And that was the connection that I drew. I did a lot of research on my grandfather in the beginning of quarantine, and it hit me very quickly that we've got a version of that trauma happening right now in our hospitals. God, you hope people would respect it and would understand that going out for a night isn't worth the ripple effect that it causes. But obviously we're seeing that a lot of people don't seem to have their eyes open to that — or if they do, a lot of people don't care, which is upsetting.

You had the Lover Fest East and West scheduled this year. How hard has it been to both not perform for your fans this year, and see the music industry at large go through such a brutal change?

It's confusing. It's hard to watch. I think that maybe me wanting to make as much music as possible during this time was a way for me to feel like I could reach out my hand and touch my fans, even if I couldn't physically reach out or take a picture with them. We've had a lot of different, amazing, fun, sort of underground traditions we've built over the years that involve a lot of human interaction, and so I have no idea what's going to happen with touring; none of us do. And that's a scary thing. You can't look to somebody in the music industry who's been around a long time, or an expert touring manager or promoter and [ask] what's going to happen and have them give you an answer. I think we're all just trying to keep our eyes on the horizon and see what it looks like. So we're just kind of sitting tight and trying to take care of whatever creative spark might exist and trying to figure out how to reach our fans in other ways, because we just can't do that right now.

When you are able to perform again, do you have plans on resurfacing a Lover Fest-type event?

I don't know what incarnation it'll take and I really would need to sit down and think about it for a good solid couple of months before I figured out the answer. Because whatever we do, I want it to be something that is thoughtful and will make the fans happy and I hope I can achieve that. I'm going to try really hard to.

In addition to recording an album, you spent this year supporting Joe Biden and Kamala Harris in the election. Where were you when it was called in their favor? 

Well, when the results were coming in, I was actually at the property where we shot the Entertainment Weekly cover. I was hanging out with my photographer friend, Beth, and the wonderful couple that owned the farm where we [were]. And we realized really early into the night that we weren't going to get an accurate picture of the results. Then, a couple of days later, I was on a video shoot, but I was directing, and I was standing there with my face shield and mask on next to my director of photography, Rodrigo Prieto. And I just remember a news alert coming up on my phone that said, "Biden is our next president. He's won the election." And I showed it to Rodrigo and he said, "I'm always going to remember the moment that we learned this." And I looked around, and people's face shields were starting to fog up because a lot of people were really misty-eyed and emotional, and it was not loud. It wasn't popping bottles of champagne. It was this moment of quiet, cautious elation and relief.

Do you ever think about what Folklore would have sounded like if you, Aaron, and Jack had been in the same room?

I think about it all the time. I think that a lot of what has happened with the album has to do with us all being in a collective emotional place. Obviously everybody's lives have different complexities and whatnot, but I think most of us were feeling really shaken up and really out of place and confused and in need of something comforting all at the same time. And for me, that thing that was comforting was making music that felt sort of like I was trying to hug my fans through the speakers. That was truly my intent. Just trying to hug them when I can't hug them.

I wanted to talk about some of the lyrics on Folklore. One of my favorite pieces of wordplay is in “August”: that flip of "sipped away like a bottle of wine/slipped away like a moment in time.” Was there an "aha moment" for you while writing that?

I was really excited about "August slipped away into a moment of time/August sipped away like a bottle of wine." That was a song where Jack sent me the instrumental and I wrote the song pretty much on the spot; it just was an intuitive thing. And that was actually the first song that I wrote of the "Betty" triangle. So the Betty songs are "August," "Cardigan," and "Betty." "August" was actually the first one, which is strange because it's the song from the other girl's perspective.

Yeah, I assumed you wrote "Cardigan" first.

It would be safe to assume that "Cardigan" would be first, but it wasn't. It was very strange how it happened, but it kind of pieced together one song at a time, starting with "August," where I kind of wanted to explore the element of This is from the perspective of a girl who was having her first brush with love. And then all of a sudden she's treated like she's the other girl, because there was another situation that had already been in place, but "August" girl thought she was really falling in love. It kind of explores the idea of the undefined relationship. As humans, we're all encouraged to just be cool and just let it happen, and don't ask what the relationship is — Are we exclusive? But if you are chill about it, especially when you're young, you learn the very hard lesson that if you don't define something, oftentimes they can gaslight you into thinking it was nothing at all, and that it never happened. And how do you mourn the loss of something once it ends, if you're being made to believe that it never happened at all?

"I almost didn't process it as an album," says Taylor Swift of making Folklore. "And it's still hard for me to process as an entity or a commodity, because [it] was just my daydream space."

On the flip side, "Peace" is bit more defined in terms of how one approaches a relationship. There's this really striking line, "The devil's in the details, but you got a friend in me/Would it be enough if I can never give you peace?" How did that line come to you?

I'm really proud of that one too. I heard the track immediately. Aaron sent it to me, and it had this immediate sense of serenity running through it. The first word that popped into my head was peace, but I thought that it would be too on-the-nose to sing about being calm, or to sing about serenity, or to sing about finding peace with someone. Because you have this very conflicted, very dramatic conflict-written lyric paired with this very, very calming sound of the instrumental. But, "The devil's in the details," is one of those phrases that I've written down over the years. That's a common phrase that is used in the English language every day. And I just thought it sounded really cool because of the D, D sound. And I thought, "I'll hang onto those in a list, and then, I'll finally find the right place for them in a story." I think that's how a lot of people feel where it's like, "Yeah, the devil's in the details. Everybody's complex when you look under the hood of the car." But basically saying, "I'm there for you if you want that, if this complexity is what you want."

There's another clever turn-of-phrase on "This is Me Trying." "I didn't know if you'd care if I came back/I have a lot of regrets about that." That feels like a nod toward your fans, and some of the feelings you had about retreating from the public sphere.

Absolutely. I think I was writing from three different characters' perspectives, one who's going through that; I was channeling the emotions I was feeling in 2016, 2017, where I just felt like I was worth absolutely nothing. And then, the second verse is about dealing with addiction and issues with struggling every day. And every second of the day, you're trying not to fall into old patterns, and nobody around you can see that, and no one gives you credit for it. And then, the third verse, I was thinking, what would the National do? What lyric would Matt Berninger write? What chords would the National play? And it's funny because I've since played this song for Aaron, and he's like, "That's not what we would've done at all." He's like, "I love that song, but that's totally different than what we would've done with it."

When we last spoke, in April 2019, we were talking about albums we were listening to at the time and you professed your love for the National and I Am Easy to Find. Two months later, you met up with Aaron at their concert, and now, we're here talking about the National again.

Yeah, I was at the show where they were playing through I Am Easy to Find. What I loved about [that album] was they had female vocalists singing from female perspectives, and that triggered and fired something in me where I thought, "I've got to play with different perspectives because that is so intriguing when you hear a female perspective come in from a band where you're used to only hearing a male perspective." It just sparked something in me. And obviously, you mentioning the National is the reason why Folklore came to be. So, thank you for that, Alex.

I'm here for all of your songwriting muse needs in the future.

I can't wait to see what comes out of this interview.

This interview has been edited and condensed.

For more on our Entertainers of the Year and Best & Worst of 2020, order the January issue of Entertainment Weekly or find it on newsstands beginning Dec. 18. (You can also pick up the full set of six covers here.) Don’t forget to subscribe for more exclusive interviews and photos, only in EW.

[theromanticrationalist]

For All Mankind's season 2 finale was just incredible. In many ways, I have been really impressed by this show and how they have been able to incorporate space exploration into the intimate threads of human history. The Moon, space, leaving the confines of the Earth's atmosphere, exploring the great beyond - all become catalysts for each of the individual characters - representing each of their own struggles. Because, as I believe, reaching out towards the stars ultimately becomes about reaching within the human soul - looking outward, is looking inward, and vice versa. The two are inexplicably entwined, and this show does a pretty good job at showing this.

More fan girl thoughts below the cut. . .

- Gordo & Tracy Stevens

I feel like this is best exemplified in Gordo and Tracy's story. I don't have time to outline it all at the moment, but the Moon becomes the stage upon which their hearts are made bare. It is so rare to see a redemption story, and a redemption story of a marriage no less, showcased with such power. I will forever be blown away by this story. *lays down* - *cries* - *cries a lot*

- Margo & Sergei

UH ... YES PLEASE.

A forbidden Soviet Era romance??? Yes yes yes yes yes. I need this! THANK YOU FOR ALL MANKIND. The both of them are my absolute favorite! Just. Everything about them. How they are the same and how they are able to communicate almost as if they are reading each other's minds, and the way Sergei looks at her, and the way Margo blushes and can't even look at him in the eyes, and just . . . *incoherent fangirl screeching*

I really feel like Margo knows the door that she opened. I hope the writers don't make her dumb in the next season - just some love struck nerd girl. Margo is naïve and lost in her own world sometimes, but she isn't stupid. I feel like after Sergei's call, she was realizing the full ramifications of what she had done and what this could mean for her and Sergei's complicated relationship. (Not to mention her standing with her own government and country!)

So, you know what I want to see?? I want to see Margo and Sergei play the most expertly played game of espionage ever orchestrated! I want to see them give false information to one another, and they'll personally always get offended by it even though they both know this isn't personal at all - they'll twist and turn words, double - triple! - meanings - are they enemies? Are they friends? Are they lovers? Do they even know? Maybe! Maybe not! How can they hope to be anything more when they are serving countries that are always on the brink of World War III? And yet!!!

And always Sergei will have stars in his eyes when he looks at her, whenever she does something impossibly clever, and Margo will always wear his favorite color and be speechless around him whenever he is trying to be charming.

I LOVE THEM. FOR ALL MANKIND YOU GAVE THIS TO ME NOW DON'T RUIN IT FOR ME

And let me just say that once again Margot is basically just me. OF COURSE she would fall for the enemy! Totally on brand. I get you, girl! I get you so hard!

<holding up my fingers like the Ben Wyatt meme> It's about the "it's complicated..."

- Danielle Poole

QUEEN. MY QUEEN. I knew she would come through and pull off the Soyuz mission with flying colors! And Danielle & Stepan have my heart! I knew Stepan wouldn't be able to resist her in the end, and that he would have his little Soviet heart melted in no time! 🥰🥰🥰 That whole moment of them defying their governments and choosing peace and brotherhood was just so beautiful. (I was pretty much an emotional mess the entire finale...) Then the gut punching realization that many American's didn't even get to see the historical moment live on TV because they were in the Fall Out shelters. Uuuuuugh. This show is SO good at building the emotional drama of this unfolding history. It feels so real! But it also feels very much like it could part of the Star Trek universe. They are exploring similar utopian and humanistic themes, and so I think I am going to make it my headcanon that our alternate history is part of the Prime timeline. It's official. I have declared it.

Speaking of Star Trek, though, I was tearing up when Danielle was quoting Star Trek. OF COURSE she is a Trekkie - OF COURSE. She is perfect without flaw. The most precious angel! I just wish she had more screen time this season, but I loved her story this season regardless!

- Thomas Paine

I never got to properly mourn the passing of Paine! I was pretty upset that he died, and just when he was becoming such an awesome character! (HE LOVED SPACE THE ENTIRE TIME OMG MY HEART.) However, I realized he was like the Agent Coulson of this show. That awesome side character with an unusual and unexpected quirky personality whose death becomes a catalyst for the bigger picture! Ellen is doing an incredible job within his place, though, and I love what it is building for her character (even if her story is SO SAD). At any rate, Thomas Paine shall be missed!

- Molly Cobb

Molly Cobb is BOSS. Her heroic moment on the Moon was such an amazing highlight for this season for me. But I am loving how they have taken her character in an unexpected direction, down a harder and more humbling road. It is heartbreaking, but such a deeply human story. Her taking her plane and trying to escape from the Earth's atmosphere was like the most DRAMATIC AF moment (omg this show), but also, I felt that too. I also loved her and Wayne's struggle through what Molly is having to face. They're marriage is so strong - perfectly challenging one another and carrying one another through life. I love them! This is going to be painful watching what Molly will have to go through, though.

- Karen

I do want to say a few more words about this whole debacle. The fact that the writers completely obliterated the Baldwin family is something I will not forgive them for, and it was very poor choice on their part, most especially how it came about. To me, the Baldwins have always been the anchor point of the show, but now they are all just kind of pathetic, as the trust in their marriage is broken (for no reason) and all so that Karen can go "find herself".

Now, it has always been a part of Karen's character arc that she needs to find her own identity. She gave herself to her family, putting herself last, and that isn't a good thing. Although we should be reminded that a woman serving her family as a wife and mother is NOT shameful, and so there was literally no reason for the writers to deconstruct this when it was actually a beautiful thing. Things aren't black and white. Karen can be both proud as a dutiful wife and mother AND have existential dread over her own identity as person. BOTH realities can be true and exist together! You don't need to destroy the one to have the other! It's called N U A N C E. Something American tv writers utterly lack in their writing now a days.

Regardless of all this, though, and the disturbing, messed up nature of Karen's affair with Danny - I am sick and tired of how often shows and movies depict a woman's exploration of identity through her sexuality. I find it to be really offensive. As if liberating a woman's spirit means turning her into a horny sex fiend. Sexuality is but one dimension of a woman's identity, one dimension amongst a thousand. To reduce her down to this basic and crude physical dimension, as if somehow sleeping around, having affairs, masturbating, etc, unlocks her deeper self, is really insulting to women as human beings. Being an independent, confident woman comes from a deeper place of the mind, heart, and spirit that embodies her entire person as a holistic being. We are more than the sum of our parts! Please, writers, for the love of God, stop making us into rutting animals!

