#folklore anthology

[hauntedhowlett-writes]

the last great american dynasty

pairing: pre-outbreak!joel miller x female reader

rating: explicit (18+ MDNI)

word count: 6.8k (whoops)

summary:

Joel Miller has loved the historic Victorian home in his neighborhood since the first time he laid eyes on it. When the elderly owner passes, he thinks he might get his chance to finally buy it and fix it up.

He doesn’t expect to find you, the granddaughter of the previous owner and trustee of her estate, standing in the way of his dream

author's note:

inspo board this work is inspired by taylor swift's song "the last great american dynasty" and is part of the folklore album anthology! if you enjoy, please consider reblogging/commenting and make sure to check out the other works by the amazing collaborators on this project.

tags/warnings:

explicit sexual content (18+ minors do not interact), explicit language, no physical description of reader, no use of y/n, work contains journal entries as part of the plot, porn with plot, pre-outbreak!joel, grandma is a named OFC, sassy reader, dirty talk, teasing, praise, unprotected p in v, oral (f receiving), vaginal fingering, paint as a flirting mechanism, mild enemies to lovers, pet names. let me know if there are any missing!

August 20, 1948

I have arrived in Texas. I am uncertain where to go or what to do. For so long I’ve answered only to George, but now I am my own woman and the world before me has suddenly become much bigger, seemingly overnight.

I just hope it will be good for me.

-R

PRESENT DAY

If there’s one thing you never expected, it’s to inherit a mansion from a grandmother that you’ve never spoken to. As far as you were aware that kind of thing only happened in movies, so receiving a phone call from an estate lawyer that had been trying to locate you for a whole year since this mystery woman’s passing was a complete shock.

Now you find yourself with a car full of your belongings driving cross country to a sleepy suburb of Austin, Texas. The first stop is the lawyer’s office, where a secretary eyes you warily as you sit in the lobby of the lush office suite, fingers toying with a loose thread on the t-shirt you’d been wearing for the last eight-hour leg of your road trip.

A voice calls your name from a door just past the secretary’s desk, an older man with white hair and a deeply wrinkled face smiling kindly at you. You stand, shaking his hand as you pass by him into his office. He gestures to the wingback chairs that face his impressive dark wood desk. You take in the diplomas on the wall and the floor to ceiling bookshelves lined with thick, leather bound tomes. 

“I appreciate you comin’ all the way out here so quickly. You were quite the tough one to find,” the man says with a chuckle. He pulls out a thick envelope, cream colored with swooping, swirling handwriting across the front reading your name. “Your grandmother was a dear friend of mine. She established a trust in your name not long after you were born.”

“I’m sorry, I guess I’m still a little confused. I didn’t even know I had a grandmother,” you admit quietly. He nods solemnly. 

“She never told me all the details, but there had been a falling out between her and her daughter. They kept their distance after that.” When you don’t say anything, mind too busy racing with the questions that you suppose only your mom can answer now, he continues. “Would you like the review the details of the trust?”

“Um, sure. I guess that’s why I’m here, after all.”

He slips a piece of paper from the folder, sliding it across the desk. The same swirling handwriting fills the page.

My Dearest,

You may not know me, but I’ve watched you grow in photographs and letters since you were born. You mean the world to me, even if I could not fit in the world that your mother created for you. I respected that choice, hurt though it may have.  She had her own path to forge, just as I did, and just as you will. I am eternally grateful for the parts of her life she did share after she left.  

In the event of my passing, I leave my estate to you in its entirety. I built my true happiness in those walls, and I hope you can do the same.

-R

You read the letter twice, eyes stinging with tears. A tissue box slides across the desk, and you pluck two sheets out gratefully. 

“In this envelope are the more official documents. The deed transfer that will need your signature, beneficiary statements for her banking and savings accounts, things like that. My office will handle all the paperwork filing,” the man says. A few more forms are laid out on the desk, and you lean forward to read them. 

“Holy shit,” you snap, eyes wide as you swipe the beneficiary statement from the wood. “There must be too many zeroes in this, right? Or a rogue comma? That can’t be the right amount.”

“I assure you that’s the correct amount,” he says with a laugh. “And if you’ll sign down there, it’ll be transferred to your name and designated account.”

Your mouth goes dry as you read through the rest of the documents. In addition to the sizeable amount of money about to hit your bank account, there’s a five-bedroom house being transferred into your name, as well as a safety deposit box. You sign each form where directed, sliding them back over to the lawyer. 

“I believe this is yours,” he says, holding a house key out to you. He drops it into your open palm. “Good luck.”

“I wish they would just put that place up for sale already,” Joel grumbles from the passenger seat of his brother’s truck as they drive by the out-of-place 1920s Victorian home on their way to a job site. 

“You’ve been sayin’ that for the past year since that poor old woman passed,” Tommy says with a laugh. “Give it up, brother. Your dream house is just goin’ to rot away before your eyes.”

“Don’t you say that,” Joel replies. He doesn’t need Tommy speaking his fear into the universe. 

The house has already been showing signs of falling apart in the last ten years Joel has lived in the neighborhood. The roof needs work, the shutters need replacing, the lawn is overgrown, and there’s a sizable hole in the wrap-around porch that seems to get bigger over time.

He’s wanted that house since the first time he saw it while he was house hunting ten years ago, a then three-year-old Sarah on his hip as he toured a nice little house that was available in the neighborhood at the time. While the home he’s built with his daughter through long days of hard work is nothing to scoff at, he’s always dreamed of something with more character and story. 

He just hopes he’ll get his chance.

You stare up at the old house in front of you, shielding your eyes from the late afternoon sun. It’s a beautiful house, though there’s no denying its seen better days – two stories with large bay windows on both floors, white wood siding and chipped red shutters that are clinging to their rusty hardware, a large wrap around porch that has vines encroaching on the banisters, a lawn overgrown with weeds. You tentatively climb the steps of the porch, peeking nervously into the large hole in the wood to the left of the front door.

“That’s private property,” a gruff voice calls out, making you jump. You turn, finding a man standing on the sidewalk with his arms crossed over his broad chest. “You ain’t supposed to be snoopin’ around.”

“Actually—”

“Why don’t you just head home, sweetheart, and I won’t have to call the cops,” the stranger says, cutting you off. You raise your eyebrows at him.

“This is—”

The man huffs, arms dropping as he digs in the pocket of his jeans, pulling out a cell phone. “Seriously, I’ll give you until the count of three. We don’t need trouble around this neighborhood, alright?”

The nerve, you think, narrowing your eyes at the man. Since he clearly doesn’t want to hear what you have to say, you decide to take a different route. You reach into the pocket of your shorts, pulling out the key that the lawyer had given you earlier that day. You take a sideways step closer to the door, keeping your eyes on the man as you pointedly insert the key into the lock and opening the heavy wood door.

His mouth drops open in surprise and you smile at him.

“You were saying?”

Joel had seen the car parked in the driveway of the empty house when Tommy dropped him off after work. He’d quickly checked on Sarah, newly thirteen and fiercely independent, finding her working on her homework at the kitchen table, before making his way across the street. 

He hadn’t expected to find a gorgeous woman snooping around the old house, curves hugged in denim shorts and a tank top that made his mouth water. He also hadn’t expected the woman to produce a key from the pocket of those sinfully tight shorts.

“You were saying?” You ask, lips curved in a smirk and eyebrows raised at him. When Joel doesn’t immediately reply, still too stunned that you have access to the house, you turn and walk through the door, shutting it behind you. 

He finally shakes himself of his shock, bounding up the steps and knocking on the door. You pull it back open.

“I’ll buy it from you,” Joel says immediately.

“Excuse me?” You reply, your hands moving to your hips. “It’s not for sale.”

“Come on, what’s a girl like you need all this space for?” Your mouth drops open, pretty lips stretched wide in surprise and Joel struggles to keep his thoughts from drifting to sinful places. 

“A girl like me? What’s that supposed to mean?” 

“You’re young, that’s all. You don’t need a house this big and this much of a project!”

“What makes you think I don’t have a big ol’ family I’m moving in here? Four kids and a loving husband?!”

Joel blinks. “You got four kids and a lovin’ husband?”

“No, but that’s besides the point.” You roll your eyes, jabbing a finger at his chest. “It’s not for sale. Now get off my porch before I call the cops on you.”

With that final word, the door shuts in Joel’s face again, the sound of your retreating footsteps signaling the end of the discussion.

November 12, 1948

There’s a gentleman who comes into the diner every Tuesday. He always sits in one of my booths, with his perfect hair and suit and handsome face distracting me until he leaves. Some of the other waitresses try talking to him but he doesn’t pay them any mind. They’ve whispered to me before that he comes from money - oil, or something, not that it matters. 

His name is William, and I think he’s trying to steal my heart.

-R

“So, let me get this straight. First, you threatened to call the police on this woman. Then, rather than introducin’ yourself or welcomin’ her to the neighborhood or even apologizin’, you just go straight to tellin’ her she doesn’t need a house that big and that you wanna buy it from her. Did I hear that right?” Tommy says, watching Joel as he throws together dinner the following evening. 

“Yeah, that sums it up,” Sarah says. Joel huffs.

“Well, when you put it like that.” He sips his beer as his daughter and brother share a look. “What’s that look for?”

“Nothin’,” they say in tandem. Joel narrows his eyes as Sarah breaks out in giggles. Tommy stands, heading to Joel’s pantry and rifling through the shelves until he finds an unopened bottle of whiskey buried in the back.

“What are you doin’ with that?” Joel asks. 

“Welcomin’ your new neighbor like the gentleman I am. Sarah, watch the pasta while I show your dad how it’s done,” Tommy replies, heading for the front door, Joel trailing behind him. 

Tommy crosses the street with quick steps, eyeing the porch dubiously as he knocks on the door. Joel stands beside him, hands shoved in his pockets as he curses under his breath about his brother’s stupid antics.

You open the door, dressed this time in a pretty sundress that makes Joel’s mouth go dry. Tommy flashes you a grin and Joel can’t help the annoyance he feels when his brother’s eyes trail over your body.

“Hey there! I’m Tommy Miller, you may have met my dumbass brother over here the other day. I’m certain he didn’t make the best impression, so I just wanted to come over and welcome you to the neighborhood,” he says, holding the whiskey out to you. 

You introduce yourself, ignoring Joel. “Thank you so much, Tommy. Would you like to come in?”

“Sure thing,” his traitorous brother replies, stepping over the threshold. When Joel makes a move to follow, you give him a pointed look before shutting the door in his face. 

“You want a beer, Tommy?” You ask the handsome man in your kitchen. You can’t help but be impressed by the genetics of the Miller family, both men tall and tan and handsome as hell. Sure, one of them could use a lesson on manners, but you’ll admit that since your confrontation your mind has drifted to thoughts of brown eyes and soft dark hair that belong to the brother you left on the porch out of spite.

“Yes, please,” Tommy says politely. You open the dated refrigerator and grab two beer bottles, popping the caps against the countertop and handing one to him. “This sure is a nice place.”

“Thanks. I just inherited it from my grandma,” you explain. “It’s a little…dated.”

He chuckles. “We call it ‘character’ in contractin’.”

“That what you guys do, then? Contracting?”

“Sure is. Miller Brothers Contracting and Construction.” Tommy scratches at the label on the bottle before saying, “Look, I know my brother can come off the wrong way. He didn’t get the social genes. But he’s a good guy, and he’s loved this house since the first time he saw it. Always wanted to buy it, fix it up, raise his little girl here. Maybe add to his family one day.”

You look around the rundown kitchen. You’ve only been here a day and you know you’ve got your work cut out for you. The electrical and plumbing are all outdated, the appliances need replacing, the floors need to be refurbished, and that’s just the first floor. You could use some help with it all, and maybe the grumpy contractor next door who cares about the house could help you with it all.

“I appreciate that he loves the house but…I never met my grandma. Never even knew who she was or that she was even alive, and it’s the only connection I have to her. I don’t know if this is going to be my forever but…I want to at least give it a shot.”

Tommy smiles. “We could help with that.”

It feels like ages before Tommy’s stepping back out onto the porch, a beer in his hand that makes Joel frown.

