#friends turned lovers

[moonieee]

A fanart of one of my favourite fluff bingyuan fanfic: Green Shadows by Zarasu on ao3 🌼✨️

“What?” Shen Yuan asked, a little breathlessly.

The boy pointed his chubby finger at the book in Shen Yuan’s lap. “What are you doing?”

“Oh.” Shen Yuan looked down at the book. “I’m, hm…” He threw another look at the boy. Maybe the other boy would be interested in playing with him? “I’m an explorer!”

The other boy’s smile faded and he looked at Shen Yuan intensely. “I thought you were a human?”

In which a oneshot fanfic where Shen Yuan and Luo Binghe were childhood friends.

Notes: Holy shit i was so eepy when i post this and when i woke up, i realized from yall that i linked the wrong fics lol 🧍‍♀️ Anyway, i updated it thx u everyone who notify me abt it 💀 lmaooo

[existentialgaybirdnerd]

Ghost, put back in the coffin years later and losing what sanity he has left.

He unburies himself for the second time ofc, but this time he comes out inherently wrong.

Soap will try to get him to talk to him, to quip and make puns and dad jokes like before "the incident" as they've taken to calling it, and only gets blank stares that don't quite meet his gaze or drift just too far to one side to not be focusing on something that's moving when nothing is behind Soap but a wall.

Price, who tries to get Simon to therapy and gets reports of him ghosting (ha) his team of mental health professionals. Who will get responses from Simon, things a good soldier would say, and then hear frantic muttering as Simon's attention runs away to the corner of the room.

Gaz, who's the first to be sent on a mission with him, Simon's first since the incident because he needs to be kept in rotation because he's only a tool, because Soap is already deployed elsewhere. Who sees as Simon absolutely LOSES IT at the sound of gunshots and tears people apart with a ferociousness he didn't think humans could attain, only to be met with frantic whispers and wide eyes and shaking hands once it's all done. Hearing apologies to a Joseph and Tommy and Beth because Simon somehow got it into his head that it's THEIR blood on his hands, as he tries to claw it off and needs to be sedated to be brought back to base.

The 141, who all get a retirement house together after a couple of last missions simply so they can help Simon recover. So they can protect him when he's at his worst and celebrate with him at his best. The 141 who give up their lives in the military not because they don't care about their country or job anymore, but because their friend and brother and lover needs help, he needs them, and he needs to be reminded he's alive.

[soupinaboot]

Batman's life must feel like a goddamn soap opera at times.

[geraskierfanficprompts]

Prompt 131

Jasker is a dragon, sure. But he prefers his human form. He prefers pretty clothing and lutes over his scales and wings. He hasn't a hoard yet. He thinks. He's never truly cared for gold, though he knows that not all dragons have hoards of gold. That's just the default. What if he did have a hoard, and it just wasn't some boring old gold pieces? At first he thought his hoard must be his many exuberant outfits, but when he got into a scuffle and one outfit was ruined, he was disappointed but that was it. There was no anguish, no mourning, no big depressive meltdown over it's destruction... So probably not a hoard. Just an interest. He then thought it must be his songs. But when he heard a bard in some town playing one of his songs, he didn't erupt into scales and roars. He didn't burn down a city. He didn't even rip out his hair or anything. He wasn't even mad. He thinks you'd be more possessive and jealous over a hoard. He was mostly proud. The bard said it was a song he didn't write, he said it was by Jaskier, and he sang it quite well. But even if he didn't do any of those things, Jaskier would be mad, sure, maybe even mad, but never MAD. He thought of lovers being his hoard, but the thought went away very quickly. None of his lovers stay, and though it stings sometimes, he thinks he'd be flinging himself off a cliff if a treasure of his hoard literally got up and walked away from him. And then one day he meets a Witcher. The witcher looks at him with these piercing golden eyes, and Jaskier feels an audible shift in his soul, his being. He found it. His treasure. Maybe witchers are his hoard, and Geralt is just his first one. Maybe his hoard is just friends he meets. He doesn't know, all he knows is that he can't stop himself from staring at the gold of Geralt's eyes. Perhaps Jaskier does care for gold.

[tired-biscuit]

coming across as more than just friends is so simple when it comes to yuuji.

you eat from the same spoon, take turns licking the same lollipop, sleep in the same bed after a party, cuddle, go on vacation together, hold hands when you’re drunk, steal glances at each other that last way too long each time, indulge pillow talk, call each other cute pet names, buy each other gifts every valentine’s day, have questionable dreams about each other that leave you way too hot and bothered in the morning… the list goes on.

but the second someone mentions it, you both feel the heat hit your face, and all of a sudden you’re aware of the closeness and the warmth that tingles in the narrow space between your bodies and how big his pupils get whenever you make eye contact.

and you also realize the yearning. it hits so deep; right to your goddamn core. turns you into this pathetic, vulnerable thing that is scarily soft. it wants to be loved so badly, loved in a different kind of way which both you and him have been dancing around for a long while now.

at least until that safety blanket that you call ‘just friends’ covers you both again, that is. then you’re back to square one.

[takethelx3]

Take your pick, which is scarier: the guy with the sword [sword not pictured], or the guy getting mad at you for hurting the guy with the sword?

There's not so much of a cohesive storyline on this one, just.. Damian getting injured in a large-scale attack and Jon rushing immediately from the other side of the city to be like, "D is this guy bothering you?"

[omg me when I realise I didn't put a mask on Damian HAHA it's uhhh it's intentional uhhhhhhhh it's an artistic choice uhhhhhh imagine he's wearing it rn HAHA]

[optimism-blooms]

BellyJere & The Five Love Languages + Physical Touch

[lyctorism]

#they really did that

[14dayswithyou]

Hi, Howdy! Hey! I really love your novel!! I got a little confused by the 4 day, may maybe you help me please? who is it? why we got the bad end staying the night in Ren’s apartment and he disappear of the home screen? I can’t understand “unset memory” game, sorry if I wrote smth wrong or smth sounds rude, I swear that I didn’t mean it if happened, I’m really a fan of the novel, I’ve been playing the game since day 1 or 2 I guess, probably day 1, english isn’t my first language, but I tried lol

⌞♥⌝ I hope you don't mind me answering these as bullet points!! ^^

"It" will be revealed later in the game! So I won't reveal too much right now.