Suggestion: American writers, creators, directors, just go read Charlotte Bronte's Jane Eyre. She'll wipe the floor with your pitiful displays of female independence. I have never seen any modern writer even come close to what Bronte was able to to achieve with her masterpiece. She was able to truly showcase the power, dignity, and grace of a woman's spirit flawlessly - showing how freedom and independence does not mean free to do whatever you want with whomever you want defying all traditions, religion, expectations, and principles - but is a state and quality of mind, that even in the most dire and unbearable of circumstances, your spirit remains immutable. A woman's strength is compassion in the face of adversity, serenity in the face of devastation, and strength in the face of oppression. THAT is true womanhood.

[that-was-anticlimactic]

interests tag

i was tagged by @capt-snoozles es and @sheimagineddragons :)

MUSIC

Fave genre?

theatre !!! i listen solely to theatre and cartoon music [i.e. mlp songs, steven uiverse sings, etc...]

Fave artist?

uhhh my favorite musical is aladdin and my 1.5 favorite is a chorus line and my second favorite is come from away if those count haha

Fave song?

always: high adventure from aladdin broadway | idk why, but this song always helps me calm and down and take a breath and ground myself no matter what i’m feeling.

at the moment: safer from the musical first date

Most listened song recently?

nothing left to lose from the tangled series but like... the danish version...

and i listen to chant from hadestown a lot too oops

Song currently stuck in your head?

heroes on fire from kipo and the age of wonderbeasts

5 fave lyrics?

"it’s addictive the minute you let yourself think / the things that i say just might matter to someone” - you matter to me, waitress

"only one dad / only inspiring one son / edward, you’re done / writing your perfect tale / telling the perfect tale / it was a perfect tale” - what’s next, big fish

"but wishes are dreams and dreams are pretend / so science and reason win out in the end / science says you’re dead and gone forever / reason says i’m talking to the air / but something in my heart / some secret hidden part / illogically insists that you are there / somewhere” - if i believed - twisted

"and though the people around me / their mouths are still moving / the words they are forming / cannot reach me anymore / and it is quiet / and i am warm / like i’ve sailed / into the eye of the storm” - quiet, matilda

"i’m the son of poseidon / i never asked to be / but i’m the son of poseidon / now face the tide / inside of me” - son of poseidon, the lightning thief

[bonus] “i love a lilting line of lyrical alliteration / who doesn’t love alliteration?” - i love the way, something rotten

radio or your own playlist | solo artists or bands | pop or indie | louder or silent volume I slow or fast songs | music video or lyrics video | speakers or headset | riding a bus in silence or while listening to music | driving in silence or with radio on

BOOKS

Fave book genre?

uhhh i don’t think i have a specific genre, but anything that talks about the morality because i love that kind of analysis

Fave writer?

uhhh it changes, but i usually say chris colfer or edgar allen poe

Fave book?

the land of stories, chris colfer / an author’s odyssey, chris colfer

the lost hero, rick riordan [look it’s my favorite one...] 

murder on the orient express, agatha christie

heart of redness, zakes mda

king lear, shakespeare

Fave book series?

the land of stories series by chris colfer :)

Comfort book?

angels at the table - debbie macomber

Perfect book to read on a rainy day?

how to speak dragonese, cressida cowell

Fave characters?

goldilocks / conner bailey, land of stories series

piper mclean, heroes of olympus

camicazi, how to train your dragon series

ron weasley, harry potter series [love ron, not the author tho]

matilda, matilda

5 quotes from your fave book that you know by heart?

"be brave, children. courage is the one thing no one can ever take away from you” - land of stories

"there’s no such thing as im-POSSIBLE, hiccup, only im-PROBABLE. the only thing that limits us are the limits of our imagination” - how to train your dragon

“i like it when somebody gets excited about something. it's nice” - catcher in the rye

“self-love, my liege, is not so vile a sin as self-neglecting” - henry v

“do you think, because i am poor, obscure, plain, and little, i am soulless and heartless? you think wrong! — i have as much soul as you, — and full as much heart! and if God had gifted me with some beauty and much wealth, i should have made it as hard for you to leave me, as it is now for me to leave you” - jane eyre

“so matilda’s strong young mind continued to grow, nurtured by the voices of all those authors who had sent their books out into the world like ships on the sea. these books gave matilda a hopeful and comforting message: you are not alone.” - matilda

hardcover or paperback | buy or rent | standalone novels or book series | ebook or physical copy | reading at night or during the day | reading at home or in nature | listening to music while reading or reading in silence | reading in order or reading the ending first | reliable or unreliable narrator | realism or fantasy | one or multiple POVS | judging by the covers or by the summary | rereading or reading just once

TV AND MOVIES

Fave tv/movie genre?

uhh pretty much any cartoon tbh

Fave movie?

the my little pony movie (2017)

the lego ninjago movie (2017)

finding neverland

coraline

Comfort movie?

the my little pony movie (2017) [once watched it six times in one day]

the friendship games

Movie you watch every year?

the my little pony movie (2017) [i watch it once a month over zoom with my internet friend shannon]

Fave tv show?

the hollow

avatar: the last airbender

kipo and the age of wonderbeasts

lego ninjago: masters of spinjitzu

my little pony: friendship is magic

miraculous: tales of ladybug and chat noir

psych

Comfort tv show?

the hollow [specifically s2 ep6, dead end]

Most rewatched tv show?

the hollow

my little pony: friendship is magic

miraculous: tales of ladybug and chat noir

5 fave characters?

sokka sokka sokka sokka sokka, atla

vanessa, the hollow

cole brookestone, ninjago

nino lahiffe, mlb

benson, kipo and the age of wonderbeasts

varrick or bumi ii, legend of korra

tv shows or movie | short seasons (8-13 episodes) or full seasons (22 episodes or more)* | one episode a week or binging | one season or multiple seasons | one part or saga | half hour or one hour long episodes* | subtitles on or off | rewatching or watching just once | downloads or watches online

hehe this took awhile, but this was fun :)))

okay so uhh, imma tag [with no obligations so sorry if you were already tagged], my fellow thespians @bisexuallsokka and @bobisahandsomeskull as well as @leesbian42 and @fixationsbigandsmall

[path-of-my-childhood]

Taylor Swift Broke All Her Rules With Folklore - And Gave Herself A Much-Needed Escape

By: Alex Suskind for Entertainment Weekly Date: December 8th 2020 (EW's 2020 Entertainers of the Year cover)

The pop star, one of EW's 2020 Entertainers of the Year, delves deep into her surprise eighth album, Rebekah Harkness, and a Joe Biden presidency.

“He is my co-writer on ‛Betty’ and ‛Exile,’” replies Taylor Swift with deadpan precision. The question Who is William Bowery? was, at the time we spoke, one of 2020’s great mysteries, right up there with the existence of Joe Exotic and the sudden arrival of murder hornets. An unknown writer credited on the year’s biggest album? It must be an alias.

Is he your brother?

“He’s William Bowery,” says Swift with a smile.

It's early November, after Election Day but before Swift eventually revealed Bowery's true identity to the world (the leading theory, that he was boyfriend Joe Alwyn, proved prescient). But, like all Swiftian riddles, it was fun to puzzle over for months, particularly in this hot mess of a year, when brief distractions are as comforting as a well-worn cardigan. Thankfully, the Bowery... erhm, Alwyn-assisted Folklore - a Swift project filled with muted pianos and whisper-quiet snares, recorded in secret with Jack Antonoff and the National’s Aaron Dessner - delivered.

“The only people who knew were the people I was making it with, my boyfriend, my family, and a small management team,” Swift, 30, tells EW of the album's hush-hush recording sessions. That gave the intimate Folklore a mystique all its own: the first surprise Taylor Swift album, one that prioritized fantastical tales over personal confessions.

“Early in quarantine, I started watching lots of films,” she explains. “Consuming other people’s storytelling opened this portal in my imagination and made me feel like, Why have I never created characters and intersecting storylines?” That’s how she ended up with three songs about an imagined love triangle (“Cardigan,” “Betty,” “August”), one about a clandestine romance (“Illicit Affairs”), and another chronicling a doomed relationship (“Exile”). Others tell of sumptuous real-life figures like Rebekah Harkness, a divorcee who married the heir to Standard Oil - and whose home Swift purchased 31 years after her death. The result, “The Last Great American Dynasty,” hones in on Harkness’ story, until Swift cleverly injects herself.

And yet, it wouldn’t be a Swift album without a few barbed postmortems over her own history. Notably, “My Tears Ricochet” and “Mad Woman," which touch on her former label head Scott Borchetta selling the masters to Swift’s catalog to her known nemesis Scooter Braun. Mere hours after our interview, the lyrics’ real-life origins took a surprising twist, when news broke that Swift’s music had once again been sold, to another private equity firm, for a reported $300 million. Though Swift ignored repeated requests for comment on the transaction, she did tweet a statement, hitting back at Braun while noting that she had begun re-recording her old albums - something she first promised in 2019 as a way of retaining agency over her creative legacy. (Later, she would tease a snippet of that reimagined work, with a new version of her hit 2008 single "Love Story.")

Like surprise-dropping Folklore, like pissing off the president by endorsing his opponents, like shooing away haters, Swift does what suits her. “I don’t think we often hear about women who did whatever the hell they wanted,” she says of Harkness - something Swift is clearly intent on changing. For her, that means basking in the world of, and favorable response to, Folklore. As she says in our interview, “I have this weird thing where, in order to create the next thing, I attack the previous thing. I don’t love that I do that, but it is the thing that has kept me pivoting to another world every time I make an album. But with this one, I still love it.”

ENTERTAINMENT WEEKLY: We’ve spent the year quarantined in our houses, trying to stay healthy and avoiding friends and family. Were you surprised by your ability to create and release a full album in the middle of a pandemic? TAYLOR SWIFT: I was. I wasn't expecting to make an album. Early on in quarantine, I started watching lots of films. We would watch a different movie every night. I'm ashamed to say I hadn't seen Pan's Labyrinth before. One night I'd watch that, then I'd watch L.A. Confidential, then we'd watch Rear Window, then we'd watch Jane Eyre. I feel like consuming other people's art and storytelling sort of opened this portal in my imagination and made me feel like, "Well, why have I never done this before? Why have I never created characters and intersecting storylines? And why haven't I ever sort of freed myself up to do that from a narrative standpoint?" There is something a little heavy about knowing when you put out an album, people are going to take it so literally that everything you say could be clickbait. It was really, really freeing to be able to just be inspired by worlds created by the films you watch or books you've read or places you've dreamed of or people that you've wondered about, not just being inspired by your own experience.

In that vein, what's it like to sit down and write something like “Betty,” which is told from the perspective of a 17-year-old boy? That was huge for me. And I think it came from the fact that my co-writer, William Bowery [Joe Alwyn], is male — and he was the one who originally thought of the chorus melody. And hearing him sing it, I thought, "That sounds really cool." Obviously, I don't have a male voice, but I thought, "I could have a male perspective." Patty Griffin wrote this song, “Top of the World.” It's one of my favorite songs of all time, and it's from the perspective of this older man who has lived a life full of regret, and he's kind of taking stock of that regret. So, I thought, "This is something that people I am a huge fan of have done. This would be fun to kind of take this for a spin."

What are your favorite William Bowery conspiracies? I love them all individually and equally. I love all the conspiracy theories around this album. [With] "Betty," Jack Antonoff would text me these articles and think pieces and in-depth Tumblr posts on what this love triangle meant to the person who had listened to it. And that's exactly what I was hoping would happen with this album. I wrote these stories for a specific reason and from a specific place about specific people that I imagined, but I wanted that to all change given who was listening to it. And I wanted it to start out as mine and become other people's. It's been really fun to watch.

One of the other unique things about Folklore — the parameters around it were completely different from anything you'd done. There was no long roll out, no stadium-sized pop anthems, no aiming for the radio-friendly single. How fearful were you in avoiding what had worked in the past? I didn't think about any of that for the very first time. And a lot of this album was kind of distilled down to the purest version of what the story is. Songwriting on this album is exactly the way that I would write if I considered nothing else other than, "What words do I want to write? What stories do I want to tell? What melodies do I want to sing? What production is essential to tell those stories?" It was a very do-it-yourself experience. My management team, we created absolutely everything in advance — every lyric video, every individual album package. And then we called our label a week in advance and said, "Here's what we have.” The photo shoot was me and the photographer walking out into a field. I'd done my hair and makeup and brought some nightgowns. These experiences I was used to having with 100 people on set, commanding alongside other people in a very committee fashion — all of a sudden it was me and a photographer, or me and my DP. It was a new challenge, because I love collaboration. But there's something really fun about knowing what you can do if it's just you doing it.

Did you find it freeing? I did. Every project involves different levels of collaboration, because on other albums there are things that my stylist will think of that I never would've thought of. But if I had all those people on the photo shoot, I would've had to have them quarantine away from their families for weeks on end, and I would've had to ask things of them that I didn't think were fair if I could figure out a way to do it [myself]. I had this idea for the [Folklore album cover] that it would be this girl sleepwalking through the forest in a nightgown in 1830 [laughs]. Very specific. A pioneer woman sleepwalking at night. I made a moodboard and sent it to Beth [Garrabrant], who I had never worked with before, who shoots only on film. We were just carrying bags across a field and putting the bags of film down, and then taking pictures. It was a blast.