“Y’all were havin’ drinks while I sat out here like an ass?” He asks incredulously. Tommy throws an arm around his brother’s shoulders.

“Yes, and if you don’t quit your whinin’ I’m not goin’ to tell you about our lovely conversation,” the younger man says as he walks with Joel back to his house.

In the kitchen, Sarah is pouring the pasta sauce and ground beef over the noodles. Joel takes over and waves her away, mumbling his thanks as he mixes the ingredients together. He sets up two plates, setting one in front of his daughter and sitting down with the other. Tommy makes an affronted sound before fixing his own plate.

“So?” Joel asks. Tommy slurps at his food.

“Was the lady nice?” Sarah asks.

“No,” Joel replies at the same time Tommy says, “Yes.” 

Joel glares at Tommy. “You gonna tell me what she said or what?”

“She ain’t sellin’,” Tommy finally says. “But, she wants to fix the place up. Offered our services so you could get your grubby fuckin’ hands in there.”

“Language,” Joel says, eyes flicking to Sarah. The girl rolls her eyes. “Really?”

“Yep. Better start callin’ the guys. From what I saw we’re dealin’ with electrical from the 50s, plumbing from who knows when, not to mention the HVAC and roof will need to be upgraded, too.” He wipes his mouth with a napkin before grinning at Joel. “You up for the challenge?”

“Hell yeah.”

August 23, 1949

William and I have just been married.

I know, I know. I can’t believe it either. But he is truly the light of my life.

The wedding was charming, if a little gauche. I’m still not abreast of all these new societal expectations that surround a man like William, but I’m willing to try. Today he will be taking me around to view houses in the more opulent neighborhoods, the type of homes I used to gawk at but one of them will be mine.

I must be dreaming.

-R

Joel and Tommy start working on the house right away. Every day there’s a line of pick-up trucks parked on the curb and the sounds of construction start early in the morning and continue into the late evening. The electrician and plumber come through first, updating the wiring and pipes through the whole house. The roofers and HVAC come through next, replacing the crumbling shingles and dated central unit with a split system for each level of the house.

It’s not until the big projects are done that you get to have fun with the place, which is how you found yourself methodically painting the front door a muted lime green early one morning. 

“What do you think you’re doin’?” 

You sigh. Despite Tommy’s assurances that Joel is a great guy beneath the grumpy control freak exterior, you’ve continued to only get the side of the man that grates your nerves.

“What’s it look like I’m doing? I’m painting the door.”

“You can’t paint the door that color,” Joel says, heavy footsteps stomping up your newly repaired porch. 

“Says who?” You retort. You smear another stroke of paint over the sanded wood.

“Me, for one. The historical society, for two.” He pulls the brush from your hand and holds it above his head and out of your reach. The movement drags his shirt up, exposing a strip of tan belly with a trail of dark hair that disappears into the waistband of his jeans.  “Why are you bein’ a pain in the ass?”

“I was put on this earth simply to make your life more difficult, Joel Miller. Isn’t that obvious?” You reply sarcastically. He mumbles something under his breath that sounds suspiciously like you got that right. “What are you even doing over here? It’s Saturday.”

“We’re goin’ to the store. You gotta start pickin’ stuff out for the bathrooms and kitchen,” he says, tossing the paint brush into the tray. “And then we’re gettin’ a new color to cover this up.”

Joel leaves the porch and you follow behind him to the black pick-up truck idling by the sidewalk. He opens the passenger door for you and you raise your eyebrow at the gesture but climb inside.

January 3, 1950

Our New Year’s party is the talk of the town. There were so many people in the house I began to lose count. William had so much champagne ordered I swear we could fill an entire swimming pool with it all. 

The ladies at the club have already begun to ask when we would host our next event. I can’t wait to plan another.

-R

“Can you please focus?” Joel begs, pinching the bridge of his nose in exasperation. He’s laid out three tile combinations, one for each bathroom in the home, and he needs you to look at them but you keep getting distracted.

“You’re no fun,” you huff. You examine the tiles, pointing to a turquoise blue one he’s picked for the shower in the master. “I love that.”

He looks at you in surprise. “Well, I’ll be damned. She can be reasoned with.”

You giggle and Joel can’t help the smile it prompts from him, the sound of your laugh so sweet compared to your sharp tongue. 

“I like the white and blue combinations for upstairs, but in that powder room I want a pink theme,” you tell him. Your eyes search the displays, landing on a blush pink glass subway tile option. “Like this!”

“Whatever you want, sweetheart,” Joel replies without thinking, taking the sample from you and comparing it next to the floor tile he’d chosen for that bathroom. When he glances at you, you’re giving him a confused look. “What?”

“Nothing,” you reply, shaking your head. “What about the kitchen?”

“What were you thinking for in there?”

“Green cabinets. White and black backsplash, the kind with the little hexagons that look like flowers. I gotta pick out appliances now that the electrical can sustain newer ones, too.” You pause. “And how do you feel about wallpaper?”

“It’s the devil,” Joel replies.

Your grin is downright mischievous. “Excellent.”

February 2, 1956

William had a heart attack. It scared me so badly that I haven’t let him out of my sight since. The doctor said he’s been working too hard, drinking too much, and not sleeping enough. Maybe the parties have started to be too much for him. 

I’ve been feeling unlike myself. Tired, nauseated. Hopefully my heart isn’t troubled, too.

-R

Joel places a hefty order for all the items you’ve picked out today from nearly every aisle of the store - tile for the bathrooms and kitchen, vanities and plumbing fixtures, countertops, lighting, and appliances. While he’s preoccupied with calculations and measurements and pricing things out, you pick out paint and wallpaper for the projects you’ll be able to do on your own.

He finds you a while later, a cart full of paint buckets and supplies. To your surprise, he grins. 

“More paint, huh? You pick a new one for the door?” He asks. You smile back at him, butterflies erupting in your tummy. 

“Yep. Does navy blue suffice, your highness? I thought we could paint the trim the same color.”

Joel nods. “Good choice. Look, I’ve kept you here so long for all the orderin’. You wanna get lunch?”

“Careful, Joel. I’m like a stray cat - once you start feeding me, I might never leave,” you reply with a laugh. You push your heavy cart of paint towards the exit.

You miss the soft smile he gives to your retreating figure.

September 23, 1956

Our daughter is here. She’s the sweetest little thing, though she can screech like a banshee when she sees fit. William is so besotted, he keeps looking between the two of us with stars in his eyes like he can’t believe how lucky he is.

I love them both with my whole heart and soul.

-R

Joel takes you to a retro family diner with black-and-white checkerboard flooring and red vinyl accents with a vintage jukebox in the corner. You’re delighted by the themed menu, eyes immediately zeroing in on the classic malt shakes and french fries. 

Over lunch, Joel actually opens up to you. He tells you about going into construction right out of high school and dragging Tommy into it when he’d gotten back from serving his tour with the Army. He talks about his daughter, Sarah, and you can’t help the smile that stretches your lips as you watch his eyes light up while he talks about his little girl. She’s at a sleepover this weekend, which gave him the extra time to visit the home improvement store this morning.

In turn, you tell him about getting the call from the lawyer one afternoon that changed your life forever. How you’d packed up everything you owned and driven across the country to find out that you had a grandmother that your mother never told you about that left you her entire estate. 

“Wow. That’s…wow,” Joel says when you’ve paused to take a sip of your chocolate shake. 

“Excuse me?” A voice asks. You both look up at the elderly woman dressed in a  t-shirt with the restaurant’s logo and pressed slacks. She smiles. “I couldn’t help but overhear your conversation and ever since you sat down I’ve been wrackin’ my brain tryin’ to place your face and it’s just hit me.”

She holds out a framed black and white photo of six waitresses standing beneath the same sign that’s still out front, all of them grinning at the camera. There’s one face, however, that looks familiar despite you never having seen her.

“Her name was Rebecca. We used to work together. That’s me, right there,” she says, pointing to the girl standing to the woman’s left. “Rolled up to town at eighteen, fresh off a divorce and hardly a penny to her name. My daddy, god rest his soul, he owned the restaurant and gave her a job when she’d come through lookin’ for work.”

“Wow,” you murmur. “This is insane. Do you have any other pictures?”

She gives you a sympathetic smile. “‘Fraid not, darlin’. Just the one. But I know she kept a lot of journals. Was always scribblin’ in one and spent what little extra cash she had makin’ sure she had a new notebook ready. Maybe they’re still around?”

July 16, 1958

William…

William is gone. My light, my love, my world. The doctor said his heart just…stopped. In his sleep, right beside me. 

I have to continue to live with a hole in my own heart, the piece that William stole years ago gone with him. 

But I have to be strong for our daughter. Our brave girl, my little bird.

-R

When Joel brings you back to the house, you stare up at the facade, wondering if the journals the woman had spoken about could still be inside. Lost in thought, your eyes land on the little window that sits above the bay windows on the second floor, where the master bedroom is. You’ve been sleeping in that room for months now and you know there’s no window there that you can see from the inside. 

“Hey, Joel?” You call out, eyes still fixed on the little window like it might disappear if you look away. “This place is only two stories. How come there’s a window there?”

He looks up at the roof. “Huh. Might be decorative?”

“Or it might be a secret room,” you tell him.

“Okay, Sherlock. Let’s go see.”

You lead him upstairs to the master bedroom, most of your grandma’s furniture still present save for the bed that you replaced upon arriving. You stare up at the ceiling, but it’s smooth - no trap doors to be found.

“If I were a secret door, where would I hide?” You ask.

Joel, who’d been poking his head into the walk-in closet, replies, “Probably the closet.”

There’s a creak of old hinges as Joel reaches up high and tugs the brass pull handle fixed in the ceiling. A descending ladder falls to the ground and you both stare at each other in surprise.

“I’ll go grab a flashlight,” Joel offers, sprinting from the room. You stare up at the hole in the ceiling, anticipation thrumming in your veins.

He returns quickly. “I’ll go up first.”

“Ever the gentleman,” you tease, watching as he ascends the ladder, your eyes shamelessly fixed to his ass as he climbs. You hear the click of the flashlight and see the sweep of the beam through the opening in the ceiling. “Anything?”

“Lots of suitcases. Hang on, let me grab one of the small ones,” he calls down. There’s the sound of something being dragged across the floor before he’s slowly lowering a leather suitcase into your hands. 

It’s surprisingly heavy and you drag it by the handle to the bedroom, kneeling on the ground to pop the latches and open the dusty lid. Inside are stacks of leather bound notebooks, edges of the pages yellow with age. 

“I’ll be damned,” Joel says, wiping his palms against his jeans. “We found the journals.”

Joel drags the suitcase downstairs, setting it in the living room for you while you order pizza and open a bottle of wine for the occasion. You sit beside each other on the couch and he hands you a journal that you carefully open. 

May 17, 1974

We had another argument last night. She claims that I’ve been too overbearing, too protective, too stifling, but what else is a mother meant to do? 

-R

May 18, 1974

Her bed was cold and empty this morning. Her piggy bank smashed to bits on the floor and her drawers cleared. Despite my tight grip, my little bird has flown away.

It appears that history does repeat itself. Imagine that.

-R

“Holy shit,” you say, sitting back on the couch with your glass of wine in one hand and one of your grandma’s journals in the other. “She ran away.”

“Who did?” Joel asks, biting into a slice of pizza. 

“My mom. She just…packed up and disappeared.” You glance at him. “Guess that’s why I never knew about her.”

“Maybe you should stop uncoverin’ dark family secrets for the night,” Joel suggests. “You know, the dining room could stand to be painted.”

You glance over to the room in question. Joel must have set down the drop cloth on the floor while you’d been engrossed in your discovery.

“Sure. Why not,” you acquiesce. 

October 29, 1976

I’ve received an envelope of photographs in the mail, pictures of my daughter holding a little baby. She’s written notes on the back of each one. I’m a grandmother.

My daughter looks happy. Healthy. That’s all I can ask. She didn’t provide a return address. 

As for the baby…I love her so much. She takes my breath away. I keep one of the photos on me at all times.

-R

Joel turns on the radio while he works, humming along to the classic rock station selections. He’s been working on painting the wall near the wood molding while he left you with a paint roller to cover the middle of the wall. He looks up at you occasionally, admiring the way your muscles work as you wash the wall with color. 

