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straighttohellbuddy · 4 years ago

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how the light gets in {Corpse Husband}

2. you’ve gone way too fast for way too long.

Summary: Supernatural Creatures AU. Them/Them Reader. After the success of your first stream, you find yourself wanting to get back to your YouTube roots, and what better way to do that than with a cover by one of the bands who holds a special place in your heart? And maybe you’re using it to distract yourself from thinking about how coming back to YouTube means coming back to the things - the people - you’d left behind.

Maybe it’s selfish, but Corpse kind of wishes you hadn’t come back to YouTube; honestly, if anyone else had taken the world by storm, he wouldn’t complain half as much, except it’s you and he’s still mostly convinced that you might be an angel like him... Except better. Because of course you would be a better angel, you’re talented and driven and personable and essentially everything an angel should be, and - bar the talented bit, Corpse at least knows some of his worth - you’re everything he’s pretty sure he’s not. Except it seems like everyone loves you, and he doesn’t exactly have a good enough reason to be bothered by you the way he is, so he has to act like he isn’t. Which is a lot easier said than done, when you barely say a word to him and it feels like all of his suspicions are confirmed.

A/N: 8471 words. Reader in the fic is stated to be 24. THIS HAS NOTHING TO DO WITH SUPERNATURAL THE TV SERIES. me, trying to walk the line between 3rd person omniscient narrator and trying to make the narration feel like its somewhat coming from the POV character?? it’s more likely than you think! as always, i really appreciate feedback.

{ m a s t e r l i s t }

Taglist: @nanasort @meme-lord-and-savior-sebastian @theboywhocriedlupin @taikalinna @jaychirps @bingusmode @divine-artemis @realmejay @lovemelikepercy @balla-deer @miniritzcrackers @loraleiix @ppopty @easygoingtheatre @insanedeathwish @siriuslystupid @losvertown @janiathecat @wineandionysus @moonlightsimp @allylyew @chokingonflxwers @sicnesa @xxniksxx @mishisamess @preciousskye @yashinosakura @meleekabenjamin @whatamievendoinghere01 @lxurxn-02 @liljennyx3 @the-fusionist @benjaminka @lilysdaydreams @a-lonely-bic @letsloveimagines @melmachh @tama-chan-suneater @shio-yuki @fairywriter-oracle @easygoingtheatre @pixelbxtch @dreammoutlouddd @abysshaven @mediocrearistophanes @tsukishimawh0re @inkbyajm @jordiee95 @honkcorpse @kaiihaan @takenbyheartstrings @mrtony-stank1 @dangeroustreebread @xibrokensunriseix @corpseglider @artsyally @ellsbells2143 @machine-gun-casie @marvelsmurphy @bigmac-papi @danielle143 @fivedicksinatrenchcoat @starstruckllamapuppy @youretheonlyonewhomakesme @fee-btheweeb @parkerpeanuts @fanfictionenthusiast @evans-dejong @pancakebinnie @minbunbun @sabrinarahaman @thefangirl05 @jades-bullshit @fo-love @roses-and-grasses @thirstyfangirl @lovelysmp @325575 @wrongcielo @lukathecrime @lunariasilver @delicrieux @rebloogggs @kookiesandtae7 @mizxkii @effielumiere @happyyyandcrazyyy @teenageguitarist @prettylittlealiengirl @aroyalharknessblr @kylie-writes-stuff @annshit @haunteddeputymugpersona

taglist is always open! message me if you’d like to be added xx

----

The day after your song drops, it’s on Spotify’s Top 50 Viral playlist, it’s charting on iTunes, it’s splattered across the internet, according to your manager, who sees fit to text you, congratulating you on what she assumed to be a masterful marketing tactic; releasing the song and immediately streaming alongside huge YouTube creators who have a wide and diverse fanbase, all plugging your music. She thinks it was a carefully calculated move, which makes you feel all kinds of scummy, like you were using your new friends. Thankfully, when you fire a somewhat defensive response about how you had no ulterior motive, that all you wanted to do was have fun and make friends, your tone apparently reads loud and clear, as you receive an apology a few moments later. Backtracking, she simply mentions that, even unintentionally, you had great timing, and she’s glad you had a good time, which is better, and you try not to dwell on your initial assumption. Years of your life had been spent worrying that the people you were close to just thought you were using them for views or fame; her words did little to quell that worry, so instead you tried to distract yourself, or at the very least, focus on the good that yesterday had brought about.

The best, of course, was Sykkuno, the hellhound who’d endeared himself to you almost immediately. Something about him makes you feel safe, though perhaps it’s that you’re unused to someone feeling so familiar; you like to think you’re a good judge of character, so for now, you’re trusting in your instincts, trusting in Sykkuno. The next best thing was a tie, between friends and freedom. Yesterday you’d been doing what you wanted to do, not what you thought you should be doing, not what was on brand, or carefully scripted; you were messy, stumbled over your words, and you laughed and deceived your friends as was the aim of the game, it was so freeing to be unfiltered. People kept saying it was nice to see you smile, to hear you laugh again. Huh. Part of you really doesn’t like that you know exactly what they mean, and more importantly, why people are saying that at all. But things are different now, are freer now; your brand was built on you, it’s nice to get back to that.

By mid-morning, you’d been sprawled out on your sofa for almost an hour, glad to be alone, to not have to worry about being seen, as you’ve phased your tail back into reality, and have it holding up your phone as you scroll through Twitter with one hand and fidget idly with the other. More and more you’re seeing supportive comments from people gushing about the few bars you’d sung of 5 Seconds of Summer’s Youngblood on stream yesterday. First your chat had loved it, now it seems the general consensus was that people would love for you to cover more than a few bars. While you tried not to listen too much to what other people wanted, you couldn’t help but admit that it was something you definitely wanted too.

When you text your manager, new idea already taking hold of your focus, your earlier unsavoury text conversation seemingly forgotten, your manager reminds you that you should be working on your new album, putting together the tracklist for your EP. Ugh.

It’s not that you didn’t have ideas, quite the opposite; you’re exploding with ideas, brimming, overflowing with them, for songs you wants to write and feelings you can’t express any other way, but the songs and collaborations you’ve already completed, their mp4 files sitting neatly on your desktop, you wanted to save them for the full album, like it was some sort of penance for getting to collaborate, getting to become friends with people you looked up to, people who inspired you. To you, their contribution was worthy of your full album.

Well, that was part of the reason, the other part was that the songs you had designated for the album had a different vibe to your EP songs; albumtouralbumtour and imposter syndrome had both been written in lockdown, about very specific concerns you were having at the time. The EP was shaping up to capture a very specific moment in time, while the album was so much more than that. You couldn’t put read at five am on the EP, the collaboration you’d done with Troye, a lyrical-lament with a dissonant, upbeat melody, an apology for when you’re the one who cuts off contact with someone you’re close to and don’t know how to say why, and don’t know how to come back; yes, the fact that you and Ethan are talking again means that the song is technically relevant to this period of time, but it’s three years of regret and indirect apology compressed into in three minutes. It’s going on the album.

But being stuck at home all day for months had made you all nostalgic for your roots, for when you’d started uploading all the way back in 2012, at 16, with no idea what a few videos would lead to. You missed covering songs you loved, the songs other people had written and that you had still connected with, the songs that made you want to write your own. Yes, you loved your own content, obviously, but from idea to video publishing, you knew a low-effort cover would take you maximum a day and a half if you were particularly inspired, which you clearly were. By now, you’d been doing this for so long that you knew the legality of it all like the back of your hand, and were in a stable enough place to be more than happy to pay royalties to the band you’d co-headlined alongside for your first international tour.

“What if I call the boys and ask them?” You decided to just call your manager directly, tail curled securely around your phone where you’d put her on speaker, pottering around your kitchen trying to find something to eat. Alison, on the other end of the line, sighed deeply, having been fielding these sorts of calls from you about once a fortnight since lockdown had started.

“Have you finished moment before impact yet?” She countered, and you wrinkle your nose; its as if she can hear the expression through the phone with the way she continues on, not giving you a moment to cut in, “listen, I won’t tell you what to do, but you need to make a decision about your EP tracklist soon, okay? The label’s breathing down my neck, you know you have more than enough songs for it.”

“Alison, the vibes -”

“The vibes, Y/N, I know,” she sighed deeply, but you could hear the faintest smile in her voice.

“I promise I’m working on my own stuff; I think moment before impact is gonna be a collab, but I’m not sure who with yet, but if it makes you happy, once I record this 5SOS thing, I’ll work on a demo of moment for the EP,” you concede, and you hear her hum in approval, “I promise I have all the songs in my head, I just gotta make sense of which ones are the right ones for now, you know?”

“I really don’t,” you could hear her actually smiling now, so you let yourself relax for a moment, hands braced on your kitchen counter as you looked to your phone, “but I suppose that’s why you’re the musical one and I’m the manager.”

“My favourite manager,” you told her sweetly, and her answering laugh is more of a snort.

"Call the band, maybe they can work something out for you regarding royalties, if you plan to monetise it," she suggested, and you hummed, "keep me updated, okay? Make sure you're still working on your own stuff though."

"Alison you're a national treasure," you tell her feelingly; you don't even have to see her to know she's rolling her eyes.

But you take her advice, sending 'what if I covered Youngblood and posted it to YT? I'll pay you royalties' to the mostly dormant WhatsApp group you have with 5 Seconds of Summer, despite it being about six in the morning in Australia. Callum sends back a thumbs up almost immediately. Its all the confirmation you need to get started.

As you’re hunting through your house for a pick, turning over cushions, looking through junk drawers, you hear your phone go off, and you take a moment to check, surprised by what you see. A message from Sean. Huh.

[I see you’ve finally decided to join us in the gaming community, took you long enough 😊 If you ever wanna play something, just gimme a yell, you know Id be glad to have ya on my team.]

Considering the fact that it had been three years since you and Sean had properly been in contact, you find the message both surprising, and strangely heartwarming. There were a few people you’d purposefully fallen out of contact with, plagued by your own fears and self doubts. The people who you’d seen in person almost daily were the ones who you’d felt the absence of the most, but Sean, just by his close association with those people, along with a few other international friends, had been regretfully left behind also. Here and now, you can feel just how much you’ve missed him, how guilty you feel for giving in to your own anxieties and the negativity spewed by others.

But you know you can’t dwell on the past, on your mistakes, all you can do is be grateful for the opportunity to reconnect, and take it.

[ID: A tweet and reply conversation between @yourtwitter and @goldeny/n, followed by a single tweet by @ZeRoyalViking, and a tweet and reply conversation between @yourtwitter, and @5SOS.

@yourtwitter: someone yell at me for doing another cover instead of my original stuff. quarantine got me feeling 17 again. might do the cinnamon challenge next. or finally do that Roast Yourself trend 4 years too late. | @golden_y/n: BRUH YOU BEST NOT BE PULLING OUR LEGS | @golden_y/n: I would empty my bank account to see you roast yourself. | @yourtwitter: Please Don't Do That YouTube Is Free | @golden_y/n: 😳💀💖

@ZeRoyalViking: stream today with some familiar and not so familiar faces!!

@yourtwitter posted an image of Griffin McElroy from the My Brother My Brother & Me TV show. Griffin is a Caucasian man wearing glasses and a blue checked shirt. He is visible from the chest up and is sitting behind a desk with one arm in front of him, with his thumb out, as if counting. The image’s subtitles have been edited, now reading ‘My friends are very much into the following: Bullying me on TikTok.’ | @yourtwitter: @luke5SOS is just mad im gonna sing his song better than him. he doesn’t use twitter anymore so i have the upper hand here. | @5SOS replies with a gif of Jason Momoa, who is incredibly muscular, with dark hair down to his shoulders, a black tank top, and sunglasses on, holding a microphone, standing in a confrontational manner, captioned ‘No, no, no. By all means, speak your mind. You got a problem with my boy?’ | @yourtwitter: HE WENT LIVE UNPROMPTED TO TELL PEOPLE ABOUT HOW I WROTE NOTIMETOSLEEP IN THREE DAYS WITH NO ACTUAL SLEEP, OPENED FOR THEM IN ARIZONA, AND IMMEDIATELY PASSED OUT FOR 16 HOURS AFTER WALKING OFF STAGE | @5SOS: we just miss you tho... and it is kind of funny. | @yourtwitter: the minute im allowed to safely leave lockdown im coming to australia to german supplex the lot of you. ❤️

End ID.]

Corpse’s whole ‘not thinking about you’ plan goes down a lot smoother when you’re not actively stealing his friends- what kind of Angel goes around stealing another person - another Angel’s, no less - friends?! Except, right, he doesn't actually have proof that you're an angel, just a hunch he’s apparently committed to... and, okay, you don't know you're stealing them... Sykkuno and Rae are allowed to have more than one friend. Obviously.