Folklore includes plenty of intimate acoustic echoes to what you've done in the past. But there are also a lot of new sonics here, too — these quiet, powerful, intricately layered harmonics. What was it like to receive the music from Aaron and try to write lyrics on top of it? Well, Aaron is one of the most effortlessly prolific creators I've ever worked with. It's really mind-blowing. And every time I've spoken to an artist since this whole process [began], I said, "You need to work with him. It'll change the way you create." He would send me these — he calls them sketches, but it's basically an instrumental track. the second day — the day after I texted him and said, "Hey, would you ever want to work together?" — he sent me this file of probably 30 of these instrumentals and every single one of them was one of the most interesting, exciting things I had ever heard. Music can be beautiful, but it can be lacking that evocative nature. There was something about everything he created that is an immediate image in my head or melody that I came up with. So much so that I'd start writing as soon as I heard a new one. And oftentimes what I would send back would inspire him to make more instrumentals and then send me that one. And then I wrote the song and it started to shape the project, form-fitted and customized to what we wanted to do.

It was weird because I had never made an album and not played it for my girlfriends or told my friends. The only people who knew were the people that I was making it with, my boyfriend, my family, and then my management team. So that's the smallest number of people I've ever had know about something. I'm usually playing it for everyone that I'm friends with. So I had a lot of friends texting me things like, "Why didn't you say on our everyday FaceTimes you were making a record?"

Was it nice to be able to keep it a secret? Well, it felt like it was only my thing. It felt like such an inner world I was escaping to every day that it almost didn't feel like an album. Because I wasn't making a song and finishing it and going, "Oh my God, that is catchy.” I wasn't making these things with any purpose in mind. And so it was almost like having it just be mine was this really sweet, nice, pure part of the world as everything else in the world was burning and crashing and feeling this sickness and sadness. I almost didn't process it as an album. This was just my daydream space.

Does it still feel like that? Yeah, because I love it so much. I have this weird thing that I do when I create something where in order to create the next thing I kind of, in my head, attack the previous thing. I don't love that I do that but it is the thing that has kept me pivoting to another world every time I make an album. But with this one, I just still love it. I'm so proud of it. And so that feels very foreign to me. That doesn't feel like a normal experience that I've had with releasing albums.

When did you first learn about Rebekah Harkness? Oh, I learned about her as soon as I was being walked through [her former Rhode Island] home. I got the house when I was in my early twenties as a place for my family to congregate and be together. I was told about her, I think, by the real estate agent who was walking us through the property. And as soon as I found out about her, I wanted to know everything I could. So I started reading. I found her so interesting. And then as more parallels began to develop between our two lives — being the lady that lives in that house on the hill that everybody gets to gossip about — I was always looking for an opportunity to write about her. And I finally found it.

I love that you break the fourth wall in the song. Did you go in thinking you’d include yourself in the story? I think that in my head, I always wanted to do a country music, standard narrative device, which is: the first verse you sing about someone else, the second verse you sing about someone else who's even closer to you, and then in the third verse, you go, "Surprise! It was me.” You bring it personal for the last verse. And I'd always thought that if I were to tell that story, I would want to include the similarities — our lives or our reputations or our scandals.

How often did you regale friends about the history of Rebekah and Holiday House while hanging out at Holiday House? Anyone who's been there before knows that I do “The Tour,” in quotes, where I show everyone through the house. And I tell them different anecdotes about each room, because I've done that much research on this house and this woman. So in every single room, there's a different anecdote about Rebekah Harkness. If you have a mixed group of people who've been there before and people who haven't, [the people who’ve been there] are like, "Oh, she's going to do the tour. She's got to tell you the story about how the ballerinas used to practice on the lawn.” And they'll go get a drink and skip it because it's the same every time. But for me, I'm telling the story with the same electric enthusiasm, because it's just endlessly entertaining to me that this fabulous woman lived there. She just did whatever she wanted.

There are a handful of songs on Folklore that feel like pretty clear nods to your personal life over the last year, including your relationships with Scott Borchetta and Scooter Braun. How long did it take to crystallize the feelings you had around both of them into “My Tears Ricochet” or “Mad Woman”? I found myself being very triggered by any stories, movies, or narratives revolving around divorce, which felt weird because I haven't experienced it directly. There’s no reason it should cause me so much pain, but all of a sudden it felt like something I had been through. I think that happens any time you've been in a 15-year relationship and it ends in a messy, upsetting way. So I wrote “My Tears Ricochet” and I was using a lot of imagery that I had conjured up while comparing a relationship ending to when people end an actual marriage. All of a sudden this person that you trusted more than anyone in the world is the person that can hurt you the worst. Then all of a sudden the things that you have been through together, hurt. All of a sudden, the person who was your best friend is now your biggest nemesis, etc. etc. etc. I think I wrote some of the first lyrics to that song after watching Marriage Story and hearing about when marriages go wrong and end in such a catastrophic way. So these songs are in some ways imaginary, in some ways not, and in some ways both.

How did it feel to drop an F-bomb on "Mad Woman"? F---ing fantastic.

And that’s the first time you ever recorded one on a record, right? Yeah. Every rule book was thrown out. I always had these rules in my head and one of them was, You haven't done this before, so you can't ever do this. “Well, you've never had an explicit sticker, so you can't ever have an explicit sticker.” But that was one of the times where I felt like you need to follow the language and you need to follow the storyline. And if the storyline and the language match up and you end up saying the F-word, just go for it. I wasn't adhering to any of the guidelines that I had placed on myself. I decided to just make what I wanted to make. And I'm really happy that the fans were stoked about that because I think they could feel that. I'm not blaming anyone else for me restricting myself in the past. That was all, I guess, making what I want to make. I think my fans could feel that I opened the gate and ran out of the pasture for the first time, which I'm glad they picked up on because they're very intuitive.

Let’s talk about “Epiphany.” The first verse is a nod to your grandfather, Dean, who fought in World War II. What does his story mean to you personally? I wanted to write about him for awhile. He died when I was very young, but my dad would always tell this story that the only thing that his dad would ever say about the war was when somebody would ask him, "Why do you have such a positive outlook on life?" My grandfather would reply, "Well, I'm not supposed to be here. I shouldn't be here." My dad and his brothers always kind of imagined that what he had experienced was really awful and traumatic and that he'd seen a lot of terrible things. So when they did research, they learned that he had fought at the Battles of Guadalcanal, at Cape Gloucester, at Talasea, at Okinawa. He had seen a lot of heavy fire and casualties — all of the things that nightmares are made of. He was one of the first people to sign up for the war. But you know, these are things that you can only imagine that a lot of people in that generation didn't speak about because, a) they didn't want people that they came home to to worry about them, and b) it just was so bad that it was the actual definition of unspeakable.

That theme continues in the next verse, which is a pretty overt nod to what’s been happening during COVID. As someone who lives in Nashville, how difficult has it been to see folks on Lower Broadway crowding the bars without masks? I mean, you just immediately think of the health workers who are putting their lives on the line — and oftentimes losing their lives. If they make it out of this, if they see the other side of it, there's going to be a lot of trauma that comes with that; there's going to be things that they witnessed that they will never be able to un-see. And that was the connection that I drew. I did a lot of research on my grandfather in the beginning of quarantine, and it hit me very quickly that we've got a version of that trauma happening right now in our hospitals. God, you hope people would respect it and would understand that going out for a night isn't worth the ripple effect that it causes. But obviously we're seeing that a lot of people don't seem to have their eyes open to that — or if they do, a lot of people don't care, which is upsetting.

You had the Lover Fest East and West scheduled this year. How hard has it been to both not perform for your fans this year, and see the music industry at large go through such a brutal change? It's confusing. It's hard to watch. I think that maybe me wanting to make as much music as possible during this time was a way for me to feel like I could reach out my hand and touch my fans, even if I couldn't physically reach out or take a picture with them. We've had a lot of different, amazing, fun, sort of underground traditions we've built over the years that involve a lot of human interaction, and so I have no idea what's going to happen with touring; none of us do. And that's a scary thing. You can't look to somebody in the music industry who's been around a long time, or an expert touring manager or promoter and [ask] what's going to happen and have them give you an answer. I think we're all just trying to keep our eyes on the horizon and see what it looks like. So we're just kind of sitting tight and trying to take care of whatever creative spark might exist and trying to figure out how to reach our fans in other ways, because we just can't do that right now.

When you are able to perform again, do you have plans on resurfacing a Lover Fest-type event? I don't know what incarnation it'll take and I really would need to sit down and think about it for a good solid couple of months before I figured out the answer. Because whatever we do, I want it to be something that is thoughtful and will make the fans happy and I hope I can achieve that. I'm going to try really hard to.

In addition to recording an album, you spent this year supporting Joe Biden and Kamala Harris in the election. Where were you when it was called in their favor? Well, when the results were coming in, I was actually at the property where we shot the Entertainment Weekly cover. I was hanging out with my photographer friend, Beth, and the wonderful couple that owned the farm where we [were]. And we realized really early into the night that we weren't going to get an accurate picture of the results. Then, a couple of days later, I was on a video shoot, but I was directing, and I was standing there with my face shield and mask on next to my director of photography, Rodrigo Prieto. And I just remember a news alert coming up on my phone that said, "Biden is our next president. He's won the election." And I showed it to Rodrigo and he said, "I'm always going to remember the moment that we learned this." And I looked around, and people's face shields were starting to fog up because a lot of people were really misty-eyed and emotional, and it was not loud. It wasn't popping bottles of champagne. It was this moment of quiet, cautious elation and relief.

Do you ever think about what Folklore would have sounded like if you, Aaron, and Jack had been in the same room? I think about it all the time. I think that a lot of what has happened with the album has to do with us all being in a collective emotional place. Obviously everybody's lives have different complexities and whatnot, but I think most of us were feeling really shaken up and really out of place and confused and in need of something comforting all at the same time. And for me, that thing that was comforting was making music that felt sort of like I was trying to hug my fans through the speakers. That was truly my intent. Just trying to hug them when I can't hug them.

I wanted to talk about some of the lyrics on Folklore. One of my favorite pieces of wordplay is in “August”: that flip of "sipped away like a bottle of wine/slipped away like a moment in time.” Was there an "aha moment" for you while writing that? I was really excited about "August slipped away into a moment of time/August sipped away like a bottle of wine." That was a song where Jack sent me the instrumental and I wrote the song pretty much on the spot; it just was an intuitive thing. And that was actually the first song that I wrote of the "Betty" triangle. So the Betty songs are "August," "Cardigan," and "Betty." "August" was actually the first one, which is strange because it's the song from the other girl's perspective.

Yeah, I assumed you wrote "Cardigan" first. It would be safe to assume that "Cardigan" would be first, but it wasn't. It was very strange how it happened, but it kind of pieced together one song at a time, starting with "August," where I kind of wanted to explore the element of This is from the perspective of a girl who was having her first brush with love. And then all of a sudden she's treated like she's the other girl, because there was another situation that had already been in place, but "August" girl thought she was really falling in love. It kind of explores the idea of the undefined relationship. As humans, we're all encouraged to just be cool and just let it happen, and don't ask what the relationship is — Are we exclusive? But if you are chill about it, especially when you're young, you learn the very hard lesson that if you don't define something, oftentimes they can gaslight you into thinking it was nothing at all, and that it never happened. And how do you mourn the loss of something once it ends, if you're being made to believe that it never happened at all?

On the flip side, "Peace" is bit more defined in terms of how one approaches a relationship. There's this really striking line, "The devil's in the details, but you got a friend in me/Would it be enough if I can never give you peace?" How did that line come to you? I'm really proud of that one too. I heard the track immediately. Aaron sent it to me, and it had this immediate sense of serenity running through it. The first word that popped into my head was peace, but I thought that it would be too on-the-nose to sing about being calm, or to sing about serenity, or to sing about finding peace with someone. Because you have this very conflicted, very dramatic conflict-written lyric paired with this very, very calming sound of the instrumental. But, "The devil's in the details," is one of those phrases that I've written down over the years. That's a common phrase that is used in the English language every day. And I just thought it sounded really cool because of the D, D sound. And I thought, "I'll hang onto those in a list, and then, I'll finally find the right place for them in a story." I think that's how a lot of people feel where it's like, "Yeah, the devil's in the details. Everybody's complex when you look under the hood of the car." But basically saying, "I'm there for you if you want that, if this complexity is what you want."

There's another clever turn of phrase on "This is Me Trying." "I didn't know if you'd care if I came back/I have a lot of regrets about that." That feels like a nod toward your fans, and some of the feelings you had about retreating from the public sphere. Absolutely. I think I was writing from three different characters' perspectives, one who's going through that; I was channeling the emotions I was feeling in 2016, 2017, where I just felt like I was worth absolutely nothing. And then, the second verse is about dealing with addiction and issues with struggling every day. And every second of the day, you're trying not to fall into old patterns, and nobody around you can see that, and no one gives you credit for it. And then, the third verse, I was thinking, what would the National do? What lyric would Matt Berninger write? What chords would the National play? And it's funny because I've since played this song for Aaron, and he's like, "That's not what we would've done at all." He's like, "I love that song, but that's totally different than what we would've done with it."