You can only get the Dead End in Day 4 by staying at Ren's apartment — the rest of your choices before that don't matter. I'd also pay closer attention to the black smoke and Ren's reaction towards it!

Ren disappears from the home screen because he promised to help the player out (and stop them from getting the Dead End again). Try replaying the game again from the beginning for a surprise!

"Unsent Memories" was another visual novel (initially being written by @10chimes / @unsentmemory, though the project has since been dropped and handed back to me /pos) and is set in the same universe as 14 Days With You. Its storyline and characters are completely separate from 14DWY, so you don't have to worry about them while playing 14DWY.

[ixtaek]

Legend, as the owner of an orchard, is an apple snob.

When Ravio says Red Delicious are his favorite, Legend is appalled. He seethes for weeks. How could anyone who is basically himself tolerate a Red Delicious!? They’re mealy and flavorless and waxy—Every time he thinks of it he gets annoyed.

Turns out the Red Delicious in Lorule actually ARE good. Ravio doesn’t know Hyrule’s are different till he eats one and nearly spits it out in shock.

[kiri-thighs]

Express | J.Fisher

FEM! READER

summary: you and jeremiah are best friends and you two get into a terrible argument on the beach after showing mixed signals of each other's company. you express your feelings for him at the end of it and he realizes with you two obviously ignoring each other that he has those same feelings for you.

warnings: angst, mentions of underage drinking, cursing + TAKES PLACE IN AMAZON PRIME VIDEO SERIES SEASON 2. If you don't want minor spoilers please don't read OR you can watch season 2 first!! this one shot does not completely go with the plot of the show!

thank you and enjoy lovely readers 🤍

"I can't fucking believe you, Y/N." Jeremiah said, half intoxicated due to them leaving a party at Susannah's house. Susannah was gone and all of you had decided to throw a party.

Rewinding to at least an hour before he had said those words to you, what led up to this moment was surprising. As you and Jeremiah were partying, about to kiss a fight broke out between Milo and Steven.

Another event happened where Skye ended up sharing the news about their mom, Julia making a deal with the kids that lived, well used to live at the Cousins beach house.

You and the others were allowed one week each summer, since the family that Julia had sold it to wasn't going to use it too much. Jeremiah, you and Belly hearing the news, all three of you were happy.

Though there was one person that couldn't accept the deal and that was when Jeremiah and Conrad ended up fighting. You were in the middle of it.

"Jere don't say that-" You said, holding his arm as Jeremiah pushed you away, which caused you to be taken aback. As Belly was leaving, Skye went after her. You stayed as you watched Jeremiah throw hurtful words towards Conrad.

"Jere stop-" You said but Jeremiah looked at you, after everything that he said to Conrad.

"So what you're defending him now too?" Jeremiah asked as you looked at Conrad, before looking down and shaking your head.

"I'm, I'm not sure." You whispered.

"Yeah. There it is again. The I'm not sure from Y/N. One happy thing, such a small thing that everyone could be happy about and you go and ruin it Conrad." Jeremiah said as he walked away.

As everyone seemed to go their separate ways, you stayed in front of Conrad as you felt your chest was hurting.

Conrad was silent, his eyes teary due to the words that Jeremiah said towards him. Conrad looked up as you were lost in thought, your mind vacant before you hear Conrad calling out your name. You looked up at him when he asked, "You okay?" his voice was shaky, hoarse and like it was caught in his throat.

"Yeah...yeah it's just," You started before sighing. "Last summer was messy." You stood there as your voice was shaky too, wondering why in this moment you felt like breaking down.

There was one specific person that you loved so much. That person was Jeremiah Fisher. Yet with how things were going last summer due to the whole love triangle, Susannah and other messy stuff, it was like that again.

You were caught in the middle of it and it was not until this summer that your feelings for Jeremiah were growing uncontrollably larger.

"As soon as school got out, hearing about the house being sold I've been trying hard too. To get the house back. To talk some sense into your dad. To talk to your aunt and I never once told anyone how much things have effected me." You said as your eyes teared up remembering the way Jeremiah and Conrad looked at each other with so much remorse.

"I love Jere. So much, Conrad" You whispered. "Last summer I realized I liked Jeremiah even if he's been my best friend my entire life. Seeing Jere and Bells kiss with Steven, I couldn't take that happiness away." You smiled as you wiped your tears, you weren't a drinker so these were your raw emotions, not intensified too much because there was no alcohol intake.

Conrad seemed to go more silent hearing that Jeremiah and Belly kissed, as if not knowing that already. It was a reminder that Belly couldn't choose. You looked at him as if apologizing for bringing it up.

"Conrad," You called out, "I wanna keep fighting for this house but I don't know how much more all of us can take if it's causing this much damage," You said truthfully as your tears were falling harder. Conrad was crying as well, his head held low before pulling you into a hug.

You two were somewhat the same. Bottling things up, though Conrad got the bigger blow. You hugged Conrad tightly as you sniffled, continuing what you were saying.

"I just had to be there for you both," You mumbled. "You are here," Conrad mumbled. "You are, you really are." Conrad said in a shaky tone, not knowing how else to comfort you. Not knowing if what he was doing for you was helping you feel better.

You didn't want Belly to be alone but the one person that needed someone, knowing that Conrad would go after Belly, you knew no one would be there for Jeremiah.

Conrad pulled away as you wiped your tears. Conrad wiped his away as he patted your head. "Go after Belly," You told Conrad. You pointed to his chest.

"I already know you will." You smiled at him as Conrad nodded. Everyone rarely saw you cry. You knew that you had just let it all go to Conrad, but knew that he had something to take care.

Conrad nodded as he slowly walked away from you, leaving you there to wipe your tears away in hopes that they would be gone. You took a deep breath before walking back into the beach house, the strobing lights still seen through the house's windows since the curtains seemed to not be covering any part of the windows.

