#cause i cant say anything nice about cyrus

[screechingfromthevoid]

Cyrus is alive in the fic I'm plotting out and like tbh

[lupinlongbottom]

Plaited Bliss

Charlie Weasley x Reader

Summary: (Y/N) sees Charlie’s hair down for the first time,

Prompt: hi can i request a Charlie Weasley x Reader where the reader see Charlie with his hair down for the first time? Thanks! :) - @b0rkk

Word Count: 1,750

Warnings: none, just fluff

A/N: I. LOVE. CHARLES. WEASLEY. that is all. enjoy the rest of your day, thank you.

__

Speechless.

(Y/N) usually always had something to say or add to a conversation, she had quite the quick tongue. On this unusually hot May day, however, (Y/N) found her mouth dry, empty of any thought that could formulate on her lips. Charlie and (Y/N) had been studying outside in the shade and out of the harsh sun, somehow getting off task—talking about dragons, naturally— and just enjoying each other’s company.

“I’d like to think I’d be pretty good at telling a dragon ‘no!’, wouldn’t you agree?” Charlie asked, pencil tapping in his crossed knee. He had been staring up at the clouds, painfully deep in thought, clearly not focusing on their Transfiguration assignment.  

(Y/N) laughed, head rested fully in his lap. “Charlie, you can hardly tell your mum ‘no’, how do expect a literal dragon to listen to that?”

Charlie looked down. “Are you comparing my mother to a dragon?”

“No,” (Y/N) hummed. “Just pointing out the obvious lack of courage on your end, nothing personal.” She smirked, cocking an eyebrow playfully up at Charlie.

His face went red. “Lack of courage? Need I remind you that I’m a Gryffindor? We’re known for being rather courageous—thank you very much—it can’t possibly be a lack of courage!” Charlie’s hands flew up into the air in protest. (Y/N) chuckled airily.

“Okay big man,” (Y/N) sat up from his lap, fingering through her hair, hopefully changing the appearance to something more presentable. “Whatever helps you sleep at night.”

“I sleep just fine, thanks.” Charlie huffed, a tuft of red hair blew out of his face.

“Of course you do,” (Y/N) smiled. “You still have your baby blankie, right?”

“It’s a quilt.” Charlie mumbled, his ears growing red.

(Y/N) sighed. It was clear that she had offended him, even if she had meant for it to be a joke. “I’m sorry.” She said, flopping her own hands into her lap, slightly defeated.

“Do you mean it?” His voice grew small, the sound almost inaudible.

“Of course I do.” (Y/N) replied lovingly.

“Good,” Charlie glanced back up at the sky. “You know how I get when you tease me about Sir Blankie.”

“He has a name now?” (Y/N) asked, clearly amused. 

Charlie’s face broke a small smile. “He’s always had a name,” He blew the same tuft from before out of his face again. “You, my dear one, had never thought to ask.” The hair fell back in it’s place.

“Forgive me,” (Y/N) bowed her head lightly. “I should have known that anyone who names their broomstick ‘Cyrus the Conquerer’ would have also named their blanket.” She laughed, bearing her weight to her hands, leaning back into the small patch of sunlight peaking through the tree.

“What do you have against Cyrus?” Charlie asked, feeling his fingers reach up to his locks again. He was losing the battle against his own hair, feeling angry and annoyed by it’s current state.  

“Nothing at all. I’m just relishing in the fact that my boyfriend is a huge…”    

(Y/N) couldn’t finish her thought. Charlie had rather abruptly yanked the tie from his red hair, sending a cascade of fiery locks to frame his freckled face. It was just longer than shoulder length, the tips reaching just below the top of his white uniform collar.

“…dork.” (Y/N) finished, still entranced by Charlie’s hair.

“What? Kneazle had your tongue?” Charlie mused, cocking his eyebrow towards (Y/N).

“I—no, that’s—no,” (Y/N) stammered, feeling her face heat up with the force of a thousand dragons. “It’s just—hair.”

“Hair?” Charlie asked, reaching behind his head to re-tie his hair up. “What about—” He paused. “Oh.”

“Yeah,” (Y/N) said. “Oh.”

“Never seen it down before?” Charlie said, lowering his hands. (Y/N) shook her head, a bit faster than she’d like to admit. “I find that hard to believe. I must’ve—no, I guess I don’t take it down for Quidditch,” Charlie said to himself. “But what about—wait, you weren’t there for that.”

“Charlie,” (Y/N) said, stopping Charlie’s train of thought. “Let’s just agree that I’ve never seen it down before, okay?”

“I suppose,” Charlie shrugged. His eyes met (Y/N)’s (Y/E/C) ones, watching them scan around his face, flickering rather quickly. Her lips were parted slightly, mouth hanging open. “Careful,” Charlie said, reaching his hand out and pushing one of his fingers under (Y/N)’s chin, gently shutting her mouth. “You’ll catch bugs if you keep doing that.” His thumb rubbed softly against (Y/N)’s chin before he pulled away.