"Honestly, I'm still kind of riding the high from yesterday's stream," Sykkuno’s all kinds of elated in the voice chat, and Rae's quick to chime in, matching his tone, his energy, as she agrees.

"I cannot believe Y/N played with us! I’m sorry you missed it, Corpse, I think you'd love them," Rae is adamant, to which Corpse, from behind the safety of his monitor, makes a face.

"What makes you say that?” Even as he says it, as he tries to keep the negativity from his voice, his nose wrinkles, the expression shifting his eyepatch just a little.

“I don’t know, just something about...” Rae’s voice turns thoughtful as she considers, though Sykkuno takes the chance to pipe up, voice brimming with his trademark sincerity.

“You guys have weirdly similar vibes, like kind of a similar energy?” He tries to explain before a faintly embarrassed laugh escaping him, even with Rae humming in agreement, “not the exact same, obviously, but like, I don’t know, I think you’d really like them.” The problem with having Sykkuno for a friend is that he’s almost always trying to be genuinely kind or helpful. The problem is that Corpse can tell he believes what he’s saying.

An angelic ability that often goes overlooked, even by angels themselves, is the innate ability to tell whether or not someone’s lying. It’s like a faint buzzing, low grade tinnitus, at the sound of a lie, something that can actually be pretty effectively ignored and forgotten, but right now, the lack of buzzing with Sykkuno’s words is frankly irritating. Not that Corpse can say that, he has no real reason to be jealous of your fast forming friendships with his friends, well, not any reason he can admit to on stream.

"You know what,” Sean muses, finally joining the conversation, “It’s been a while since I properly spoke to them, but I totally get what you mean,” fucking great; of course he agrees, “did anyone invite them to play; would love to have them here if they’re up for it.”

"I think they're working on a thing today, but I can message and ask?" It’s Sykkuno who speaks up, the barest hesitation in his voice, and to that Rae makes a proud little noise in the back of her throat.

"You met yesterday on the stream that I organised, and suddenly you're all best buddies? Gonna be honest, I’m a little jealous,” she admits, to which Sykkuno huffs a soft laugh, uncertain of what to say, though Rae’s tone is fond and she continues on, “seriously though, good for you, dude, finally getting the recognition you deserve -"

And on the one hand, yes, Corpse would agree that Sykkuno deserved infinitely more recognition and praise than he currently received, but on the other, the speed at which you two had aparently become close - a day! It had been a day! - sets Corpse’s teeth on edge. It was all he could do to keep quiet as the others chimed in, all their sentiments mirroring Rae’s.

All this frustration and resentment was almost definitely unhealthy, he was more than aware, but something about you had fixed in his mind; if it had been anyone else, anyone less talented or personable or productive, he could have probably handled it, but you...

All he gets is two games worth of peace before Sykkuno announces that he’s gotten a reply. Aparently you’re in the middle of recording a cover. Something about knowing that fills Corpse with discomfort, with envy, like he should be working on his music instead of being here.

"But they say they're gonna take a break in an hour or say, so they might join us for a few games," Sykkuno’s tone betrayed his bright smile, and suddenly the voice chat was flooded with excitement from almost all in attendance.

"Wait, really? Just like that, we'll be playing with Y/N?" Leslie sounds disbelievingly hopeful, but thankfully it’s only a few moments until the next game beings. While none of the others had picked up on Corpse’s silence, his chat seemed confused. Purposefully ignoring their questions and comments on the matter, he instead gives a few comments on the game, trying to come off lighter than he was feeling.

He’s not quite sure what he’s going to do if you join the stream, he’d never actually considered that he might one day talk to you, have to confront the person whose very existence got under his skin, who might very well be the only other person like him on this side of the world. Unsurprisingly, his head’s not in the game.

"Did you get enough sleep last night?” Rae feels the need to ask when whatever response he’d given in a meeting had just come out as an incoherent mumble. Of course he straight up laughs at her question, which is answer enough, and she clicks her tongue disapprovingly, “you’re impossible.”

“Have you drunk any water today -?”

“Sykkuno you’re dead,” Sean interrupts Sykkuno, who had broken one of the main rules of the game simply to question Corpse about his health; he’s far too caring for his own good, but moments like this make for good entertainment, “dead people can’t talk,” Corpse is grateful for all of five seconds before Sean turns on him, reiterating Sykkuno’s question like a traitor; “Corpse, have you drunk water today?” In lieu of a proper response, Corpse groans, playing at being annoyed.

“I say we vote him out because if he is the imposter, we win, and if he isn’t, he has time to go drink a glass of water,” Rae proposes matter-of-factly, which just leaves Corpse spluttering with disbelief.

“That’s fucking stupid; I’m not the imposter, you’re basically throwing the game -” but the votes are already popping up, and unfortunately, for the first time all stream, everyone seems to be in agreement.

“Drink water, Corpse,” Rae, clearly the leader of this mutiny, orders, as Corpse watches his character get flung into lava, and very begrudgingly heeds her words. He takes his sweet time drinking a full glass of water and refilling it to take back with him, intermittently glaring from his kitchen at his computer, despite the game still going on; he’s got several tasks left, if they don’t catch the imposters, they’re doomed, and honestly he doesn’t care. Once the game ends, with the crewmates’ loss, as he’d suspected, they all find themselves back in the lobby. Maybe they’re waiting for him. They can wait longer.

As he settles himself back into his office chair, he pulls on his headphones in time to hear -

“- earlier than I thought because of a whole thing on TikTok and then Twitter, and then my manager texted me telling me-” It’s like he’s turned twenty again at the sound of your voice; you, bright, earnest, rambling to probably Sykkuno or Sean or Rae, probably not even aware of him, but he’s never been more aware of you. Not that he’d ever admit it to anyone, but your second EP, hyperfocus, had been in heavy rotation on his Spotify since he’d discovered it, since he’d listened to the crack in your voice, the exhaustion with which you spoke on i’m going through some stuff when Lofi had just been taking off as a genre. He’s... conflicted, going through an internal crisis while you keep talking, blissfully unaware, “- anyways, I think she’s just worried that I’ll end up threatening to German Supplex Harry Styles, or the late, great, Prince, and I’ll end up cancelled.”

“Y/N,” your name sounds equal parts amused and concerned as Sykkuno says it, with the air of someone who’s been privy to you and your antics far longer than just one day. The response you give is just as bright and cheery as your rambling had been, assuring him that you wouldn’t threaten to German Supplex Prince.

“You sure about that?” Sean was obviously grinning, judging by his fond tone, “sounds like something you’d try -”

“I’ve changed, Jack- Sean- fuck,” your muttered swear undercuts your attempt at earnestness after you correct yourself, clearly not used to calling him by his actual name. To that, Sean gives a fond chuckle, before going right back to ribbing you.

“I’m pretty sure there’s still video evidence of you trying to square up with Mark in person,” Sean points out, to which you grow huffy and defensive, playing up your frustration.

“Well, that was for a completely reasonable reason!”

“Which was?”

“I thought it would be funny,” tone flipping completely, the words come out so sincere and bright it’s almost tooth rotting; if he didn’t know any better, Corpse would probably find himself being endeared by it, “and it was! Plus,” though here you give pause, and something about the tone of the conversation shifts as you chew on the words you’d almost said without thinking, “it was funny,” you said, softer this time. Sean, sensing the shift, does his best to pick the mood back up, reminding you that both you and Mark lost the competition you’d been taking part in anyways, and asking if you really had changed.

Before you had time to answer, however, Rae spots Corpse’s avatar moving ever so slightly, and immediately jumps on him.

“Corpse! Did you drink water?” She asks. He unmutes so they can all hear his deep, beleaguered sigh. “I can and will bully you into taking care of yourself,” her heart’s in the right place, and it is mostly a bit, so he can’t be too put out by the fact that she cares.

“I can’t believe you all voted me out because of it,” he chooses to respond instead, and Rae’s cackle echoes through the voice call.

“She also was the imposter, so...” Ze trailed off, a little sheepishly, to which Corpse rolled his eyes, not that anyone can see. Of course she was. But he’s not even given a moments before -

“You must be Corpse!” The moment the words leave your lips, every single goddamn nerve in Corpse’s body feels like it’s alight; everything overwhelming, unfamiliar,. white-hot, he’s suddenly desperately trying to keep his various abilities in check, since he really doesn’t want to short out his whole system, end the stream early, and probably cause his building to go into a blackout, just because of whatever this is. The whole world has changed with four words; better and worse and more more than anything. It’s... it’s a confirmation of some kind, and he tries to hold onto that vindictive feeling in his chest. You are familiar, you are something he recognises like no-one else he’s ever met before; you are like him. Is it better or worse now he knows it’s the truth?

“Must I be?” He manages to respond, keeping his voice as level as he’s able, shooting for vaguely amused and trying not to let any of the past few seconds sudden overwhelming panic and triumph bleed into his voice. But the moment you hear him, there’s a sharp gasp; that same something, understanding, recognition he’d felt, you feel it too.

“Y/N, you okay?” Ze had asked, and you made a vaguely muffled noise of unconvincing confirmation. Out of sheer, idle curiosity, Corpse opened a new tab and searched up your YouTube channel where you were streaming.

“Maybe we should have warned ya’,” Sean offers with a light laugh, before lowering his voice, immitating and announcer as best as he could, “warning! Corpse is about to speak!” Which at the very least got Corpse to laugh, though he refused to give anything away as your stream loaded, and the banter continued in his ears.

“Har har,” you muttered sarcastically into the voice chat, right as the stream finished loading, and - you. Well dressed, face in your hands, heels of your palms pressed against your closed eyes; honestly, he doesn’t exactly have any prominent initial thoughts about you, watching you scrunch your face up in your hands, dealing with the same thing he had to, though your face was live to thousands. Beside you, the text chat for your stream was going almost too fast to read, but he managed to follow a few threads of thought here and there.

[an eye thing! they’ve got an eye thing!] [someone @ y/n_creature_spec on twt!!] [who has an eye thing??] [lmao love that they were so shocked hearing corpse that it set off their eye thing] [hello!! vampire here!! we have eye things!!] [u cant be a vampire it’s the middle of the day] [THERE ARE COUNTRIES OTHER THAN AMERICA YOU KNOW] [i am willing to put MONEY on the idea of them being fae of some kind.] [^^yeah they just didnt want us to see their eyes sparkling like an anime character.] [that feels like smthn corpse could bring out in people]

And then you’re blinking back to reality, bringing him from his thoughts as for one terrifying moment, it’s as if his gaze locks with yours. Expression so bright and inviting, despite the way your eyes were watering just a little, you hold eye contact with your camera for a moment before looking at your screen, mumbling something about an eyelash in your eye; Corpse lets out a shaky breath. Chat seems unconvinced, but at least the other streams take you on your word. For a few more moments, he quietly watches you, watches the way your eyes roam your screen as you order your thoughts, and for all that he’s thought of you, he’s never properly looked at you. It’s taken him until now to acknowledge that there was definitely a reason for your success beyond just your talent; certainly you could have become successful from your music alone, but your career certainly wasn’t hindered by the fact that you’re actually quite- suddenly, Corpse is overcome by the sense that he’s intruding, exiting out of the window immediately, even going so far as to push back from his desk, fingers spread wide, braced against the edge, trying not to think too hard about... any of it. If he thought too hard about what it meant to have another angel in LA, he would drive himself mad.

“Well, Corpse, it’s good to meet ya, been told great things,” to him and him alone it’s so clear you’re trying so hard to play it cool, though Corpse couldn’t fault you for that, doing the exact same thing; again, when you speak to him, it’s like his whole being is hit with a rush of warmth; it’s less overwhelming this time, somehow scalding but bearable now.

“I see Sykkuno’s been spreading lies about me,” Corpse fires off instinctually, to which Sykkuno splutters protests at the implication, despite your bright laughter, and Sean’s shout to the contrary.

“Don’t be mean, Corpse, Sykkuno would never lie about you,” Sean is adamant, and Corpse can tell he’s being honest, just as the tell-tale ringing in his ears knows the next words from Sean’s mouth are utter lies; “me on the other hand? Y/N whatever you do, do not listen to Corpse’s music, it’s just the worst.” Before the implication, the reality of what he’s saying sinks in, for just a moment, Corpse feels a rush of affection for Sean, so clearly and earnestly plugging his music, right before your voice re-joins the chat and Corpse remembers exactly who Sean is plugging his music to.

“Fuck you, J- Sean, I do what I want,” while you played along, amused and light, Corpse himself was at a loss for words. You ask him - him specifically, he knows, he knows with absolute certainty you’re asking him - if he’s a musician, and everyone else chimes in before he can even think about finding his voice.