You looked through the crowd, trying to find Jeremiah amongst the people dancing and drinking. The smell of alcohol and cigarettes always made you cringe, you and Cam always got along pretty well when it came to parties because you two didn't drink.

You didn't drink specifically because your mom died due to a drunk driver. You didn't want to be that way, and there would come a time when you would finally drink.

You saw spray painting on the wall, people breaking windows and tables as you shook your head, moving past people who were shoving you left and right.

Finally though you found Jeremiah standing against a wall with a red cup already in his hands. You were in front of him as he looked down at you with the same angry expression he showed Conrad.

He was ready to leave, pulling his weight off of the wall as he turned away from you. You grabbed his wrist quickly, making him accidentally drop the red cup in his hand, spilling the drink on the ground.

Jeremiah tried his hardest to hold back his anger, you being his best friend he couldn't be mad. Not at you completely. You looked up at him as he turned around, his eyes still averted away from yours.

"Can we talk?" You asked him, loud enough to go past the loud music that was playing.

"I don't see a reason," Jeremiah said as you bit the inside of your lip and held his wrist harder.

"Then you don't need a reason but I have one." You said as Jeremiah finally looking at you. The reason he didn't want to look at you was because he saw you crying on Conrad.

He knew the reason why you were crying and it was because of him. He knew that too well that he was the one that made you cry, yet he couldn't comfort you and say that it was okay.

Jeremiah pulled his wrist away from your strong grip before walking outside with you, to the beach, a different part of it since Belly and Conrad were talking as well.

You followed after him, as you stared at the back of his head before he finally stopped when you both reached your favorite log on the beach. He turned around as he stared at you with a look of anger still.

"If this is about what I said to Conrad, I'm not taking it back." Jeremiah said.

"Jere you didn't have to say all of that-" "He asked for my blessing, Y/N" Jeremiah started getting riled up, already feeling that anger was bottled up inside of him.

"Yes he did, but he needed someone, he needed his brother and this summer you guys have been butting heads indirectly but things were getting better," You said as had your hands out, you trying not to get teary eyed. Yes you were defending Conrad because he was in the right, but you wanted Jeremiah to know that too.

"Since when were we getting better?" Jeremiah asked as he scoffed, laughing a bit because it was unbelievable to him. "He took Belly away from me. I had to watch him and Belly together. I thought of all people you would know how lonely I was because I was there for my mom when no one wasn't." Jeremiah said, his voice partially raising.

You felt your heart ache as your tears were starting to become visible but you wiped your face while Jeremiah was looking away. You didn't know. How else to tell him. How else could you possibly comfort him?

"Jere," You called out, "I'm here," Was all that could slip out.

"Where were you then? When were you here?" Jeremiah asked as his eyes were tearing up, his eyes seeming to get rid of the anger slowly but it was evidently still there.

"You always comforted everyone else before you came and checked up on me. You ran after Belly when her and Conrad fought at my mom's funeral. MY MOM'S funeral. You told me that you would always be there for me first, you liar." Jeremiah pointed to his chest, as he was hitting his chest with his fingers as he was saying that.

You hated it. Seeing him in so much pain but you were in pain as well. "Jere, I tried to take care of everyone and I'm sorry. I swear I came to check up on you first you're twisting the story," You said, trying to stay calm, while Jeremiah was raising his voice at you.

"You know what, whose side are you on?" Jeremiah asked as he put his hands on his hips, turning his body as he was now rejecting looking at you.

"I saw Conrad hugging you," "Jere are you seriously doing this right now-" "Doing what? Watching you be comforted because you're what the girl version of me and Conrad combined? Bottling shit up and then acting like it's okay? Yet you don't even go and run after me?"

"You aren't making any sense Jere why are you blaming me for that thing specifically?" You asked as you put your hand on Jeremiah's but he pushed you away once again, like he did back there during his argument with Conrad.

"Don't fucking touch me." Jeremiah said with a rough voice. "Whose side are you on." Jeremiah asked as you bit your lip.

You clenched your fists, "What do you even mean Jere?!" You finally yelled which took him aback. You looked away as your chest was heaving.

"When was I here? I've been here the entire time! Being in the middle of you and Conrad. The middle of you and Belly. The middle of you three!" You yelled as you stepped towards him, you pointing your finger on his chest as you were pushing him with it.

"I was there even if I was in pain too. With my mother's death at the beginning of last summer, then Susannah was next. You don't see it do you?" You asked as your tears were falling uncontrollably.

"You needed someone and when you say no one was there for you I watched you miserably. I watched you and felt invisible. You focused on Belly so much when you guys had a thing and I had to act like I was okay with that." You laughed but it mixed with crying too.

"I tried so hard to continuously fix things. Every time Belly had a conflict with Conrad or you I would be there for her. Every time you felt so alone I was there. I was there for each and every one of you and yet you're asking me where I was?!" You yelled.

"Y/N-" Jeremiah said as he took your finger off of his chest and held your hand but you pulled your hand off of him. "I get how much Belly effected you. How much you love her," You said as you knew the next words that you were about to say were fucked up. You knew that you shouldn't put yourself before others.

"I love you Jere," You said, in hopes that he would return the feelings. Yet you knew. You knew that you two made a promise to one another that you would never fall for each other.

There was complete silence, the silence killing you but Jeremiah was taking time to process. The processing ended up stopping, but the next words that Jeremiah said towards you were words that you wished he would never say to you, but he did.

"I can't fucking believe you, Y/N" Jeremiah said as he had a face of disgust. An expression he never had towards you but to others. You saw the way he looked at you, the way that you wished he hadn't.

"So that's it," You said as your breath hitched before your next words came. "You and I were about to kiss, obviously getting even closer during this whole week and you say that to me," You said as Jeremiah looked away.

"That was a mistake," Jeremiah said as your lips quivered, tears falling harder. "I didn't mean to do that. I just wanted to kiss someone." Jeremiah lied, but you didn't know that. Jeremiah knew that he didn't want to hurt you if he was still in love with Belly.

"You wanted to kiss someone?" You asked as Jeremiah nodded. "I love Belly." Jeremiah said straightforwardly. "We promised each other that we wouldn't."