You must sense that he’s watching, turning your head over your shoulder and looking at him curiously. “What?”

“Nothin’,” he says. You smile at him, setting the roller in the tray. He can’t help but look at your ass in your tight leggings as you bend over.

You straighten up, walking over to him. There’s a glint in your eye that has Joel on high alert.

“You got a little something on your face,” you tell him. 

“No, I don’t,” he counters. He’s a master at painting. He knows damn well he doesn’t have a drop on him.

“Yeah, you do,” you argue. You reach out, and your fingers smooth across his forehead. “Right there!”

Joel’s mouth drops open in surprise and he lets out a bark of laughter, bringing his fingers up to his forehead. When he pulls his hand away, they’re stained blue and you’re grinning at him like a mad woman.

“Yeah? Well, you got some right—“ He smears his paintbrush across your chest and you try to step back, but it’s too late. “—there,” he finishes.

You rush back to the paint tray and dip your hands in the liquid, brandishing your palms like weapons. He starts to advance on you, smirking as you back up.

“Stay back,” you command. Joel laughs, dodging your swinging arms as he charges, dropping low to press a shoulder into your belly, dragging you down to the ground in a heap of limbs.

He presses his body to yours as he reaches an arm out to the paint tray, covering his own hand in paint. Your eyes go wide and you squirm beneath him, your paint covered palms reaching up under his shirt to press the cold liquid to his ribs. He flinches away, giving you enough room to scramble out from under him.

Joel grabs your arm, paint smearing on your skin as he tugs you back down. You wrestle together, paint getting everywhere as he lets you straddle his waist. His hands grip your hips, fingers pressing tightly as he stares up into your face.

“You win,” he murmurs, voice low. Your lashes flutter, hips canting over the obvious bulge in his jeans. He groans, hands urging you to do it again.

“What’s my prize?” 

Joel slips his fingers beneath the hem of your tank top, dragging the paint stained material up and over your head and tossing it aside. His gaze burns across your newly exposed skin.

“You’re fuckin’ gorgeous, you know that?” He says, a hand sliding up your belly to palm one of your breasts. Your head drops back as you moan. 

“You’re not so bad yourself,” you reply. He chuckles, a deep rumble in his chest as his eyes grow darker, his gaze more heated. “Come on, Miller. What’s my prize?”

With a growl Joel sits up, wrapping an arm around your low back and twisting your bodies until you’re on your back, staring up at him as his lips stretch in a devious smirk. His fingers curl into the waistband of your leggings, sliding the fabric down your legs. His touch paints your skin blue as he does.

His hands press your thighs apart, opening you up. Your cheeks heat as he stares down at you like he’s trying to commit every curve of you to his memory. Finally, he leans in and you can feel his breath ghosting over your heated flesh.

Joel’s tongue traces through your slick folds, a broad stroke that has you gasping and arching your back. He hums against your sensitive flesh as he repeats the languid motion, his stubble catching on the soft skin of your inner thighs.

You reach your hands down to tangle in his hair, paint catching on the strands as you tug and pull. He groans against you, tongue moving faster as he circles your clit before pulling it between his lips. A hand leaves your thigh, the one not coated in paint, and two thick fingers press to your entrance, sliding inside of you as you gasp out Joel’s name.

“Christ,” he groans as he presses in deep before withdrawing slowly, curling his digits against your front wall, “you’re so fuckin’ wet, pretty girl. That for me?”

“Uh huh,” you reply, breathless as you work your hips to the rhythm of his fingers. Joel watches you, his lips and chin shiny from his efforts. “Joel, please!”

“Please what?” His hand moves faster, fingers pressing harder as his lips spread in a lascivious grin that makes your toes curl. “Come on, baby, ask me real nice and I’ll give you anythin’. Ain’t that right? You know damn well you’ve had me wrapped around your sassy little finger since the moment we met, don’t you?”

You whine, nodding your head quickly. “Knew you were a glutton for punishment.”

“Could say that again,” he says, chuckling as he lands a smash to the outside of your thigh with his free hand. “Now, come on, baby. Follow directions. Tell me what you want.”

“Wanna cum, Joel. Please!”

“Good girl,” he growls, lowering his lips to your pussy to lick at your clit. He hums as he lavishes the sensitive bud with attention and it’s the final push you need over the razor's edge you’d been teetering on since he started. You press your thighs against his head as your nerves light up and your muscles go tight with pleasure, his movements slowing as he works you through your release.

Your muscles go limp, head dropping back to the floor with a thunk. Joel sits up, crawling up your body and trailing kisses across your tummy and chest in the patches of skin not covered by paint. He grips your chin, holding you steady as his lips press to yours in a kiss so deep you worry you’re at risk of drowning.

Your hands fumble with his belt, pulling the leather free of the loops in a frenzy. He stands quickly, freeing himself of his jeans and boxers in one motion before reaching behind his head to tug his shirt off while you admire his labor-toned body.

Joel drops to his knees, pressing his hips to yours and dragging the thick head of his cock through your sensitive pussy, bumping your clit and making you both groan in tandem. His forearms rest on the floor beside your head as he teases you like this, slow drags of his length through your wetness, the tantalizing catch of him at your aching hole. You tilt your hips slightly, hoping he gets the hint, and he chuckles.

“You know the drill, baby,” he says, breathless with his own desire. “Just say the word.”

“Fuck me, Joel, please.”

His cock slips inside of you with little resistance, the stretch of him making you gasp. His eyes remain fixed to yours as he bottoms out and you smile up at him, reaching up to wrap your arms around his shoulders.

Joel gives a small, experimental thrust that makes your eyes roll back with pleasure. He does it again, a sharper snap of his hips making you cry out and dig your nails into his shoulder. He builds his own rhythm, one that has your hips chasing his on every pull from your body, one that has you chanting his name and staring up at him like he’s a god and you’re simply a sacrifice on his altar. 

He sits back on his heels, the angle changing as your hips get lifted onto his lap. His hands wrap around your waist, fingertips pressing tightly to your ribs as he uses your body for his pleasure, pounding into you roughly.

“Cum for me again,” he demands, bringing a thumb to your clit in quick circles. “Come on, sweetheart, want you to cum on my cock. Was so pretty on my fingers.”

Tears prick at the corners of your eyes at the near overstimulation but you nod, wanting to give this man whatever he wants if it means he’ll keep touching you, holding you, looking at you. 

You cum again with a shout of his name and he groans, deep and visceral as he presses in deep, holding your hips to his as his cock pulses inside of you with his release.

Joel slowly lowers your hips to the ground, withdrawing from your body as he does. He flops gracelessly to the floor beside you, sweat damp chest heaving with exertion. His head turns to yours, grin wide and eyes bright.

“You’re covered in paint,” he comments, reaching out to run his hand across a streak on your collarbone.

“So are you,” you reply, mimicking the gesture against his ribs. 

“What do you say to a shower?”

You smirk at him before jumping up and racing to the doorway. 

“I’d say last one there doesn’t get the hot water!”

You can hear his curse as you rush up the stairs, making it halfway before a strong arm wraps around you and stops you in your tracks, your laughter echoing through the house.

June 27, 1993

The neighborhood has changed so vastly. Much of the older homes have been torn down and replaced with less handsome architecture. The residents grow younger while I continue to age. Just last week a handsome young man and his darling daughter moved in down the street. He looks exhausted. I remember those days.

Not all the neighbors are lovely. Harold next door has an annoying dog that barks at all hours. He prances her around like a show pony, when she’s just a yappy little creature.

-R

ONE YEAR LATER

The house is finally finished. All the tile has been laid, everything has been painted, appliances delivered, holes repaired, fixtures installed, and wallpaper glued. You go downstairs for coffee in the morning, you take it to the parlor room you’ve made into a study. Floor to ceiling bookshelves display every journal you’d unearthed from the hiding place in the attic, each one read through cover to cover. 

When you finally told your mom about what you’d been up to, her surprise and hurt could be felt even through the phone. You mailed one of her mother’s journals to her.

“I’m sorry,” she said the next time you spoke. “So much time had passed and I didn’t know how to fix what I’d broken.”

You don’t begrudge her decisions. Your grandma left you her story, and through that you’ve been able to know her.

Heavy footsteps on the stairs precede Joel’s appearance in the study, his hair messy from sleep and his eyes half shut. He drops beside you on the couch, grabbing your coffee from your hands and taking a sip of it.

“Is it everything you’ve always wanted?” You ask him, tilting your head to his shoulder. You still remember the way he’d been desperate to buy the house from you and you laugh at how the world works, given that he now wakes up in bed beside you and is tasked with the lawn maintenance every weekend. He presses a kiss to your head. 

“It’s even better.”

June 29, 1993

I don’t think the dog will be bothering the neighborhood again anytime soon.

Turns out he doesn’t hold as much pride for the dog when she’s been dyed lime green.

Imagine that.

-R

Want more Joel Miller? Check out my masterlist!

[tieronecrush]

the lakes

joel miller x reader

rating: M

word count: 1.9k

summary:

take me to the lakes where all the poets went to die / i don't belong, and my beloved, neither do you / those windermere peaks look like a perfect place to cry / i'm setting off, but not without my muse

warnings: nudity, skinny dipping, talk about grief, death, family tension, self-doubt, self-deprecation, idk man it’s just sad

a/n: my first song for the folklore anthology!! can’t wait to share others & read all the other great works from my pals <3

The sounds of birds chirping surround you in echoes across the valley, mountainous hills convexing in front of you and dotted with evergreens. Underneath you is sun-warmed sand, interspersed with smoothed rocks from rushing water shaping them over hundreds or thousands of years. The fresh, gentle waves of the lake lick against your bare feet, knees bent up as you sit at the shore, eyes trained ahead on the glassy surface reflecting the late summer sky above. Joel is sitting next to you in the same position, his hands joined together in a circle and forearms resting on his kneecaps.

It’d been a quiet hike to the spot you discovered while on patrol. Lately, Joel has been his own worst enemy — closed off to you, stewing in his thoughts about his strained relationship with Ellie and continuing to adjust to life in Jackson, a world so slow and still that he can’t seem to find a place he fits in after moving for so long. His inertia hasn’t caught up to his lifestyle change; he is constantly picking up patrol shifts, and volunteering to oversee new construction and renovations across the town, but even through his go go go, he can’t find a place to land.

This place was the perfect spot to take him; to abate the anxious energy that vibrates throughout him every day with the halcyon elements of nature. Animals that live their lives with no concept of time, a lesson in living in the present, trees that have been around for hundreds of years, solid and strong like the man himself, and the lake. The lake that provides for everything growing around it, that reflects beauty in sunrises and sunsets, that finds itself full no matter any barriers built in its feeding river, replenished by other means from rain to groundwater.

The silence between the two of you breaks for the first time in hours.

“You know what I first thought of you when I met you?” you question him, eyes trained forward on the view. Joel offers a soft grunt in response, hinting for you to continue.

“I thought: Wow, this guy is an asshole,” he scoffs with the hint of a smirk, shaking his head while your own grin plays at your lips, “But then, I got to know you. Forced proximity really tells you a lot about a person. And I very quickly learned how much you care. This world should have jaded you, should have broken you to the bone with what you have been through, but yet, you still find means to nurture. You protect, and you provide. You love so deeply, so incredibly much. Every day I wake up next to you, I thank the lucky stars that I have Joel Miller in my corner. By my side. Watching my back.”

“I know you are feeling something, thinking about something in that head of yours all the time. And I want you to know that I love you as deeply, that I care as much for you as you do for everyone in your life. You can share with me, whatever you feel like sharing.”

Joel is quiet, squinting in the sun as he tosses a round pebble from the sand between his legs into the shallow waters. The ripple appears and dissipates before he speaks.

“That sounded like a eulogy, darlin’.”

You scoff now, that same type of soft smirk that he held minutes before pulling the corners of your mouth up.

“Is that all you took from all of what I said?”

“No, ‘course not. Just, I don’t know, felt like I was listening to what you would say about me after I’m gone.” At that you turn towards him, hand wrapping around his nearest forearm and squeezing with even, steady pressure that says ‘We are not talking about that, I can’t talk about that.’