“Don’t search him on Spotify! Don’t do it!” Sean, on the verge of laughter, seems delighted by the turn this conversation has taken as the sound of aggressive typing fills the chat from your end. What the fuck. What the fuck?! No matter his thoughts and opinions about you and your possible supernatural origins, you were still Y/N, literal Grammy winner and Golden Child from the Golden Age of YouTube, playing along as Sean used the world’s worst reverse psychology on you to get you to listen to his music. Oh fuck, this is not how today was meant to go.

“I don’t wanna hold up the game, I’ll listen as I play,” you tell them, almost painfully polite, though Ze agrees to start the next game. If Corpse’s mind wasn’t in the game before, there’s no way in hell it was now.

Three minutes into the first round and he’s failing miserably at card swipe when he chances a look at his chat; people were spamming lyrics from Miss YOU! and Cat Girls Are Ruining My Life! which was sweet but nerve wracking, since he’s pretty sure it means you’ve already listened to one and moved on to the next. If you’re an angel, and you know he’s an angel, what in the hell would you think of his music? Honestly, even if you weren’t an angel, you’re still you, and his music was... well...

When the first meeting is called, and it’s discovered that you’ve been murdered, there’s a strange sense of relief that comes with it, even as he’s being accused of your murder. He’s got a solid alibi, so they end up voting out Sean, and the game continues. Despite the brief reprieve from your possible judgement, his heart still feels as though it’s skittering erratically around his ribcage.

Rae comes along when he’s doing Simon Says, and shoots his little avatar. The moment he becomes a ghost, he lets out a long breath, giving himself a moment to relax, to collect his thoughts, catching back up with some questions with chat he hadn’t quite realised he’d been holding, and chances a look at his chat again.

“Of course I’m tense,” he finds himself musing quietly to his chat while the remaining players were arguing over the top of each other in a meeting, “pretty sure most of hyperfocus has been in my Spotify wrapped every year since it was released,” for a few moments, it doesn’t even occur to him what he’s said, or that he’s said it out loud, but when it hits him- oh, oh no, it feels like too much to admit, and he has no idea what to say next, how to backtrack, how to at least pretend like he doesn’t think about you or your music any more than any other person would. However much he may resent certain aspects of it, he still knows he has a reputation to uphold, and panic and denial have never been a part of his reputation.

So he keeps his mouth shut, bites down on the half-hearted excuses and explanations that keep springing to mind, keep pressing against his teeth. He does his tasks quietly, thanks the people donating, and pretend it never happened until the round ends, heart in his throat. He knows, the same way a human survivor in a zombie apocalypse movie knows, that he’s just putting off the inevitable, and that someone’s definitely already clipped it and is probably uploading it to Twitter or Tumblr faster than he could protest.

“Y/N I’m so sorry!” Sean’s the first one to talk when they’re back in the lobby, which leads to your laughter filling the voice chat, telling him it’s okay.

“I didn’t even care, honestly I was just vibing,” the smile in your voice is almost enough to distract from the strained edge to your words, something not quite right, but so faint Corpse isn’t sure if it was really there, and he’s not quite sure anyone else heard it either. Except -

“Y/N?” Sykkuno says your name like it means something that no-one but you and him can decipher, something concerned, almost a question, checking in without being too obvious.

“Yeah?” There’s that strained tone, just a little more audible this time, before you process who’s talking, how he’d said your name, and - “yeah,” firmer, calmer, a reassurance.

“Vibing?” And he says it like that was his question all along, like the two of you hadn’t had a full conversation in three words. When the others started asking about what you thought of the music, it’s clear none of them have picked up on the hint of strangeness that had been in your tone, and you deliberate before answering.

“Am I- is it- it’s weird if I quote it, isn’t it -?”

“Jacksepdicy how I whip that!” Sean practically yells into his microphone, cutting you off and somehow making the line sounding even more Irish than he himself did naturally, which startles a laugh from Corpse, “it’s my name in a song, I think about it daily,” he announces, voice oozing pride, and despite the situation and headspace he found himself in, Corpse feels his heart grow warm knowing that even a line like that had brought Sean joy.

“I thought,” you pause for a moment, presumably to double check which song you were about to reference, “I thought Miss YOU was a whole mood,” you admit, the faintest smile in your voice, and something tightens in Corpse’s chest at that.

“You not gonna quote it?” Rae teased.

“Too nervous to follow Sean,” you fired back.

“Don’t worry, you’ll get there one day, Y/N,” Sean laughs fondly, and you all joke around, playing up the bit, while Corpse’s mind is stuck on the fact that you never once addressed him when talking about his music. It’s not necessarily a bad thing, it meant he didn’t have to deal with the sudden, fiery sensation your voice brought with it, so not bothered, persay, if anything he’s glad to know you liked it... But it’s weird that he knows so acutely -

“Hey,” and you don’t even say his name, but there’s that feeling again. Each time it grows less intense, like he’s been inoculated, and no instead of his nerves being ablaze, it’s as if he’s suddenly sitting beside a bonfire, each and every time you speak to him. The others voice their confusion at your sudden vaguness, but Corpse answers without even thinking, because of course he knows.

“Yeah?”

A few moments pass, while the others carry on amongst themselves for the moment. The two of you sit in this one moment together, neither quite sure how to feel about it.

“You’ve been awfully quiet,” you point out, though there was only the barest him of the earlier strangeness in your voice, now overpowered by something that made it almost sound like you were pleased. At this, however, even more confusion arises when the others figure out that Corpse had ‘guessed’ correctly, that you’d been talking to him. But he can’t really hear them, or, well, he finds himself tuning them out, swallowing hard before he pushes to talk.

“Am I not allowed to enjoy the moment?” He asked, trying to ignore the weirdness of it all, keeping his tone light.

“I’m just surprised; it’s your music after all.”

“You like hearing my voice?” Despite the surprisingly cocky way with which he speaks, he regrets the words as soon as they leave his mouth, wincing internally. Of all the people he could have said that to...

“I never said that,” and though your own tone matched his, something teasing, something that could almost be misconstrued as flirty in the right circumstances, he’d heard the faint thread of discomfort, feeling it all too much himself. But your words, and thankfully your tone, was overshadowed by both Sykkuno and Sean jumping in to assure Corpse that they enjoyed hearing his voice.

“If you and Y/N ever collaborated, you know it’d break the internet, right?” Rae interjects, all kinds of smug and knowing, followed by a chorus of approving voices all broke out in unison as the rest of the lobby considered the possibility.

“Rae, you know our Twitter mentions are going to be going off for the next month now, don’t you?” You groaned.

“Maybe it’s a sign!” Rae exclaimed, delighted, before her tone turns teasing and fond, “and besides, aren’t your mentions always going off?”

[ID: The first four posts on Y/N’s Tumblr dashboard.

blueheart-anon hearing y/n and sean interact again after like 3 years unlocked memories like im a fucking sleeper agent. having war flashbacks to 2017′s ‘y/n is septiplier’s kid’ phase. how do i lock the memories up again im going to die of embarrassment why were we like that [tagged: #y/n #y/n y/l/n #jacksepticeye #sean mcloughlin #i WILL NOT add the ship tag i mentioned #blue talks] [7 notes] [▶️🗩↪️🖤]

fangloriousbastard ↪️fangloriousbastard fangloriousbastard Rae: Y/N & Corpse Collab When? Y/N: 🔪 - fangloriousbastard Y/N IMMEDIATELY MURDERING RAE AND THEN CORPSE I- - fangloriousbastard Y/N MUTTERING THE JACKSEPDICY LYRIC WHILE MURDERING HIM WTF IS HAPPENING?? - fangloriousbastard SYKKUNO NO BBY IM SO WORRIED - fangloriousbastard Y/N IM BEGGING U TO STOP SAYING CORPSE LYRICS BEFORE U KILL UR FRIENDS - fangloriousbastard WAIT WHAT Y/N AND SYKKUNO BOTH VOTING FOR THEMSELVES INSTEAD OF EACH OTHER - fangloriousbastard “ride or die guess im gonna die” y/N PLEASE U MET HIM YESTERDAY - fangloriousbastard y/n’s still listening to corpse’s music we love to see it - fangloriousbastard WAIT NO ZE KILLED SYKKUNO IN FRONT OF THEM AND THEY WON OMG SO MUCH IS HAPPENING DID THESE MOTHERFUCKERS QUOTE AN ACTUAL THE OFFICE MEME AT EACH OTHER - fangloriousbastard Y/N: YOU KILLED MY BOY Ze: you’ve known him A Day! Y/N: you don’t have all the facts Ze: which are? Y/N: I love him. Y/N: Not in a weird, shippy way tho, but like, come on, man, look at him! Sykkuno’s avatar: 🌱 👁👄👁 Sykkuno irl: 🥰 - fangloriousbastard ahem anyways corpse & y/n collab when? - y/n 🔪❤️ - fangloriousbastard 👁👄👁 - fangloriousbastard aren’t you supposed to be streaming?? [tagged: #HEWWO??? #among us lb #why do i only remember they’re following me when i post outrageously stupid content #btw y/n if u kill sean again i’ll cry] [43 notes] [▶️🗩↪️❤️]

fyahproof-y/n ↪️ selkiey/n selkiey/n y/n’s explicit ‘i love him but not in a weird shippy way’ is the LOUDEST fandom vague i’ve ever heard in my life [286 notes] [▶️🗩↪️❤️]

crpshsbnd ↪️ 221b-theres-a-bee crpshsbnd hope corpse is feeling okay he’s been kinda quiet this stream - 221b-theres-a-bee if someone suggested i make music with a grammy award winning artist i might be kind of quiet too - crpshsbnd asjdskldfjkdsf u right, still, hope that’s the reason. [tagged: #how do i always forget they won a grammy #actually i know why i keep forgetting #because every time i remember they won a grammy i remember the video where they jousted corndogs with joe sugg #and the winner had to deepthroat theirs for the camera #and y/n won but felt like an asshole for making joe deepthroat his corndog alone #and they ended up almost throwing up because they went too far with it #so hot #so talented #so very stupid sometimes] [3 notes] [▶️🗩↪️🖤]

Twitter is kind of a hellscape, Corpse decides, scrolling through his notifications as the stream’s winding down, seeing about a thousand different people tagging both you and him, asking for a collab, or seeing fit to show you both every single time one of you had mentioned the other in stream. Or had simply interacted. He’s not quite sure how to feel about hearing you mutter ‘make it rain, leave her wet, like a snowflake’. Unsurprisingly, a considerable few people had thought to clip the interaction where he’d apparently instinctively known you were talking to him, which he thoroughly regrets. There’s enough speculation about him online already, he doesn’t need people cluing into the fact that he might not be entirely human as well.

So now, he’s sitting idle in the lobby of the game as everyone’s thanking each other, discussing when they might get together to stream again; he’s quiet, disconnected from it all even though he knows he’s still live, he can’t help but stare at his phone, frown at your Twitter profile. You’re not following each other. A lot of his friends follow you, are mutuals with you, but you and he are not following each other, and he’s not sure if he’d like to change that. But it would make sense, right? It’s what’s expected.

Your pinned tweet is the single you released yesterday, which he still hasn’t listened to. The cover is cute; you’re - fuck. He refreshes the page. In the few moments since he’d clicked on your profile and now, you’d tweeted, thanking everyone for joining the stream, while you’re still in his ear, alongside everyone else, distinctly not addressing him. Maybe he should DM you, be upfront, ask about what you are, if his suspicions are true.

He hits the back button and goes back to scrolling through his mentions.

“Hey.” Your voice, soft and earnest despite that warmth that crackles through him; he’s half distracted, hand moving instinctively to push-to-talk, and -

“Yeah?” God fucking damn it. Not again. He’s really gotta stop answering on instinct just because he knows you’re talking to him. He hates that he knows.

“Good to meet you, Corpse,” and there was a strange sincerity in your voice, and he responds in kind, but his heart’s not in it. There’s too much on his mind, too conflicted in his heart to tell the truth; his own words makes his ears ring. He can’t even lie to himself.

So he says his goodbyes, waits for the lobby to clear out and chatters away to his stream about when he might be on next. Upon ending the stream, he immediately opens the latest email from his producer, his latest project glaring back at him from the screen.

Yes, his various ailments have his body aching, but the interactions he’s had with you are giving him a headache when he thinks too hard about them, and he feels woefully unproductive. Never Satisfied stares back at him, so close to being finished, mocking him. Scowling harder, he listens to what he has so far, making tweaks and notes, glad for the distraction, glad that his producer had as chaotic of a sleep schedule as he did. This was the home stretch; one more all-nighter and it would finally be done.

He texts Heartful that he’s getting to work.