“I’m sorry,” (Y/N) shook her head. “Now I feel like the huge dork.”

“Only now?” Charlie laughed. (Y/N) shot him a stony glare. “I know you cant help it, I’m just too handsome. It’s quite understandable, really.” He cracked a toothy grin.

(Y/N) rolled her eyes. “Yeah, that’s it.”

Charlie hopped next to (Y/N), his shoulder bumping lightly against hers. “Come on,” Charlie turned his chest, now facing (Y/N). “I know you want to touch it.” He tilted his head down slightly.

“What? What makes you think that—”  

“Sweetheart, I’ve known you how long?” Charlie asked, peeking up through the stray strands of hair that flowed down his face. (Y/N) didn’t respond. “Yeah, exactly,” He laughed. “I swear, I washed it today!”

“If you insist.” (Y/N) said, lifting a hand up to his fiery locks. She placed her hand atop his head, patting it lightly.

“Are you petting me like a cat?”

“I was thinking more like a puppy, but same idea,” (Y/N) chuckled lightly, stopping her movement. She slid her hand down his face, cupping his jaw. Charlie leaned rather hard into the soft touch. Her hand pushed up, past his ear, her fingers lacing through the red hue. “It is pretty soft.”

“Told you,” Charlie hummed. (Y/N) raked her fingernails lightly against his scalp, causing Charlie to moan lightly. “That feels nice,” Charlie readjusted his position, his head now resting fully in (Y/N)’s lap, eyes closed. “Both hands, please.”

“Such a needy one you are, Charles,” (Y/N) laughed, pulling her other hand to his head. Her fingers combed through his hair, occasionally dragging her nails against his scalp. The sight of Charlie’s near sleeping face, his red hair surrounding it like a rosy halo, was enough to cause (Y/N)’s heart to skip a beat. Instantly, her fingers hit something small and hard in his hair. She pulled it out to examine it closer. “I thought you said you washed your hair today?” 

“I did,” Charlie opened his eyes, quickly staring at the small twig (Y/N) held between her fingers. “Oh. Quidditch practice.”

“Ah,” (Y/N) tossed it to the side, returning to her previous movements. “Does Bill have soft hair too?” She asked, mindlessly.

“Don’t even joke about that.” Charlie scolded, his brows furrowing tightly on his face, eyes still closed.

“Wasn’t joking, genuinely asking.” (Y/N) shrugged, smiling lightly. Her fingers worked quickly against his head, threading strands together.

“What are you doing?” Charlie asked, peeking an eye open. 

“Nothing,” (Y/N) hummed, placing a hand over his brown eyes. “No peeking!”

“If you give me a flower crown, Bill won’t let me hear the end of it.” Charlie said, resting his head deeper in (Y/N)’s lap.

“That’s not a terrible idea,” (Y/N) said, glancing at Charlie’s now rather shocked expression. “I don’t have any flowers, don’t worry,” Her fingers moved gently, her fingertips brushing lightly against his forehead every now and then. Charlie could have easily fallen asleep in that moment, relishing in the feeling of pure bliss. “Sit up, please.”

Charlie sat up, following the urging of (Y/N)’s hand on the back of his neck. She clawed at the ground for a moment before grabbing Charlie’s hair in her hand, pulling it back into it’s previous ponytail.

“Let me know if it’s too tight,” (Y/N) said, tugging lightly on the locks. “There, done.” 

“Done? Love, you just put my hair back up,” Charlie said, letting a hand travel up to his hair. “Yeah, it’s in the same…” His fingers traced near his forehead, feeling a bunch of small bumps. “…spot?”

“Let me know what you think,” (Y/N) reached into her bag, pulling out a small blue compact mirror, handing it to Charlie. He opened it, gazing into the mirror quietly. His hand traced along the bumps he had felt before. It was a braid. “You were annoyed with your bangs falling, right? I braided them back so they shouldn’t bug you anymore.” 

“A braid?” Charlie asked, eyes not leaving the sight. 

“It’s not a flower crown,” (Y/N) smiled. “Though I think a daisy would look nice.” Charlie handed (Y/N) back the compact, not saying anything. “Do you not like it?” Her voice grew uneasy. 

“No,” Charlie sighed. (Y/N)’s face fell. “I love it.”

“Charlie!” (Y/N) slapped his shoulder rather hard. “You scared me!” 

“Sorry, sorry,” He laughed. “Couldn’t pass up the opportunity.”

“Like hell you could’ve,” (Y/N) mumbled. “But you really like it?” (Y/N) ran her fingers across the small braid, following it to the tie at the back of his head. 

“I do,” Charlie grabbed (Y/N)’s hand, bringing it closer to his lips. He placed a soft kiss to her knuckles. “Only because you did it.”