When we last spoke, in April 2019, we were talking about albums we were listening to at the time and you professed your love for the National and I Am Easy to Find. Two months later, you met up with Aaron at their concert, and now, we're here talking about the National again. Yeah, I was at the show where they were playing through I Am Easy to Find. What I loved about [that album] was they had female vocalists singing from female perspectives, and that triggered and fired something in me where I thought, "I've got to play with different perspectives because that is so intriguing when you hear a female perspective come in from a band where you're used to only hearing a male perspective." It just sparked something in me. And obviously, you mentioning the National is the reason why Folklore came to be. So, thank you for that, Alex.

I'm here for all of your songwriting muse needs in the future. I can't wait to see what comes out of this interview.

*** For more on our Entertainers of the Year and Best & Worst of 2020, order the January issue of Entertainment Weekly or find it on newsstands beginning Dec. 18. (You can also pick up the full set of six covers here.) Don’t forget to subscribe for more exclusive interviews and photos, only in EW.

[andrea-lyn]

TOG Prompt request where Nile realizes that the old guard rarely, or even never, goes to certain countries (of your choice) and she asks them why?

@alexmanes is an incredible person who gave me the graphic help here when your prompt gave me the most incredible mental image, so I hope you enjoy! 

Copley insists that he’s going to need at least two weeks to clean up the mess in London. They’re under strict instructions to stay quiet and stay close. 

Andy looks at Joe and Nicky, and then says, “Ardlui,” like it’s supposed to mean something. Nile isn’t sure if that’s a language or a person, but a train ride later (along with one tiny rental car), they’re pulling up to a little shack in the Scottish highlands. The house looks like it’s falling down, but Nile guesses that when you’re lying low, you try to make it seem like you’re nowhere to be found. “Welcome to the Scottish Highlands,” Joe welcomes, pulling their luggage out of the trunk. “Word of advice, if you’re planning to go walking the moors, try not to die of exposure.” Nicky grimaces as he passes as he takes the bags inside. “One time,” he mutters under his breath, the words barely audible. “It was one time.”

Andy’s smirking. “Joe called him Jane Eyre for weeks,” she shares, which means the incident must have happened in the last few centuries. 

The town sits at the top of Loch Lomond and probably has a lot to look at, but this house doesn’t seem like one of those things. Still, where else is she going to go? She follows after Andy, bracing for the worst, and beyond grateful not to find it. Inside, it doesn’t look half as abandoned and Nile stops worrying about what it will be like to get infected and heal tetanus. “When’s the last time you guys were here?” she asks, setting down her duffel. 

Andy and Joe exchange a look, while Nicky keeps bringing the bags to the two bedrooms. “The nineties?” Joe guesses. “We make sure some of the houses are still in livable condition by paying locals to come in and keep it tidy. The safe houses don’t have anything we worry too much about.”

Nile nods, taking it all in, and wanders towards a big oak round table in the middle of the main hallway. There are pieces of paper curling up at the edges, and when she gets closer to try and tamp them down with a book, she blinks in surprise at her find. 

It’s a map of Europe, done by hand. It’s beautiful, with great care given to the lines of the map. It takes her a second to realize she’s not alone and when she looks up, sees Joe standing at her side. He’s beaming like a proud father and Nile taps on the charcoal etchings around certain countries, giving his regularly-graphite-stained fingertips a suspicious look.

“This is yours, isn’t it?”

“It is,” he boasts. 

“Joe is an excellent cartographer,” Nicky praises through the open door to the bedroom, obviously not that mad about the gentle roasting he got.

It really is amazing, something that Nile would’ve loved to hang on her wall at home. It’s clear he’s had to redraw boundaries and country lines, but there’s one other thing that’s very strange about this map.

“She found the map, huh?” Andy asks, bending down to open a cabinet, digging out a bottle of whiskey. 

“Why are all these X’s on certain countries?” Nile asks warily. Slovakia, Finland, Moldova, Monaco, and Iceland have hurried black X marks drawn on them. 

Andy exchanges a look with Joe and Nicky, almost amused and weirdly proud. “You think you get to be as old as we are and not end up banned from a couple of countries? Booker did the best he could with new identification, but as technology progressed, we ran into some really dicey trouble. The ones on there are no-go’s for another fifty years,” she says.  

“Sometimes, world politics helps,” Nicky adds, brightly. “It was a good day when Czechoslovakia split. We could return to Prague again, since it’s only Slovakia that was not happy with us.” 

Nile gives Nicky a wary look. “What did you do there?”

“We helped a small group of students with their protests and managed to get ourselves prominently featured in the paper. They got Nicky’s nose horribly wrong in the sketch,” Joe confides. “They thought we were the ringleaders.”

“We were,” Nicky boasts. “The protests did their job, I’m very proud.”

“Monaco?” Nile asks warily.

“Equal responsibility on that one,” Joe says, smirking at Andy. 

“They cheat in casinos,” Andy says as she takes a swig of liquor, “and I should be left out of it.”

“She seduced Princess Grace,” Nicky informs Nile.

“I absolutely did not seduce anyone,” Andy counters. “She came to me.”

“Seduced,” Joe vows. “Booker got us into trouble at the tables by getting a little too belligerent when they asked us to leave because I was counting cards. He’d been drinking some excellent wine, but I think he was also just spoiling for a fight, even though I was absolutely guilty.” 

Nile narrows her eyes at him.

“I wanted to buy Nicky some beautiful new clothes,” is Joe’s response, which is not a denial. 

Nile pinches the bridge of her nose, not sure what stories might be behind the other counties on the map, though if Monaco and Slovakia are any indication, she’s beginning to get the feeling that the ‘lay low’ rule is in place for a reason, if only to allow them back into certain places. Nile taps her fingers on the map a few times, taking it all in. She’s somehow not surprised there are a few countries that won’t let them in (legally) anymore, though it’s good information for her.

“Shit,” Nile scoffs. “I’m weirdly proud of you guys. The way I’ve seen your missions go, I would’ve thought there’d be a lot more countries on this list.”

That sets them off. It’s clear that Andy is passionate about defending the fact that London was not a typical mission and Joe and Nicky get into a heated defense about the fact that some things are unavoidable and their clean-up is far from perfect, but that they’ve improved on it over the years. 

Still, there’s one good thing about this map. 

Now she knows that if the others are ever getting on her nerves and she needs an escape, there’s always Reykjavik. 

[captaincravatthecapricious]

Mabel AU- The Letters

@haberdashing

Martin is an at home care giver, trying to reach the Grandson of his latest client.

This is basically a rewrite of the first episode of Mabel.  There really aren't many direct quotes, only a couple very short ones, everything else is mine.

Thanks for reading!  If you want more of this AU, let me know, or just let me know if you enjoyed!   Another fic of some sort or other will be posted next week!

ARCHIVIST: Hello, you’ve reached Jonathan Sims.  I’m not here to take your call right now.  Please leave a message after the beep.  Thank you.  

[BEEP]

MARTIN: Hey, Jonathan, right?  My name is Martin Blackwood, and I’m with Kings County Home Help?  I’ve been taking care of your grandmother for the past six months.  I’m her at home carer?  I know I probably shouldn’t have your number, but I wanted to check in with you.  Nothing’s wrong.  Nothing’s wrong.  Gertrude Sims is fine.  Good, actually, for her age.  Sorry, is that insensitive?   In any case, I’d like a call back, if you aren’t too busy.  Right.  Let me apologize for how I got your number.  I know it’s probably unorthodox, probably breeching some privacy agreement or something… 

[SIGH]

[ASIDE]

Don’t tell him that, Christ what is wrong with you?

[TO JON]

Right.  Well I got your number from my coworker, Sasha, who’s friends with Tim, who’s friends with you.  And he apparently hasn’t heard from you in a little, and would like him to call you back.  He told Sash to tell me to tell you that, by the way.  That was the price for your number.  Sorry for that.  I’m sure you have …things.  A life in the real world and not in this distant and lovely house.  

…Sorry, that was… Anyways, give me a call back when you can, yeah?  Thanks.  Bye!

[ASIDE] 

Christ!  What’s wrong with you… catch sight of one pretty photo… SHIT, right, hanging up.  

[BEEP]

[MUFFLED THROUGH A POCKET] 

[QUIETLY SINGING TO HIMSELF OVER THE SOUND OF KITCHEN] 

…Onions in the paaaaaan.  Why aren’t you hot enough yeeeet?  The water sizzledddddd, but it isn’t sizzling noooow.  

[NEGLECTED PHONE SOUND] 

[REALIZING]

OH SHIT.  SORRY.  

[BEEP]

[CLEARS THROAT] 

Hi, Mr. Sims.  It’s me again.  It’s Martin.  I… I’m trying to reach you… again.  …As you probably can tell.  It’s just been three days, and I would really like a call back.  I just realized I didn’t give a number or like, I know you can probably figure out that you can reach me through this number, but I didn’t say it and I didn’t tell you when I was available, and maybe that’s why you haven’t gotten back to me.  At least I hope that’s why.  I… I can’t imagine not calling one of my Mum’s doctors back.  Anyways, my number is [CENSORED] in case you can’t just ring back or something.  Maybe your phone blocks unknow numbers and you haven’t even gotten this.  Maybe I was listed as private and you couldn’t call back.  Maybe you’re very polite and didn’t want to bother me when you didn’t know my schedule.  I’m available from 2-5pm and in the evenings after 9pm.  Or maybe you’ve got phone anxiety.  I know I do, heh.  I’m sweating just leaving you this message.  

Or maybe you’re just busy.  

Or maybe you tried to call, and I just didn’t get it.  The reception isn’t great out here, as …you probably know.  Given you grew up here.  But anyways I have made sure I can get your message even with the dead-phone zones.  It’s all set up.  So… just needing a call back when you can.  Well, not needing.  But… I’d like one.  Thanks.  Bye.  

[BEEP]

Hi.  It’s me …again.  Just… trying to reach you.  Whatever.  

[BEEP] 

Call me back and let me know you aren’t dead in a ditch somewhere, okay?  Sash says Tim is really worried… And… I might be too.  Not that I even know you.  Not really.  So if you aren’t rotting in some hole somewhere, give me a call back, please?

[BEEP]

Where did you go?  

[BEEP]

Hi.  It’s me.  …I’ve heard a lot about you, you know?  Mostly from you Grandmother, Gertrude.  

[ASIDE] 

Christ, Martin.  He knows his grandmother’s name.  

[TO JON]

Right.  Anyhow.  She’s told me a lot of stories, you know?  She’s actually pretty sharp.  Most of the time, anyhow.  Mostly lucid.  I’m not sure if that’s all because of her medicine or what.  I’ve… I help a lot of old people, at the end of their lives.  And well… when I say she’s sharp, I mean that she is sharp comparatively, and also just remarkably so.  Her words are confident, and considered.  She doesn’t waste words, but she doesn’t shy away from telling stories.  (I’m sure it’s just because she has no one else to talk to.  Not even you.)  But… you’ve stopped feeling like a real person on the other end of the line.  That’s part of why I wanted to call?  I guess?  The longer that it’s been since my first message, the more I doubt myself for calling, and why I called.  Sorry, then, for wasting your time.  Thinking of you more like a book character, than someone with feelings and thoughts and a life.  Someone who I know too much about for us to be casual strangers, even if I am a complete stranger to you.  It just feels like a weird imbalance, you know?  

Also… it’s a bit lonely out here, you know?  Gertrude has a lot of old photographs of you.  None of them are recent.  And I know it isn’t my business, but… never mind.  It isn’t my business… and I get it.  

But… she still has your photos up.  It’s my job to dust them.  So, every week or so, I get a really good look at them.  There’s one of you on the tire swing out back… it’s still back there, you know?  You have mud all over your dungarees.  And in your hair.  Then there’s one… you look about 7?  Your hair is in pig tails, and you are scowling at something off to your right.  I don’t know what it is, and I know I shouldn’t find that kind of adorable, but I do.  And there’s one of you in uni.  You’re flipping off the camera and your hair is short and you’re wearing eyeliner.  You look some odd combination of pissed off and like you’re having the time of your life.  

[ASIDE]

And really, really, really hot.  Christ, Martin, keep it together.  You are literally on the phone with him, and you haven’t even talked to him.  Jesus!

[TO JON]

I.. wish I could have known you then.  That’s the oldest you look in these.  Most of these are pictures of you when you were little.  Mostly just you.  A few of your dad when he was young, and one of your parents.  She’s pregnant, and it’s sunset.  They look so …happy.  Christ, I’m sorry about what happened to them.  I… I didn’t really know my dad either.  

Sorry.  This isn’t about me.  

I’m calling because this place is… spooky.  Spooky like a dark fairy tale.  

Everything here is a bit… magical and creepy.  

This house is old.  Like a museum.  Dusty boxes in the attic, full of treasures and dust the relics of the past, like the Long past.  Not just the past of one lifetime.  The garden is overgrown, despite my best efforts.  Sometimes, Gertrude comes out and helps me garden.  Usually in her chair.  Mostly I just wheel here out so she can get some sun while I work.  That’s where I hear most of the stories about you.  

It’s overgrown with twisting vines and the most beautiful roses I have ever seen, with scary-long thorns.  

I feel like I’ve walked into the setting for a classic.  Like Jane Eyre or Pride and Prejudice, or hell, even Tolkien.  Or even Grimm’s fairytales.  The original, dark ones.  