“I do wanna share with you, I just—I don’t know how. I’ve kept all this inside, locked down in my chest. Anger, temper, violence, even, as armor to keep me alive. Don’t ever think I’ve been very nurturing since, well, since…” His throat chokes up, head drops to stare at the ground. Another squeeze to his arm, this time to say ‘It’s okay. I know. You don’t have to say if you don’t want to.’

Something that he said sticks out in your head, a means to attempt to combat his walls going up again now that they have crumbled slightly. You stand, glancing around out of habit before you pull your shirt over your head, your jeans following with your undergarments in their wake. Joel looks up, expression puzzled as he watches your naked form wade into the water. You hiss as the still-icy water engulfs you from the shoulders down, treading and turning back to your man on the shore. A gentle smile covers your face, beckoning him in with one nod of your head.

He follows suit with stripping down, clothes mixing in a pile with yours as they do on the floor of your bedroom. His own pained expression from the cold lake makes you giggle quietly, a scolding stare aimed your way. He paddles over to you smoothly, the water hitting his chest where he can continue to touch with his feet at the bottom. Your arms slither around his neck, wet fingers carding through the hair at the back of his head. The leverage against him is used to tug you closer, his large palms settling at your waist under the surface while the two of you bathe in the fresh Adam’s ale of these cliffside pools. Two pairs of eyes communicate without words, the soundtrack of the birds and rustling trees occupying the dead air until you speak again, hushed despite the fact that you are the only humans for miles.

“You can take your armor off around me.”

Joel’s eyes flutter closed, a long sigh exhaled as his hands grip your curves tighter. When his burnt chestnut and amber irises are revealed again, he speaks in the same reserved volume that you had.

“I don’t belong there. In Jackson.”

Silence gently urges him to carry on.

“What I’ve done, to strangers, to myself, to Tess, to you, to Tommy, to Ellie…I don’t deserve any chance at life. With what I have taken from others, I don’t deserve to be given anything. Kindness, respect, care, love. From anyone.”

“I’ve been selfish this whole twenty years. I almost left Tommy alone. I dragged us up north to Boston. I got Tess into smuggling. I kept Ellie at a distance for so long because I couldn’t bear to feel that kind of responsibility, that familial tie. And then I chose for her, in that hospital. I couldn’t lose another kid.”

“It—it feels like I should be over the past, over what I have done now that I have a chance at a fresh start, or as close to a fresh start as I could possibly have here in Jackson. I have a shot to build a life with you, to work for Ellie’s forgiveness, to be an uncle to Maria and Tommy’s baby. But what has been chasing me — what has been over — it feels like it’s burrowed under my skin. And all I can feel when I start to forget is these—these heartstopping waves of hurt.”

“And I don’t know how to move on. I don’t know how to forget when my body, my mind, my soul won’t let me.”

Across his cheeks, salty tears have carved rivers, the dampness still in his eyes shining in the midday sunlight. The water sounds as if it’s rushing in your ear, your pulse racing as you attempt to process his confession. His head has bowed in a prayer position, awaiting your means to reconciliation or absolution.

Hands settled on his broad shoulders, another communicative squeeze, this one to say ‘I don’t know either. But I know how to try.’

“You let your people heal you,” Joel’s eyes meet yours, drops cascading from the damp bits of hair hanging over his forehead, attention completely and utterly on you, “Time can’t fix everything. The past can hold us in its grip even with all the time in the world. But people can help you forget. They can help to lessen the pain in your body until it’s merely a pinch. Their love can pull you up when you fall. Their care can nurture your soul to grow resilient again. Their reassurance can teach your mind to hear those sordid thoughts you have but pay them no attention.”

“I want to do this for you, Joel. I want to help you. To care for you. To love you, completely. Your people want to do it for you. And if you can learn from experience, you can do it for Ellie…” Your hands move from his shoulder, skating across his glistening skin and wrapping around the sides of his neck, thumbs resting against his jaw.

“You made choices you had to. Including for Ellie. She was — she is a child. Your kid, if not by blood. She may not understand now, but I know she will find a means to forgive you, or at least understand you.”

“Maybe when she’s older, if she has a kid of her own, she’ll understand.”

Joel’s mouth quips to one side with a faint smile, tears drying on his cheeks as he thinks of the image.

“Reckon we’d be pretty fun, well, sorta grandparents.”

“I think so, too,” you speak with a grin stretched and thumbs brushing back and forth at his jaw, “I can’t wait to grow old with you. To sit on the porch and watch you still yell across the street to your brother for full conversations instead of the two getting off of your asses —”

“Watch it, darlin’,” he warns playfully.

“Hey, it’s true. I listen to it nearly every day. Now, back to what I was imagining, cowboy.”

He nods for you to continue, a full-blown smile on his face.

“We’ll have Ellie over weekly dinners, and whoever else makes up her family. You’ll play me guitar and sing whenever I ask ‘cause you love me so much. I’ll help to heal you, and we will be happy together. We will take our second chance. And you will enjoy your time with your family. And me, hopefully.”

“Definitely with you. My beautiful girl,” his own hand leaves the water, wetting your hair as he brushes it out of your face with tender eyes, “You’re like—like a red rose that’s grown out of my ice-frozen ground. I am so lucky to have you. That you chose me, and continue to choose me every damn day. My grief sometimes feels insurmountable; like I am going to be stuck here forever with no way out of that feeling. But if I get stuck here, with you in my arms and all my people around me, I’d be fine if I simply grow old and wither away back into the earth.”

“I love you, darlin’. So much it might just end in tragedy, that my heart might just explode from lookin’ at you one day. But I do love you.”

A gentle kiss is shared between the two of you, the bitter water combined with your torrid love stirring up a tornado of tingling nerves.

You pull away, only enough to get the words out that you have told him, Joel, your man, every day and will continue to tell him every day you have him, “I love you.”

taglist: @wannab-urs @atinylittlepain @bearsbeetsbeskar @serenaxpedro @casa-boiardi @rav3n-pascal22 @dinsdjrn @not-a-unique-snowflake-blog @johnwatsn @amanitacowboy @leeeesahhh @isitmelookin4u @javiscigarette @mrsyixingunicorn10 @sugarspiceanthrax @orphanbird95 @space-cowboy-like-me @tuquoquebrute @rsquared31 @morning-star-joy @canseethebrushstrokes @atremises @sstarboy777 @undrthelights @butiknewyoudlinger @dayrdreaming @disassociation-daydreams @joelsversion @ginger-swag-rapunzel @mydailyhyperfixations @diamndx @mingiast @kdogreads @blxsphemy7 @marchai @littlevenicebitch69 @ghostofbrock @iwrotethissky @ladynightingale @jksprincess10 @swiftispunk @pr0ximamidnight @beskarandblasters

[soniruza]

Appreciation post with every single Taylor Room I've done so far! 💛💜❤️🩵🩷🩶🤎💙🤍

The Taylor Swift Room and the Reputation Room won't be done until we have their Taylor's Version re-release (it would only be fair!).

[imgonnagetyoubackk]

i love being a swiftie!!!

[taylorsmidnights14]

Behind every angry evil person is an angrier, more evil person

@taylorswift @taylornation

[hauntedhowlett]

why he gotta play me like this????

love me some emotionally unavailable daddy joel

Cardigan || Joel Miller x reader

Summary: You’re lost in the memories of your intense relationship with your dad’s boss when you find a significant object. 

CW: Age gap relationship (Joel is 50, reader is in her 20s), alcohol, weed, daddy issues, angst, breakup, flirting, teasing, daddy kink, dirty talk, bj, swallowing, unprotected pv, masturbation 

Here it is ! My frist fic for the Folklore anthology!

And when I felt like I was an old cardigan Under someone’s bed You put me on and said I was your favorite

Your childhood bedroom was almost all packed-up, boxes piled up in different corners. You were thrilled to have your own place and have your own big girl job, without the constant weight of your dad’s indifference.

You only had to check under the bed to make sure you hadn’t forgotten anything. Your hands found the hard shape of a box. You pulled it out and opened it. Inside, a somewhat ordinary flannel shirt was neatly folded. You took it between your fingers, traced a few lines on the dark green fabric, and you held it against your face to smell the memories of a man. Cologne, maybe a slight scent of weed you had smoked that night.

His name echoed in your mind, and you felt the tears prickling your eyes.

Keep reading

[andichoseyou]

i did something bad / mad woman / cassandra

[swiftiesoliloquies]

the terrorist situation that happened in Austria is heartbreaking and terrifying, but what's also scary is that people are saying "it's Taylor's fault if children had died", or "oh if I knew a terrorist threat would cancel her I would have done it". I don't understand how demented one must be to see something like this and place blame (and shift the focus on her may I add, not the ones that could have died) on the artist, when we know full well, had it been a Kendrick Lamar or Harry Styles concert, no one would have pointed a finger of blame at them

[hauntedhowlett-writes]

just a lil title art for the first part of “my tears ricochet” 👀

pairing: husband’s best friend!joel miller x female reader

summary:

Your fiancé is too busy to help with wedding planning and suggests you ask his childhood best friend, Joel Miller, instead. Falling in love with Joel was never your intention.

We gather stones, never knowing what they’ll mean

Some to throw, some to make a diamond ring

tags/warnings:

ANGST, explicit sexual content, emotional abuse, infidelity, friends to lovers, secret relationship, alcoholism, drug abuse, death

art is “nelle fiamme” by denholm berry

[tieronecrush]

exile

joel miller x reader

rating: M

word count: 3.1k

summary:

i think i've seen this film before / and i didn't like the ending / i'm not your problem anymore / so who am i offending now? / you were my crown / now i'm in exile, seein' you out / i think I've seen this film before / so i'm leavin' out the side door

warnings: break up, discussion about closure or lack there of, talk about grief, death, self-doubt, self-deprecation, idk man it’s just sad

a/n: second fic for the folklore anthology!! hope you all enjoy, sorry for the sadness lol <3

It’s an early start — the crisp early spring air swirls around in gusts while the fresh blanket of dew squishes under his boots as he walks over to the stables. Lilac skies watercolor above, the last of the winter dawn painting yellowed strokes across the horizon as the sun rises, reflecting against the thirst-quenched earth.

Billows of his tepid breath puff in front of him, walking through the warmth of each exhale as he makes his way forward and across the paddock to the stalls. Rubber soles scuff onto rough concrete under the cover of the roof, neighs of horses and huffs of their breath vibrating their lips the only sound that fills his ears when he looks down the aisle to see you. Standing in the pen that holds Shimmer, Ellie’s beloved mare, you brush her chestnut coat as you prep to saddle each animal for the incoming patrol shift.

Joel meanders down the walkway over to the stable across from you that holds his own horse, Old Beardy, which he bonded with over lengthy patrol shifts. After the horse that Tommy had loaned them to reach Colorado, Callus, was killed by David and his men, Joel had chosen a similarly colored one in Old Beardy. It was another painful reminder he forced upon himself of what he had gone through — what Ellie had gone through — and what he did to get her through it. He never wanted to forget, not that he thought he ever could, and this was a small piece that added up to keep him weighed down by his choices and guilt every day.

It was that same guilt that burrows into his chest now as he looks at you while he saddles his horse. Nothing is spoken, not even a glance sent his way; completely ignored, the cold shoulder chilling him more than the early morning temperature. 

You had left him a few weeks ago now — completely blindsided him when you sat him down in his living room and broke another crack into his heart. At that point, he didn’t think it was possible to feel any more fragmented than he did for the last twenty years, but you quickly became another piece of his heart destroyed by his actions. It had to have been something he did, what it was he doesn’t have a clue. But with the way you cared for him, loved him for that fleeting time, he would have never chosen to give that up and he couldn’t see a reason why you would either.

He had to know.

It was keeping him up at night — that and his nightmares that seem to have never ceased. Around here, he doesn’t have his knockout combination of pills and alcohol to keep his ghosts at bay, so he’s faced with them every evening, creeping in along with the midnight.

You would help him, talk him through, remind him of the good in him, even though he never fully believed you.

He misses you.

He loves you.