(Y/N) felt her face heat up. “Oh stop.”

“It’s true,” Charlie said, placing another kiss to her hand. “I really loved the massage beforehand too. Think we can make that a daily thing?”

“You’re giving me an excuse to play with your hair? Every day?” She asked, glancing around, hoping it wasn’t a prank. Charlie nodded. “Wow. Okay. This is a lot to process.”

“Is it?” He chuckled.

“I hadn’t ever seen your hair down before a few minutes ago and now you’re going to let me play with it all the time? I could melt just thinking about it.”

“Don’t do that,” Charlie smiled. “I wouldn’t know a spell to fix you.”

“Then you better start learning, Weasley,” (Y/N) laughed, placing their textbook in his lap. “Because tomorrow,” She leaned in near his ear, breath tickling his skin. “I’m thinking pigtails.” 

“Charming,” Charlie said, turning his head quickly, his lips catching (Y/N)’s lightly. “Can’t wait.”

__

general tag list: @maralisa124

want to be added to a tag list? hmu in the replies or ask box with what characters you’d like to be tagged with!

[deadcactuswalking]

REVIEWING THE CHARTS: 17th February 2019

We have a new #1, and a very busy week before the BRITs. Let’s get on with it.

Top 10

As I said, there’s a new #1 hit today on the UK Singles Chart – for its first week on both the #1 spot and the chart overall (Yup, it is a debut), it’s “break up with your girlfriend, i’m bored” by Ariana Grande, becoming her 18th Top 40 hit and fifth #1 (Second to debut at the spot this year). This is because of her incredibly successful thank u, next album, which was the most-streamed album of all time for a female artist, and is currently occupying all top three spots on the Billboard Hot 100 in America. Now that’s impressive, although it did sell a bit less than I thought at more than 300k+... also the album sucked, it was a strong four at best. I’ll talk more about it later.

This means that Ariana Grande has blocked herself at #1, in fact has pushed herself off, as “7 rings” is down a spot to number-two.

Surprisingly, Lewis Capaldi enters the top three with “Someone You Loved”, up six spots to number-three. The album’s out soon so expect this to hit the top.

Sam Smith and Normani’s “Dancing with a Stranger” is down one space to number-four.

At number-five is where Mabel stays since last week, with “Don’t Call Me Up”.

Calvin Harris and Rag’n’Bone Man’s “Giant” is down two spaces to number-six.

Also down one space to number-seven is “Wow.” by Post Malone.

Now we have our second top 10 debut by Ariana Grande, “needy”, also from the album thank u, next. It’s at number-eight, and is Grande’s 19th Top 40 hit and 12th Top 10 hit. We’ll talk more about it later.

Unfortunately due to Grande and Capaldi, two good songs are barely hanging on at the end of the top 10. Mark Ronson and Miley Cyrus’ “Nothing Breaks Like a Heart” is down one space to number-nine.

Billie Eilish’s “bury a friend” is also down three spaces to #10, rounding off our top 10.

Climbers

Well, there’s more than I expected to be on this week specifically, but there’s not all too many. “Going Bad” by Meek Mill and Drake is up five spots to #13, probably because of the video, while possibly due to awards season, Lady Gaga and Bradley Cooper’s “Shallow” is also up five spots to #21, “Grace” by Lewis Capaldi is up 14 spaces to #26. Then we have recent debuts like “Swervin” by A Boogie wit da Hoodie featuring 6ix9ine up seven spots to #27, “a lot” by 21 Savage featuring J. Cole up seven spots to #29 and “i’m so tired...” by LAUV and Troye Sivan up six spaces to #33, all of which I’m rooting for.

Fallers

I expected a LOT of these due to the sheer amount of new arrivals (There’s seven), and I mean, eh, we got some, mostly due to streaming cuts though. After a couple weeks, the UK Singles Chart makes the importance of streaming in a song’s chart placement lessen, if that makes sense, and this has happened to “Sweet but Psycho” by Ava Max down nine spaces to #11, Post Malone and Swae Lee’s Spider-Man: Into the Spider-Verse cut “Sunflower” down 13 spaces to #23, and potentially “Without Me” by Halsey down 11 spots to #28, this week. Otherwise, well, we have the fortunate five-space fall for “Undecided” by Chris Brown to #25, and falls for The Weeknd and Gesaffelstein with “Lost in the Fire” down 11 spaces to #35, as well as Kehlani and Ty Dolla $ign’s “Nights Like This” down eight spots to #38. I’m almost sad that song didn’t drop 15 spaces so I could make one of those awful quips about Ty Dolla $ign serving 15 years in prison for cocaine possession.