It’s four in the morning when he finally stops for a break, his good eye starting to itch from staring at a screen for so long. With a yawn, he leans forward, out of his chair, groaning as he straightens up to a mostly standing position. Hands braced against the edge of his desk, he lets out a resigned sigh and wills his wings into existence. The weight of them curled up tight against his back, as was customary for them to be when non-corporeal, has him leaning a little further forward. Another yawn and he lets them uncurl, lets them stretch out behind him, knocking over an empty microphone stand as they went. He’d get that later. A grateful groan escapes him, it’s been far too long since he’d even had a half-assed stretch like this, wings helping to stretch all the aching muscles in his back that were simply impossible to stretch otherwise, no matter how much he’d twist. Even so, his studio wasn’t big enough to properly stretch them, and he really didn’t feel like laying on his living room floor right now; he’s kind of concerned he’d just fall asleep there. Instead, he kicks his chair to the side and hits shuffle on one of his Spotify playlists, doing what he can for himself in the limited space, and finally going to forage through his cupboards for something resembling a meal. Maybe drink water, Rae’s damn voice in his head.

At least with his wings around he didn’t need to bother turning on any lights; he’s gotta find joy in the little things.

Today, or well, the past twenty-four hours, was a series of cruel jokes, he decides, all leading to the moment he curls up his wings and sits back down at his desk. The moment he puts his headphones back on, he’s greeted by your voice, and he almost jumps a foot in the air, concerned that you’d called him.

"- who I became, dreading when the music stops, what if I just fade away?” In the split second he’s realised that it was just a song, just your voice, crooning, gentle and sad against a soft beat and the sound of rain, as i’m going through some stuff playing in his ears, it’s too late. Already his aura had gone off, and his computer cuts out, as his monitor cuts to darkness, so suddenly all he can see is his own, exhausted reflection in the monitor, backlit by his own wings... Not exactly flattering.

Thankfully, it was only his computer that was affected, as he can still hear his refrigerator humming in the other room, so he wedges himself beneath his desk to reset the breaker for the power board that his whole system was connected to, grumbling to himself the whole time.

If he was being honest, however, he was glad he didn’t have to hear more than a few seconds of your song. For a long time it had been one of his favourites, though at this point he’d rather die than admit that. Yes, it’s a good song, but it’s the last thing he needs to hear right now. If he listened to you voice half the fears he still tried to ignore, well right now it may kill him, and he was so close to being finished with Never Satisfied. So close.

Instead, he gives himself the moment in which his system is rebooting to scroll through Twitter and Instagram on his phone, checking his mentions for good fanart to appreciate, only to stumble across one of your stan accounts tagging both you and him in a clip that he hadn’t seen earlier. He’s not sure what possesses him to click it.

“Don’t follow me baby, swear I’m going to hell,” Corpse’s own words leave your lips as you’re focused on the game, on being imposter, leading Sykkuno into electrical to fix lights, and something about it sounds wrong and he can’t quite put his finger on it. He’d heard other lines of his leave your mouth, clips from the stream he’d been tagged in, and it always manages to surprise him. When you sing his songs, even just a little bit, something in the back of his mind, something that had appreciated you as an artist all this time, it’s grateful, it’s excited, it’s overwhelmed. He wouldn’t deny that part of himself, he couldn’t, it didn’t feel right, but upon hearing this line, that grateful part was overshadowed by a visceral bitterness.

The line had been a moment of self deprecation, the only Angel he knew of who, granted it was by some of his own choices, was almost certainly going to Hell, if you believe in that sort of thing of course. But you? Every single part of you seemed to be the exact antithesis to him; you’re what an Angel should be, and him? Well, the line said it all really. It’s just... it feels like you’re mocking him at every turn now that he knows, or well, strongly suspects. With evidence. Which you’re probably not; if you’re an Angel, you wouldn’t go out of your way to mock another angel, so now he’s all in his head, frustrated at himself for being frustrated at you for just... liking his song?

He really should message you about earlier, clear things up, get out of his own mind and stop jumping to conclusions. Finding another angel was big, no matter his personal reservations, he should try and take this opportunity, right? Except that you hadn’t reached out to him either.

Damn it; he knows he needs to stop thinking about you and focus on his own shit. He turns off his phone and gently tosses it to the floor, out of sight out of mind.

Maybe he’ll feel better when he finishes his song, feel more productive, feel... complete for just a few moments. Maybe he’d stop comparing himself to you. Maybe.

[ID: Two tweets, one from @sp00kybihh, and one from @yourtwitter, followed by a retweet and reply conversation between @ashton5sos, @yourtwitter, and @y/nirwin.

@sp00kybihh: why did y/n’s smile every time corpse just knew they were talking to him without them having to say anythign make me feel things?? u no we love day 1 ride-or-die y/nkunno, but corpse & y/n just seem to get each other wtf 🥺🥺

@yourtwitter: australians are asleep post forbidden youngblood cover

(Thumbnail of Y/N sitting in front of the camera, dressed casually, visible from the chest up. There is a black microphone on a stand in front of them that they’re holding. Their mouth is open, as if halfway through singing, their eyes are closed, their background is a simple, white wall. Above Y/N, in black, VCR font, is the word ‘youngblood’. There is a large play button in blue and white in the middle of the thumbnail, to indicate that it is a link to a video.

Link: youngblood - 5 seconds of summer | y/n y/l/n cover i miss my boys. i miss people. thank you 5sos for being cool about me covering this <3</i> twitter: @yourtwitter 🔗youtube.com)

@ashton5sos retweeted the link and commented: Y/N you said it was gonna be low effort, this is killer! All it’s missing is some drums. Reminds me, I’m still sad we never got to record that thing we wrote in New York. | @yourtwitter: ASHTON IT IS 8AM I HAVE HAD NO SLEEP AND WAS NOT EXPECTING SUCH A QUICK RESPONSE I WOULD DIE FOR YOU | @yourtwitter: also lmfao i forgot about that ny thing that was good, from what i remember. do u still have that recording of us?? i may or may not have forgotten everything about that night apart from it being a blast #bringbacknewyork | @ashton5sos: Calum has it but also its 2am and he’s asleep, which you should also do. You know the boys are gonna love this... #bringbacknewyork | @y/nirwin: thank u both i have decided to pass away effective immediately #bringbacknewyork

End ID.]

#corpse #corpse husband #corpse husband imagine #corpse imagine #corpse x reader #corpse husband x reader #sykkuno #jacksepticeye #valkyrae #how the light gets in #shut ur pretty mouth #cyltlanp

305 notes · View notes

emotions-ew · 3 years ago

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A Collection of Queer Country Artists and Songs for anyone who doesn’t feel like there’s country music they can relate to...

There is this idea that country music is like just Republican men singing about beer, and trucks and also Jesus, and that is kind of fair because loads of it is but there are some cool as hell queer/lgbtq+ country artists. Finding those and finding that representation in a genre of music I was literally raised on kind of changed my life in a tiny way and I wanted to share that.

(This is by no means a comprehensive list and also I’m basing the “Country” part of this sometimes on my subjective opinion/limited music knowledge so yuh please don’t hate me if I get some wrong)

Also link below for a Spotify playlist of my favourite gay/gayish country music, some mentioned in this post some not, (with a title that isn’t obviously gay for anyone who can’t openly listen to gay stuff on their public accounts for whatever reason) so feel free to skip the massive essay and just jump straight to that. And pretty please repost if I missed anyone/ any songs you love.

https://open.spotify.com/playlist/7KB6PmUxnpkU7lih8Bysvw

Artists To Follow:

Chely Wright

- Right off the bat, Chely Wright is a legend and I’m in love with her. So, in the 90′s Chely Wright was kind of a huge deal. She started her career as a singer/songwriter and released her first album in ‘94, which was critically acclaimed although never reached the commercial success of her later works. By ‘97 she was really hitting her stride, dropping her breakout hit “Shut up and Drive” (a personal favourite of mine) followed two years later by the biggest hit of her career “Single White Female”. Throughout all that Chely Wright was, to the world, a good old fashioned, heterosexual southern gal. Privately it was a bit of a different story. She had public relationships with male country artists, all while pursuing a secret decade long relationship with a woman.

I hadn’t ever really heard a Chely Wright song until a few years ago so I never knew about her music or career pre-coming out but I do know that even though by the time she came out in 2010 she was by no means at the height of her fame Chely Wright is kind of one of the biggest names in country music to be out and proud (in my opinion) and I love her like an insane amount. I literally play her music in my car when I have passengers just so I can be like “fun fact this singer is actually gay-” and then subject them to a lengthy explanation of her entire career. She came out with an album and a memoir and the album is my favourite of her work because it’s so fucking raw and because I relate to most of it immensely. Anyways Chely Wright went fucking through it in her journey to being her authentic self and now she’s out and proud and married to a woman and they have a family together and I’m a fucking sucker for a happy ending and y’all should add her to every playlist you have. And on top of that her music is genuinely good. Coming out undoubtedly damaged her career but I think that

Brandi Carlile

- As far as I can tell Brandi Carlile has been out her whole career. I feel like this list is just going to be me saying “I’m in love with her” about a bunch of women old enough to be my mother but in my defence, I am honestly in love with her. She’s been making music since she was like, seventeen, and has had a bunch of massive hits, as a singer, songwriter, and producer. If you want to cry kind of happy tears listen to her performance of “Bring my Flowers Now” with Tanya Tucker. She’s won Grammy’s and CMT awards and she’s done it all as an out Queer woman. She’s also a founding member of The Highwomen, an all-female country music group who released their first album in 2019, comprised of Carlile, Marren Morris, Natalie Hemby and Amanda Shires. I really love this band because they’re four artists who are immensely successfully in their own right collabing, much like the Highwaymen, and their music is phenomenal while also being a fuck you to mainstream country music and their inability to properly represent women in country music spaces.

She’s been married to a woman (smoking hot and also brilliant) since 2012 and they have two kids together and if you want to cry (again) then you have to listen to her song “Mother” about her eldest daughter. A queer country artist absolutely worth adding to all your playlists.

Brooke Eden

- As I understand it Eden came out publicly in January of this year. She’s engaged to Hilary Hoover, who she’s been dating since 2015 apparently. I can’t even imagine the pressure that must be on a person and how stressful it would be to keep a relationship secret from the whole world for years and personally I think they’re a cute as hell couple and I wish them literally all the happiness in the world.

Brooke Eden has a few older songs that I think are really good, my favourite being “Act Like You Don’t”, and while her new stuff isn’t my usual country vibe I am a sucker for literally anything gay and it is legally my gay duty to stream any song that she releases to support my fellow queer. It’s quite different to anything Wright or Carlile sing but I actually kind of love that because it shows that country music of all different shapes and sizes and styles can be sung by queer artists.

Amythyst Kiah

- Okay so I am a very new listener to Amythyst Kiah, but her music is literally so beautiful it would be a straight up sin to not include her on this list. Her music is country-blues-roots esq (more roots than country, I think?) and her voice is so unique. She grew up in Chattanooga and has been playing music since childhood. She recently made her Opry debut which is fucking awesome. She also belongs to a band called Our Native Daughters, described as “A supergroup of Black women in traditional music”. Their debut album “Songs of Our Native Daughters” did numbers and I haven’t listened to the whole thing but my favourite so far are “Black Myself” and “I Knew I Could Fly” so y’all add that to your playlists along with “Wild Turkey” by Amythyst Kiah because holy hell her voice on that will blow your mind.

Steve Grand

- The first man to make this list, he should frankly be honoured. Grand has been an out and proud gay man making country music since like 2013, and I have so much respect for an artist who chose to simply never be in, choosing instead to simply write gay ass songs about being in love with men and letting the chips fall where they man. His music is always going to have a special place in my heart and, he’s cute so if you’re into men and music by men give him a google. add him to your playlists, his All-American Boy album is literally just a dozen songs that are perfect to yell-sing along to.

Katie Pruitt

- Not hugely knowledgeable on Katie Pruitt but her music makes me feel crazy intense emotions and is absolutely gay

Honorable Mention Artists I haven’t Really Listened to But Who I Know to be gay thanks to google and might be your thing so totally check them out:

Brandy Clark

Ty Herndon

Shelly Fairchild

Lavendar Country

Trixie Mattel

Cameron Hawthorn

Drop any other names of artists or songs you know of

Specific Songs That Make Me Fucking Cry or (in good and bad ways (but always in a gay way)) or basically are just gay as hell:

If She Ever Leaves Me; The Highwomen

- So, this album came out about a week before my first (and only) girlfriend broke up with me. The general gist of the song is a woman singing about how her loved isn’t ever going to leave her but if she does it sure as hell won’t be for a creepy man in a bar. A little ironic that I felt I related to it so intensely, considering she did in fact leave me. There’s this one lyric that goes “I’ve loved her in secret/I’ve lover here out loud/the sky hasn’t always been blue” and my girlfriend and I were crazy deep in the closet so I drew her a cute little picture of a grey cloud and on the back I wrote that lyric and I gave it to her and to me it was kind of a promise that one day I’d get a chance to love her out loud and even though I never actually did this song is forever going to make me cry because of the little bit of hope that lyric gave me and the way it’s inclusion on this overwhelmingly mainstream country album made me feel like acceptance was just that little bit closer.