It’s… unsettling.  Especially when it’s foggy out.  

The rest of the hills disappear into the fog and the condensation clings to the flowers, desaturated with the thickness of the moisture in the air, and the everything is coated in the most delicate, perfect little water droplets.  

Anyhow.  The reason I’m really calling… are the letters.  

I was helping Gertrude move some things up to the attic.  She’s one of the practical sorts of old people.  She isn’t afraid of her death.  She wants everything to be easy on you, you know?  Make sure you don’t have to go through too much stuff when she passes on.  I’ve lived with a lot of people through their deaths.  It’s nice… making sure no one dies alone.  Making sure they are comfortable.  Making it as painless as possible.  

[ASIDE]

Lord knows my efforts were never good enough for my mother… but if I can help other people…

[TO JON]

I know it’s a little morbid.  But I like it.  I feel… useful.  I’m good at it.  I’m good at keeping up conversations, and at cooking, and cleaning, and providing medical assistance, as needed.  Not that I’m an actual doctor, but I, you know, do have a lot of training.  

Anyway.  The letters.  I was helping her move some stuff into the attic, and bringing down some older boxes so she could go through them and decide what she was ready to toss, when I found them.  This box full of letters.  Hundreds of them.  All unopened.  Sealed with a kiss.  Lipstick red.  Red as dying embers.  Stamped returned to sender.  Slightly scorched around the edges.  Tied in bundles.  Identical envelops.  Identical loose, looping cursive.  All from someone named Agnes?  All addressed to Gertrude.  

That would be fine, I guess?  

But she screamed when she opened it.  An inhuman sound.  

Like the sound was ripped from her.  

And, I have never cared for a more grounded person.  I have never seen her anything but… well not completely calm all the time, but mostly calm, you know?  I’ve seen her sharp, I’ve seen her annoyed.   Heh, half the time it looks like she wants to judge me, but then doesn’t… if that makes sense?  Mostly she looks… like she knows so much more than I do and that she is calm in her knowledge?  I’ve seen so much as a carer.  There isn’t much that rattles me.  Not death, not illness, not panic, but… but this was different.  

After that… she was shaken badly.  Screamed for what seemed like hours, then just stared at me and said “I’m going into the ground for you.”  I… I couldn’t calm her down.  Not until late evening, and I didn’t even have a break because the relief carer was off sick.  

I finally got her to bed, and… I had to take another look.  That’s when I got a good look at the envelopes.  I… I want to open them.  I haven’t.  I know I shouldn’t…. but…. I want to know what could have shaken her that badly?  Someone that stable and grounded, you know?  

Heh, maybe you could call me back and make sure I don’t do something stupid.  And ya know, let me know that you aren’t’ dead in a ditch.  Tim’s started texting me directly now!  He’s… he’s really worried about you.  

Anyhow, I just need to know-

[BEEP]

[CONTINUED BEEPING]

AUTOMATED VOICE: The voicemail inbox for [Jonathan Sims] is full. Please call again later. 

[DIAL TONE] 

[bananaofswifts]

BY: JILLIAN MAPES JUL 27 2020

POP/R&B

Made from afar, primarily with the National’s Aaron Dessner, Swift’s eighth album is a sweater-weather record filled with cinematic love songs and rich fictional details.

The phantom pang of missing someone before you ever meet them is an emotion worthy of its own word. That fated feeling of love and the passage of time is the theme that runs between Carly Rae Jepsen’s smash hit “Call Me Maybe” and the National’s antisocial romance “Slow Show”; it’s also the kind of thing Taylor Swift might write about. One of the loveliest tracks on folklore, the surprise album the singer-songwriter made primarily with the National’s guitarist Aaron Dessner, stands out for a strangely similar reason: a thread connecting two strangers that exists long before either realizes it’s there. “And isn’t it just so pretty to think/All along there was some/Invisible string/Tying you to me,” she sings on the delightfully plucky “invisible string,” simultaneously recalling famous lines from Jane Eyre and The Sun Also Rises.

folklore will forever be known as Taylor Swift’s “indie” album, a sweater-weather record released on a whim in the blue heat of this lonely summer, filled with cinematic love songs in search of a film soundtrack. There are those who already dislike folklore on principle, who assume it’s another calculated attempt on Swift’s part to position her career as just so (how dare she); meanwhile, fans will hold it up as tangible proof that their leader can do just about anything (also a stretch). While it’s true that folklore pushes the limits of Swift’s sound in a particular, perhaps unexpected direction, her reference points feel more like mainstream “indie” homage than innovation, taking cues from her collaborators’ work and bits of nostalgia.

At its best, folklore asserts something that has been true from the start of Swift’s career: Her biggest strength is her storytelling, her well-honed songwriting craft meeting the vivid whimsy of her imagination; the music these stories are set to is subject to change, so long as it can be rooted in these traditions. You can tell that this is what drives Swift by the way she molds her songs: cramming specific details into curious cadences, bending the lines to her will. It’s especially apparent on folklore, where the production—mostly by Dessner, with Jack Antonoff’s pop flair occasionally in the mix—is more minimal than she typically goes for. Her words rise above the sparse pianos, moody guitars, and sweeping orchestration, as quotable as ever.

After years as pop’s most reliable first-person essayist, Swift channels her distinct style into what are essentially works of fiction and autofiction, finding compelling protagonists in a rebellious heiress and a classic teenage love triangle. In “the last great american dynasty,” she tells the story of eccentric debutante Rebekah Harkness, who married into the Standard Oil family and once lived in Swift’s Rhode Island mansion, as a way to celebrate women who “have a marvelous time ruining everything.” Filled with historical details and Americana imagery, you can see the song play out in your mind like a storybook, but it also effectively makes a point about society’s treatment of brash women. Swift cleverly draws a line between Harkness and herself at the end, an idea she fleshes out in a more literal sequel, “mad woman.” Out of all the songs on folklore, “the last great american dynasty” is the all-timer, the instant classic. It sounds like the latter-day National/Taylor mashup you never knew you needed—textural and tastefully majestic, with Fitzgerald-esque lines about filling the pool with champagne instead of drinking all the wine.

With folklore’s teen heartbreak trilogy, Swift circles the same affair from each party’s differing view. “betty” is the story of 17-year-old James trying to win back his girlfriend after cheating, a familiar crime rendered new by the narrator’s genuine remorse and belief in a love regained. It has the youthful hope of a song like “Wide Open Spaces,” yet is noticeably wiser (and queerer) than the high school romances Swift wrote as an actual teenager. First single “cardigan” is told by Betty, whose disillusionment with James results in a sad, sensuous sound reminiscent of Lana Del Rey, down to the vocal style and casual lyrical quotation of another pop song. But the songs’ overlapping details and central framing device—of a cardigan forgotten and found without a second thought—are pure Swift, an instant memory portal not unlike the scarf in Red’s “All Too Well.” (The cutesy marketing angle for “cardigan” is reliably Swiftian as well.) And even though “august” is considered to be the third in the trilogy, the record’s most tender, saccharine love story plays out during “illicit affairs.” “You taught me a secret language I can’t speak with anyone else,” she sings. “And you know damn well for you I would ruin myself.” The scenes and perspectives evoked by these songs alone speak volumes about Swift’s evolution as a songwriter.

The theme of folklore is a very different way of acknowledging that people will talk, an idea that animated 2017’s trap-tinged work of minor villainy, Reputation. Swift knows her own mythology like a model knows her angles, and that’s part of what makes folklore fascinating if you maintain an open mind: a kind of reverse-engineered “mindie” project, it sonically situates her closest to Lana and chamber-pop belter Florence Welch, but may also occasionally remind you of Triple-A radio, Sufjan Stevens if he killed his more ambitious tendencies, or Big Red Machine, Dessner’s duo with Justin Vernon (see: the sparse and soulful “peace”). The album’s actual duet with Vernon, “exile,” is a little like a Bon Iver take on “Falling Slowly,” the centerpiece of the 2007 folk musical Once: awkwardly dragging until the clouds slowly part to allow something beautiful to build. Swift is playing the long game here, and while there are no wild missteps, the album could use some selective pruning (see: “seven,” “hoax”).

It’s worth pointing out that folklore isn’t a total outlier in Swift’s catalog either, or even her recent work. The tracks with Antonoff shift away from the ’80s electro-pop of 1989 and onward, but they lean into the Mazzy Star swoon of Lover’s title track, Swift’s ongoing fascination with Imogen Heap, and a twinge of the Cranberries. There are interesting images, indelible hooks, and real signs of maturity. In the dreamy “mirrorball,” Swift likens the relatability trap of fame to a disco ball, singing of fluttering on tiptoes and trying hard to make it look effortless. “august” is a great, lusty Swift summer anthem about forbidden love, where the up-close, white-hot heat of songs like “Style” or “Getaway Car” is traded for wistful reflection in the rearview. Like the rest of us, Taylor Swift knows she’s had better summers before and she’ll have better summers again. At least she’s made thoughtful use of this one.

[eyreguide]

Reviews of Jane Eyre Adaptations

An overview of my thoughts on all the film and television adaptations I have seen.

Jane Eyre 1934  Virginia Bruce And Colin Clive

This is the first talkie version of “Jane Eyre” and I think has the rather unfortunate timing to have come out during the Great Depression. For that is the only reason I can think of for making the story so cheery and sweet. Gone are moral ambiguities and dilemmas. Adele is Rochester’s niece, and Rochester is in the process of divorcing his mild-mannered and slightly mad first wife. Even Mr. Rochester is charming and affable (and quite obviously in love with Jane from the start); you don’t have to work hard to like him.

Jane herself is quite spunky and has no trouble expressing anything she is feeling. I find it funny how she calls out Mr. Rochester on everything. No wonder he is pretty straightforward with her. And Jane is acknowledged to be young and pretty in the movie- interesting since so many adaptations in later years get beautiful actresses to play Jane and then pretend they are plain.

I think because this version lightens the story so much, one can’t take it too seriously as an adaptation of “Jane Eyre”.

1943 Jane Eyre   Joan Fontaine And Orson Welles

There’s a much better attempt to adapt the actual novel in this version (as compared to the 1934 film version) which makes for an interesting transition from light to dark. The 1934 film being a little too happy and this version being a little too dark. Orson Welles plays the role of Rochester with such an intensity that makes him a little intimidating. No wonder Joan Fontaine’s Jane looks like a deer caught in headlights most of the time.

The script has some interesting changes to the story that perpetuates through several movie adaptations to follow. Helen Burns has her hair cut at Lowood instead of Julia Severn in the novel, and Jane heroically demands to have her hair cut as well. Jane is more directly the cause of Mr. Rochester falling off his horse as he looms up on her and she is unfortunately in the way instead of standing quietly by the side of the road. Jane also feels she has to defend Adele and asks Rochester to treat her more kindly- something Jane never does in the novel.

Other interesting innovations to the story include a St. John Rivers who is the Doctor for Lowood, and who provides Jane with lessons of morality instead of Helen Burns. Overall, this film is fantastically moody and quite romantic, and a very good film if you aren’t too concerned about fidelity to the novel.

1949 Jane Eyre Mary Sinclair And Charlton Heston

Studio One produced this hour long episode and it was apparently filmed live, so they had one big set for the whole program. Consequently the script centers on the Thornfield section, although it does show Jane leaving Lowood. The house party consisted of just Blanche (with Jane having to play piano for their amusement!)

Mary Sinclair as Jane does not bring much to the role. She says her lines and acts smitten as needed. Charlton Heston is an aggressive and overly masculine Rochester, and he doesn’t really capture the character very well either. It doesn’t help that he tended to over do the emotion somewhat.

The story is very chopped up, obviously, and everything moves very quickly. There really isn’t much to recommend this, unless you are a big fan of the novel, and you like old movies.

1952 Jane Eyre  Katharine Bard And Kevin McCarthy

This episode was also produced by Studio One and is very similar in script and features a similar set. They seemed to have a little more money in the budget though because the staging and sets were a little better. And Mr. Rochester was able to have a larger house party, that reflected the book more.

Katharine Bard was also not very memorable as Jane. She said her lines and was just there. Kevin McCarthy had this interesting nicer vibe to him. He seemed more friendly and sweet, while also being demanding sometimes. It’s still not a great characterization though.

Again, I would not really recommend this version unless you are set on watching all adaptations (and that’s a great idea!)

1956 Jane Eyre Daphne Slater And Stanley Baker

This early six-part British miniseries is available to watch only at the BFI in London. I was pleasantly surprised by how well this version adapted the story. Slater and Baker’s interpretation of the characters is wonderful and the dialogue/script follows the general plot of the novel very well. It does veer off from the actual dialogue of the book, but in this case, I liked the changes. It captured the gist of the scenes and the character’s emotions. The only really odd moments came from some of the more emotional scenes which would have been better with Charlotte’s words.

The childhood part of the story features the actress playing adult Jane, also playing Jane as a child, which is a little jarring, but it actually worked rather well. Slater was good at capturing the essence of a child. Young Jane in this version is also much more outspoken and Helen Burns feels more like an equal to Jane - much less overly religious and self-sacrificing. It made for a different dynamic but I enjoyed how it showed Jane and Helen’s close relationship

Unfortunately feisty, young Jane becomes much more muted and easily frightened as adult Jane. Slater’s Jane is still good though, despirt her timidity and is able to hold her own against Baker’s Rochester. Baker makes an imposing, brusque and rough Rochester, but he brought some nuance and emotional depth to the character. The miniseries also does justice to St. John Rivers and shows him as very formidalbe and controlling - perhaps the most cold and disturbing I have ever seen St. John portrayed. He attempts to read a letter that Jane receives without her knowledge, and also lies to Jane that Rochester has already moved on from her.