"Fuck- promises are meant to be broken!" You yelled. "Can't you make an exception just this once? That you can love me somehow? The way I love you?" You asked, begging for Jeremiah to somehow look at you the way he always has.

The one time that you finally break, after being so worn out with being the therapy friend, the friend that everyone could depend on but at your lowest moments you could only depend on Susannah and Laurel.

Susannah was gone and that impacted you too but you knew that if you compared it to the pain that Jeremiah and Conrad felt, it would be selfish. That the mother figure that replaced your mom when she passed, was now gone and the last mother figure you had was Laurel.

"I can't fucking look at you." Jeremiah said, his breath shaky. "I can't believe you." Jeremiah said as he started walking past you. You didn't watch him leave, as you stood there, still in front of your favorite log that you two would always have heartfelt conversations on.

Before he could walk away completely, you turned to him. "You can't just leave it at that!" You yelled before Jeremiah stopped. You sobbed as you begged for him one more time, wanting his answer to change.

"Yes I can." Jeremiah said as he turned around, his eyebrows knitted. "I can say that I can't." Jeremiah said, his voice shaky because he was afraid. Afraid that he was losing you now too and it was because of the words that were coming out of his mouth.

You walked up to him and tried your hardest but still he pushed you off of him. He would never treat a girl like this, ever. Yet it seemed like you were a different case. He wanted to get away from you.

"Just- Just get away from me alright?!" Jeremiah yelled which made you stop. You froze and as you did, Jeremiah ran his fingers through his hair before his tears fell as his breath was hitching too.

You watched as he sobbed, his emotions seeming to stir in the pot but with each new ingredient in there, it was the wrong ones every time. You reached out to Jeremiah, but your efforts were short as he finally decided to leave.

This time you didn't go after him. As much as you tried to comfort him, he still walked away without turning back even if your cries were heard. You had tried to hug him, knowing that was always the solution but this time, that solution was last place.

You fell to your knees as you sobbed out, wishing that the conversation ended on a high note but it didn't. Your heart ached before you felt everything suddenly get blurry and shaky. Due to the many emotions you were feeling everything had gone black.

NEXT MORNING

The sun was shining over Cousins beach. The next morning came and everyone at the party was gone. The guests were gone at least except the mess that was left behind.

You felt your breath catch in your lungs before waking up when you felt the glare of the sun hitting your body. You woke up, getting up from the sand on the beach.

"Did I really sleep here?" You asked before your eyes softened realizing no one noticed you were gone. You were hoping Jeremiah would at least bring you inside or be concerned for you seeing that you didn't come inside later that night.

You had your hands on the sand before standing up, your legs feeling numb because of the emotions that were still hitting you right as you wake up.

You walked off of the beach and into the beach house, seeing that the door was wide open, before realizing Laurel's car was there in the driveway.

You blinked before you realized. You ran inside but was met with Belly walking out of the house. Belly was holding her cheek. "Bells?" You called out as held her arm, trying to stop her. She hugged you tightly, her tears falling onto your shoulder.

You were shocked seeing the amount of tears coming out of Belly's eyes. You held the back of her head as you hugged her tightly before she pulled away and walked out to the beach.

You watched as she left, your breathing on double time before walking inside knowing that she needed space. You saw Laurel there, with Steven, Conrad and Jeremiah.

Steven told Laurel that Belly and the rest of the kids were at least here for Susannah's boys while Laurel was absent. After hearing Laurel already knew about the house being up for sale. Everyone walked away from Laurel and apparently you now. Jeremiah didn't bat an eye at you, covered in sand.

Laurel looked over to you before you looked away. "I'll start cleaning up," You whispered. "Belly needs her mom right now." You whispered before grabbing a trash bag, feeling somewhat small as you started to clean the place.

It was an hour or two later that Laurel announced that she would fight for the house and talk to Julia about it. Everyone was thankful for Laurel, glad that Belly reached out to her mom.

You kept your distance from everyone as you felt invisible and sad again. You looked at Jeremiah a few times but he never looked at you. He really did mean that he wouldn't look at you at all.

Julia finally arrived and as the kids were cleaning up, Laurel pulled Julia aside talking at Susannah and her's favorite spot.

You continued to clean up as Belly came over to you with Taylor. "You okay?" Belly asked, her hand on your back. You didn't know that Jeremiah and the others were also listening in as well.

"Yeah, just a little tired." You told Belly. "Jere and I had a big argument last night." You smiled sadly. As Belly pulled you aside along with Taylor and Skye who seemed to tag along, Steven looked over at Jeremiah.

"What happened?" Steven asked Jeremiah who was scrubbing the wall, trying to get the spray paint off of it. Jeremiah shook his head. He knew if he thought about it then he would've said the wrong things somehow.

"Nothing," "Well it doesn't seem like nothing Jere. Taylor and I watched the whole thing. I wanted to punch you so badly seeing the way you made her cry." Steven said as Conrad awkwardly listened, still on the silent treatment with Jeremiah.

Steven put down his trash bag as he made Jeremiah stop too. "I get it. We've all been through a lot of shit man but I know damn well that you love Y/N. More than Belly." Steven said as Jeremiah looked away.

"I don't." "You really are an airhead like they all say." Steven chuckled before making Jeremiah face him.

"You may think that taking the easier option is better but the better option will always be there for you and if I'm going to be honest it's Y/N. You said it so yourself. Belly will always have something for Conrad. There's someone though waiting for you." Steven said since Conrad left the room. Jeremiah looked up at Steven as Steven was awkwardly smiling.

"I.." Jeremiah said before his shoulders fell, "I fucked up so badly," Jeremiah said as Steven agreed.

"Well yeah. Can't say that I don't agree with you cause I do." Steven laughed as Jeremiah nodded.

"I..I don't know. I just don't know." "Well you gotta know somehow. All the things you said weren't her true intentions and even you know that when you start to regret what you said. She's always been there for you. Through everything. Of course she would love you dude. It isn't hard to love someone like you. Especially her. She always finds a reason." Steven reassured as Jeremiah's eyes teared up.