Dropouts

Streaming cuts also hurt “Close to Me” by Ellie Goulding, Diplo and Swae Lee, out from #27 (Peaking at #17), while “One Kiss” by Calvin Harris and Dua Lipa is out from #38 (Peaking at #1) – about time. Oh, I might as well say that whilst “thank u, next” by Ariana Grande did drop out from #28 (Peaking at #1), it’s not because it’s less popular now, it’s because that there are at least three more popular songs from the thank u, next album, and that’s all the UK Singles Chart allows at once. This is a good rule because it prevents album bombs, but it means the chart is less accurate in actually showing what people are listening to. I bet that song comes back next week anyway. Oh, and there’s more drop-outs: We have “Leave Me Alone” by Flipp Dinero out from #38 (Peaking at #30), “Saturday Nights” by Khalid out from #35 (Peaking at #31) and “18HUNNA” by Headie One and Dave out from #32 (Peaking at #6). These are all premature, so expect these come back, or at least one of them. Fredo’s “All I Ever Wanted” featuring Dave is out from #15 (Peaking at #15) after the album’s hype died down, whilst streaming cuts have pushed both “Hold My Girl” by George Ezra out from #23 (Peaking at #8) and “ZEZE” by Kodak Black featuring Offset and Travis Scott out from #21 (Peaking at #7) off the chart.

Returning Entries

The only returning entry this week is due to the tragic death of rapper Cadet at 25, whose passing has caused his song with Deno Driz, “Advice”, to return at #36. Rest in peace. Now, on a lighter note, here are our returning entries:

NEW ARRIVALS

#40 – “Thotiana” – Blueface

Hell yeah, Blueface, baby. Okay, so you know Blueface, don’t even say you don’t – you’re a filthy liar if so, because he has been all over the Internet due to viral videos of him rapping, because he doesn’t tend to rap conventionally, and he often has funny one-liners. There are purposeful off-beat moments throughout his songs, especially “Deadlocs”, but it’s mostly just inspiration from people like E-40 who would rap in a different way when they came across a beat that fit their unorthodox flow. Anyways, despite his most on-beat song to date, “Bleed It”, being an obvious contender for breakout hit, it seems like “Thotiana” has got the most traction, and hence, here it is. It’s been in the top 40 in the US for a couple weeks, and has got remixes from Desiigner, YG and even Cardi B (Who, by the way, absolutely kills it with an outrageous and hilarious verse, which I unfortunately can’t repeat any lines from because Tumblr might flag me with an adult content restriction – yeah, they’re that nasty). Despite that, it seems to be that the original version is the one that landed in the top 40. It’s obviously his first hit, and, to be honest, I love it to death. It’s barely two minutes and only consists of gliding pianos and smooth keys under a West Coast beat (With some banging percussion), as well as a slightly shrill synth, yet it feels so full, probably because of Blueface and all his ad-libs, including the iconic “Yeah, aight”. The hook is insanely catchy and beyond the meme, Blueface’s flow is great, somewhat complex at points and borders on spoken word in his verse, with so many references of what he says being “on the gang” that you’d think he has a verbal tic. This probably isn’t his funniest or most memorable song but it is a damn great one. Oh, but there’s also this:

Ain’t no runnin’, Thotiana, you gon’ take these damn strokes

Uh, yeah, well, um... Yikes, okay, I’m just going to leave it there. Great song, check it out. Check out the Cardi B remix though, it’s even better.

#37 – “Breathe” – CamelPhat and Cristoph featuring Jem Cooke

Damn, CamelPhat, I love these guys. Every song they’ve released that hit the charts has been some of the best EDM I’ve heard come out of the UK electronic scene in years, and they know how to make a fun, catchy dance song feel cinematic and in the case of songs like “Cola” with Elderbrook, almost avant-garde.  A lot of UK dance by more obscure names has hit the charts last year, and impressed me as well, especially Loud Luxury, so I’m excited to see what CamelPhat have got up their sleeves this time for their third top 40 hit, and the first for Cristoph and Jem Cooke.

Yeah, so, this feels oddly 90s at the start, with those nice warm synths, then the indie-pop singer of the week comes in with her raspy voice covered in reverb, with pretty much no build-up before we get to a deep bassline and finger-snaps come in, almost like a sped-up Chicago house beat. The beat increases in intensity with a higher pitched bass as the chorus comes in but there’s not really a drop, just a continuation of the instrumental, because it still feels restrained and isolated, despite the theatricality of the whole ordeal, and that really fits the title because it’s an anxious song, and it takes a damn long while for that tension release to come in. Unlike “breathin” by Ariana Grande from last year, that was also about anxiety and self-help, this isn’t repetitive to a fault, rather while Jem Cooke yells at herself that she needs her to breathe again, the beat is almost like a train pushing down the tracks and the finale climax when her vocals echo, “Again, again, again, again”, is the train hitting her and killing her. Grande’s song was a pump-up anthem but this is just a pure burst of self-frustration hurled at the listener, and while it’s nowhere near as good as “Panic Room” in expressing panic, isolation and anxiety (Yeah, it is kind of a retread), this is still pretty great.