This was a wonderful version with many scenes and moments that I did not expect to be included in so early an adaptation.

1957 Jane Eyre Joan Elam And Patrick MacNee

This adaptation is much fun. It’s just… so weird. The interpretation of the novel is so bad, it’s like the writer was making fun of “Jane Eyre.” Jane is preachy and spiritual to the extreme. She doesn’t have a care for herself but just wants to help Mr. Rochester in any way she can. Which Mr. Rochester must be glad of since she excuses his lecherous advances on her because he drinks (alot apparently) and because he has had a troubled past. But after Rochester has tried to take advantage of Jane, he does fall in love with her and it’s cute how much attention he pays to her during his house party. Which gives Blanche a chance to be ridiculously catty.

Mason also gets interesting things to do in this adaptation. He doesn’t get quietly stabbed and bitten on the third floor- no he crashes down some stairs during the house party, bleeding and terrified. A supremely Gothic moment. And when Jane agrees to marry Rochester, Mason sort of slides into view and is all ‘I don’t think so.’ Mason has some attitude. The script for the adaptation is just over the top- down to little Adele scrabbling in the ashes for a toy when Jane finds her in the end after (a really quick) fire.

For an “interesting” way of looking at the story of “Jane Eyre”, this adaptation scores high marks.

1957 Jane Eyre (Italian) Ilaria Occhini And Raf Vallone

This adaptation is in Italian, and the copy I have has no subtitles, so I’m reviewing this with only the acting and the gist of the scenes to go by.

This is a 5 part adaptation (oddly each episode is not quite the same length) and it begins with Jane meeting Mr. Rochester by felling his horse. From there, Jane’s childhood is told through some flashbacks. Some of the more interesting adaptation choices this version makes is to have Jane much older when she finally leaves the Reeds house. And a new sort of character is introduced - by the name of Jack Lloyd. He seems to be a combination of John Reed and St. John, in that he is Jane’s cousin on the Reed’s side (maybe?) and is in love with Jane from the beginning. While the first episode mostly deals with Jane’s childhood, we still get scenes in the next three episodes to what the Reeds are doing and especially Jack Lloyd. Jack also turns up at Thornfield to take Jane away to visit sick Mrs. Reed. I was very entertained by what seemed to be Mr. Rochester’s jealousy over Jack! Another interesting thing about this script is that Mr. Rochester hires a gypsy and listens in on the readings she gives (just like in the 2006 miniseries). And then, he comes out to comfort Jane because she has become distressed.

The feel of this adaptation is very dramatic, there is an emphasis on Gothic elements (forbidden rooms, screams, portentous secretive glances) and the audience sees things from Bertha’s point of view a couple times, as she wanders Thornfield’s halls. Jane and Rochester are smitten with each other very quickly. I found it funny how often they stare at each other as if there was no one else in the room. (Sometimes there was.) Jane can seem a bit moony, and Mr. Rochester has a few mood swings. He can seem really nice one minute and then suddenly speak very sharply. This adaptation is a bit slow, and takes some interesting liberties with the story, but I found it very entertaining and romantic. And Mr. Rochester regains his sight in a dramatic moment in the end during the wedding. A nice dramatic wrap-up.

1961 Jane Eyre Sally Ann Howes And Zachary Scott

This one-hour television production for “Family Classics” was introduced by Joan Fontaine which was a nice surprise. Opening credits start with Grace Poole getting herself some alcohol. Mr. Rochester’s entrance is not quite as dramatic- he is sitting in a chair in the darkened library when Jane goes down to get a book and he startles her when he speaks. I actually really liked this adaptation. Sally Ann Howes was again serviceable as Jane, nothing special in her interpretation. Zachary Scott as Rochester brought something different to the role as compared to the previous American hour-long television productions. His Rochester was more aristocratic in ways, he sometimes- and very vaguely!- put me in mind of Dracula. Not that he was vampiric, just in the way he carried himself. And maybe because he was dark and thin.

The script manages to include a “Rivers” section where Jane actually gets a proposal from St. John- something that hasn’t happened in the previous film adaptations I have seen. And St. John is rather egregious and plump- not very like the Apollo of the book. And if I’m not mistaken, this is also the first time they flash back to Thornfield burning down while Jane is away- breaking up the Rivers section with a scene with Rochester.

If I had to pick the best of the American hour-long productions, I would pick this one. Which is viewable free at the Paley Center in Los Angeles and New York.

1970 Jane Eyre Susannah York And George C. Scott

I feel that this version is the first to approach the story of “Jane Eyre” as it is, rather than as a dramatic rendering. It’s somber and dreamy and pretty straightforward in portraying the scenes. Not that the characterizations are all correct. Susannah York’s Jane is mature- reflective of the actress’s age undoubtedly, and George C. Scott is curiously cold and dry most of the time. St. John Rivers is surprisingly passionate and eager to marry Jane even though he still doesn’t love her.

The production benefits from location shooting (first version to shoot on the moors?), and wonderful music which goes a long way to filling in the passion and romance that is lacking in the actors. Much attention is paid to the character of Helen Burns here which is a plus- the audience really gets to see how Helen helped Jane to grow. The script in itself is okay, until the blundering line of Rochester’s “But I loved her once, as I love you now.” when Rochester has shown Bertha to Jane and the wedding party. I find that line basically undermines Rochester’s love for Jane. It is important to understand that Rochester did not love Bertha at all so then Rochester doesn’t seem so much like a jerk.

Well. This version has some issues, but to see it after the previous versions, it is a breath of fresh air because it comes closer to recreating the novel proper.

1972 Jane Eyre (Czech) Marta Vancurova And Jan Kačer

I have not re-watched this version in a long time, so this review is very brief:

A friend was able to find this rather obscure adaptation made in 1972 Czechoslovakia. The copy she found is in Czech with no subtitles, so I can’t understand a word of it. However, I will comment on the overall tone that I received from the four hour adaptation- melancholy and artsy (perhaps reflective of a low budget). Not as much passion to certain scenes as one would expect, but I did enjoy this adaptation and they did a good job with condensing the material. Except for the Lowood portion of the story, which they cut out.

1973 Jane Eyre Sorcha Cusack And Michael Jayston

This is the best version of Jane Eyre to date. I wouldn’t say there was an overall tone for the miniseries- it comes off as a straightforward interpretation of the novel. Production values are lacking in that set design and blocking are less than inspired, but it does have great costumes and outdoor sets. There are really just two reasons why this is the best version in my opinion. Script and characterization. The script uses much of the novel’s dialogue (finally!!), and sometimes brings out interesting elements of humor that one might not have noticed before. And I feel like Jane Eyre has many funny moments or comments that are mostly overlooked in other adaptations. And in condensing the material they kept so much of the story intact it’s surprising. I am only disappointed by how they shortened the Gypsy scene by having Jane discover Rochester too quickly. But every other important scene is done beautifully.

As for the actors, I am only disappointed in Juliet Whaley’s Young Jane, whose acting is stilted sometimes, but she was young. Sorcha Cusack portrays a nice blend of shyness and independence and Michael Jayston is superb as Rochester. His performance is nuanced and mesmerizing. Stephanie Beacham is probably the best Blanche I have ever seen as well- she comes off as snobbish and selfish but I can see how she might be captivating and charming to men.

There is not much else I can say about this, my favorite adaptation. I think every one who is a fan of the novel should see this version.

1983 Jane Eyre Zelah Clarke And Timothy Dalton

Another mini-series adaptation, this version had a bigger budget it seems than the 1973 version. Set design and lighting are improved, and the show even got it’s own theme! The show was also 30 minutes long per episode which gave a different, more leisurely pace to the scenes. It seems like they wanted to make sure each episode ended on a little cliff-hanger. But with the pace slower, it sometimes felt like the actors were speaking too slow. There were long (introspective?) pauses and they even broke up scenes with time lapses and set changes. The proposal scene for instance starts in the library and Jane runs out to be alone in the garden.

As an adaptation of the novel, this is the second best film version because it has so much time to give to telling the story. Zelah Clarke as Jane is a little monotone sometimes, but she does a good job showing Jane’s spirited side. Timothy Dalton’s Rochester is imperious and masterly, and very charming. The script has a proper charades scene and Rosamond Oliver makes her first appearance in this adaptation. They also show an older Eliza and Georgiana which is another first.

Overall, this version is very good and is only ranked behind Jane Eyre 1973 because of dialogue/script changes and characterization.

1996 Jane Eyre Charlotte Gainsboroug And William Hurt

This version takes a fresh look at the novel. The flow of the narrative is different- much faster in pace, so that some scenes happen quickly right after the other- giving time no doubt to show the more leisurely and melancholy scenes of Jane and Rochester alone. During Brocklehurt’s first visit to the Reeds, he immediately takes Jane away to Lowood, and there is a quick transition from Helen Burns dying to older Jane by her graveside then walking to take the coach to Thornfield. And as soon as Jane flees from Rochester and a bigamous marriage, Thornfield is on fire and the audience knows that Rochester has been injured before we know what has happened to Jane.

The overall tone of the movie emphasizes Jane and Rochester’s loneliness, which makes the film very poignant. Any “supernatural” elements to the story is minimized- Mr. Rochester does not loom up on Jane, but passes her by and then slips on ice (like in the book), and Bertha’s madness has a touch more realism and sympathy when she pushes Grace Poole to her death and then jumps after her. And again, Jane does not hear Mr. Rochester’s voice calling to her (though there is that one instance where maybe you could hear him whispering her name on the winds?) but instead she looks into her heart and knows she must go back and find out what happened to him. Even the Rivers aren’t her cousins, but just happened to be taking care of Mrs. Reed, and eventually of her effects.

This is a beautiful film- great sets, locations, vistas. The music is beautiful and haunting. Despite the truncated adaptation and the one-sided portrayal of Rochester, I really enjoyed this film. Especially for the pathos of Jane and Rochester’s romance.

1997 Jane Eyre   Samantha Morton And Ciaran Hinds

Truthfully, I dislike this version. It makes me laugh though, because I don’t understand how they could have gotten so many things wrong. The script is awful, Ciaran Hinds is horrible as Rochester, and Samantha Morton is a little annoying. Though that is probably the script. So let’s start there. We have your average truncated adaptation which makes sense- they cut things that most shorter film adaptations cut, but the dialogue! It’s too modern and direct. Jane addresses Rochester in a way that is not in keeping with her sense of propriety. Of course Rochester doesn’t hold much with formal conversations with Jane in the book, but his conversation in this film has none of the poetic prose of the novel. It’s all very cliched and off-putting.

Since Grace Poole is made a much bigger mystery in this version than in previous ones- Jane’s eagerness to rehabilitate her make sense, but is an unnecessary addition to the plot. Especially as Jane keeps harping on what Grace Poole is doing. Ciaran Hinds as Rochester is shouty and brutish and especially distasteful after the failed wedding. He throws Jane’s luggage down to the first floor and drags her to the garden, blaming her for not loving him enough to be his mistress. The only time I liked Samantha and Ciaran’s chemistry was after the fire in Rochester’s bedroom, when he took her hand. After that it was too much panting and open-mouthed kissing. Yikes.

The only scene that was enjoyable was when Jane comes back from visiting Mrs. Reed (curious how they lead up to that scene, but did not show her with Mrs. Reed at all) and Mr. Rochester is happy/annoyed at seeing Jane walking into Thornfield. It was a cute scene. Other than that, I wouldn’t really recommend this if you wanted a romantic version.

2006 Jane Eyre   Ruth Wilson And Toby Stephens

Another BBC mini-series of which I always expect alot. In some ways this adaptation delivered and in others it fell short. Production values were excellent of course. Ruth Wilson as Jane was a revelation. I’ve always thought it was hard to portray Jane’s inner emotions as detailed in the novel but Ruth manages to make her thoughts visible facially. Voiceovers were really not necessary. She’s just so good and so nuanced, well-rounded, I loved her portrayal of Jane. There are a couple of scenes in this version that have never been previously adapted. Namely the “carriage scene” when Rochester takes Jane to Millcote to buy dresses. The carriage scene dialogue with Adele in tow is so cute and playful and shows a wonderful side to all three characters. There is also the scene where Jane runs out in the rain to catch up to Mr. Rochester the night before their wedding. The dream sequence also makes it in- with Jane holding a baby while being kept away from Rochester. All scenes that I very much enjoyed watching.

Disappointingly, the script in general didn’t quite capture “Jane Eyre” in my opinion. The dialogue and changes to Mr. Rochester’s character specifically did not feel right. And of course there is THAT scene on the bed that really felt out of place for the story and for Jane’s principles. And why does Mr. Rochester hire a gypsy to trick Jane? It seems like there’s an attempt to minimize some theatrical elements (Rochester cross-dressing, the voice across the moors- now scientifically explained!) to maximize on other theatrical elements (dream sequences, Rochester’s bed on fire- which looked like a pyre, and the terrifying secret in the attic). There really doesn’t seem to be much point to emphasizing one and not the other.