"Do you think she'd forgive me? For the things I said? I've never in my life spoke to her like that. I've never said such harsh things to her and yet in that moment it felt that that was the only thing that I could do." Jeremiah explained, his obvious regret showing.

"Give it a day or two. You'll probably realize it more." Steven patted Jeremiah's shoulder. "What you said was fucked. Even I would be hurt if someone said that to me." Steven said, not trying to blame Jeremiah but he knew that the two would push through.

Jeremiah paused for a bit before nodding. He knew that he had to do something somehow. He knew if he wasn't there for you the way you were there for him, then no one would be. Hearing that you slept on the beach, eavesdropping and everything no one came to come get you.

Jeremiah knew that as a best friend he should've been there for you. To carry you inside despite being so mad at you. He knew that he put his emotions first. Who knows what could've happened. He wasn't there for you the way you were there for him.

Those thoughts of what he said to you last night started to course through his mind. He winced at the thought of everything as Steven went to go clean more.

He would give it a day or two, in hopes that he would realize it all.

That he needed you, and loved you the way you did.

Taylor was currently giving you a hug as you tried your best not to cry. You stayed so strong up until now but again, you were a carbon copy of Conrad and Jeremiah combined. Belly and Skye were rubbing your back as you cried.

You hated the words that Jeremiah said towards you. Taylor had heard it all with Steven and explained everything to Belly and Skye for you so that you didn't have to.

You closed your eyes, hoping that all of this was a bad dream. Hoping that what Jeremiah said wasn't meant. Your chest kept on going up and down quickly. You were hiccuping as your walls crashed down.

You hoped that the house would be in the possession of the boys. You knew though that you didn't want to be a part of it anymore. You told yourself as you were being comforted, that this would be your last summer at the Cousin's house.

THE NEXT DAY

As you all were wrapping things up, Conrad and Jeremiah had a heartfelt conversations the night before. It seemed that everything was able to be fixed yesterday except things with you and Jeremiah.

You of course included yourself in helping Conrad study for his test in Brown to get into Stanford. Everyone was all for it, especially Belly. Yesterday evening was the last time you saw Julia and Skye for now.

After being able to convince Jeremiah and Conrad's dad about selling the house they had in Boston, things started to get good from there.

The morning came around and things needed to finish up. With the house not being on the market, everyone needed to go home and would be able to come back whenever they'd like and whenever everyone had free time.

You smiled as you were saying goodbye to Laurel. While the others were saying goodbye to one another, you wanted to talk to Laurel first.

"Thank you so much Laurel for everything that you've done up to this point." You said as you were holding her hands. Laurel smiled as she looked at you. You looked back at her, and the obvious eye bags were under your eyes.

"I heard what happened between you and Jeremiah," Laurel said as she gave you a hug. "Thank you so much for being here for everyone. We'd love to see you here again next summer or this summer if anything." You softened up in Laurel's hold before holding onto her and smiling.

"I'll think about it," You said as Laurel nodded. Laurel slowly pulled away as everyone started getting into their cars. You ended up actually driving here, so you didn't have a problem taking your time getting home. You took a good look at the Cousins house.

You weren't ready to leave yet, as everyone was talking about when they would next be all together. Everyone was saying the fourth. You looked at everyone in the group before smiling and humming.

"Yeah, I'll be available whenever." You chuckled as you started waving goodbye to everyone. "I'm gonna stay here for a bit longer. Conrad tell me how the test goes. Tell us everything," You smiled as Conrad nodded, with a content smile.

"See you whenever, Y/N" You nodded as everyone seemed to be driving out of the driveway. You didn't notice that Jeremiah actually stayed behind, instead of driving off in his brother's car. Conrad ended up leaving without Jeremiah.

You had your back turned, oblivious to Jeremiah staying behind as you walked into the Cousin's house, going to the pool as you dipped your feet in the cold water.

You heard the door open and looked back seeing Jeremiah was there, his hands in his pockets as he looked over at you, sitting on the ledge of the swimming pool.

You slowly looked away, still kicking your feet gently. Jeremiah slowly sat next to you, dipping his feet in the water with yours. It was silent for a good minute as the awkward silence was sitting there with you two as well.

Jeremiah was the first to break the silence, as he looked at you slowly, seeing that you were watching your feet kick in the water that you were now used to since they have been in there for at least a minute.

"Let's talk?" He asked as you tensed up a little before shaking your head. "I don't see a reason to." You snapped back, repeating his words from last night. To your surprise though, Jeremiah said the exact same thing that you had said to him too. You both switched placed though.

"Then you don't need a reason but I have one." Jeremiah whispered which made you stop kicking your feet. You slowly looked over at Jeremiah, your eyes already teary eyed. Jeremiah stared at your hurt filled eyes as he winced seeing how drained you looked.

Jeremiah reached up as he cupped your cheek gently, but you pulled away a bit. Jeremiah still tried though, holding both of your cheeks as he took a good look at you.

"No," Jeremiah whispered. "Don't pull away," You shook your head more as you held onto Jeremiah's wrists, wanting to shove his hands off of you but you knew that if you didn't want to do that truly.

"But you did," You told Jeremiah as you continued to look at his ocean eyes. "You pushed me away," Jeremiah nodded.

"I know I did, and I'm sorry Y/N." Jeremiah said as he wiped away the tears that were streaming down your cheeks as they were coming down.

"You didn't eat today or yesterday. You haven't slept either. I saw you were still awake even when everyone else was sleeping." Jeremiah said as he put his thumb gently under one of your eyes, seeing the obvious eye bags that already grew.

"It's hard to when you're mad at me." You admitted. "I didn't think you would have noticed me at all since you said that you couldn't look at me," You looked away as Jeremiah's eyes softened.

"Everything with Conrad, I resolved all of it. We told each other that we would talk things out as they come and not let them linger." Jeremiah admitted towards you.

"Things with Belly..I already knew that I don't love her that way. That there will always be a better option for me and..Y/N that's you." Jeremiah said, trying to convince you that the words he said to you a night ago was wrong.

You continued to look away as Jeremiah was the one speaking this time. "I do love you too. In the way that a best friend does but the way that a lover does too." Jeremiah said as he slowly let go of your cheeks, grabbing hold of your hands that he noticed were shaking, seeing your body tremble as well.