All American Boy; Steve Grand

- Definitely one of the first gay country songs I ever heard, and Steve Grand didn’t once sacrifice a scrap of country for the gay. It’s beautiful, it’s a little sad, it’s hopeful. It’s forever going to hold a special place in my heart and the music videos is kind of one of my favourites ever. I found this song before I found myself and the way it made my heart warm should have been a stronger sign than I took it to be.

Like Me; Chely Wright

- When you love someone you kind of make it your mission to know them in a way that no one else can. This song by Chely Wright is sort of an ode to that, and how even once you lost someone, you’re still going to know every little thing about them. On top of that it sort of speaks to the idea that all these things Wright learned about this woman, she learned in secret and she knew her and loved her in secret and now that they’re gone from each other she’s left with all of this knowledge and all of these questions and no one to answer them. I love the way it’s so slow and the melody and her voice, the way it’s low and a little raspy, make this one of my favourite Chely Wright songs.

The Mother; Brandi Carlile

- Sorry but a song about being a mother by a queer woman is going to make me cry every time and actually I’m not that sorry. It’s quite a simple song, if any song written by Brandi Carlile can ever be described as ‘simple’, it’s an ode to her daughter. My favourite line is “you are not an accident/where no one thought it through” because it speaks to the fact that in order for queer women to have a kid together they have to want it so damn bad and also I just like the way her voice sounds on that line. This song is also the perfect thing to listen to if you ever for a second feel like being gay/queer is going to stand in the way of you having a family because it absolutely doesn’t have to and if that’s something you want, you can have it. Don’t let people try and convince you otherwise.

Loving Her; Katie Pruitt

- Unapologetic gay love. Opening a song with “If loving hers a sin, I don’t wanna go to heaven” is a fucking baller move and she went there. The lyrics are beautiful, and her voice is phenomenal. It could be a sad song, about confronting religious repression and grappling with what that means for your love, but instead its triumphant. Katie Pruitt doesn’t give a fuck if you have a problem because she’s going to write songs for her lover.

Jesus From Texas; Semler

- Not actually totally sure this is a country song, but it has the words ‘Jesus’ and ‘Texas’ in the title so I feel safe including it in this list. Honestly, I don’t really know why I relate so hard to this song. Like, I wasn’t really raised with religion, so I don’t know what it is about this funky little tune that makes me want to sob but there’s something about this tune that makes me want to do whatever the opposite of get up and dance is, but like, in a good way.

Lovin’ Again; Steve Grand

- Breakup song that ends kind of positively? So good to sing along to at high, high volumes. The idea that losing someone doesn’t have to mean losing yourself and just because you can’t love them doesn’t mean you’re not ever going to love again. But also kind of about how it’s hard to get over someone, I don’t know it’s just good.

Cryin’ These Cocksucking Tears; Lavender Country

- Jesus christ if this isn’t the coolest shit I’ve ever heard in my life. Sorry but a gay country group formed in 1972 who dropped possibly the first gay themed country album, and this was the title of one of the songs. God I am in love.

Songs that (to me) are a little fruity or that I just relate to in a gay way:

Picket Fences; Chely Wright

- Chely Wright is gay but this song came out long before she did and when she wrote it, it wasn’t supposed to be gay which is why it’s in this section and not the previous. The reason it’s included at all is because frankly ma’am, Mrs Wright, it’s a little fruity. And I feel a little bad for joking because honestly to me, the way I hear this song and knowing the context (that Wright was deeply closeted at the time she wrote and released it), it’s kind of just sad. The general gist of the song is Wright asking what’s so great about a traditional lifestyle anyways. It could be read as a woman genuinely questioning why we push that expectation that she’ll have two kids and a husband and a picket fence lifestyle, or even could be read as a woman who’s trying to deflect how much she does in fact want that, you have to listen and form your own opinion. But to me, it feels like a woman who’s desperately trying to justify why she doesn’t want that life not because she can’t have it, but she knows it will never be right for her. I don’t know it’s hard to explain I just feel like this song is a little bit gay even though I’m sure she didn’t intend that.

Sinning with You; Sam Hunt

- Sorry but this song is gay. Sorry but you can’t write the lines “I never felt like I was sinning with you/Always felt like I could talk to God in the morning” and “if it’s so wrong why did it feel so right” and “But I never felt shame, never felt sorry/Never felt guilty touching your body” and not to mention the opening line of “raised in the first pew/praises for yeshua/case of a small town repression”, and expect to not sit in my car sobbing as I realised that while I never felt like what we did was a sin she absolutely did, and wishing I could have told her that I was sorry for making her carry the weight of both our souls but also that it wasn’t a sin and nothing in the world could feel that good and be that bad and it isn’t right that she had to be so ashamed of something that was just so good. Sam Hunt actually said after he wrote the song that while it was reflection on his own relationship with faith he genuinely hopes that people in the lgbtq community can like find comfort or whatever in his words and like go off king, we stan an ally.

How do I Get There; Deana Carter

- This ones easy, it’s about falling in love with your best friend and suddenly realising you want more than just friendship with them. Sorry Deana, that’s gay. In my Deana Carter of like Year 10 I played this song on repeat and screamed along to the lyrics as though singing it hard enough would make her like me back.

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wits-writing · 4 years ago

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What’s so Funny About Vengeance, the Night, and Batman? – Two Superhero Parodies in Conversation

Back in 2016, the first trailers for Director Chris McKay’s The Lego Batman Movie hit. A spinoff of the take on the iconic hero, voiced by Will Arnett, from 2014’s The Lego Movie. Those trailers spelled out a plot covering how Batman’s life of crimefighting is turned upside down when Robin unexpectedly enters the picture. It was a funny trailer, promising another insightful comedy from the crew behind The Lego Movie. A promise it handily delivered on when it came out in February 2017 with an animated feature steeped wall-to-wall jokes for the sake of mocking Bruce Wayne’s angst filled crusade that can only come from understanding what’s made the character withstand the test of time.

But there was a thought I and others had from seeing that trailer up to watching the actual movie:

“This seems… familiar.”

Holy Musical B@man! is a 2012 fan-made stage production parody of DC Comics’ biggest cash cow. It was produced as the fifth musical from YouTube-based cult phenomenon Starkid Productions, from a book by Matt and Nick Lang, music by Nick Gage and Scott Lamp with lyrics by Gage. The story of the musical details how Robin’s unexpected entrance ends up turning Batman’s (Joe Walker) life of crimefighting upside down. Among Starkids’ fandom derived projects in their early existence, as they’ve mainly moved on to well-received original material in recent years, Holy Musical B@man! is my personal favorite. I go back to it frequently, appreciating it as a fan of both superheroes and musicals. (Especially since good material that touches on both of those isn’t exactly easy to come by. Right, Spider-Man?)

While I glibly summarized the similarities between them by oversimplifying their plots, there’s a lot in the details, both major and minor, that separates how they explore themes like solitude, friendship, love, and what superhero stories mean. It’s something I’ve wanted to dig into for a while and I found a lot in both of them I hadn’t considered before by putting them in conversation. I definitely recommend watching both of them, because of how in-depth this piece goes including discussing their endings. However, nothing I can say will replace the experience of watching them and if I had included everything I could’ve commented on in both of them, this already massive piece would easily be twice as long minimum.

Up front, I want to say this isn’t about comparing The Lego Batman Movie and Holy Musical B@man in terms of quality. Not only are they shaped for vastly different mediums with different needs/expectations, animation versus stagecraft, but they also had different resources at their disposal. Even if both are in some ways riffing on the aesthetic of the 1990s Batman movies and the Adam West TV show, Lego Batman does it with the ability to make gorgeously animated frames packed to the brim with detail while Holy Musical often leans into its low-fi aesthetic of characters miming props and sets to add extra humor. They’re also for different audiences, Lego Batman clearly for all-ages while Holy Musical has the characters cursing for emphasis on a regular basis. On top of those factors, after picking through each of these for everything worth commenting on that I could find, I can’t say which I wholly prefer thanks in part to these fundamental differences.

This piece is more about digging through the details to explore the commonalities, differences, and what makes them effective mocking love letters to one of the biggest superheroes in existence.

(Also, since I’m going to be using the word “Batman” a lot, I’ll be calling Lego Batman just “Batman” and referring to the version from Holy Musical as “B@man”, with the exception of quoted dialogue.)

[Full Piece Under the Cut]

Setting the Tone

The beginning is, in fact, a very good place to start when discussing how these parodies frame their versions of the caped crusader. Each one uses a song about lavishing their respective Batmen with praise about how they are the best superheroes ever and play over sequences of the title hero kicking wholesale ass. A key distinction comes in who’s singing each song. Holy Musical B@man’s self-titled opening number is sung from the perspective of an omniscient narrator recounting B@man’s origin and later a chorus made up of the Gotham citizenry. Meanwhile, “Who’s the (Bat) Man” from Lego Batman is a brag-tacular song written by Batman about himself, even playing diegetically for all his villains to hear as he beats them up.

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Holy Musical opens on a quick recap of Batman’s origin:

“One shot, Two shots in the night and they’re gone And he’s all left alone He’s just one boy Two dead at his feet and their blood stains the street And there’s nothing, no there’s nothing he can do!”

We then get a Bat-dance break as the music goes from slow and moody to energetic to reflect Batman turning that tragedy into the driving force behind his one-man war on crime. Assured by the narrator that he’s “the baddest man that there’s ever been!” and “Now there’s nothing, no there’s nothing he can’t do!” flipping the last lyric of the first verse. For the rest of the opening scene the lyrics matter less than what’s happening to establish both this fan-parody’s version of Batman and how the people of Gotham (“he’ll never refuse ‘em”) view him.

Lego Batman skips the origin recap, and in general talks around the death of the Waynes to keep the light tone going since it’s still a kids movie about a popular toy even if there are deeper themes at play. Instead, it continues a trend The Lego Movie began for this version of the character writing music about how he’s an edgy, dark, awesome, cool guy. While that movie kept it to Batman angry-whiteboy-rapping about “Darkness! NO PARENTS!”, this one expands to more elaborate boasts in the song “Who’s the (Bat) Man” by Patrick Stump:

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“In the darkest night I make the bad guys fall There’s a million heroes But I’m the best of them all!”

Batman singing this song about himself, as opposed to having it sung by others aims the crosshairs of parody squarely on the hero’s ego. His abilities make fighting his villains effortless, like this opening battle is more an opportunity to perform the song than a life-or-death struggle. Even Joker’s aware of that as he shouts, “Stop him before he starts singing!” This Batman doesn’t see himself as missing out on anything in life, even if he still feels that deep down. Being Batman is the coolest thing in the world that anyone would envy. He’s Batman, therefore everyone should envy him.

The songs aren’t only part of the equation for how these two works’ opening scenes establish their leading hero. While both songs are about Batman being cool, they’re separated by the accompanying scenes. Lego Batman keep the opening within the Joker’s perspective until Batman shows up and the action kicks in. Once it does, we’re shown a Batman at the top of his solo-hero game. Meanwhile, Holy Musical’s opening is about B@man building his reputation and by the end of the song he has all the citizens of Gotham singing his praises with the titular lyrics. Both are about being in awe of the title hero, one framed by Joker’s frustration at Batman’s ease in foiling his schemes yet again and the other about the people of Gotham growing to love their city’s hero (probably against their better judgement.)

That’s woven into the fabric of what kind of schemes Batman is foiling in each of these. Joker’s plan to bomb Gotham with the help of every supervillain in Batman’s Rogues Gallery is hilariously high stakes and the type of plan most Batman stories, even parodies, would save for the climax. Neatly exemplified by how that’s almost the exact structure of Holy Musical’s final showdown. Starting with these stakes works as an extension of this Batman’s nature as a living children’s toy and therefore the embodiment of a child’s idea of what makes Batman cool, his ability to wipe the floor with anyone that gets in his way “because he’s Batman.” It also emphasizes Joker as the only member of the Rogues Gallery that matters to Lego Batman’s story, every other Bat-villain is either a purely visual cameo or only gets a couple lines maximum.

The crime’s being stopped by B@man are more in the “Year One” gangster/organized crime category rather than anything spectacle heavy. Though said crimes are comically exaggerated:

Gangster 1: Take these here drugs, put ‘em into them there guns, and then hand ‘em out to those gamblin’ prostitutes! Gangster 2: Should we really be doing these illegal activities? In a children’s hospital for orphans?