#34 – “Who Do You Love” – The Chainsmokers featuring 5 Seconds of Summer

Oh, these seven guys again. Look, I like enough of both of these artists’ songs to give them a pass, but a collaborative single between the two is just a mediocrity sandwich. It’s not going to be anything interesting or new or even worthwhile, it’s just going to be a two-dude EDM duo producing for one dude called Luke or something with four other dudes (Who supposedly play instruments on any of their singles – yeah, right). This is the Chainsmokers’ ninth top 40 single in the UK and 5 Seconds of Summer’s ninth as well, and it kind of sucks. What a surprise. We start off promising with distorted piano, a deep 808 bass and what sounds like a high-pitched, siren-like guitar, with Luke crooning, until... it has an acoustic breakdown in which Luke has too many vocal effects put onto him for it to work, and he sounds too fast, like a lot of these EDM guys make people sound like... until, that weak drop with an unfitting build-up. It just sounds like all five seconds saying “Blam-blam, hoopty-doopty, doo-doo” in unison over some cloudy synths and an ugly bass wobble. I know that’s the point, but this song is supposed to be taken seriously, and I don’t think any of the seven dudes involved noticed that at any point. Chainsmokers, guys, you’ll never top “Everybody Hates Me” (Note that their best song isn’t supposed to be taken seriously... or at least I hope not). Blech, I hope this goes away, this really is not worth any staying power.

#30 – “Just You and I” – Tom Walker

Both this and his other song, “Leave a Light On”, were featured in advertisements, boosting their place on the charts. This one has an album attached to it. That should tell you all you need to know about boring singer-songwriter, Tom Walker, trying to get on that “Genuine white guitarist man” money that Rag’n’Bone Man and Ed Sheeran currently store in the safe, although unlike those two, he’s more electronic and more plastic. He’s a rip-off? Yeah. Is he an industry plant? I mean, I don’t like that term, but it sure seems like it. If not, he’s just marketed perfectly. Anyway, this song is his second top 40 hit and some fake acoustic guitar and fake handclaps complement Tom Walker’s slightly nasal and... mildly urban-Irish (???) voice and the piano... and yeah, no, it doesn’t exist. I hear this song and nothing witty is produced, there’s nothing of interest in my brain, I feel like my ears have just had a long string of nothing twisted through them. The “Drop” is just a chorus, this time, although it still feels like a drop because Walker isn’t saying anything of interest. Oh, yeah, and the two parts of the chorus feel really jankily attached, it’s like two halves of a chorus put together. Next.

#16 – “Talk” – Khalid and Disclosure

Oh, hey, a great song by two amazing artists, that’s good to see. So, this is R&B singer Khalid’s tenth UK Top 40 hit and Disclosure’s sixth, and it’s funky, smooth and fun as hell. It starts with a synth that is ripped straight from the 80s, then some keys come in and a clap, until Khalid starts singing with that sultry voice, although it’s in a higher-pitched and more emotive falsetto this time, with a slightly off-kilter bass when partnered with the synths, almost reminding me of future bass. Khalid sounds absolutely fantastic over this beautiful instrumental, with all the extra touches like the drum pattern finishing off with a repeated snare, kick and bass hit at the end of the chorus as a climax, the extra synth melodies added throughout the chorus that give the song so much more “Oomph” and groove to it. The song is joyful, danceable and I don’t care about what the lyrics say at all, but since I clearly don’t have all that much to say about the song other than “This is gorgeous and amazing and brilliant”, I might as well say that the subject matter may be unfitting, because it’s about having a talk about where the relationship is going, which isn’t necessarily as smooth, cute and glamorous as the song could paint it out to be, but there definitely is that off-kilter and quirky vibe to it that does add that sense of panic, despite how mostly chilled it is. That works well, actually. Yeah, check this out because this is the best song either of these guys have put out. If this has longevity in the US, it’s a contender for the top of my best list, because I doubt anything better will come along. Perhaps “bury a friend” and “a lot” could end up there? Who knows? It’s shaping up to be a pretty good year, though, so we’ll see.