Crossing the aisle again after slipping out of the stable of his horse, he takes a breath before leaning his arms onto the walled gate that separates the two of you. Breaking the fragile silence that floated in the air for the last few minutes, Joel speaks lowly despite you two being the only ones around.

“Morning.”

Silence.

“Need any help with the horses?”

More silence, the thud of the leather saddle being thrown over Shimmer’s back clapping in the stale air. 

He persists.

“Now I know you probably don’t wanna hear anything from me, peach, but I just gotta ask you — what happened? To us. I’ve been wracking my brain to try to figure it out, but—but I gotta admit, darlin’, I thought things were alright. That we were starting a peaceful life together.”

He lifts his arms off of the gate, standing up straight as he waves one arm out in a gesture toward his house — the house that you used to spend every single night in, the pieces of you strewn throughout. Flowers on the kitchen table, dog-eared books on the couch, clothes thrown onto the floor and into his hamper, your favorite lavender soap from the apothecary withering away in his shower marking the time you two were together. It sits untouched now, still as full as the last time you used it, another reminder of your absence.

“But then, just out of the blue, you were gone. You took just five whole minutes to neatly pack up the loose ends of us, talkin’ to me as you grabbed all your things from my house, wiping the presence of you completely. And when you left me standin’ in the hall, you left me with it, that guilt. And all I could do was just stand there with all this love that I needed to give to you, watching you walk away without any goddamn clue as to why you were leaving. It wasn’t fucking fair.”

Joel crosses the threshold of the stall, standing only a few feet away from you as his frustrations begin to fully air, slithering out of him with venom laced behind his tone. He doesn’t want to feel this angry, this upset. But this hurt in his chest hasn’t been felt for years and it’s killing him, squeezing everything in him out.

“And now,” he nearly growls out, “Now I hear around town you got some other man around for you. That you got over us so quickly, found someone new to spend your time with. Did I really mean that little? To be able to tidy up real quick and move on?”

A laugh barks out at that — he can see it on your face how ridiculous you think whatever he said, something he said in all that was. It only fuels the fire inside of him, boiling up to his ears and over to the point he must have steam coming out of him.

What the fuck was so funny?

Here he was, being honest about his feelings and you were laughing.

The steel toe of one of his boots knocks against the wooden walls as he kicks it gently, turned away as he starts to listen to you open the floodgates. Your hands pause their work, turning away from the toasted brown horse to face him fully. Hands on your hips and head tilted to one side, your stare burns the back of his neck as he stands away.

“Really, Joel? There’s nothing you can understand about why I might have left you?” Your eyebrows furrow with your own fury, deep creases that he has only seen from concern for him, his wellbeing, and Ellie’s. Anger is a new look on you, and it isn’t one he is feeling fond of causing for you. That storm of guilt rumbles inside of him; another reason to hate himself for making you feel something you rarely do, making you into something you’re not — bitter.

“Also, I don’t really think you’ve got a right to be upset with me and bringing up that stupid shit bein’ said around town. I left the bar with one guy, one time. The rumor mill snatched up that story from the few people that saw us leave. Didn’t even go home with him cause I couldn’t stop seeing you like a fucking ghost. I left and you are still consuming my brain. I still wonder every day if you’re okay; if you’re still even here.”

That whips his head over his shoulder, the fracturing of his heart felt even deeper, a cut to his bones from your words. He never knew that you knew — what he had tried years ago. Admittedly, the thought crossed his mind again once, and only once. It quickly dissipated when you stepped into his room, your tender smile eager to tell him about your day. He loved listening to you, being a sounding board and an observer. How could he ever give that up? How could he ever hurt you?

Apparently, he didn’t need to wonder anymore. He did that without even realizing it.

Mouth agape as you continue, crease between his brows shadowed as he takes a step closer to you, the pull of your red-hot rage driving him nearer to your molten center. It was the one way to feel your warmth again, even if it was more like burning at that point.

“I can’t believe that you would even give that gossip a second thought. Must be grasping at straws there. But I guess that proves my point, the reason that I left.”

You turn away to handle the animal again, shaking your head wildly and rolling your eyes at yourself. His own frustrations bubble again, another step closer as he walks around your shoulder to your field of vision. A head tilt of his own, a nonchalant shrug.

“And how do you figure that, darlin’? Please, enlighten me,” his words cut into the air, attempting to antagonize you in a subconscious effort to keep you talking, to keep you around.

“God, that’s so fucking rich coming from you, Joel. Wanting explanations, wanting me to open up so you can understand. That’s why I left. I tried so hard to get you to open up to me, to let me in, and to be even the smallest bit vulnerable. I wanted you to show me that you trusted me. When I met you before you left with Ellie, things felt different. And when you came back, you had been getting more and more closed off the longer we were spending time together. I don’t know what happened out there if something happened between you and Ellie, and I don’t need all the details, but I needed something. And I gave you so many chances — second, third, hundredth chances to give me something that could show me you trust me or could even grow to trust me, but that didn’t come. All I wanted was to help you, Joel. I care about you so much. I loved you. But it didn’t seem like you felt the same. Never told me you felt the same.”

A step away from him, arms around your chest to protect your heart — from him? From breaking again? He didn’t know you needed the words; he tried to show you through his actions, his touch, the care he took of you. Words never came easy to him, actions did.

“And now, you’re being this fucking alpha, masculine man stomping in here and talkin’ to me about how you hear I was with some guy. Actin’ like I’m just trying to make you jealous like he was some understudy or rebound. Well, nothing happened like I said, so you can wipe off the face that looks like you’re gonna go get your knuckles bloody for me.”

The crease in his brow resolves, the sour twist of his lips relaxing as he drops his head in shame. You were right, always right. He would knock the lights out of the guy if you said one more word — if you said that you had moved on for real.

“All of it, still being around you and being reminded of you all the time, it feels like I’m trying to balance again on breaking branches. And every time I see you around, in person or in my head like a shadow following me around, those eyes — your stupid brown eyes pleading with me, they just add insult to injury.”

“I wanted to help you, Joel, to just be there to help you mend, even a little bit. But you never gave me a chance.”

A sigh slips from his lips, barely audible. You turn away as he steps toward you, tender eyes and gentle touch resting on your shoulder. When you don’t recoil, one of his rough, work-worn hands grabs your chin between his thumb and index finger, turning your head to meet his eyes as he quietly speaks, lower than the whole conversation has been.

“I never knew that is what you were worried about, darlin’. I’m fine, there wasn’t anything that happened between Ellie and I ‘cept that ambush at the hospital that I told you about. I didn’t think I was actin’ any differently than before.”

A scoff, shaking your head out of his grasp and pushing your hands against his chest to separate. You slip away, crossing the stall to grab more gear to dress the horse in.

“You are unbelievable.”

Now he’s really getting annoyed.

“What? What is so unbelievable?” His voice booms, echoing a bit in the empty horse barn, biting back his tongue as you close your eyes tightly. He opens his mouth to apologize for raising his voice, but your raised hand stops him.

“It’s obvious you are not fine, Joel, and you can’t even admit it now after I’ve told you that all I wanted was for you to be open. You can stop running. Slow down. Live. You don’t have to keep punishing yourself in silence.”

He scoffs and shakes his head, looking away as he works his jaw back and forth before he turns to you again, “I couldn’t read your mind! All this time, I never learned to read your mind. I can’t read Ellie’s mind — I can’t figure it out with either of you. Two of the most important people, two of the handful of people that I am still around for, have distanced themselves from me and I can’t seem to pull myself together to figure it out. I feel like I’m drowning out here on my own and I’m not even being thrown a fucking life raft. You never gave me time to turn things around, you never gave me a warning sign of what was goin’ on.”

The tightness in your shoulders falls, curling you smaller into yourself, and there goes another crack in his heart. Broken like old pavement when the Earth shifts, takes destroying it all to rebuild it.

Tired. You look so tired, and he aches with the thought that he’s exhausted you, even away. What is he going to do if he is open with you? Isn’t he going to be more of a burden?

No, he wouldn’t let himself. He would be honest with you. But there is no expectation that he could be fixed, that you could shoulder any of this weight he’s carried for twenty years. It’s lighter to him now, endurance built to keep himself under it without getting crushed.

“Joel…I gave so many signs. I checked in with you every day, I asked you directly how you were doing. A lot of the time, after long days, you’d be so short with me. Either annoyed or just brushing me off and changing the subject. So when asking you didn’t work, I tried to open up more myself to try to get you to feel comfortable talking to me about anything. You would just listen and move on. Nothing inspired you to give me even a little sliver of yourself, of your heart. I closed myself off more and more cause it felt like I was prying with someone who couldn’t even care less about me. You didn’t even notice that we didn’t touch, we didn’t kiss, we were barely intimate with each other in those last few weeks — we completely drifted, Joel. I tried to give you so many signs before I couldn’t take it anymore. You didn’t even see the signs.”

Thoughts and memories rewind in his head like an old tape, picking up patterns in himself and in you that he has been too blind to see. All he wanted was to move on, sweep it under the rug and live whatever life he could with you, with Ellie.

“I’m sorry, peach. I am so sorry. I swear on my fucking grave that I had no idea this was all happening for you — I was too in my own head. My heart is hurtin’ so much without you around; knowing I did something to push you away. And hearing what you were holdin’ in ‘cause I was bein’ too closed, too selfish to see what was wrong? It is destroyin’ me. I’m sorry, sweetheart. I really am.”

No response is given to him. He watches as you bend your arms, lifting them to press the backs against your eyes. They turn and run over your face, an ache in him to reach his own out to pull yours away, replace them with his own to hold your beautiful face again. When he speaks up again, he sounds like a child — soft, pleading for the punishment to end.

“Could you ever, I don’t know how to ask this really, but could you ever give me another chance? Would you?”

His eyes are glossing over, vision blurring slightly at the edges as you meet his gaze. A deep, exhausted sigh rolls from your chest, head shaking back and forth as your stare leaves him, running a million yards away somewhere.

“I—God, I don’t know, Joel. It felt like I was just there to give you comfort when you wanted it, when you thought you needed it, and that was it. That was my purpose to you. That you didn’t even want to try to open up, to build trust or anything between us. Things would really have to change for me to feel ready to try again.”

Another step brings him a foot away from you, the itch in his fingers too much to ignore anymore as he guides his hand up, caressing your cheek and brushing his thumb along the line of the high bone there.

“Sweetheart, honey, I’ll be better. If you give me another chance, I’m gonna do better by you. Gonna try more. I promise, peach. I’m not gonna fuck this up.”

Eyes flutter shut under his touch, the weight of your head falling into his gentle care a bit heavier.

When they open again, he can see resolve has been built. A defensive wall put back up after leaning in too much into the temptation of jumping back into the deep end.

“Can I have some time to think about it?”

Selfishly, he wishes you would just jump, dive into his waters with him so you can offer him a lifeline.

“Of course, peach. You come ‘round whenever you wanna talk. I’m gonna be there for you. Whenever.”

His lips press to your hairline, large hand stroking at the back of your head before he pulls away and exits the stall, crossing over to lead Old Beardy out of the stables to mount for patrol.

With his back to you, he doesn’t see the shaky breath you take, composure crumbling as you lean your head against the leather saddle, teardrops littering the surface.

taglist: @wannab-urs @atinylittlepain @bearsbeetsbeskar @serenaxpedro @casa-boiardi @rav3n-pascal22 @dinsdjrn @not-a-unique-snowflake-blog @johnwatsn @amanitacowboy @leeeesahhh @isitmelookin4u @javiscigarette @mrsyixingunicorn10 @sugarspiceanthrax @orphanbird95 @space-cowboy-like-me @tuquoquebrute @rsquared31 @morning-star-joy @canseethebrushstrokes @atremises @sstarboy777 @undrthelights @butiknewyoudlinger @dayrdreaming @disassociation-daydreams @joelsversion @ginger-swag-rapunzel @mydailyhyperfixations @diamndx @mingiast @kdogreads @blxsphemy7 @marchai @littlevenicebitch69 @ghostofbrock @iwrotethissky @ladynightingale @jksprincess10 @swiftispunk @pr0ximamidnight @beskarandblasters @northernbluess

[soniruza]

The Eras Tour (Soniruza's Version)!