Mr. Rochester often seemed a little immature, too boyish maybe, in his eagerness to collect dead insects maybe? I never really felt that Toby Stephens captured Mr. Rochester’s sophistication. The efforts to increase the sexual tension did not improve my opinion of Rochester, because Rochester getting Jane into bed was just a low blow. For the most part, I’d watch this version for Ruth Wilson and some of the humor and playfulness they put into the story.

2011 Jane Eyre Mia Wasikowska And Michael Fassbender

This version is a complete and refreshing surprise. Judging from the trailer, I thought it would be melodramatic in the extreme with an emphasis on the darker Gothic elements, but nothing could be further from the truth. The set design, lighting, and camera choices could be seen as dark, but they are also realistic to the times and what seems to be the vision of the director, Cary Fukunaga. Which appears to be to present the story of Jane as she lived it, completely tuned in to her thoughts and feelings. A very refreshing idea. Many versions have added or filmed sequences of the story in which Jane did not participate- for example, Thornfield burning down or scenes between Blanche and Rochester, but the story stays with Jane practically the whole way through, with camera angles highlighting that the audience is experiencing everything through Jane. This really changed the experience of viewing the movie- it felt real and not like a spectacle.

The script helps alot in this, it condenses the story but stays true to every part of it. Even with the narrative structure changed, it still hit all the important scenes, and stayed true to even the lesser characters in the story. It is surprising what scenes are not included in the movie- for instance the tearing of the veil- so that the focus of the story is more on Jane and Rochester’s relationship but even with that the more Gothic elements are not completely marginalized. There is still a sense of things not being quite right.

Mia Wasikowska as Jane is excellent; strong and intelligent, and fantastic at conveying her inner emotions through body language. One of the many things I loved in this version are all the shots of Jane walking/pacing restlessly. Mia somehow conveys that there is “a vivid, restless, resolute captive” inside of her. Michael Fassbender is commanding and sardonic and tender and teasing, sometimes all at once and sometimes flipping between the emotions at will- quite amazing to watch. He can be so intense that you are a little afraid of him and then so pleading and desperate that your heart breaks for him.

The movie was understated and simple and more powerfully emotional because of it. Personally, this would be my second favorite adaptation after the 1973 mini-series. Despite the inevitable condensing of the story, and an ending that felt a bit abrupt, it was so refreshing to watch a version that did not overplay the story and kept the focus on Jane.

2013-14 The Autobiography of Jane Eyre Alysson Hall And Adam J. Wright

This web series has Jane, a 21 year old university student, working as a nanny for Mr. Rochester’s daughter Adele. She vlogs about her life, and through the videos we get to meet all the people in her life.

I was really impressed by how close they stuck to the novel - adapting scenes that are often disregarded in other adaptations (granted they have a lot more time with this series) but also to make some scenes from the book modern must have been a great challenge. And I was really mostly happy with how they managed to make everything fit in their world.

I do have some issues with this as an adaptation though. Sometimes I lose focus on what some episodes are trying to adapt from the novel - it doesn’t always flow well for me, and I had an issue with Jane taping people in the beginning without their consent. I mean she can accidentally leave the camera on, but she doesn’t have to post it. But the reason why that bothers me is because Jane is supposed to have better sense than that. She can be a bit naive, but she always knows what’s right and wrong. But then again, it is difficult to adapt this kind of story! The audience would want to see these people!

The actors were all really excellent in their parts. Jane of course was so endearing and quirky - definitely different from Jane in the book, but believably the modern version. Mr. Rochester had a wonderful sense of humor and it was evident from the beginning how much he cared about Jane. Their romance was so sweet and developed very well throughout the videos. The Rivers were also believable surprisingly - I mean especially when it came to the St. John character - now called Simon. St. John in the book would be very difficult to modernize I think - because he’s so zealous and religious, selfless but selfish. They made Simon a little bit too dorky and cute, but he was also stubborn and unsympathetic to others which fit. There were some changes made when it comes to Grace that made the story work very well, and a new character - Suzana - would often steal the show with her sassiness.

It is disappointing that towards the end they had to recast the actor who played Rochester which leads to a sort of rushed and incomplete ending. I think they did the best they could, but for a series that has done such a wonderful job bringing so much of Jane Eyre to life, it’s unfortunate they left out so much of the ending.

This adaptation had it’s ups and downs for me, but I always felt there was a lot of love for this book in every episode, and the writing and the story planning was often exceptional in adapting the book. I was always happy to get a new episode and it was such a great experience getting a little dose of Jane’s story every week.

2000 Jane Eyre the Musical Marla Schaffel And James Barbour

Okay, the musical. This is the Paul Gordon version. I’ve seen SO MANY comments bashing the musical by people who have never really listened to it just because it’s “Jane Eyre” with singing, and “Jane Eyre” shouldn’t be a musical (OMG!). I have to say I was never a fan of musicals before listening to this version. (Except for “The Sound of Music” which…is a little bit like “Jane Eyre” isn’t it?) At any rate, it took awhile for me to come to grips with all the singing, so I can understand where people may come from but I hope that at least some of the people who turn their backs on this musical might actually like it if they really listened to it.

I do love this musical. I think adding music to the already lyrical text heightens the emotion of the story and can very easily put you into the mindset of each of the characters. The ability of Paul Gordon to work in actual text from the novel into the lyrics is amazing as well (something I come to realize even more as I listen to other Jane Eyre muscials). In terms of condensing the story, all the major scenes are there for the most part, and without too many additions. I love that they even have Rochester as the Gypsy which is rarely done in Janian adaptations. The tone of the whole show is somber- in set design and music, but there are moments of humour- with Mrs. Fairfax most often bringing in the comic relief.

Marla Schaffel is marvelously grounded as Jane- her characterization is balanced between propriety and passion- something that is hard to do in a straight production, but when Jane can sing in privacy, it can all come out. :) James Barbour is commanding as Rochester (and not only because of his voice, which is a glorious baritone). His performance is more layered than many Rochesters I have seen, having a certain finesse or gracefulness while also being gruff and abrupt. The other characters are mostly spot on with the exception of Mrs. Fairfax (played by Mary Stout) who plays her good-natured but a bit doddering. And St. John Rivers is not quite the jerk he is in the novel. Though he still doesn’t love Jane when he asks her to marry him.

1952 Sangdil Madhubala And Dilip Kumar

I have not re-watched this version in a long time, so this review is very brief: An Indian film released in 1952. Whether or not this film is an adaptation of the novel is perhaps debatable. The setting is completely changed to India and there are changes to the story reflecting Indian culture. Yet, the basic story of Jane Eyre is there and many scenes are taken from the novel- notably the Gypsy scene (with Shakur impersonating a male astrologer) In my opinion this is a very enjoyable representation of the novel. Kamal is played with a strong moral sense, shyness and innocence. Shankar is admirably played with much angst and playfulness.

[wisteria-lodge]

10 Favorite Characters

Okay @missbrunettebarbie, I’ll bite. 

1. Sherlock Holmes (Arthur Conan Doyle) Those books always feel like a loving portrait of a real person. What to say? You’ve been a neurodivergent icon for the last 100+ years. Personally I think you’re ace. Started up my interest in all things Victorian. I’ve met a lot of real good people because of you. All my love always. (my first Holmes & Watson will always be the 1950s Sir John Gielgud / Sir Ralph Richardson radio show. Couldn’t recommend it more. It’s got Orson Welles as Moriarty)

2. Myrddin “Merlin” Emrys (Mary Stewart) Mary Stewart’s Merlin Trilogy gets no love. because it has never EVER had a good cover. 

You’d never know it, but this is one of the most beautiful, haunting, heartbreaking things I’ve ever read. It ruined me for any other King Arthur retelling. It is the reason I studied Post-Roman Britain. And Merlin himself is the first introvert hero I ever came across. His brand of quiet strength was the first that ever seemed accessible. And magic is treated as analogous with artistic inspiration, and it’s so subtle that sometimes he doesn’t even know if he’s using it or not, ah it’s good. This is one I re-read every year or two. 

3. Esmeralda (Disney’s Hunchback of Notre Dame) My lady, who taught me about questioning authority, who can be a sexy pole dancer type and a spiritual earth mother and a white-hot revolutionary turning the mood of a crowd by not standing for cruelty. She’s wise enough to fall for the guy who thinks she’s funny and a pretty cool chick, and not the one who sees her as an angel.  She’ll always be aspirational, but I wear headscarves a lot, and think of her. 

4. Hermione Granger (JK Rowling) My prickly, difficult girl. So brilliant. So insecure. You were there for me when I was studying too much, had no interest in being pretty, and was a little too stick-in-the-mud. You just had to realize that you were cool, and you *had* been cool, the whole time. At which point you basically leveled up into Batman. And the movies did you dirty. Sorry about that. 

5. Captain Jack Sparrow (Curse of the Black Pearl) This guy taught me about freedom, and happy nihilism, and how sometimes you’ve got to let go. Be suspicious of rules. He never wanted that much, really, and I respect that. Also got to give a nod to the ahead-of-the-curve gender nonconforming, and that fun way he’s got of mixing crazy SAT words with slang. “Bring me that horizon” is darn good motto. Also, can directly trace all my interest in sexy age of sail stuff back to him.

6. Jane Eyre (Charlotte Bronte) Hands down one of the most complex, fleshed out characters I’ve ever come across, star of the first romance novel I ever read where I was like... yeah. I *get it.* This is the lady who just point blank, flat out refuses to think of herself as a victim ever. (and in retrospect, that did get you in a little bit of trouble. Let people help you, Jane.) Reading this book, it felt essential to my happiness that things turned out well for Jane Eyre. If she couldn’t figure it out, there sure as hell wasn’t hope for me.

7. V (V for Vendetta, film) While this movie absolutely got me reading everything Alan Moore ever wrote, I’ve got to give a shout-out to the Wachowskis, who are charming cloud-people and I love everything they do. This is the movie that blew my mind when I was 15. I possibly was not supposed to find V as sexy as I did. But I was highly influenced by his decorating style, and memorized his cool v alliteration speech and started making eggs the same way he did. Also I read The Count of Monte Cristo because he was into it. And I’m so glad I got into Alexandre Dumas. 

8. Elim Garak (Deep Space Nine) Still trying to figure out what what is is about this one  hit me between the eyes. Guess I love me a complex assassin/spy who refuses categorization, and who I can just talk about for hours. Not going to overlook all the wonderful queer aspects to his character either. Anyway, this one sent me on a kick researching interrogators and secret policemen, because when I love things I just want to write essays about them, dammit. (Also I read actor Andrew Robinson’s in-character memoir A Stitch in Time. Adorable.) 

9. Commissar Ciaphas Cain (Warhammer 40K) I know Sandy Mitchell’s Ciaphas Cain novels are parody entries in an already silly franchise. I love them. They’re hilarious, they’re clever, I love the meta conceit that they’ve been corrected, organized, and redacted by an in-universe Inquisition agent who is a character in the novels. And I like Cain’s energy. I like how he survives this bleak universe by carving out a happy little pocket for himself. I like his management style. I like that he’s got his insane imposter syndrome, but just kind of shrugs and goes with it. They’re happy little novels that feel like nice big exhales. It’s good energy to lean on.

10. Iago (William Shakespeare) I wanted to put in at least one one villain, because a good character is one who is complex - and galvanizes me into some kind of project/intense internal recalibration. And dear god if a good Iago doesn’t stare into your soul. Othello is my favorite Shakespeare play, and here’s this villain who is not cool, not redeemable, who is just every weakness of humanity put in front of you in a way that is way too easy to understand. He’s petty. He’s insecure. Othello was his life, and now Othello is gone, and he’s been passed over for promotion in favor of the younger, prettier, posher, more educated option. I put in some aspirational characters, so I’ll just leave this one here as a warning for myself. 

HONORABLE MENTION - I did not mention either my favorite television show, Supernatural OR my favorite film, Lawrence of Arabia. They both have such complex, such tight ecosystems of characters that pulling out just *one* to talk about didn’t seem even a little bit doable. 

I’m tagging @awinterrain @nocakesformissedith @ameliahcrowley @fromthemouthofkings @headless-horsepossum  @the-phoenix-heart @persefoneshalott  @hedonistbyheart @niche-pastiche @shadowsonasphalt​

[frumfrumfroo]

What are your favorite movies and TV shows outside of SW? I’m looking for new things to watch since SW was so disappointing

My tastes are pretty eclectic, so I will stick to just things that are either similar to sw or are in the reylo-esque romance wheelhouse and have happy endings:

Chuck. It is a goofy, light-hearted action-adventure show with extremely endearing characters and a very prominent central romance (seriously, heavy romance and there is a lot of payoff for it, you will be FED- it's kind of slow burn but also shockingly NOT slow burn, they are deep into it pretty much immediately). The main couple is the classic Stoic Badass gradually softened by an innocent they have to protect who is a liability in battle but full of the Power of Heart. Chuck is The Heart btw. He is of that vanishingly rare male Beauty (of B&tB) type. He's incredibly generous and open, Sarah is prickly and closed-off. It is Quality. Very much a gender-swap of your typical cliche anime couple lol. I would recommend stopping at the mid-season finale in season 4, because it's downhill from there. The beginning of season 3 is very rough, but it's definitely worth it to stay for the back half, imo. There are several great endings to choose from before things go to shit, so we don't need to talk about the finale. Probably the most tonally similar to SW thing possible without being high/space fantasy. More humour, more silly, but definitely has a spiritual kinship. Has the best THE BEST 'secret revealed' scenes I have ever seen in anything. If you're into that and were hoping for that in ep IX, you need to watch Chuck.