#8 – “needy” – Ariana Grande

Ariana Grande finally finds her sound after years and four albums of having the inability to be cohesive or unique, years and years of having a wasted voice due to cluttered, messy and generic instrumentals provided to her by producers who don’t know what they’re doing, and... her albums still suck. Well, her fifth album is a disappointment, yes, and it’s also incredibly mediocre. It lacks a lot of substance, is inconsistent (It either has too much polish or not enough), has a few irritating instrumentals like “bloodline”, as well as once again, it has Grande’s great voice being put to the side due to light-weight trap beats like “7 rings”, for which Grande is forced to lose all of her natural charisma in order to fit on. There, that’s what I think of the album. Now, “needy” is not one of the worst on the album, but it is bad, and you can tell that right off the jump with its over-simplistic, toy-box melody that starts it off, and gets irritating quick, with not enough drowning it out. I like the pre-chorus, it’s pretty cool, but the finger-snaps are fake and pointless, with the borderline doo-wop vocals in the background adding nothing but volume. Someone tell Ariana Grande that her “Yuh” ad-libs should never be used again, please. They worked in “God is a woman”, but that’s the only time they worked, and will ever work. The subject matter is decent here, but I don’t think the beat fits it – because it doesn’t have a beat, really, there’s barely any percussion, and then it has an abrupt, pointless orchestral outro. Yeah, you can tell this album was finished in two weeks. It has a lot of moments like that.

#1 – “break up with your girlfriend, i’m bored” – Ariana Grande

Fitting title. Okay, so what’s the need for build-up, am I right? When it works, over-whelming the listener with the beat immediately crashing in is great. That’s when it has build-up, it never works when it’s just the song starting with bass and percussion immediately, without much reason. No, it doesn’t make sense in the context of the album either, because the song before it fades out. Anyway, so over a weak, discount Playboi Carti type beat with the flute (???) mixed so low that it essentially doesn’t exist, Grande raps with a rather concerning accent considering the blackfishing controversy, biting freaking Quadeca’s flow (I know - Out of all people?), with again, those cringeworthy ad-libs placed in empty spaces. Then it cuts to 16-bit chiptune pianos that aren’t used throughout the song, just in this section, for the pre-chorus, it just feels kind of worthless to have this here, it’s like it’s part of another song they spliced in (A better song, may I add). Oh, and that chorus is sickeningly annoying. I don’t care about the lyricism here as much as I should (Because it is pretty douchey, at least on the surface), but she sounds nasal with that elongated syllable melody that makes me just coil. I don’t like the backing vocals or echoes, either, sorry for the nitpicking but they feel like quick edits just to fill in empty space, especially that male “Hey” (or “Care”, or “Yeah”, I can’t tell), it’s added abruptly and cuts the beat out for no reason. The bridge wouldn’t be bad without that incessant and constant percussion pounding through it. I shouldn’t be this negative, Grande’s performance is okay, I guess, but, damn, this is awful. It doesn’t develop or even end properly, it feels like a bonus track on the standard version – because, yes, somehow this is what they chose as a fitting climax to the record. What a waste of studio time, and what a bad #1. Listen, UK, I didn’t like “7 rings” either, but at least it wasn’t this.

Conclusion

Man, I feel bad for doing so but Ariana Grande gets Worst of the Week for “break up with your girlfriend, i’m bored”, and screw it, Dishonourable Mention for “needy”. Nothing else is all that bad, so the Chainsmokers get away scot-free here, with Honourable Mention being tied and going to both Blueface for “Thotiana” and CamelPhat, Cristoph and Jem Cooke for “Breathe”. Best of the Week should be pretty obvious, but yeah, it’s going to Khalid and Disclosure for “Talk”. See you next week.

[galimatios]