These fit into that model of crime the Dark Knight fights in his early days and add tiny humanizing moments between the crooks (“Oh, Matches! You make me laugh like nobody else!”) in turn making the arrival of B@man and the violence he deals out a stronger punchline. Further emphasized by the hero calling out the exact physical damage he does with each hit before warning them to never do crime again saying, “Support your families like the rest of us! Be born billionaires!” Later in the song his techniques get more extreme and violence more indiscriminate, as he uses his Bat-plane to patrol and gun down whoever he sees as a criminal, including a storeowner accidentally taking a single dollar from his own register. (“God’s not up here! Only Batman!”)

A commonality between these two openings is how Commissioner Jim Gordon gets portrayed. Both are hapless goofs at their core, playing more on the portrayal of the character in the 60s TV show and 90s Burton/Schumacher movies than the serious-minded character present in comics, Nolan’s Dark Knight Trilogy, and other adaptations. Lauren Lopez’s portrayal in Holy Musical gets overwhelmed by everything thrown at him, eventually giving up and getting out of B@man’s way (“I’m not gonna tell Batman what to do! He’s Batman!”) Hector Elizondo’s Gordon in Lego Batman clearly reached the “stay out of Batman’s way” point a long time ago, happy to have “the guy who flips on the Bat-signal” be his sole defining trait. While the characterizations are close, their roles do end up differing. Lopez’s Gordon sticks around to have a few more comedic scenes as the play goes on, where Elizondo’s exist to set up a contrast with his daughter Barbara and her way of approaching Batman when she becomes Police Commissioner.

These opening sequences both end in similar manners as well; the citizens of Gotham lavishing praise on their respective Batmen and a confrontation between Batman and the Joker. Praise from the citizenry in Holy Musical comes on the heels of a letter from B@man read out on the news about how much they and the city of Gotham suck. They praise B@man for his angsty nature as a “dark hero” and how they “wouldn’t want him any other way!”, establishing the motif of Gotham’s citizens in Holy Musical as stand-ins for the Batman fandom. Lego Batman uses the praise of the Gotham citizens after Batman’s victory in the opening scene as a lead in to contrast their certainty that Batman must have an exciting private life with the reality we’re shown. Which makes sense since Lego-Batman’s relationship to the people of Gotham is never presented as something at stake.

Greater contrast comes in how the confrontations with the Joker are handled, Lego Batman has an argument between the hero and villain that’s intentionally coded as relationship drama, Batman saying “There is no ‘us’” when Joker declares himself Batman’s greatest enemy. The confrontation in Holy Musical gets purposefully underplayed as an offstage encounter narrated to the audience as a Vicki Vale news report. This takes Joker off the board for the rest of the play in contrast to the Batman/Joker relationship drama that forms one of Lego Batman’s key pillars. While they take different forms, the respective citizenry praise and villain confrontation parts of these openings lead directly into the number one common thematic element between these Bat-parodies: Batman’s loneliness.

One is the Darkest, Saddest, Loneliest Number

Batman as an isolated hero forms one of the core tenants of the most popular understanding of the character. Each of these parodies picks at that beyond the broody posturing. There’s no dedicated segment in this piece about how these works’ versions of the title character function bleeds into every other aspect of them, but each starts from the idea of Batman as a man-child with trouble communicating his emotions. Time’s taken to give the audience a view of where their attitudes have left them early in the story.

Both heroes show their loneliness through interactions with their respective Alfreds. Holy Musical has the stalwart butler, played by Chris Allen, try to comfort B@man by asking if he has any friends he enjoys being around. When B@man cites Lucius Fox as a friend he calls him right away, only to discover Lucius Fox is Alfred’s true identity and Alfred Pennyworth was an elaborate ruse he came up with to protect Bruce on his father’s wishes. Ironically, finding out his closest friend was living a double life causes Bruce to push Alfred away (the play keeps referring to him as Alfred after this, so that’s what I’m going to do as well.) After he’s fired he immediately comes back in a new disguise as “O’Malley the Irish Butler” (same outfit he wore before but with a Party City Leprechaun hat.) That’s unfortunately the start of a running gag in Holy Musical that ends up at the worst joke in the play, when Alfred disguises himself as “Quon Li the Chinese Butler” doing an incredibly cringeworthy “substituting L’s for R’s” bit with his voice. It’s been my least favorite bit in the play since I first saw it in 2012 and legitimately makes me hesitate at times to recommend it. Even if it’s relatively small bit and the rest holds ups.

That disclaimer out of the way, that conversation between B@man and Alfred leads into the title hero reflecting on his sadness through the musical’s I Want Song, “Dark, Sad, Lonely Knight.” The song’s split into two halves, the first Alfred reflecting on whether he played a part in Bruce’s current condition and the second B@man longing for a connection. The song does a good job balancing between the sincerity over the hero’s sadness and getting good laughs out of it:

“Think of the children Next time you gun down the mama and papa Their only mama and papa Because they probably don’t have another mama and papa!”

The “I Want” portion of the song coming in the end with the repetition of the lryics “I want to be somebody’s buddy.”

Rather than another song number, Lego Batman covers Batman’s sadness through a pair of montages and visual humor. The first comes after the opening battle, where we see Batman taking off all his costume except for the mask hanging out alone in Wayne Manor, showing how little separation he puts between identities. Compared to Holy Musical where the equivalent scene is the first we see of Bruce without the mask on, which may come down to practicality since anyone who’s worn a mask like that knows they get hot and sweaty fast. Batman is constantly made to appear small among the giant empty rooms of his estate as he eats dinner, jams on his guitar, and watches romantic movies alone.

Ralph Fienne’s Alfred coming in at the end of this sequence witnessing Batman looking at a photo of himself as a boy with his parents for the last time. Alfred outlines Batman’s fear of being part of a family again only to be met with Batman denying he has any feelings ever. Pennyworth’s role as a surrogate father gets put into greater focus here than in Holy Musical, as we get glimpses of Alfred reading a book titled “How to Deal with Your Out-of-Control Child.” Also shown in smaller scenes of Alfred dealing with Batman’s insistent terminology for his crime fighting equipment, like calling his cowl an “armored face disguise.”

Batman’s denial of his pain contrasts how B@man wallows in it. Though he’s forced to confront it a little as the Joker’s plan ends up leaving him with no crimefighting to fall back on to ignore his issues. This montage gets set to the song “One” by Harry Nilsson and details Batman, unable to express his true feelings, eventually letting them out in the form of tempter tantrums. There’s also some humor through juxtaposition as Batman walks solemnly through the streets of Gotham City, rendered black and white, as the citizens chant “No more crime!” in celebration, while flipping over cars and firing guns into the air.

A disruption to their loneliness eventually comes in the form of a sensational character find.

Robin – The Son/BFF Wonder

Between both Bat-parodies, the two Robins’ characterizations are as close as anyone’s between them. Each is nominally Dick Grayson but are ultimately more representative of the idea of Robin as the original superhero sidekick and his influence on Batman’s life. The play and movie also both make the obvious jokes about Dick’s name and the classic Robin costume’s lack of pants at different points. Dick’s origin also gets sidestepped in each version to skip ahead to the part where he starts being an influence in Batman’s life.

Robin’s introduction to the comics in Detective Comics #38 in 1940, marking the start of Batman’s literal “Year Two” as a character, predating the introduction of Joker, Catwoman, and Alfred, among others. Making him Batman’s longest lasting ally in the character’s history. His presence and acrobatics shift the tone by adding a dash of swashbuckling to Batman’s adventures, inspired by the character’s namesake Robin Hood, though both parodies take a page out of Batman Forever and associate the name with the bird for the sake of a joke. Robin is as core to Batman as his origin, but more self-serious adaptations (i.e., the mainstream cinematic ones that were happening around the times both Holy Musical and Lego Batman came out) tend to avoid the character’s inclusion. These two works being parody, therefore anything but self-serious, give themselves permission to examine why Robin matters and how different characters react to his presence. Rejection of Robin as a character and concept comes out in some form in each of these works, from Batman himself in Lego Batman and the Gotham citizens in Holy Musical.

The chain of events that lead to Dick becoming Robin in Lego Batman are a string of consequences for Batman’s self-absorption. A scene of Bruce barely listening as Dick asks for advice on getting adopted escalating to absentmindedly signing the adoption paperwork. Batman doesn’t realize he has a son until after his sadness montage. Alfred forces Batman to start interacting with Dick against his will. The broody loner wanting nothing to do with the cheery kid, played to “golly gee gosh” perfection by Michael Cera, until he sees the utility of him. Batman doesn’t even have the idea to give Robin a costume or codename because he clearly views the sidekick’s presence as a temporary measure for breaking into Superman’s fortress, made clear by how he lists “expendable” as a quality Dick needs if he wants to go on a mission.

This makes Robin the catalyst for Batman’s shifting perspective throughout Lego Batman. When Robin succeeds in his first mission, the Dark Knight is hesitant to truly compliment him and chalks up his ward’s feats to “unbelievable obeying.” Other moments have Robin’s presence poke holes in Batman’s tough guy demeanor, like the first time Batman and Robin ride in the Bat-mobile together, Robin asks where the seatbelts are and Batman growls “Life doesn’t give you seatbelts!”, only for Batman to make a sudden stop causing Robin to hit his head on the windshield and Batman genuinely apologizes. They share more genuine moments together as the film goes, like Batman suggesting they beatbox together to keeps their spirits up after they’ve been imprisoned for breaking into Arkham Asylum. Robin’s representative of Batman gradually letting people in throughout these moments.

On the exact opposite end of the spectrum, B@man needs zero extra prompting to let Robin into his life. Nick Lang’s Robin (henceforth called “Rob!n” to keep with this arbitrary naming scheme I’ve concocted) does get brought into his life by Alfred thanks to a personal ad (“‘Dog for sale’? No… ‘Orphan for sale’! Even better!”) but it’s a short path to B@man deciding to let Dick fight alongside him. The briefest hesitance on the hero’s part, “To be Batman… is to be alone”, is quelled by Rob!n saying “We could be alone… together.” Their first scene together quickly establishing the absurd sincerity exemplified by this incarnation of the Dynamic Duo. An energy carried directly into the Act 1 closing number, “The Dynamic Duet”, a joyful ode between the heroes about how they’re “Long lost brothers who found each other” sung as they beat up supervillains (and the occasional random civilian.)

That song also ties into the contrast between the Batman/Robin dynamic and the B@man/Rob!n one. While Holy Musical is portraying a brotherly/BFF bond between the two heroes, Lego Batman leans into the surrogate son angle. While both are mainly about their stories’ Batman being able to connect with others, the son angle of Lego Batman adds an additional layer of “Batman needs to take responsibility for himself and others” and a parallel to Alfred as Batman’s own surrogate father. It also adds to the queer-coding of Batman in Lego Batman as Batman’s excuse to Robin for why he can go on missions is that Bruce and he are sharing custody, Robin even calling Batman’s dual identities “dads” before he knows the truth.

In the absence of the accepting personal responsibility through fatherhood element, the conflict Rob!n brings out in Holy Musical forms between B@man and the citizens of Gotham. “Citizens as stand-ins for fandom” is at it’s clearest here as the Act 2 opener is called “Robin Sucks!” featuring the citizens singing about how… well, you read the title. Their objections to Rob!n’s existence has nothing to do with what the young hero has done or failed to do, but come from arguments purely about the aesthetic of Rob!n fighting alongside B@man. Most blatantly shown by one of the citizens wearing a Heath Ledger Joker t-shirt saying Rob!n’s presence “ruins the gritty realism of a man who fights crime dressed as a bat.” It works as the Act 2 opener by establishing that B@man and the citizens conflicting opinions on his sidekick end up driving that half of the story, exemplified in B@man’s complete confusion about why people hate Rob!n (“Robin ruined Batman? But that’s not true… Robin make Batman happy.”)

Both Robins play into the internal conflict their respective mentors are going through, but what would a superhero story, even a parody, be without some colorful characters to provide that sweet external conflict.

Going Rogue

Both works have the threat comes from an army of villains assembled under a ringleader, Zach Galifianakis’s Joker in Lego Batman and Jeff Blim as Sweet Tooth in Holy Musical. Both lead the full ensemble of Batman’s classic (and not so classic) Rogues at different points. As mentioned before Joker starts Lego Batman with “assemble the Rogues, blow up Gotham” as his plan, while Sweet Tooth with his candy prop comedy becoming the ringleader of Gotham’s villains is a key turning point in Act 1 of the play. Part of this comes down to how their connections to their respective heroes and environments are framed, Sweet Tooth as a new player on the scene and Joker as Batman’s romantic foil.