He could still see the silent cries you were giving and he knew that instead of being jealous of others that he'd rather be there for you than watch you crying in someone else's arms.

You stayed silent as you listened to Jeremiah, still trying to register everything. "I know..it's hard to forget what I said. But I'd rather say this and take back all of the words." Jeremiah held your hands still, trying to stop them from shaking as he kissed your hands gently.

He closed his eyes, "I'm so sorry for the way I talked to you. I'm sorry for making you cry. I'm sorry for blaming you and lying to you that it was a mistake." You started to sob but Jeremiah didn't stop.

"I'm sorry for pushing you away and thinking you're invisible..you aren't. I needed someone and Belly couldn't be there for me because she was always with Conrad the most. I'm sorry for forgetting about you." Jeremiah's voice started to become shaky, starting to get emotional as he continued.

"I'm sorry for never realizing how much I loved you, Y/N." Jeremiah stopped when you took your hands off of Jeremiah's hands. With this, Jeremiah thought that you were going to get up and leave but you had your hands on his chest, pushing him gently.

Jeremiah looked up at you as you looked at him, hiccuping as your voice finally came out. "Stop," You whispered as you punched him gently, "Just kiss me already," You begged as Jeremiah's eyes widened.

Jeremiah put his forehead on yours as he watched you start to calm down, feeling how close he was to you. Jeremiah gently, hesitantly grabbed your cheek.

"I want to kiss you, I really do." Jeremiah said as your noses touched, booping one another's. "Out of all the people, it was always you." Jeremiah said before his lips hit yours.

Your body stopped trembling, as you melted into the kiss that Jeremiah had given you. Your first kiss was with your best friend. This was Jeremiah's millionth kiss probably but to you, this was the kiss you wanted it to be with.

You kissed Jeremiah, wrapping your arms around Jeremiah's neck as you pulled him closer.

He pulled you closer by the waist as he held you tightly, not wanting to let you go. You pulled away for a second before reconnecting your lips together with his.

Jeremiah tucked some strands of your hair behind your ear, feeling his chest was about to explode because of how much his heart was beating double time.

No one else could make both of you feel this way, both of you knew that for sure as you felt sparks. As Jeremiah slowly pulled away, Jeremiah stared into your eyes as he smiled softly, seeing how out of breath you were.

"The tears are gone." Jeremiah pointed out as he hugged you tightly, burying his face in your neck. You pressed your lips against his curly hair, closing your eyes slowly.

Jeremiah looked up at you again, pulling away a bit from the hug. He connected his lips with yours again, kissing you was so easy to him it seemed.

You kissed him back instantly, smiling in the kiss because you felt better. You felt that things really were going to be okay with Jeremiah. Jeremiah pulled away this time, staring at your lips before pecking it gently with a smile.

Jeremiah rubbed your back gently before getting up and helping you up as well. Jeremiah held your hands before sitting down on one of the beach chairs with you. He put you on his lap gently, having you face him.

You had your hands on his shoulders, having some support as you stared into his eyes.

As you two were silently looking at one another, the silence was broken when both of you said at the same time,

"I love you," You and him stared at each other before laughing softly together.

"Let's stay here for a bit, then I'll come over and sleep over." Jeremiah said as you nodded.

"I'd love that, a lot." You said as you pushed all of your weight on Jeremiah's as he laid on the beach chair with you on top of him.

Jeremiah kissed your forehead gently, having his arms up as a arm pillow.

Jeremiah closed his eyes as he smiled softly. "Me too,"

[dialovers-lover-xoxo]

[nickfowlerrr]

the truth is this

pairing: bucky barnes x curvy!reader (friends to lovers)

warnings: fluff, kissing, very slightly edging on heavy petting, mention of an erection, no smut but still 18+ only.

words: 2.9k

notes: loosely based on these prompts: platonic forehead kisses starting to give u the feels. LIKE ITS SOMETHING MAGICAL. and "is that really all 'A' is to you?" thank you so much to @anthony-sharma for the request! thank you in advance for reading and as always, feedback and reblogs are more than welcome and so appreciated!

"So you're telling me you didn't notice the way she was looking at you just now?" Sam asked skeptically.

"I'm telling you I have no idea what you're talking about," Bucky rebuffed, his brows furrowing in agitation.

"Well I do know what I'm talking about. I'm talking about you and her finally pulling your heads out of your asses and realizing you like each other."

"No shit we like each other, Sam. She's one of my best friends."

"Is that really all she is to you?" he questioned pointedly.

Bucky stopped in his retreat as he took in Sam's words. He instantly knew his answer, but still told himself had to think about it. Because although his thoughts were flowing with all of the things you were to him, all things that went way beyond the scope of just friendship, he was still too scared to admit it to himself, let alone anyone else.

Sam watched as Bucky swallowed hard, his jaw tightening and brows furrowed even more. It looked as if he was blinking away his thoughts when he finally looked back at Sam. An annoyed look taking over his features once again. He didn't say anything, just grumbled in response before he continued out of the room.

For nearly three hours after the little confrontation he had with Sam, Bucky raged with himself in the privacy of his own room. His head was swirling and he could barely keep track of what part of him was winning the argument until a knock came on his door.

Not just any knock, your knock. Somewhere in the back of his mind he was expecting you, he had just lost track of time with the internal struggle he had been trying to sort out.

Something changed, though, when he heard you. All thoughts of not acknowledging his feelings, in part to not wreck what he already had with you, went right out the window.. kinda.

He could accept the true depth of his feelings for you, but he'd be damned if he spoke them aloud until he knew that there'd be no shot at hurting your friendship if you didn't feel the same.

Sam's words came back to him as he considered that you didn't. The way she looked at you...

How had you looked at him? Were all the signs there and he was just blind to them? Well, he'd be sure to pay close attention tonight. See if he could see what Sam saw.

He got to the door and opened it for you, greeting you with a smile as you walked into his room and instantly wrapped your arms around him in a tight hug. When you pulled back ever so slightly, peering up at him with sparkling eyes, Bucky swore he felt himself get weak in the knees.