The Shop Around the Corner. 1940 romance/drama film. You've Got Mail is a remake of it. Jimmy Stewart being profoundly adorable, Frank Morgan (aka the Wizard of Oz), various amusing side characters, and an absolutely deathless double blind 'secretly in love with the workplace nemesis' plot that can and probably has been a great reylo AU.

Mirromask. Fantasy/coming-of-age film. Touted as a 'spiritual successor' to Labyrinth by the filmmakers (one of whom is Neil Gaiman) and let me tell you, that is extremely apt. Beautiful, magical, laden with symbolism and Mask Discourse, and has a great ship. I quote it regularly.

Speaking of which, I'm sure you've seen Labyrinth? If you haven't seen Labyrinth, drop everything and watch Labyrinth.

Legend (the Ridley Scott director's cut, not the theatrical cut). Sumptuous fairy tale, runs on proper fairy tale logic, stunning to look at and overall captivating. Tim Curry. Tim Curry as a lonely tragic lord of darkness who tries to seduce the heroine and has drippingly overwrought monologues.

Howl's Moving Castle. Fairy tale adventure/romance film. Beautifully animated, has the ending you want.

The Silence of the Lambs. Thriller/drama film. Actual masterpiece. Use it as a gateway drug to read the books and rejoice that Clannibal is canon and it is spectacular. Just SotL and Hannibal, you don't need to read the other two. Stan Clarice Starling and revel in that ending. Most triumphant 'villain'/heroine ship of all time (he is not technically a villain but for shorthand's sake).

The Adventures of Baron Munchausen. Terry Gilliam 1988 fantasy/adventure film. THE TRIUMPH OF IDEALISM OVER CYNICS I CANNOT STRESS ENOUGH HOW HEALING IT WAS TO WATCH AFTER THE TROS BULLSHIT HIT. Jonathan Pryce's spiritual villain is basically Chris Terrio and it is cathartic to see imagination and sentiment conquer him.

Sabrina. 1995 romance film. Modern fairy tale with Harrison Ford. Rejecting what you thought you wanted all your life for the thing you actually need, growing up but still believing in magic, beautiful character development across all the leads. Could be (and is irrc) a fantastic reylo AU.

The Scarlet Pimpernel. 1934 adventure film. High romance, secret identities, play-acting, people who aren't at all what they appear to be, falling in love with your own spouse, Big Heroism, guile and wit and audacity. It makes me do little kicks like a happy baby. This is one of the 3-5 films constantly tied for my favourite film of all time. There is a good quality rip free on youtube. Watch it and fall in love with Leslie Howard (this is possibly my favourite acting performance of all time).

Oh, related note. Pygmalion 1938 or My Fair Lady. (The musical is based on this film and borrows from it heavily, including its much more romantic ending compared to the original play.)

The Mummy. 1999 action/adventure/romance film. Very tonally similar to sw. A fucking great time, A+ characters.

EVER AFTER. 1998 romance film. The flawless and perfect and best ever Cinderella adaptation. This is the most satisfying film in history, maybe, the ending is so good it is amazing it exists. Also, it has Richard O'Brien being slimy. Huge selling point. Grapples with identity and stewardship, is brilliant.

Fruits Basket. drama/romance anime. I haven't watched the new version yet, but it's following the manga so I know the story. The original anime didn't do the whole plot (because they caught up with the source material) but it's wonderful and I still recommend it. The central ship is (spoiler.........) a B&tB type where we eventually discover the main love interest both feels like a figurative monster and turns into a literal monster. He has an incredible speech about his relationship with people's fear, it makes me weep. I called the endgame from the first episode and always thought it was obvious, but there is a red herring love triangle dynamic. It's really not annoying, though, because it is a red herring. (I hate love triangles)

I am Dragon. Russian monster romance film. Beautiful, simple fable with a really great heroine.

Jane Eyre. 1943 Gothic Romance film. It's Jane Eyre, byronic hero x sensible heroine love story with much atmosphere and Gothic drama. I stan this version because I am an Orson Welles fangirl and I'm also not convinced it can be improved upon. Elizabeth Taylor's film debut btw.

Hellboy. 2004 action/adventure/romance film. Defying destiny, reconciling identity, monster romance. The complete package and a great time. Tonally similar to SW and probably thematically closest to it out of this whole list. Don't watch the sequel.

Beauty and the Beast 1987 tv series. Exactly what it says on the tin. Deals with the classic B&tB themes, but in a different way. He's not cursed and will never transform into an ordinary man. The first season is very episodic and 'case of the week', but the second season gets more into character drama. It's dated, but if you give it a chance you can get past some of the cheese factor and it's really a unique experience. Its concerns are SO atypical that it feels like something fandom would make rather than a mainstream network show. It was so massively, insanely popular with women at the time that a record of Vincent (the beast) reading poetry topped the album charts. Also Ron Perlman and Linda Hamilton. Stop at season two. Point of interest: George RR Martin wrote for this show.

Stargate (the movie not the series) sci-fi fantasy about a nerdy guy who accidentally a hero.

Possession. 2009... mystery/supernatural/romance. Okay. This is a whole thing. Lee Pace and Sarah Michelle Gellar. It's based on a Korean film I've never been able to find for some reason, but being Hollywood they ruined the romanticism and nuance of the original in the theatrical cut to make a shitty punative ending. However. If you buy it on dvd and go to the alternate ending (which follows the original story) with around 20 minutes left (scene after Lee Pace's character wakes from a bad dream-go to deleted scenes and select the alternate ending), you will get a very, very interesting character study/thriller/redemption about sincerity within deception, compassion, and a major question about second chances with a positive answer. It's kind of dark and kind of astonishingly idealistic at the same time. The heroine makes a very powerful choice, twice over. It's fascinating. If you're into the conflicted and uncertain period in reylo, the part where he is most ambiguous, and you wanted more of that and much darker shades to it, you might be really into this. Also, it should be noted, there is a MASSIVE height difference and they show it off. The film is flawed (and the seams show on the Hollywood rewrite) but idk, it's fascinating. Shocking to me that they even got to shoot the original ending. It is pretty balls to the wall with its themes on forgiveness.

I would recommend getting into kdramas because there is a wealth of female-gaze tropey amazing content, but always check the ending before getting invested. My all-time fave is the 1st Shop of Coffee Prince, but it's not sw related at all lmao. It has a happy ending with all the elements you'd want, but it's not satisfying in execution, so that's it's major flaw and I find that pretty common with kdramas. One that is maybe more relevant is My Love from Another Star, which has a hero who is a little bit like Ben in personality. The heroine isn't my favourite, though. It does have a decent ending.

Oh yeah- brain fart. Kurosawa films and classic westerns were both very influential on SW. Or you can combine both and watch The Magnificent Seven.

[happosity]

The Best Love Quotes Given to Us from Literature

Reading romance novels allows you to fall in love over and over again. Here is a collection of sweet words that you can keep close to your heart.

1. "My affections and wishes are unchanged, but one word from you will silence me on this subject for ever." —Jane Austen, Pride & Prejudice

2. "Who, being loved, is poor?" —Oscar Wilde, A Woman of No Importance

3. “Once upon a time there was a boy who loved a girl, and her laughter was a question he wanted to spend his whole life answering.” —Nicole Krauss, The History of Love

4. "Whatever our souls are made out of, his and mine are the same . . . If all else perished, and he remained, I should still continue to be; and if all else remained, and he were annihilated, the universe would turn to a mighty stranger." —Emily Brontë, Wuthering Heights

5. “If you live to be a hundred, I want to live to be a hundred minus one day, so I never have to live without you.” —A.A. Milne, Winnie the Pooh

6. "He stepped down, trying not to look long at her, as if she were the sun, yet he saw her, like the sun, even without looking." —Leo Tolstoy, Anna Karenina

7. “But I love your feet only because they walked upon the earth and upon the wind and upon the waters, until they found me.” —Pablo Neruda

8. "Perhaps, after all, romance did not come into one's life with pomp and blare, like a gay knight riding down; perhaps it crept to one's side like an old friend through quiet ways; perhaps it revealed itself in seeming prose, until some sudden shaft of illumination flung athwart its pages betrayed the rhythm and the music, perhaps . . . perhaps . . . love unfolded naturally out of a beautiful friendship, as a golden-hearted rose slipping from its green sheath." —Lucy Maud Montgomery, Anne of Avonlea

9. “Soul meets soul on lovers’ lips.” —Percy Bysshe Shelley, Prometheus Bound

10. “So, I love you because the entire universe conspired to help me find you.” —Paulo Coelho, The Alchemist

11. “You are my heart, my life, my one and only thought.” —Arthur Conan Doyle, The White Company

12. “He was my North, my South, my East and West, my working week and my Sunday rest.” —W.H. Auden, “Stop All the Clocks”

13. "All, everything that I understand, I understand only because I love." —Leo Tolstoy, War and Peace

14. "If I were to live a thousand years, I would belong to you for all of them. If we were to live a thousand lives, I would want to make you mine in each one." —Michelle Hodkin, The Evolution of Mara Dyer

15. “For you, a thousand times over.” —Khaled Hosseini, The Kite Runner

16. “Grow old along with me! The best is yet to be.” —Robert Browning, Rabbi Ben Ezra

17. "Doubt thou that the sun is fire, Doubt that that the sun does move, doubt truth to be a liar, but never doubt that I love." —William Shakespeare, Hamlet

18. “When we love, we always strive to become better than we are. When we strive to become better than we are, everything around us becomes better too.” —Paulo Coelho, The Alchemist

19. "I have waited for this opportunity for more than half a century, to repeat to you once again my vow of eternal fidelity and everlasting love." —Gabriel García Márquez, Love In The Time Of Cholera

20. "Do I love you? My god, if your love were a grain of sand, mine would be a universe of beaches." —William Goldman, The Princess Bride

21. “Just in case you ever foolishly forget; I’m never not thinking of you.” —Virginia Woolf, Selected Diaries

22. "We love the things we love for what they are." —Robert Frost, Hyla Brook

23. "Every lover is, in his heart, a madman, and, in his head, a minstrel." —Neil Gaiman, Stardust

24. "I was about half in love with her by the time we sat down. That’s the thing about girls. Every time they do something pretty . . . you fall half in love with them, and then you never know where the hell you are." —J. D. Salinger, The Catcher in the Rye

25. "To love or have loved, that is enough. Ask nothing further. There is no other pearl to be found in the dark folds of life." —Victor Hugo, Les Misérables

26. "You should be kissed and often, and by someone who knows how.” —Margaret Mitchell, Gone With The Wind

27. "You pierce my soul. I am half agony. Half hope. Tell me not that I am too late, that such precious feelings are gone for ever." —Jane Austen, Persuasion

28. "I have been astonished that Men could die Martyrs for their religion—I have shudder'd at it. I shudder no more—I could be martyr'd for my Religion—Love is my religion—I could die for that. I could die for you. [. . .] My love is selfish. I cannot breathe without you." —John Keats, A letter to Fanny Brawne

29. “In vain have I struggled. It will not do. My feelings will not be repressed. You must allow me to tell you how ardently I admire and love you.” –Jane Austen, Pride and Prejudice

30. "If you ever have need of my life, come and take it." —Anton Chekhov, The Seagull

31. “I love you as certain dark things are to be loved, in secret, between the shadow and the soul.” —Pablo Neruda, Sonnett XVII

32. "I loved her against reason, against promise, against peace, against hope, against happiness, against all discouragement that could be." —Charles Dickens, Great Expectations

33. "I have for the first time found what I can truly love—I have found you. You are my sympathy—my better self—my good angel—I am bound to you with a strong attachment. I think you good, gifted, lovely: a fervent, a solemn passion is conceived in my heart; it leans to you, draws you to my centre and spring of life, wrap my existence about you—and, kindling in pure, powerful flame, fuses you and me in one." —Charlotte Brontë, Jane Eyre

34. "Is love this misguided need to have you beside me most of the time? Is love this safety I feel in our silences? Is it this belonging, this completeness?" —Chimamanda Ngozi Adichie, Half of a Yellow Sun

35. "Explain! Tell a man to explain how he dropped into hell! Explain my preference! I never had a PREFERENCE for her, any more than I have a preference for breathing. No other woman exists by the side of her. I would rather touch her hand if it were dead, than I would touch any other woman's living." —George Eliot, Middlemarch

36. "You gave me a forever within the numbered days, and I'm grateful." —John Green, The Fault in Our Stars

37. “It would degrade me to marry Heathcliff now; so he shall never know how I love him; and that, not because he’s handsome, Nelly, but because he’s more myself than I am. Whatever our souls are made of, his and mine are the same . . .” —Emily Bronte, Wuthering Heights

38. "I do love nothing in the world so well as you—is not that strange?" —William Shakespeare, Much Ado About Nothing

39. “I thought an hour ago that I loved you more than any woman has ever loved a man, but a half hour after that I knew that what I felt before was nothing compared to what I felt then. But ten minutes after that, I understood that my previous love was a puddle compared to the high seas before a storm.” —William Goldman, The Princess Bride

40. "Always." —J.K. Rowling, Harry Potter and the Deathly Hallows

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