💚💛💜❤️🩵🖤🩷🩶🤎💙🤍

[motziedapul]

I realize I forgot to post the cover here on Tumblr so UM yeah watch out for this Queer Filipino-made erotic monster lover comic anthology when it launches on Kickstarter in May 🔥💓

[wavesoutbeingtossed]

The TTPD Deep Dive (Part ?)

It’s no secret that I have a lot of Thoughts about The Tortured Poets Department and it has lived rent-free in my head since it came out earlier this year. I’m absolutely blown away by how underneath the chaos, it’s actually an exceptionally cohesive story and is probably the closest to a concept album Taylor has ever done.

There are so many themes that have stood out to me over the last five months, and there’s one in particular that I think not only drives the entire album, but ties into previous albums to help deepen understanding of it.

This is it, my fangirl magnum opus, my months of posts consolidated into one place. This is also my disclaimer that this is just my interpretation of the album, and my summary of the story it tells, and I don’t pretend to have any special insight or authority. I’m not saying I’m correct at all, do not take any of this as fact, it’s just what it sounds like to me, and these are my silly not-so-little thoughts about it.

(Under a cut because it’s way too long and involves discussion many may not care for or be sick of.)

Come one, come all, it's happening again (I'm thinking too hard about Taylor music)

The overarching theme in TTPD to me is: Grief. If you’re looking at TTPD as a story being told (instead of just as someone’s real life), the inciting incident of TTPD is loss, and the grief from that loss is what drives the narrator’s actions and the fallout, as well as unpacks those complicated feelings and how they apply to the her life in general. By the end of the standard album, it’s also about recovering from that pain, moving on from it and learning from it.

The loss specifically is the loss of the dream of having a family (with one’s partner). One thing that is abundantly clear both on the top line and under the surface in TTPD is how Taylor (as a person and as narrator) longed not only to for marriage but specifically parenthood, and the fear and then realization of losing that chance absolutely wrecked her— which is why the next lover’s (the conman's) wooing worked so well, because it preyed on that yearning. Yet that loss also dovetails into the grief of many things: of youth, of idealism, of relationships, of ideas, even of self, which causes almost a deconstruction of a belief system to piece one’s life back together by the end.

THE CONTEXT

TTPD weaves in the topics of marriage and motherhood both explicitly and in the subtext, in various forms and scenarios. The cheating husband in “Fortnight.” The wedding ring line in “TTPD” the song. “He saw forever so he smashed it up” in “My Boy Only Breaks His Favorite Toys.” All of “So Long, London.” Running away with her wild boy in “But Daddy I Love Him,” fantasizing about weddings and joking about babies. The imaginary rings in “Fresh Out The Slammer.” The cheating husband (again) and the friends who smell like weed or “little babies” in “Florida!!!” “You and I go from one kiss to getting married,” “Talking rings and talking cradles,” and “our field of dreams engulfed in fire” in “loml.” (And arguably: “I wish I could un-recall how we almost had it all.”) “He said he’d love me all his life, but that life was too short,” in “I Can Do It With A Broken Heart.” They may not sound like much on their own, but they paint a picture about how the topics pervaded her thoughts and her writing, and in many cases express her desires, and her pain.

It’s something that goes back several albums when you pick up on context clues. You get the first hints on Reputation with “New Year’s Day,” and “you and me forevermore.” Then Lover is very forward with it: “Lover” is basically wedding vows, “Paper Rings” is very engagement-coded, “I Think He Knows” is cheeky but low-key “you better put a ring on it,” “It’s Nice To Have A Friend” has wedding/marriage imagery in the last verse. As a self-professed diaristic writer, it’s the type of stuff one presumably doesn’t put out there unless those conversations have already happened, and she was very excited about it at the time it was released.

Then the pandemic happens and folklore comes out, and while there is still happy love there (“invisible string”), there are also the first indications that something has happened to put a halt to whatever future she once dreamed of (“hoax,” “the lakes”) and that she’s trying to reassure herself and him that it can still happen even if she’s scared it might not (“peace”). Notably, as far as I can remember it’s the first time Taylor explicitly brings up the idea of family (with her partner) with “you know that I’d give you my wild, give you a child,” which stood out at the time because it’s so incredibly vulnerable, but it’s even more poignant when you really take in that the whole song is like a confession of her deepest worries, and this is her vowing to give him these things that she holds most sacred if he’ll let her. These are what she cherishes most dearly and wants to return in kind: her youth and commitment (my wild), the family she craves (a child), unconditional support (swing for the fences/sit in the trenches) and understanding/compassion (silence that only comes when two people know each other).

Evermore follows an even darker path, and suddenly the album explores relationships that end and grappling with loss. There are toxic relationships (“tolerate it”), dangerous marriages (“no body, no crime,” “ivy”), failing/broken relationships (“Coney Island,” “champagne problems,” “happiness,” “‘tis the damn season”), as well as grief (“Marjorie,” “evermore”). Even some of the happy songs have uncertainty in them: in “willow” she’s begging for him to take her lead, like she’s still trying to decipher him and ask him to commit; in “cowboy like me,” still a beautiful love song, she’s thinking, “this wasn’t supposed to work and we were supposed to bail on each other but we fell in love instead”; “evermore” is about the depths of severe depression (and more) with the love story being the one saving grace in her darkest hour. And it’s also notable that after all the “fiction” writing, shortly after this album she writes “Renegade” where she’s telling the subject: I’m ready to start the next phase of our life now, why aren’t you? Is it me you don’t want after all? It’s like there’s something telling her that this stall might not just be a stall.

Midnights is a jumble (in a good, but in hindsight, also sad way) with the “sleepless nights” concept, but it seems pretty clear now that the themes and events and relationships she was revisiting tied into a lot of what she was feeling in her present life. I wrote the cliff notes version awhile back, but she’s questioning so much of her life that’s reflected in past events and relationships. Am I actually always the problem? How did we lose sight of each other and what we had? We only seem to work when we block out everyone and everything else. Can we ever go back to when things were good? Why are you neglecting me? I once thought I was going to lose everything but you saved me in the nick of time, can that happen again? I chased my career, but did I give up my chance at having a family in the process? Nobody knows what I really suffer from behind closed doors and I’m all alone.

And so on, which in retrospect now that we have TTPD, is very much what she was grappling with in private while writing and releasing the album. The inspiration behind the songs may have been different events and muses, but regardless of their origins they all end up feeling too familiar, like she's seen this film before (ahem). We’re seeing her view of commitment change too, or rather how she writes about it: she’s not making the outright declarations of it like on Lover, or even the implied ones on folklore, nor is she talking of the dark side of it like evermore. For the most part it’s a return to the early days of some relationships, before things got hard, or the end of them when there was nothing left, and also pushing away the discussion of it altogether by the outside world. “Sweet Nothing” is a sweet slice of life, but even at that, it’s the peace of the home in conflict with the pressure of the outside world. Now that we have “You’re Losing Me,” which was written at the same time as the rest of the album, we can probably deduce that she was going back to the start because something happened that made her doubt the future.

THE SETUP

So much of Midnights directly ties into TTPD, and I said in the post I linked that it’s like Midnights is asking the questions that TTPD answers. But there’s one song in particular on Midnights that sticks out to me as being key in the broadest sense to understanding the state of mind that led to the events of TTPD, and that’s “Bigger Than The Whole Sky,” because the way it expresses grief is reflected in the theme of mourning a life built and the dreams along with it that are never realized in TTPD. There are several instances in TTPD that are basically variations of: “every single thing to come has turned into ashes,” and that’s what makes her snap, and leaves her vulnerable to someone who promises her those things when she’s bereaved at losing them in the first place. (In other words: “the deflation of our dreaming leaving me bereft and reeling.”) The song tells a story about how that loss of hope colours one’s entire mindset, and in some ways is a bridge to TTPD to understand what such a low point feels like.

I think that that grief, and most importantly losing hope for an imagined future in its wake, is fundamental to understanding TTPD on so many levels: both the decline with one partner that kept her hanging on then led her such a dark path, and why she fell for the conman's apparent bullshitting because it offered an express pass to what she was losing with her partner. And I also feel like it plays a part into the ruminating she’s doing all over Midnights, trying to make sense of where she finds herself when she’s writing the album, which directly leads to “You’re Losing Me.” Loss permeates so many of the stories on Midnights: of lovers, of innocence, of youth, of faith, of control, of life’s work, etc. “BTTWS” is just one of the ways in which it is expressed so fully, capturing that deep depression and subsequent extinction of faith in something that once felt assured and very much wanted. (Which is also mentioned in her writing process in the “Depression” playlist on Apple Music.)

If you understand why that feeling of loss in general across so many parts of life is so important to Midnights, then it illuminates so much about the “narrative” in TTPD too. If on Midnights she’s wrestling with the seeds of grief and loss (on multiple fronts), TTPD is her reckoning with it in its full form. “So Long, London” is the song that is the most explicit about it: How much sad did you think I had in me? How much tragedy? Just how low did you think I’d go before I’d have to go be free? You swore that you loved me, but where were the clues? I died on the altar waiting for the proof. It’s the sequel to “You’re Losing Me.” It’s, the air is thick with loss and indecision, I know my pain is such an imposition, I’m getting tired even for a phoenix, all I did was bleed as I tried to be the bravest soldier, I’ve got nothing left to believe unless you’re choosing me, my heart won’t start anymore, but from the other side of the break.

This is highly speculative, but if you follow the thread about the topic and the relationship as told from Rep through TTPD, in broad strokes it goes: young love with a serious connection (Rep) -> growing up and making life plans (Lover) -> something happens that delays those plans or makes them grind to a halt (folklore) -> serious doubts arise and cause a loss of faith in their future (evermore) -> struggling with the loss of that future and trying to make sense of the problems in a last ditch attempt to save the relationship (Midnights) -> fallout from that grief after the blowup of the relationship (TTPD). Understanding that progression of events (through the music) explains not only the storytelling side of TTPD (e.g. the jump from the partner to the conman) but also how the experiences/muses blend in the music, and how the music that on the surface is about the short-term relationship is really driven by the destruction of the long-term one.

Following the music, it’s IMO implied that Taylor (the narrator) was holding out for marriage and family with her partner, for years, and it seems like it was at one point a shared dream until something happened to pump the brakes, and seemingly on her partner’s end. And extrapolating further, given how the sorrow expressed in former albums bleeds into TTPD, it sounds like a plan that had been concrete in some form before it had fallen apart, and losing something that once felt so tangible is what drives her in her grief to find any kind of respite from the pain. Which is why the situation with the conman becomes so appealing as the one with the partner splinters further and further.

(If everything you’ve once touched is sick with sadness and you don’t want to be sad anymore, what are you left to do?)

THE STORY

So (one part of) the story kind of sounds like this from the standard album: the relationship with her partner as well as his mental health slowly deteriorate and he withdraws emotionally (“London,” “Fresh Out The Slammer”) and physically (again, “London,” and “Guilty As Sin?”) and takes his resentment out on her (“London” and arguably “My Boy Only Breaks His Favorite Toys” even though I don't want to get into muse speculation here). As she sinks deeper into her own depression as a result, the weight of the failing relationship starts feeling like a cage— or a noose (“London,” “Guilty”), but coming to terms with the loss of their life together and the future they’d dreamed of was killing her (again, “London,” but also “I Can Do It With A Broken Heart”).

Enter the conman who she reconnects with at the very point where this is coming to a head (knowing that IRL she reconnected with him around the time Midnights was being worked on) , and if you read between the lines, she confides some deeply personal things to him (“Down Bad” and “hostile takes overs”/“encounters closer and closer,” “Smallest Man” and the entire sleeper cell spy imagery which is one of my favourite things and I could write a whole essay about the meaning of it, “loml” and “A con man sells a fool a get-love-quick scheme”). Then after she’s confided these secrets to him, he insinuates himself back into her life (“Guilty,” “Down Bad,” “Smallest Man”) and sells her a dream that HE can give her all these things she hopes for (again, “Down Bad,” “Smallest Man,” “loml,” song “TTPD,” “Broken Heart”).