Your smile was the most beautiful thing to him. He'd do anything to get one out of you, though he really didn't have to try all that hard. Your usually stoic demeanor, or resting bitch face as Kate had called it, was rarely ever broken; but as the rest of the team noticed long ago, Bucky seemed to have a knack for breaking it quite easily.

It was like you just couldn't help your smile when he was around. You'd always get more talkative and seemed a lot more approachable than when you were alone. It wasn't like you were a mean person, far from it, you just had a bit of an intimidating presence most of the time. You were a quiet person and weren't typically the most open. It wasn't something you put on, it was just your natural disposition. One of the reasons you and Bucky had gotten so close so quickly was because he was one of the only people to not have been put off by your introversion; he wasn't hesitant to talk to you, in fact, the moment he had seen you, he just had this feeling that you and him would get along swell. And he was right.

He'd gone up to you and introduced himself, and you gave him your name with a small smile in return. You and Bucky had a lot in common and though it took you a little while, you soon found yourself more comfortable around Bucky than you had been with anyone else...ever.

You guys could talk for ages and never bore, or you could sit in each other's silence comfortably for hours on end, not needing anything other than each other's company.

Neither of you realized how close you had gotten or how you appeared inseparable until it started getting pointed out by everyone else.

Repeatedly.

Over and over again.

Whether it was playful jokes at your mutual expense during meetings, or pestering whispers in your ears by your friends trying to bring your attentions to what everyone else could already see, to what everyone had seen from the very start of your and Bucky's friendship: That it was so definitely more than just friendship.

He wasn't sure what it was about Sam's comments this time that finally had him taking it seriously. Maybe it was because he felt it too. And truthfully, he always had, but maybe he just couldn't keep pushing the thoughts away. Maybe... maybe it was because he knew deep down, the love he felt for you was way more than just platonic. Maybe he finally realized that he was well and truly in love with you, and maybe he had a bit of hope burning bright that you felt the same way.

Bucky collects himself as he gazes into your eyes, feeling like if he stares too long he'll lose himself to you completely. But he really doesn't think he'd mind one bit. You pretty much have him already.

"So," you breathe as you begrudgingly pull away from his warmth, "did you decide? Movie or tv show?" you ask as you step past him further into his room.

He shuts his door before turning and following you to the kitchenette where you easily find the stash of candy Bucky keeps for your "movie" nights.

"Uhhh, you pick," he says as you pass him once again, heading to the couch and throwing your stockpile of sweets on the coffee table before you as you get comfortable.

"Okay," you agree, grabbing the remote and scrolling through the titles to find something at least halfway decent to put on.

Your eyes flick over to Bucky and you realize he's still wearing the clothes he had on earlier while you're in your pajamas, like you always are on movie night.

"Why are your clothes still on?" you ask as you peer up at him from your spot on the couch.

Bucky's breath catches in his throat as his heart nearly stops beating entirely, heat rising to his cheeks. In the same moment your eyes widen as you hear yourself and your breath stutters for just a second. Why did you say it like that? you chide yourself. Wishful thinking, some other part of your brain snickers. You push the thought away. Inappropriate.

"Huh?" Bucky asks, though he heard you full well.

"I mean, you're not in your pajamas," you clarify.

"Right, yeah, I uh, I was a bit distracted before you got here," he admits as he absentmindedly rubs the back of his neck. "I'm gonna change, you put something on. I'll be right back."

Bucky changes his clothes quickly and returns to you just as you find something to put on.

You watch him enter the room and laugh as you note that you're kinda matching now. You're both in gray sweats and as you wear a black long sleeve v-neck, Bucky has on a short sleeve v-neck in the same color.

Bucky notices as you do, "I swear this wasn't on purpose," he chuckles as he settles down next to you.

You titter as you start the movie and adjust in your seat to get more comfortable. And by more comfortable, you really just meaning scooting over to be closer to Bucky.

Bucky watches you as you move to be closer to him, smiling to himself as he realizes you're trying to be cool about it, trying to not make it too obvious. It's cute, but he really doesn't mind. In fact, the closer you are the happier he is. Your thigh brushes his as you keep a bit of space between your upper body and his chest.

Bucky fights off the urge to grab your legs and pull them into his lap but he can't fight the urge he has to pull you in closer.

His arm comes around your right side as he pulls you into him. You look up at him in a bit of surprise, but he doesn't return your gaze, he keeps his eyes set on the screen before him.

You blink in wonder before you look back at the screen too. You bite your lip to keep from smiling at his unexpected action and settle into his hold, scootching closer as you recline against him and let his hand rest on the curve of your waist meeting your hip.

You feel like you’d been dropping hint after hint, purposefully, these past two weeks after a long night of talking with Sam and Nat when you were finally able to put a name to your feelings; the realization you had entirely fallen for your best friend was maybe a bit pulled out of you by them but it was true nonetheless.

You’d stopped holding yourself back the way you normally did when it came to touches and hugs lately, hoping maybe Bucky would get the hint and you wouldn’t have to say it outright.. at least not first.

Admittedly, you could feel the tiniest bit of awkwardness - or maybe tension was the better word, between you and him at the moment. Not entirely unpleasant, but still it was there. At least it had been for a minute. But soon as Bucky settled his hand on your hip, that all faded as soon as it appeared. It was completely comfortable, it felt right, being this close to him. Though, truthfully, it always felt right when Bucky around.

As you fought your smile and Bucky’s hand gently squeezed your hip unconsciously, your heart warmed. Maybe he was finally picking up on what you were trying to do and hopefully the reason why.

Sam and Nat had been sure to let you know it was obvious that he felt the same for you, but still you were nervous to come right out with it.

Slow and steady, you remind yourself. No need to rush things anyway. You’d rather him come to the same realization you had on his own time, not yours.

But god, you hoped he really felt the same.

Bucky takes a peek down at you once he feels your eyes are off of him. He smiles to himself at how perfect this is. How comfortable you both are with the more intimate touches, despite neither of you bringing it up. It just feels natural.