t/a rambles 1

back on my bullshit part 1

... should look into the tactics ogre games for novel inspo bc my novel is also a political drama ... UNINTENTIONALLY actually id call it a coming of age story in rhe new adult genre since mc is probably 23-25 i have so many feelings about the novel ugh i love my ocs so much and i put them all om opposing sides for this novel the most complex relationship i have in it i think is alex and his mother or rather prince kreutzer in this au queen elaine and her son prince kreutzer .. god its so fucked up bc kreutzer loves his mother- he was largely isolated as a child and his mother was always so loving and sweet and they were so so close but the prince never knew of the shit his mother did as queen she is a tyrant she must have lost a child once. a princess, i think probably to the king who she may have ... overthrew or usurped maybe but regardless of that shes in power now and because she lost a child she became overly protective of kreu and consolidated her power heard of a plot to infiltrate her kingdom and assassinate the son of the previous tyrant king (?) and she just fucking ruled with an iron fist because she has so little trust in the goodness of people that she thinks the only way to achieve good is to force it and as a result she kills anyone who steps out of line thus making the people resent her deeply but to kreutzer shes his mother his loving and doting mother who does all she can to protect him the novel actually starts um after the queen is assassinated h a its not her story but shes a big part of it even after her death bc a big portion of the theme is like coming to terms with the complexity of individuals no one is all good or all bad and kreu starts out unable to understand this he has a very black and white view of moralitt like his mother at the beginning on his coronation day theres an assassination attempt made on him but he gets whisked away by the court jester after that a coup is staged and rebels take over the country and the prince is forced to hide with a traveling circus that the jester brings him to where every performer... is a fugitive or criminal! and thats where his personal growth really begins bc he learns abt these people and realizes his world view was wrong people are complex people do bad things... for just reasons and vice versa esp Keith who makes a major appearance in the novel his entire bg story takes place outside the novel as well hahaha but its a lot after a raid on his village, hes orphaned along w his little sister who is ill so to make ends meet / buy medicine he does literally every fucking crime under the sun starting off with petty theft and scaling up to murder literally sacrificing every last shred of innocence he has for the sake of his ailing sister who... dies anyway! and im thinking, tbh, its a fantine/cosette/thenardiers type sitch where this quack doctor is basically scamming him except instead of fantine dying cosette does anyway thats where he fucking hits rock bottom he could handle things as long as he had someone to fight for you know he was alright with it bc his sister was there, his saving grace but when she dies hes all alone thats probably when lydia finds him i imagine he would he on the verge of suicide or at the very least dying of self imposed starvation and neglect but honestly probably suicide julie's death on top of the crushinf weight of all the crimes hes committed the innocence he lost, the lives he took its just way too much and hes just a naive kid lydia finds him and takes him back to the circus takes care of him gives him food and water and shelter and slowly tries to reach him slowly teaching him that there is still life to be lived that he is so young, and it is far too soon for him to lay down and die that he should live for his dead family, because that is what they would want to keep their memory alive in his heart and he begins to come around slowly starts doing chores for the troup then he finally sees one of their performances acrobats and the trapeze and the glitz and the glamor its the first time in years where he ... wasnt thinking about his dead sister or his trauma he asks lydia to teach him how to "do that" he says while pointing at the stage and so she does and ever since then hes taken up performing full time as a .. daredevil type act doing outrageously dangerous things for the thrill of it it excites him, the risk he loves to see how close to the edge of death he can walk without falling and it fuels him makes him enjoy being alive again and he's.. happy god by the time you meet keith in the novel he's just this happy go lucky teen with this smugness about him a kind of dangerousness belying a sweet exterior he's all jokes and laughs at this point and you'd never be able to tell what he went thru at first glance or at all really bc honestly, at this point he honest to god is okay lies and dirt - Last Thursday at 6:00 AM he... doesnt need anyone's pity. he doesn't need anything but the feeling of being alive now and one of the major points of the novel is prince kreu's relationship with him... bc at first they really clash and kreu is just... he's a fucking criminal and all of then deserve to hang keith plays this off w jokes at first but kreu keeps being antagonistic bc he just cant believe a criminal like him is getting away without punishment but then one day keith snaps at him knife to the prince's throat dangerous, cat like eyes, the usual smile on his face no where to be found you're right. i'm a thief. a liar. a criminal. a murderer. i'm all those things. but i'll tell you one thing, prince: i'm not worthless. he pulls the knife away and walks off leaving the prince stunned after this lydia talks to kreu explaining that maybe he shouldn't judge keith so quickly hinting that the circumstances of his life were... not ideal when i first found him, he was already half dead. perhaps not physically, but in the eyes. you could see the reaper in them. hhmgmgn i need to think more abt the circumstances around this scene ah keith must have been looking for a good place to die

the music from the circus reminded him of better days, when he played songs with his family. i imagine him.. outside the tent, somewhere obscured and there's music flowing from its interior... he's tired. he sits down against a barrel and he's been starving, exhausted... letting sleep take him away on the songs from the circus back to a time he used to be happy...

lydia fines him and shakes him but his eyes look glassy and he's unresponsive

he's taken poison must have been something from his former days working as an assassin something he saved for himself just in case and that's when lydia takes him in and nurses him back to health she's a water mage w healing capabilities so she's able to do it and i imagine at first keith is hurt, angry why am i still alive? i im fucking myself up in the feels i hate this THIS ISNT EBEN IN THE FUCKINF BOOK IT ALL HAPPENS BEFORE IT KEITJS NOT THE MAIN CHARACTER HERE BUT IM SO FUCKED UP ugh after kreutzer learns a bit abt keiiths origins he actually thinks a lot. and tries to make amends. apologizes to keith who doesnt say anything much he's sitting, eyes away from the prince, fiddling with the knives he uses for his performances

"a raid took my parents away. illness took away my sister."

"i did a lot of things for money. most of it i'm not proud of. but i would have done anything to save her... you know?"