But the thing is, he only knows these are the things she wants because she’s revealed it to him, and presumably, told him that was what she was losing by staying with her partner. And instead of the normal response of, “that is really sad that your partner is not supporting you and you deserve to be treated better,” to a friend in growing distress, it seems like it was, “well I can give you all those things!!!! Right now!!!! Trust me!!!!” And worked on her until she believed it, and jumped at the chance at a precarious time in her life. And one thing I want to underscore is: Taylor has agency in the situation always, it’s not like she’s been kidnapped and brainwashed. (In fact, she implores on songs like “But Daddy” that SHE is in charge of her own choices, good or bad.) She chose to rekindle the friendship and then relationship, and she chose to eventually leave her long term relationship for another man, and she reiterates on the album that she owns this all. But it’s also: nothing exists in a vacuum, and she makes choices based on emotions and information she has at the time, which is why it gives so much whiplash.

THE ALBUM

When you look at it as, the situation with the conman only happens because of what happened with the partner first and that the appeal of the conman and the fantasy he sells her is a direct reaction to that, it makes the “swirliness” of the music make so much more sense. And for much of it, even many of the “conman” songs on the surface are really “partner” songs underneath.

Fortnight

A suburban gothic allegory about a broken marriage with a distant husband with a wandering eye, which makes the rekindled romance with the neighbor so appealing. She’s miserable caged in her stifling house because she’s been abandoned by her spouse, so the reappearance of this past love reignites the passion that’s dead at home.

TTPD

“So tell me, who else is gonna know me?” “I chose this cyclone with you.” I’m gonna kill myself if you ever leave. Everyone knows we’re crazy. She’s laying it out there that she’s already in a dangerous state of mind, and she’s actively putting herself in more danger by pursuing the conman. “At dinner you take my ring off my middle finger and put it on the one people put wedding rings on, and that’s the closest I’ve come to my heart exploding,” spells this whole thing out so clearly: whether it’s an actual event (likely) or a metaphor for the promise he makes to her, the reason why it makes her heart explode is because it’s the thing she’s been waiting for forever with no movement, and here this person comes in and slips it on her finger in an instant like it’s nothing. (And eventually, as we’ll come to know, it is absolutely nothing to him.) You mean it could have been this easy this whole time?! (Well, no. Not until a certain other suitor makes his appearance later.) It feels like she’s finally getting everything she wanted in the blink of an eye! How lucky! How convenient! What was that about the get-love-quick scheme you say? (Unsaid: the reason why this feels so urgent is because there’s a sense that time is running out in so many aspects of her life and not just the obvious. Which reappears later on.)

Down Bad

“Did you really beam me up in a cloud of sparkling dust just to do experiments on?” sets the scene for this euphoric experience in the moment that starts to feel violating once the dust settles (which is then followed up in “Smallest Man” and the spy mission on her). The bridge spells out how he weaselled his way into her life, preyed upon (intentionally or not) her emotional state, sold her a dream and then vanished, without the benefit of hindsight yet we see later in the album.

The alien abduction metaphor is pretty brilliant, because it shows both how she was desperate to escape the place she found herself in, and how much it screwed her brain to then be left stranded when the affair was over. “[I loved your] hostile takeovers, encounters closer and closer,” is so evocative because it details how the situation came to be: his overtures under the guise of friendship blurred lines until he made her an offer that she eventually couldn’t refuse (hostile takeovers) as he infiltrated her life more and more intimately. The sad thing is that the song has parallels to how her relationship with the partner started too in earlier albums, in that they ran away to live in their own bubble (or planet) only for him to metaphorically abandon her as the years went on. (Oven, meet microwave.)

My Boy Only Breaks His Favorite Toys

Being continually emotionally broken down by a person who knows he’s hurting you but still acts the way he does. (The original voice memo version makes this even clearer and it’s rather heartbreaking.) “He saw forever so he smashed it up,” speaks to the loss of a future the person became scared of, and the original lyrics (“he saw forever so he blew it up”) somehow cut even deeper to me because it feels so much more intentional.

Also in the original version, “he was my best friend and that was the worst part,” also speaks not only to the loss of an entire partnership in the wake of this hurt, but also to the feelings of betrayal that the person you trust so deeply has the ability to hurt you in this way too, and how it’s a one-two punch of not only losing the relationship but also your closest confidant. (It’s like the sequel to “Renegade” and the missiles firing to me.) Again, there are shades of both/many situations in the song, pointing to an unfortunate pattern in some ways. The situation in “My Boy” is part of why she was so low, and why the “get love quick scheme” was so appealing later on. And it dovetails nicely into…

So Long, London

The most explicitly “partner” song that puts a coda on “You’re Losing Me,” and is Track 5 because it’s the emotional underpinning of how she got to where she was, and drives the events of the rest of the album. It spells everything out: He withdrew, she tried to fix it for both of them, eventually even that stopped working, he was oblivious to or minimized how badly she was suffering and his (in)actions couldn’t reassure her, he wouldn’t move forward on their future plans and stewed in his own struggles, she was spiralling out of control trying to hang on and ultimately felt like she was going to die if she didn’t leave.

But Daddy I Love Him

Like a direct reaction to “So Long, London” in that she breaks free from the death of one relationship and throws herself with reckless abandon to the next, fuck the haters. How dare you judge me, when the relationship you think I should have stayed in was killing me? (Dutiful daughter all the plans were laid. All you want is gray for me.) Fuck all of you, I’m going to choose whoever I want! (So what if I have a baby with HIM, huh?! I tried doing it the proper way and look where that got me so now we're back to square one) It’s again her imagining how wonderful and freeing this “wild boy” is going to be for her, and how wrong she’ll prove everyone. THIS TIME she definitely got it right. So what if she has to run away! So what if she scandalizes the whole town! They don’t know what she really wants or needs anyway! She’s the only one of her (hee-hee-hee) and she’s the only who gets to decides how this goes. (Because: she longs for control in a situation she’ll eventually realize she has little of it in, which we’ll find out is a recurring theme in her life.)

Fresh Out The Slammer

Also spells out what happened with the partner in the first verse and the pre-choruses, which is what makes the conman so appealing as the imagined jailbreak. The bitter loneliness vs. the sultry passion she builds up in her head as she awaits her release from prison is key to understanding the two sides of the story in the album. There’s this whole outlaw imagery (which is also carried through in “I Can Fix Him”), but it’s contrasted in the end with her and her reunited lover sitting on park swings like children with “imaginary rings” — because “Ain't no way I'm gonna screw up now that I know what's at stake.” What’s at stake is lasting love and the promises that come with it (marriage/family) that are precious and time-sensitive. The imaginary rings are both a nod to the youthful dreams of her and her new/old lover, but also has a double meaning to me because those promises aren’t built on anything together; they're made up, intangible. (They’re no more concrete than the plans that went up in smoke with the partner.) Like with most of the conman situation, it’s all a fantasy in her head that has yet to happen, and as we find out later in the album, reality ends up leaving much to be desired.

Florida!!!

Broadly speaking, it’s running away from your problems and wanting to disappear from your life. (But again: the life she’s disappearing from is the cheating husband she may or may not be feeding to the swamp-- another miserable marriage.) What kind of flies under the radar though is the “I don’t want to exist,” line, which points to her dire state of mind that led her to fleeing to that metaphorical timeshare down in Destin. In many ways about cheating death.

Guilty As Sin

Yes it’s the “masturbation song,” but again the nuance is that she’s left to pleasure herself because her partner has abandoned her emotionally and even physically, i.e. “my boredom’s bone deep.” To be blunt: they aren’t even intimate anymore, so she starts fantasizing about the guy she used to have chemistry with who’s reentered her life and is making moves on her. And realizing that she’s now finding release in another man (albeit imaginary) breaks her even as it reinvigorates her because she finally understands that the relationship she’s in is effectively dead. (“Am I allowed to cry?”)

Who’s Afraid of Little Old Me

This isn’t about relationships, but about society and its reaction to them in a general sense. But again, she’s left to stew in all this anger and hurt as she’s been abandoned at home, then abandoned by public opinion, and the public attack on her is part of the origin as well as the end of that story. The trauma inflicted upon her detailed in the song is the reason why she felt trapped in the first place, which led to the decisions she’s made and habits she’s leaned on ever since.

I Can Fix Him (No Really I Can)

This is one of the few songs that is the most completely conman-coded, and shows when the delusion finally breaks at the end of the song. She spends the whole song being like, “no really, I alone can make him better! You’ll see! I know he’s gross, but he’s mine! It’ll be fine I swear! You don’t know anything! Uuuuuum hmm wait actually what the fuck—“

Loml

Oof. THE song. Again the surface reading is about the “conman” who comes in and sells her the lie, but the pain is because all the dreams she writes about are HER dreams and implied that they were the dreams she built with her partner that the conman sold back to her. I could do a deeper dive on this but most of the song is applicable to both relationships, which not only shows the “swirliness” of her writing, but also how they both ultimately did the same thing to her in different shades.

The bridge and the last chorus are kind of fundamental to understanding it all, and her ending it with “you’re the loss of my life” is about, among other things, how falling for this trap blew up the life she built and dreamed of for good. (I could talk about this one forever.) “You shit-talked me under the table, talking rings and talking cradles” to “Our field of dreams engulfed in fire” is a hell of a line and progression, and again, indicative of what the real driving force behind the whole album is. The shit-talking is because he took her dreams (of marriage and children) and hyped it back up to her tenfold whether in a moment of his own delusion or for more nefarious reasons — much like how the man prior kept promising these things but never followed through, which left her vulnerable to someone who appeared to offer them enthusiastically. The field of dreams isn’t just the one with the conman, it’s the one with the longterm relationship she’d built the dream with in the first place, because the conman’s actions are part of the reason the LTR went up in smoke. (Not the reason for the rift, but the consequence of the final break.) And THAT is why it’s the loss of her life, so completely.

When she says “I wish I could un-recall how we almost had it all,” IMO it’s not just the fake future that the conman lures her into, but also (and perhaps mainly) the once-real one she had with her partner and the loss of which that made her susceptible to falling for the con in the first place. There’s honestly so much between the lines in this song that covers every theme and speaks to the grief of seeing the life she imagined slip away, slowly by the first man then annihilated by the second.

I Can Do It With a Broken Heart

The juxtaposition of “He said he’d love me all his life, but that life was too short” and “He said he’d love me for all time, but that time was quite short” sums it up to me (and parallels “loml”), because they are two different situations, but they cut her just the same. In the first, “that life” IMO was the life they’d built with the dreams that went along with it and it was too short because he never followed through, and in the second, the “time” was quite short because it was the frenzy of the whirlwind romance that fizzled as quickly as it began. The life that was too short led to the time that was quite short.

The Smallest Man Who Ever Lived

This is definitely THE conman song. The rage, the shame, the violation, it’s all in there. But the key to it is the bridge and the espionage imagery woven through it. A honeypot scheme is when spies target a mark and seduce them to gain their trust and their privileged information for their homeland. So her likening him to a sleeper cell spy who set her up just to mine her deepest secrets and use them against her is a heavy, loaded statement. And implied: that valuable information she unknowingly held were her longings of marriage and family (the aforementioned shit-talking about rings and cradles she never got to have), and more importantly, those dreams preceded him reentering her life and then beginning his mission on her.

The insinuation then is: she confesses these are her deepest wishes which are now seemingly unattainable in her current situation (e.g. with her partner) -> he convinces her HE will give them to her and make the dreams she pines for come true -> she falls for him and blows up her life to make it happen -> he gets what he wants (thrill of the chase/sex/the idea of her/whatever his intent was) -> he abandons her when he gets what he wants, or rather it isn’t what he wants or can handle -> she’s left a) all alone b) with dreams unfulfilled c) with no answers d) feeling used at having her most sacred wishes used against her.

Again, the song is unquestionably about the way the conman absolutely destroyed her, but he was able to do that because there was this thing she wanted more than anything, that was dying in her previous relationship, that he was able to prey upon to seduce her, then discarded her and her dreams as soon as it was inconvenient for him while absolutely hollowing her inside out. (And again: the devastating thing is that this also applies to other relationships she’s written about, in different ways.)