So natural, he isn't really thinking much when he leans down and places a gentle kiss to your forehead. When he catches himself doing it, he zeros in on your reaction to it. It's not like he hadn't done it before, but any time he had it was usually in parting, as customary for you guys as a hug.

This was clearly more intimate. A show of affection he wanted to give you, no other reason than that.

He admires the soft fluttering of your lashes and the way you lean further into him, letting your head rest on his chest.

For half a second, he sees you worry you've made a mistake as he pulls his arm from around you but when he gently takes hold of your chin and turns you to face him, time seems to stand still as you gaze at one another.

You wait with bated breath as you search his bright eyes that are gleaming down at you. He can hear the change in the rhythm of your heartbeat and as he lets his eyes flit to your lips, he swears he hears the sharp intake of air you breathe as your eyes fall to his own lips before returning to his stare.

The next thing he knows, Bucky is holding your gorgeous face in his hands before he leans in closer and takes your lips in his. It's slow and gentle as he takes his time savoring your first kiss. Somewhere in the back of his mind, he registers your hands on his as you return the kiss, and it quickly turns a bit more fervent. Like you've both been waiting forever for this exact moment to happen.

You pull your legs up onto the couch as you turn and move closer to Bucky. You're not thinking as you straddle his lap, the kiss only growing deeper and more intent with each second that passes.

Your hands leave Bucky's as you move them to stabilize yourself without full on sitting in his lap, one hand behind his neck and the other on the couch behind him. Bucky's own hands find their place on your hips before he pulls you down, forcing you down on his lap.

You moan into his mouth as he grabs a handful of your ass and you feel him growing slightly beneath you.

You have to break the kiss to breathe, both of you panting heavily as you press your forehead to his, nose to nose as you breathe one another in. You can't help the smile that breaks out on your face as you laugh breathily, gripping his neck as you shake your head in disbelief.

You place a soft kiss to his lips once more as he holds you to him.

"Sorry," Bucky begins, though he looks to be the furthest thing from it as he smiles that charming smile of his. "I just.. I think I've wanted to do that for a while now. It just felt right."

"You don't have to apologize," you smile softly in turn as you play with the stray hairs curled at the nape of his neck. "I think I've wanted you to do that for a while now. And it did," you breathe with a nod, "it definitely felt right."

"I wanna do more of this," he murmurs against your lips after he places another kiss to yours.

"Me too," you agree with a peck of your own. "I think I wanna make out with you," you muse.

One side of his mouth slants up in a smirk as his hands run up your sides, "I think I want you to make out with me, too," he says, amused before going in for another kiss. You both smile into it and you swear your heart is near bursting as your tummy flutters in your happiness.

"There's something I need to tell you first," he says seriously as he parts just slightly from you.

His hands rubbing up and down your back keep you from worrying as he effortlessly soothes you.

He maintains eye contact as you wait for him to continue.

"I think, - no, I know," he corrects himself. "I love you," he breathes your name as part of his confession.

You move your hand from the couch and gently hold his stubbly cheek instead, thumb rubbing over the skin of his cheek softly.

You smile again, holding his eye as you lean into him before you kiss him slow and deep, trying to get all of the things you're feeling across to him, but most namely, the main one. The love.

You part from him gently as he follows you, mindlessly chasing your lips before catching himself.

He blinks up at you as you perch over him slightly.

"I love you, too, Buck," you nearly whisper as you caress his cheek. "This doesn't change anything, ya know," you add.

He furrows his brow in slight confusion at your words.

You laugh lightly at his expression before continuing, "You're still my best friend. Nothing's gonna change that."

"Wouldn't expect it to," he smiles.

It's quiet between you for a moment before you speak again.

"Promise," you urge softly.

"Promise?"

"Promise nothing's gonna change that," you say as you look down at his chest, moving your idle hand to play with the chain you find there.

"I promise, hey" he says sincerely as he puts two fingers under your chin and has you meet his eye once more, "I promise."

"I don't wanna lose you."

"You won't," he reassures you before suddenly turning you both and flipping you on your back as he leans over you. You gaze up at him a little breathless as you titter.

"Okay," you whisper your trust, your arms reaching up to wrap around his thick neck, pulling him down closer to you.

"Okay," he echos before brushing his lips against yours once more.

The movie is long forgotten as you and Bucky spend the rest of the night completely wrapped up in one another. Talking, touching, just being with each other. The way you were always meant to. It was comfortable, easy. And you couldn't ask for more as you felt entirely whole and at peace in his strong arms promising to never let you go.

[littlebirdy-bat]

thinking about… late night confessions conversations with Dick

Moonlight streamed through the opened window, plans of shutting it long gone with the sun. The night was calm and peaceful, quiet enough that Dick had managed to abandon patrol early in favour of visiting his best friend.

Lying in the middle of your bed the two of you fade in and out of conversation, ranging from childhood memories to your last relationships and everything in between.

Hearing shuffles beside you, Dick breaks the comfortable silence you had been sitting in.

“You deserve someone who would treat you right.”

Rolling onto your side with a lazy smile and a raised eyebrow you reply, “and who might that be?”

“… how about me?” Upon hearing his reply, you bolt up into a sitting position, suspiciously eyeing him, unsure if he was joking.

“are you- are you messing with me?”

His usual cocky demeanour fading every second you analysed him. Finally, flicking his eyes up to meet yours he replied, “what if I’m not?”

You feel your throat going dry at the confession, nerves electrifying every part of your body. I must be dreaming.

With courage you never knew you possessed, you lent towards him. His frame still lying down on the bed. Eyes taking in the welcome sight of him in your space.

“Well then I would tell you I’ve been waiting for this moment for years.”

One of his hands darts up, tucking fallen hair behind your ear and caressing your face.

“So have I,” His breath fans over your face, eyes darting down, filling with temptation at the sight of your lips.

The next words tumbled out in a hushed whisper, as if they were your lifeline, “kiss me. please”

Soft lips met yours. Time seemed to stop and the ever lasting moment was overwhelmed with a soft but fiery passion and a promise of more to come.

[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.)

[ddruxyart]

At this point the bully has become the bullied but he keeps coming back for more??