"you've got someone you love too, don't you?" kreutzer thinks of his mother. the surrogate brother who disappeared on him and never returned "i do." "then, you get it." after this they start to really bond almost as siblings.. which is really funny bc kreutzer doesnt need to be protective of keith keith can MORE THAN take care of himself but its new for kreutzer to feel.. responsibility for someone else like this he was always the one protected before keith laughs at this a lot what're you trying to do? be my big bro? but secretly he ...really likes having family again as idiotic as kreutzer is ofc lydia has always been there for him but as a surrogate mother an older sib is new and.. kind of nice in canon modern au they really are basically bros LOL actually cousins via mothers but alex/kreu goes to live w keiths family after his mom (lain) dies so they essentially grow up like brothers i didn't even get started w the fucking mess that is alan and kreutzer alan goes by calisto also and he hes the court jester but he was trained from a young age as a snake in the kings court he was supposed to kill the prince when the time was right but alan and his dumb fucking gay ass FALLS IN LOVE WITH HIM INSTEAD spoiler alert: its unrequited btwn alex and alan is NEVER requited in ALL aus its because alan ... doesnt love himself at all. he has no sense of... purpose or identity alex can never love someone like that but either way he becomes the prince's personal servant and entertainer and this idiot falls for him the naivete he displays, the timid stateliness, the unfitting title of prince bestowed on his shoulders- kreutzer is far too soft to be the leader of this kingdom and alan increasingly has the desire to protect him even as kreu grows older and more skilled in his studies there is always the anxious trepidation they also grow up together from around ages 11-present at the time of the novels start god alan loves him so much it hurts me but its so one sided alex loves cyrus in modern au ): alan could never be more than just a phase tbh poor guy alan and his low self esteem and depression the worst part of this thougg is that because alan feels aimless and without purpose when he falls for kreutzer he ... finally has his OWN cause to fight for and he takes it to the extreme betraying everyone that trusted him to do his job for the sake of a man who wont ever love him it bites him in the ass too bc i kill him off as a catalyst for other stuff h ahahahhahahahahahahaha not just kill him off but horribly because HE FUCKING BETRAYED HIS ENTIRE SIDE THEY ARE, UNDERSTANDABLY, PISSED Alan is so fuckong flawed hes a fuckinf mess and i love it ugh im thinkijg of another scene in the novel once kreutzer gets captured bt the coup rebels he actuallt submits himself voluntarily bc keith gets kidnapped and used as ransom keith tells him hes a fucking idiot keiths life doesnt matter dont fucking come for me! but kreu doesnt listen obviously and they torture kreutzer bc i love suffering and after that they make him listen in a mock trial to the testimonials of all the people hurt by his mother death to the queen! death to elaine of koel! all the horrible stories of lives unjustly cut short because of his mother it breaks him because he loves his mother so much but she's done all these horrible things he doesn't know what to do how to make amends the damage was done and he takes their wrath their scorn and anguish and i'm sorry as if sorry could ever fix anything but it is his burden to carry, his punishment to suffer in place of the queen ironically this makes lilya have a change of heart she was infiltrating the queens court just as alan did and she is directly responsible for her death her assassination, i think or the king's? either way shes part of the rebel forces and she DESPISES the queen good fucking riddance as far as she's concerned that woman made her life hell(edited) so she can rot in it for all lilya cares for but seeing kreutzer there bloodied tortured sobbing broken and taking the punishment doled out to him without so much as a word of protest(edited) she thinks... this... isnt right this is wrong. because kreutzer was not responsible for the sins of his mother as much as people want to blame him, take out their anger on him lilya was at first all gung ho about ending the royal bloodline lies and dirt - Last Thursday at 7:02 AM but she reconsiders this moment feels something tugging at her this isnt right

she remembers her sister back at the circus— lydia. who she always loved dearly but clashed with, leading to her abandoning the circus and joining the rebellion.

retribution is deserved, but should it be served? what then makes us different from our oppressors?

or sth like that so she rescues kreutzer takes him back to the circus. and reunites with her sister after so many years after that ik not entirely sure what to do w the novel LOL bc i know there has to he a big battle bc the rebellion forces begin to quell opposition like how the communist regime in other countries started in ernest bc people felt oppressed but then they went too far and started culling the middle class so then kreutzer leads his own rebellion force against them to take back the country then once he wins he uses his kinghood to dissolve the monarchy and embrace democracy instead asking lydia to lead hes much too tired to lead, and she is much better suited for it but hm inhabe to think more about that entire segment after this he takes over lydias spot in the circus as its owner and organizer and with keith he spends the rest of his days helping people just like keith also they properly mourn alans death it takes forever for kreu to come to terms w his mothers assassination and crimes he probably never truly works it out but he begins to be able to recognize that she is both the tyrant queen and his loving mother that they do not cancel eachother out, that they are not mutually exclusive they are one in the same UGH IM SO UPSET I WISH ID FUCKING WRITE THIS BC I WANT TO FUCKING READ IT the message i wanna convey is like people.. are complex, imperfect, and the systems they create are also subjected to that but everyone does things for a reason. no matter what that reason is and i want lydia to address this too when she becomes the new prime minister of koel a democracy is not perfect, because man is not perfect. there will be hardship, mistakes made along the way. but together we can grow, improve, and learn about one another— and better our society for it. and i believe anywhere injustice goes, justice will always follow(edited) sth like that ig