The Alchemy

Not about either the partner or the conman directly, but it (loosely) touches on her finding herself after the whole oven-to-microwave experience and opening herself up to life and love again. #GoodForHer

Clara Bow

This isn’t about the romantic relationships on the surface, but it is about how damaging the entertainment industry and public life are on women, and how women are only valued for their beauty as commodities until they can be discarded and destroyed in the process. Which I think plays into the circumstances that led her to make the decisions that she did years ago, and why she makes the ones she does now. (But also, being valued for physical traits and appeal for the male gaze brings us to…)

The Manuscript

The “original sin” that kicks off all of this. Again, at first light this isn’t about the partner or the conman, but the person it is about is the reason why she has made all the decisions she has ever since in relationships (and that’s Mr. Plaid Shirt Days from “All Too Well”). The realization that her first serious adult relationship is what cemented these patterns, and this view of herself and her worthiness in relationships, is profoundly sad. An older man who valued her for being so mature for her age and implying that the mature activities ahem associated with that were the performance benchmarks in her ability to carry a relationship, only to leave her, was earth shattering. She placed her faith in this person, but then the way he treated her changed her view of love and of herself.

She took his innuendo about “pushing strollers” as a sign of potential commitment, whereas he ultimately meant it as foreplay, and she was too young and naive to know the difference. So not only did she learn from that that this man (and men) didn’t view commitment and family the way she did and that it was something to be toyed with, but she also learned that her value to them among other things was sex. Imagine being an idealistic 20 year old and your boyfriend ten years your senior tells you, “if the sex is anywhere near as good as our dates have been, we’re going to be making babies before you know it,” (e.g. this is relationship is serious) and then he dumps you: does that imply that the sex was not in fact that good? (E.g. that you’re not worthy after all?)

No, obviously from this side of life, it’s because he was a commitment-phobic playboy, even if he did love her, but she couldn’t have known that at 20 and instead internalized that shame. But, it did send her on a path of how she approached sex and love and relationships for over a decade afterwards. And her coming to the realization that that first act of (perhaps unintentional) manipulation is what informed her actions thereafter helped her break the pattern. Her worth to men is not just sex, she has value and her hopes and dreams have value, she doesn’t have to change into a different person to please anyone, because if that is what they want, they won’t ever want her anyway.

It’s been described here on Tumblr by people more eloquent and astute than I as a song that encapsulates the album as this: one did it slow (partner), one did it fast (conman), and one did it first (first love)— and that is haunting. After years of men minimizing her dreams and desires, if not outright using them against her, she’s finally at the point where she can let it all go and move on for good. (There’s a whole other tangent about consent and shame and manipulation, but that’s an entirely different kind of discussion. But it is so devastatingly contrasted with “you said if we had been closer in age maybe it would have been fine, and that made me want to die.”)

THE SUMMATION

This is just my interpretation of it, but in going through the standard album, it feels pretty clear how cohesive the album is about a story of love and loss and grief, then reckoning with what caused it all in the first place that set a person on this path. It’s a formative experience at a young age that was traumatic and led to certain coping mechanisms and a shaping of one’s self-perception, as well as the reaction to external pressures that try to dictate behaviours and influence how one feels one deserves out of love which makes it harder to know when one absolutely deserves more and better. And leaves one struggling to cope with loss when there isn’t anything else to hold onto. Then in light of one’s life blowing up, learning to find oneself in the aftermath all over again.

On another tangent that is somewhat related to the theme of loss, the way she writes about the two main muses on the standard album also ties into how the situations converged to create absolute carnage on her emotional and mental well-being. With one situation, she’s talking about a concrete life that crumbles under the weight of their struggles; with the other, the entire thing is a fantasy that she builds up in her head, and when it comes to fruition it falls far, far short.

If you look at the “microwave” (conman) relationship, you realize that almost everything she writes about it happens before it actually becomes reality, and it’s mostly her imagining how great it’ll be, but with few exceptions, when she writes about what actually occurred, it doesn’t even come close to living up to her expectations. “Fortnight” is an imagined future where she escapes to Florida and his touch finally starts her stalled engine (ahem). “TTPD” is perhaps the most positive retelling of their time together, but even that implies he was better off stoned and when he sobered up he succumbed to his demons all over again, and more importantly she conveys how she also is in extreme distress, barely concealed by the veneer of being infatuated with him. (E.g. saying to that she’ll kill herself if he ever leaves her — the implication is that she is absolutely serious about it when she “felt seen.”) And that the warning bells are going off in her head, but she feels like this person is the only one she can be with (because they’re equally fucked up and the chaos he brings into her life makes her feel alive when she felt so close to death).

“Down Bad” is the most explicit about being in love, but she’s also left completely confused and disoriented by him disappearing, wondering if any of it was real and the seeds of violation creep into her consciousness (“did you really beam me up in a cloud of sparkling dust just to do experiments on?” “Waking up in blood.”). “But Daddy” is her imagining she can tell everyone to fuck off for telling her what to do with her life. “Fresh Out The Slammer” is her fantasizing about this man while feeling trapped in her relationship — but never in the song is she actually reunited with him; she’s using him as the projection of all the things she’ll make right after being wronged by her partner. “Guilty As Sin?” Is very obviously about her fantasizing about sleeping with him, but again it’s such a minefield for her because it hasn’t happened yet; they’ve only just reconnected. “I Can Fix Him” is the only song other than “TTPD” that shows them actually together, and it’s the one where she keeps saying, essentially, “I know he’s gross but I can rehabilitate him into an upstanding person, trust me,” until the mic drop at the end of the song where it finally hits her that no, she can’t, because this is who he is, not the person she’s built him up to be.

“Loml” is when it all comes crashing down, and the song emphasizes everything he did and told her, e.g. that she’s the love of his life, but she doesn’t return the sentiment in the song about their time together. Because now that it’s past tense, she knows it wasn’t actually love. (And says as much in the album epilogue poem.) “Broken Heart” is her reeling in the aftermath, but again, it’s “he said,” not “I loved.” And then there’s “The Smallest Man,” where she eviscerates him: he also pursued an idea of her but didn’t care much for the real her in front of him (who else is gonna know me?), he love bombed her only to hurt her (crushing her dreams), he was constantly stoned (and not just in the funny munchies kind of way), and he wasn’t even a good lover (despite the fantasy she’d created before). That last point is especially striking because she spent albums singing about the importance of and pleasure in (sexual) intimacy in the relationship with her partner (sometimes to both their own detriment) and how it was at times the only way they could connect, but in this case, the idea she hyped up and acted on in her head about this lover never panned out in practice. She spells it out in the epilogue: it wasn’t a love affair, it was a mutual manic phase.

In contrast, there’s a lot more tangible action in the “oven” (partner) parts of the album, showing how hard she tried to make the relationship work in real life instead of just in her head. All of “So Long, London” is her detailing how she tried to break through to him and support him, even when he rejected it and pushed her away, thinking she could carry them both until they ultimately sank, but she did it because she “loved this place for so long.” (The place? Not just the city, but the home and perhaps most importantly, him.) In “Slammer” she stayed with him even as things disintegrated for “one hour of sunshine.” (E.g. holding onto the rarer good times even as they were fewer and further between, hoping things would eventually turn around.) And like in “London,” she held on despite people in her life pleading with her that it was hurting her. (Which is also echoed in “Slammer.”) In “Guilty” her boredom is “bone deep” because the passion that once drove their relationship (and papered over their problems) has finally gone out too, so there’s nothing left to hold onto, leading to her fantasizing about the new suitor, which makes her realize her relationship has passed the point of no return. “Loml” is about the conman on the surface, but the undercurrent of all the things she says about him is that he was co-opting the dreams that she was clinging onto for dear life in the previous relationship, which is why the con is so painful; the field of dreams he sets ablaze isn’t just the fake painting he sold to her, but the original artifact (her life with her partner) too.

All the physical and emotional labour she puts into the relationship with her partner ends up reflected in the fantasizing she does in the one with the conman, which is why it is so confusing in the moment and so lethal when he leaves her without any answers. She wants to get married and start a family with her partner which keeps getting stalled; the conman mock-proposes which makes her think he’s immediately serious (“TTPD,” “loml”). She feels caged by having to hide with her partner and shrink herself; the conman promises he’ll stand by her side publicly and let her shine (“Smallest Man”). She sinks into a deep depression in her loneliness as the relationship with her partner careens off a cliff; the conman convinces her they’re meant for each other in a them-against-the-world way (“Down Bad”). The intimacy (in all senses of the word) in her relationship with her partner fizzles; the conman stokes the fire by sending her secret messages and reigniting passion (“Guilty”). She spent years trying to help her partner to no avail; the conman makes her think she has the power to reform him (“loml”). She feels misunderstood by her partner; the conman acts like he’s the (only) one who truly gets her (“TTPD,” “loml”).

In short: there’s nothing that the conman does or says that isn’t a direct response to what her partner did first, and it’s even worse because the conman knew how much her partner’s actions hurt her and he used that privileged information to paint a picture of what he could give her, but in doing so in some ways aimed at her heart with even deadlier accuracy. (I’ve likened it to him borrowing someone else’s life for his own joyride, until he crashes the rental car and flees the scene.) It’s why in the aftermath, the difference in emotions are so different: she feels nothing but rage and violation towards the conman for getting in her head and using her, whereas her feelings towards her partner are more complicated. There’s anger (at her lost youth and being taken for granted), but there’s also sorrow (at their lost life and future), disappointment (that he never could step up the way he’d promised or she’d needed), even compassion (towards his struggles) and a tiny measure of appreciation (for the good times they did share).

When you look at the bigger picture, the story the album paints is just so painfully normal. You have two people (Taylor and her partner) who once loved each other deeply, and despite warning signs early on telling them they have fundamentally different needs and ways of living their lives they fight like hell to make it work (the epilogue) until those warning signs become grenades that destroy their home (“My Boy,” “London,” “Slammer,” arguably “loml”). Having already been through at least one rough patch/break/breakup that she felt almost destroyed her (harkening back to Midnights on “You’re Losing Me,” “The Great War” and “Hits Different”), the final and fatal downward spiral of the relationship (“YLM,” “London”) and the grief over losing that future sends her into a tailspin, just at the time where a flame from the past (the conman) reenters her life and tells her all the things she’s been longing to hear and feel (“TTPD,” “Down Bad,” “Guilty,” “loml”) and, crucially, missing from the relationship that was once her entire life.

So in her panic, she falls prey to the (empty) promises of the past lover (“loml,” “Smallest Man”) and decides he’s actually what will save her from the free fall, because the alternative (that she will end up in a situation she doesn’t think she can survive) is too painful to bear. When she finally acts on these circumstances (leaves her partner/runs to the conman), she snaps, acting on pure emotion and adrenaline (“But Daddy”), but before she knows it, the new lover abandons her, and she’s left to reckon with the fallout of the episode and process everything that has happened (“Down Bad,” “loml”) — with the conman, with her partner, with the choices made in her adult life personally and professionally which leads her back to the moment she feels set her down that road at the start.

The TL;DR of this unintentionally long essay is that the reason the conman affair was so serious was precisely because it was meant to fulfill the promise of what was her life with her partner. To me, a large part of the story is that she projected that life onto the conman (or he projected her life back to her for his own purposes) because she wasn’t ready to deal with that massive grief and the life raft he offered felt like the only alternative to an even darker end. Whether the conman actually believed what he told her, or he went along with it or encouraged it because it served his purpose, we’ll never know, just like we’ll never know the finer details of what went on (nor should we). But no matter what, the album is just an extreme deep dive into all the ways grief can consume us, and whether it’s a long, drawn-out death or a sudden, inexplicable one, it can turn a person’s life into such a trainwreck that they act in ways unfathomable to even them, let alone the people around them. It can also unleash repressed trauma and mental illness that can crater your sense of self. And when those situations are compounded? It makes for a nearly impossible type of breakdown to unpack. (Which is why you might need a 31 song album to process it.)

[readingswithselene]

If you’re a folklore girlie you’re either a lover OR a Midnights stan but you definitely love TTDP

And if you’re an evermore girlie you’re also a Red girlie and a TTPD: the anthalogy stan

I don’t make the rules

[etheltortured]

old habits die

ㅤ 🖨🕯📼

screaming.

please, ive been on my knees, change the prophecy.