Lego Batman demonstrates Batman and Joker are on “finishing each other’s sentences” levels of intimate that Batman refuses to acknowledge. Shown best in how Joker’s plan only works because he can predict exactly how Batman will act once he starts playing hard to get. When he surrenders the entire Rogues Gallery (without telling them) and himself to police custody, he describes it as him being “off the market.” He knows Batman won’t settle for things ending on these terms and tricks the hero into stealing Superman’s Phantom Zone projector so he can recruit a new, better team of villains for a take two of his masterplan from the start. Going through all this trouble to get Batman to say those three magic words; “I love hate you.” Joker as the significant other wanting his partner to finally reciprocate his feelings and commit works both as a play on how the Batman/Joker relationship often gets approached and an extension of the central theme. Batman is so closed off to interpersonal connections he can’t even properly hate his villains.

Sweet Tooth, while clearly being a riff Heath Ledger and Caesar Romero’s Jokers fused with a dash of Willy Wonka, doesn’t have that kind of connection with B@man. Though there are hints that B@man and his recently deceased Joker may have had one on that level. He laments “[Joker]’s in heaven with mom and dad. Making them laugh, I know it!” when recalling how the Clown Prince of Crime was the one person he enjoyed being around. This makes Joker’s death one of the key triggers to B@man reflecting on his solitude at the start of the play.

What Sweet Tooth provides the story is a threat to B@man’s new bond with Rob!n. Disrupting that connection forms the delicious center of the Candy King of Crime’s plan in Act 2. He holds Rob!n and Gotham’s people hostage and asks the citizens to decide via Facebook poll if the sidekick lives or dies (in reference to the infamous phone hotline vote from the comic book story A Death in the Family where readers could decide the Jason Todd Robin’s fate.)

With the rest of the villains under the leadership of the respective works’ main antagonists, there’s commentary on their perceived quality as threats. When Holy Musical has Superman talking to Green Lantern about how much B@man’s popularity frustrates him, he comes down especially hard on the Caped Crusader’s villains. Talking about how they all coast by on simple gimmicks with especially harsh attention given to Two Face’s being “the number two.” Saying they’re only famous because B@man screws up and they get to do more damage. Which he compares to his own relationship with his villains:

Superman: You ever heard of Mr. Mxyzptlk? Green Lantern: No. Superman: No, that’s right! That’s because I do my job!

Lego Batman has commentary on the other villains come from Joker, recognizing that even all together they can never beat Batman, because that’s how a Batman story goes. The other villains get portrayed as generally buffoonish, struggling to even build a couch together and described by Joker as “losers dressed in cosplay.” Tricking Batman into sending him to the Phantom Zone provides him the opportunity to gather villains from outside Batman’s mythos and outside DC Comics in general. Recruiting the likes of Sauron, King Kong, Daleks, Agent Smith from The Matrix, and the Wicked Witch of the West, among others. When I first saw and reviewed The Lego Batman Movie, this bugged me because it felt like a missed opportunity to feature lesser-known villains from other DC heroes’ Rogues Galleries. Now, considering the whole movie as meta-commentary on the status of this Batman as a children’s toy, it makes perfect sense that Joker would need to go outside of comics to break the rules of a typical Batman story and have a shot at winning.

The Rogues of Holy Musical get slightly more of a chance to shine, if only because their song “Rogues are We” is one of the catchier tracks from the play. They’re all still more cameo than character when all’s said and done, but Sweet Tooth entering the picture is about him recognizing their potential to operate as a unit, takeover Gotham, and kill B@man. The candy-pun flinging villain wants all of them together, no matter their perceived quality.

Sweet Tooth: “We need every villain in Gotham. Cool themes, lame themes, themes that don’t match their powers, even the villains that take their names from public domain stories.” (Two Face’s “broke ass” still being the exception.)

Both Joker and Sweet Tooth provide extensions of the shared theme of Batman dealing with the new connections in his life, especially with regards to Robin. However, Robin isn’t the only other ally (or potential ally) these Dark Knights have on their side.

Super Friends(?)

The internal crisis of these Caped Crusaders come as much from how they react to other heroic figures as it does from supervillainous machinations. In both cases how Batman views and is viewed by fellow heroes gets centered on a specific figure, Superman in Holy Musical and Commissioner Barbara Gordon (later Batgirl) in Lego Batman. Each serves a vastly different purpose in the larger picture of their stories and relationship to their respective Batmen. Superman reflecting B@man’s loneliness and Barbara symbolizing a new path forward for Batman’s hero work.

Superman’s role in Holy Musical runs more parallel to Lego Batman’s Joker than Barbara. Brian Holden’s performance as the Man of Tomorrow plays into a projected confidence covering anxiety that nobody likes him. Besting the Bat-plane in a race during B@man’s Key to the City ceremony establishes a one upmanship between the two heroes, like Joker’s description of his relationship with Batman at the end of Lego Batman’s opening battle. Though instead of that romantically coded relationship from Lego Batman, this relationship is more connected to childish jealousy. (But if you do want to read the former into Holy Musical B@man, neither hero has an onstage relationship with any woman and part of their eventual fight consist of spanking each other.)

B@man and Superman’s first real interaction is arguing over who’s the cooler hero until it degrades into yelling “Fuck you!” at each other. B@man storming off in the aftermath of that gets topped off by Superman suggesting he should get the Key to the City instead, citing his strength and longer tenure as a hero (“The first hero, by the way”) as justifications. This only results in the Gotham citizens turning on him for suggesting their city’s hero is anything less than the best, which serves both as a Sam Raimi Spider-Man reference (“You mess with one of us! You mess with all of us!”) and another example of the citizens as stand-ins for fandom. Superman’s veil of cocksureness comes off quickly after that and stays off for the rest of the play. Starting with his conversation with Green Lantern where a civilian comes across them, but barely acts like Superman’s there.

One of the play’s running gags is Superman calling B@man’s number and leaving messages, showing a desperation to reach out and connect with his fellow hero despite initial smugness. Even before the first phone call scene, we see Superman joining B@man to sing “I want to be somebody’s buddy” during “Dark, Sad, Lonely Knight” hinting at what’s to come. The note it consistently comes back to is that Superman’s jealousy stems from Batman’s popularity over him. This is a complete flip of what Lego Batman does with the glimpse at a Batman/Superman dynamic we see when Batman goes to the Superman’s fortress to steal the Phantom Zone projector. The rivalry dynamic there exists solely in Batman’s head, Lego-Superman quickly saying “I would crush you” when Batman suggests the idea of them fighting. Superman’s status among the other DC heroes is also night and day between these works. Where Lego-Superman’s only scene in the movie shows him hosting the Justice League Anniversary Party and explaining he “forgot” to invite Batman, Superman in Holy Musical consistently lies about having friends over (“All night long I’m busy partying with my friends at the Fortress… of Solitude.”)

Superman’s relationship to B@man in Holy Musical develops into larger antagonism thanks to lack of communication with B@man brushing off Supes’ invitations to hang out and fight bad guys (“Where were you for the Solomon Grundy thing? Ended up smaller than I thought, just a couple of cool guys. Me and… Solomon Grundy.”) His own loneliness gets put into stronger focus when he sees the news of Rob!n’s debut as a crimefighter, which makes him reflect on how he misses having Krypto the Super-Dog around. (The explanation for why he doesn’t have his dog anymore is one of my favorite jokes in the play and I won’t ruin it here.)

Where Superman’s a reflection of B@man’s loneliness, Rosario Dawson as Barbara in Lego Batman is a confrontation of Batman’s go it alone attitude. Her job in the story is to be the one poking holes in the foundation of Batman as an idea, starting with her speech at Jim Gordon’s retirement banquet and her instatement as commissioner. She has a by-the-book outlook on crimefighting with the omnicompetence to back it up, thanks to her training at “Harvard for Police.” Babs sees Batman’s current way of operating as ineffectual and wants him to be an official agent of the law. An idea that dumps a bucket of cold water on Batman’s crush he developed immediately upon seeing her, though that never fully goes away.

Her main point is that Batman “karate chopping poor people” hasn’t made Gotham better in his 80 years of operating. A contrast to Holy Musical’s Jim Gordon announcing that B@man has brought Gotham’s crime rates to an all-time low (“Still the highest in the world, but we’re working on it.”) She wants to see a Batman willing to work with other people. A hope dashed constantly dealing with his childish stubbornness as he tries to foil Joker’s schemes on his own, culminating in her arresting Batman and Robin for breaking into Arkham to send Joker to the Phantom Zone.

Barbara’s role as the one bringing grown-up attitudes and reality into Batman’s world does leave her in the role of comedic straight woman. Humor in her scenes comes from how she reacts to everyone else’s absurdity rather than anything she does to be funny. This works for the role she plays in Lego Batman, since she’s not there to have an arc the way Superman does in Holy Musical. She’s another catalyst for Batman’s to start letting people in as another character he grows to care about. Which starts after she lets the Dynamic Duo out of prison to fight Joker’s new army of Phantom Zone villains on the condition that he plays it by her rules. Leading to a stronger bond between Batman, Robin, Alfred, and her as they start working together.

The two Batmen’s relationships to other heroes, their villains, Robin, and their own solitude each culminate in their own way as their stories reach their conclusions.

Dark Knights & Dawning Realizations

As everything comes down to the final showdowns in these Bat-parodies, the two Caped Crusaders each confront their failures to be there for others and allow themselves to be vulnerable to someone they’ve been antagonizing throughout the story. Each climax has all of Gotham threatened by a bomb and the main villains’ plans coming to fruition only to come undone.

Holy Musical has Sweet Tooth’s kidnapping of Rob!n and forcing Gotham to choose themselves or the sidekick they hate sends B@man into his most exaggerated state in the entire play. It’s the classic superhero movie climax conundrum, duty as a hero versus personal attachment. Alfred, having revealed himself as the “other butlers”, even lampshades how these stories usually go only for that possibility to get shot down by Bruce:

Alfred: A true hero, Master Wayne, finds a way to choose both. B@man: You’re right, Alfred. I know what I have to do… Fuck Gotham, I’m saving Robin!

B@man’s selfishness effectively makes him the real villain of Holy Musical’s second act. Lego Batman has shades of that aspect as well, where Batman gets sent to the Phantom Zone by Joker for his repeated refusal to acknowledge their relationship. Where the AI running the interdimensional prison, Phyllis voiced by Ellie Kemper, confronts him with the way he’s treated Robin, Alfred, Barbara, and even Joker:

Phyllis: You’re not a traditional bad guy, but you’re not exactly a good guy either. You even abandoned your friends. Batman: No! I was trying to protect them! Phyllis: By pushing them away? Batman: Well… yeah. Phyllis: Are they really the ones you’re protecting?

Batman watches what’s happening back in Gotham and sees Robin emulate his grim and gritty tendencies to save the day in his absence makes him desperately scream, “Don’t do what I would do!” It’s the universe rubbing what a jerk he’s been in his face. He’s forced to take a look at himself and make a change. B@man’s not made to do that kind of self-reflection until after he’s defeated Sweet Tooth but failed to stop the villain’s bomb. He’s ready to give up on Gotham forever and leave with Rob!n, until his sidekick pulls up Sweet Tooth’s poll and it shows the unanimous result in favor of saving the Boy Wonder. Despite everything they said at the start of Act 2, the people want to help their hero in return for all the times he helped them. All of them calling back to the Raimi Spider-Man reference from Act 1, “You mess with one of us. You mess with all of us.”

Both heroes’ chance at redemption and self-improvement comes from opening themselves up to the people they pushed out and dismissed earlier in their stories. Batman takes on the role he reduced the Commissioner down to at the beginning of the movie and flips on signals for Barbara, Alfred, and Robin to show how he’s truly prepared to work as a team, not just with his friends and family but with the villains of Gotham the Joker pushed aside as well. Teamwork makes the dream work and they’re all able to work together to get Joker’s army back into the Phantom Zone but like in Holy Musical they fail to stop the bomb threatening Gotham. Which he can only prevent from destroying the city by confessing his true feeling to Joker

Batman: If it wasn’t for you, I wouldn’t have learned how connected I am with all of these people and you. So, if you help me save Gotham, you’ll help me save us. Joker: You just said “us?” Batman: Yeah, Batman and the Joker. So, what do you say? Joker: You had me at “shut up!”

The equivalent moment from Holy Musical comes from B@man needing to put aside his pride and encourage a disheartened Superman to save Gotham for him. This happens in the aftermath of a fight the two heroes had where Superman tried to stop B@man before he faced Sweet Tooth, B@man winning out through use of kryptonite. That fight doesn’t fit into any direct parallel with Lego Batman, but it is important context for how Superman’s feeling about B@man before Superman finally gets his long-awaited phone call from the Dark Knight. Also, the song accompanying the fight, “To Be a Man”, is one of the funniest scenes in the play. What this speech from B@man does is bring the idea of Holy Musical B@man as a commentary on fandom full circle:

B@man: I forgot what it means to be a superhero. But we’re really not that different, you and me, at our heart. I mean really all superheroes are pretty much the same… Something bad happened to us once when we were young, so we dedicated our whole lives to doing a little bit of good. That’s why we got into this crazy superhero business. Not to be the most popular, or even the most powerful. Because if that were the case, hell, you’d have the rest of us put out of a job!

This speech extends into an exchange between the heroes about how superheroes are cool, not despite anything superficially silly but because of it. Bringing it back to the “Robin Sucks!” theme that started Act 2, saying “Some people think Robin is stupid. But those people are pretentious douchebags. Because, literally, the only difference between Robin and me is our costumes.” The speech culminates in what I genuinely think is one of the best Batman lines ever written, as B@man’s final plea to Superman is “Where’s that man who’s faster than a gun?” calling back to the trauma that created Batman across all versions and what he can see in someone like Superman. So, B@man sacrificing his pride and fully trusting in another hero saves Gotham, the way Batman letting Joker know what their relationship means to him did in Lego Batman.

Each of these parodies ends by delivering a Batman willing to open himself up to a new team of heroes fighting at his side, the newly minted Bat-Family in Lego Batman and the league for justice known as the Super Friends in Holy Musical. Putting them side by side like this shows how creators don’t need the resources of a Hollywood studio to make something exactly as meaningful and how the best parodies come from love of the material no matter who’s behind them.

If you like what you’ve read here, please like/reblog or share elsewhere online, follow me on Twitter (@WC_WIT), and consider throwing some support my way at either Ko-Fi.com or Patreon.com at the extension “/witswriting”

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nsfwboyfriends · 6 years ago

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here’s my thing: we all know SOME shit happened in 2011, 2012, even the horrible 2013. the tattoos, the interviews, the looks, god forbid-wellington. i think we can all agree on that. they were together. in overwhelming, disgusting, beautiful love. i would be straight up HOE-LYING and a fake ass bitch if i said i hadn’t, even once, doubted h+l since. not because of anything other than the fact that time has passed, they’ve each had their own projects, and i’ve never had much luck in love so why should anyone else? (huh, funny! i’m a comedian) not that they were never together, just that maybe they had broken up or spent some time apart. it’s unrealistic to treat h+l like some fantasy couple that never has problems. and i’m not saying i didn’t believe it the whole time, because the VERY VERY LARGE majority of my time in this fandom i have truly believed they were together. but i think it’s unfair to say i never doubted it because it’s such a thing for people to distance “weak larries” and i’m DEIFNITELY not that because i’ve been the fuck through it all, but it’s still hard to stay on track sometimes. i’m just being honest.

BUT on june 22, 2018 harry styles said LISTEN UP BITCH! he couldn’t have sung that song with that much grace, passion, and emotion if they had ended badly or at all. it just wouldn’t happen... it would be too painful. especially because it’s a specific proven fact that still the one is attached to louis and 1D for him. he referenced that song multiple times during the band (we’ve got the timeline to prove it!) i can’t believe he FUCKING DID THAT. HE DID THAT.

so conclusion: h+l are in love bye!

#i jist fucking RAMBLED #SORRY HOES

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punninglyswift · 7 years ago

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Dear Taylor,

I’m not great with words. But I have so many words I need to say to you. I thought I’d give you a story of the first time I heard one of your songs, and how now reputation is coming out as I am nearing graduation from college. THAT. IS. CRAZY.

So I’ll try to tell you everything. Here goes.

I’m Isabelle! This is my mom and I:

I’m 20, a Christmas baby...people say that sucks ‘cause ‘no double presents’ but honestly i love having my birthday on Christmas ‘cause I love giving gifts. (ie..getting weirdly specifically funny gifts for my older brothers...!) I turn 21 this Christmas! (So down to drink with you whenever...)

I’m from Rockville, MD, basically right outside DC (kinda) but I’m currently in Chicago for school at Loyola University Chicago! I have 2 foolish yet incredibly smart brothers, my mom is my best friend in the whole world, and I live with my grandparents as well. I’ve played piano since age 3, I love to sing, I am OBSESSED with musical theatre, I love to make people laugh and, on that note, I love comedy-sketch, improv, stand up…you name it. I love puns a little too much…but CAN someone love puns too much? THE LIMIT DOES NOT EXIST. But I digress. There’s someone who has had a huge impact on my life who I’ve never met, and that someone is you.

2007. I’m in 5th (pretty sure) grade, and our school’s talent show is coming up. Basically, we had to audition to even perform at the talent show (a concept I did not understand but as I type this I’m realizing that is the premise of most music competition shows on TV? Good job, Isabelle. Nailed it.) I played piano, that was it, but an older student (maybe 7th grade at the time) auditioned with a song I hadn’t heard before…it was a song called Our Song. I quickly became obsessed with the song. We both got into the talent show, and she ended up performing A Place in this World in front of the school. I ended up playing my piano piece. Those two songs, not even sung by you the first times I heard them, started my love of your music.

Now...2009-2010. (TIME TRAVEL, RIGHT??) I am in 8th grade, going into high school (CRAZY) and tickets for a certain tour are on sale…the Fearless tour. You had one date in the summer of 2010 for DC at the Verizon Center, but it conflicted with my 8th grade graduation. THEN, because MIRACLES HAPPEN, there was a second date added for DC, the day before the original tour date! Unfortunately, the day before my actual graduation ceremony we had a “mandatory” pre-graduation dinner thing. Still a little bitter I couldn’t go to the Fearless tour, but I made up for it later with 3 other tours.

2011! Freshman year of high school? Life before I knew who I was gonna be...I’m honestly still not sure, as a senior in college. Anyways, freshman year of high school? Not awesome! I went to an all-girls Catholic high school, and I made a lot of friends, but those friendships didn’t really happen till sophomore year. Sophomore year is when I truly threw myself into my school’s performing arts department. I fell in love. I had actually done shows in the summer at my high school, but they were summer camp-y programs, so it was before I was a student there. The first show was Hairspray, follows by the spring production of You’re A Good Man, Charlie Brown. In between, I participated in an Improv Show and a dance concert. Ok. So. I cannot dance. I enjoy dancing, and especially now I still say I cannot dance, but I LOVE DANCING. I love dancing and looking 1000% foolish while doing so. I signed up for a class called “Intro to Modern Dance” thinking it meant modern music, like ‘at the moment’ music. WRONG.

Basically….I, a VERY pale short female with short brown hair and bangs, wore different pastel leotards that had flowy fabric attached to them and pranced across stage before doing what can ONLY be described as ‘birthing motions’.

...True story. Anyways, not the worst thing, but a funny thing.

So, summer 2011: I was an ensemble member in our summer production of Footloose. I also had successfully gotten (thank you Mom…) tickets to night 1 of the Speak Now World Tour in DC for August 2011. I went by myself, but my oldest brother, Jerry, dropped me off and made sure I was safely inside before he went to a Nationals game. He picked me up as well, and he ended up catching the final sounds of that concert from standing in the lobby after the game. I remember everything about that concert. I remember being awestruck when the incredibly touching intro to the album was spoken by you, and then awestruck by the smoke machine….leading to a powerful, young woman rising up from under a stage in a gold glittery dress. That alone blew me away. I took a few pictures at that show, but this one sticks out-partially because it is the least blurry one I took, and partially because I like that you see you on the big screen and onstage. You were so connected to the crowd. It was a truly magical night:

That night and the Speak Now album mean so much to me. It’s special because it was the first time I ever saw you perform live, Taylor, but also because the album has so many songs I hold dear. All your albums do.

Fearless has songs that reassure me, even at age 20, like Fifteen, and it has the song that is my mom’s favorite…The Best Day. It also has anthems that make my heart pound with a sort of fire…Change.

Speak Now, similarly, has songs that resonate with me and will continue to resonate with me forever. I can’t even talk about Never Grow Up on here or ever because it makes me cry thinking about how much I love my grandparents, brothers, and my marvelous mom. Enchanted is a song that I could quite possibly talk about for days and days and days. It so specifically illustrates all the emotions I feel when I truly “crush” on someone. It also is helpful, because the words you put to that song are lightyears more poignant than how I could describe how I put feelings into words. And you DID. THAT. Enchanted is a song that means so much to all of us, for obvious reasons. I have to say that “the words i held back” as well as the prologue to speak now really parallel all my worries about overthinking and being afraid to speak up. Thank you for those words.

It is 2012, my high school is doing The Wiz, and I am freaking out over RED. Red was a turning point for you, and again, it illustrated feelings in ways I couldn’t fathom: “all I feel in my stomach is butterflies, the beautiful kind, making up for lost time, taking flight…”, “everybody loves pretty, everybody loves cool..”–I was a junior in high school at this time, and I had experienced bullying and people talking behind my back constantly as well as some cyberbullying. It was not great. The theatre really helped me. My mom surprised me, in 2013, with tickets to night 1 of the Red tour in DC! I went by myself, but I got a text 15 minutes into being in my section from my mom that said “do you see the big Red sign?” …aka this:

…which was not lit (hehe…LIT) at the time my mom texted me. She ended up hearing from a friend that had extra box seats so she called up 2 other friends from work and they joined her in a completely different section from me in the Verizon Center! I just think it’s so funny!! This ended up being more meaningful than I’d thought because this show was the day before Mothers Day. The “surprise” B stage song was Never Grow Up, a song my mom and I adore. From the entrance to the light up drums to the music box to confetti galore, this was another night i’ll never forget.

My mom and I circa 1999. I love that photo, and, to me, I hear Never Grow Up AND The Best Day playing when I look at it.

I forgot to say another thing when talking about all your tours: I am obsessed with musical theatre, and something you never fail to include on tours is a theatrical feel. It’s always so beautifully done, with quirky “Stage direction” type things and costumes…thank you for that.

By this time…I’ve graduated high school and decided on a school in the midwest…the windy city itself, CHICAGO. Loyola University Chicago, in fact!

It is summer 2014, and I have had a tumblr for some time, mostly filled with photos of bunnies, you-related things/edits, SNL, Harry Potter, and puns. (The basics, you know…not much has changed!)

There have been videos by this time of elevator buttons and secrets about a LIVESTREAM. So, in the car with my mom on the way to move into my dorm (we stopped at Notre Dame on the way because it’s a LONG drive from where I live and most of my family has attended ND! I also worked at Notre Dame this past summer!) I was using a bunch of data to stream your livestream…and? 1989 is coming! I played Shake it Off a LOT on that car ride once I downloaded it. It was so cool because I tried to brush off the bullying I faced in high school and something you said about 1989 was this: “This is a story about coming into your own, and as a result…coming alive.” The album with that message brought me into my freshman year of college, a year filled with many ups and downs. I thank you for being there for me.

Summer 2015, I had the great honor of going to night 1 (JULY 13, yes 13…!!!) of the 1989 Tour in DC, this time at Nationals Park-outside, which was VERY exciting for me, with my godmother! Lorde was the surprise guest, and I am now happy to say I am seeing Lorde live in concert March 2018! The 1989concert was spectacular, it was clear you were taking charge of doing what YOU want and sticking to your genuine, full heart 24/7. I can’t thank you enough for the memories you’ve given me.

I love everyone on here, on tumblr, even though I do not know any of them–in real life. I hope to meet all of you guys, you’re hilarious on here, and I may not post as often as many of you, but I send you all love always.

Now, I am a senior in college. That is WEIRD AF. I turn 21 this Christmas, (I’m a Christmas baby!) I graduate in May, and after that I don’t have plans. I need to get a job, I know that, but uncertainty is AT AN ALL TIME HIGH right now.

reputation is coming out during my SENIOR year of college, a time with SO much uncertainty...definitely more uncertainty than freshman year. I cannot wait to be empowered and enlightened by this album and I can’t help but thank you for this new album and more encouragement to be myself, my best self.

reputation comes out in less than 1 month, and I cannot wait. From what I know so far, and what I know about your “Take no shit and spread so much love no matter what as a strong independent woman” attitude is that I will love this album FOR. SURE. I love you endlessly. I really, really, really hope to meet you someday, and I hope you know that you mean so much to me. Thank you for being a friend to me, even when all I needed was a high note, a funny post, a cat photo, photos of you with fans that make my heart burst, and the hope that someday I’ll meet you. I can’t wait for that day.

Thank you for your heart.

I love you so much, Tay.

Love,

Isabelle

@taylorswift

#taylor swift #PLZ REBLOG #reputation #red #1989 #fearless #speak now

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