#i wanted to write something about NHS having a god complex but this happened instead

[pbaintthetb]

It started snowing seven hours after Da-ge died. Huaisang still had the after taste of the salty tang of blood on his tongue from where he'd bitten the last well-wisher who'd tried to drag him inside when the first snowflakes fell on his lashes.

There's blood or flesh, or something under his nails, he can feel it gumming them up. He's the Sect Leader now, so they can't drag him around, unless he's a mad man but it's not like he's got a son for them to listen to instead.

Beside, they've been ruled by mad men for long enough, they should just leave him here, wait for him to die. It gets shorter every time.

The snow covers the spot where his brother died, the snow's not even red on top by the time Huaisang decides that he doesn't want to die enough to freeze and makes his way inside. Huaisang makes his way inside and decides he's going to find somebody to blame. He doesn't really care who it is, he just needs someone to ascribe fault to, him, Da-ge, their dad, the Wen, whoever. Anything so it's not an accident, because Huaisang thinks he'll be able to cope with any answer, just not that one.

It doesn't snow again for weeks, but the snow doesn't melt at all. Huaisang can't stare at the spot where his brother died, adn he can't stare at his brother's corpse or coffin because those need to be removed as quickly as possible lest the sabre spirits... well. It's the midst of winter, there are no birds around so Huaisang can't stare at them either.

He stares at the snow instead, at how it's covering the whole sorry mess up, smoothly painting over the blood and the horror in the same way his brother's sworn brothers smooth over the transition between a Sect leader to mad to do his work and a Sect Leader too... Well, Huaisang isn't going to deny that he's mad too.

He sits in the snow, ignores his friends, and questions if everything has always been this dead in winter.

[canary3d-obsessed]

Restless Rewatch: The Untamed Episode 04 (second part)

(Masterpost) (Episode 04, first part) (Episode 05, first part)

Warning: Spoilers for All 50 Episodes

Continued from the first half of this very long post! 

Lets Go! Gusu

Wen Qing is lovingly exploring the magical wards of Gusu. She tries a little digital penetration on the ward at the waterfall, but gets the hard nope.

Note: Here at Canary3d we don’t ship Wen Qing with any cultivator ladies because we’re too busy shipping her with modern-day infosec-pro ladies, if you get what I’m saying and/or have read my bio.

Meanwhile Wei Wuxian is fishing with Nie Huaisang, using the method of sneaking up and grabbing fish with his bare hands. This actually works, because he is good at literally everything.  His “I’ll be the prodigy” speech to Lan Xichen, isn’t actually arrogant. 

Aw, Look at Xiao Zhan pretending this fish isn’t already dead.

Nosy Parker Wei Wuxian

Wei Wuxian goes to chat up Wen Qing and none of his crap works on her.

If I want to admire a pretty face I’ll go look in the mirror

His interactions with Wen Qing help to mature Wei Wuxian quite a bit over the months and years. Initially she’s a mystery to him, and he wants her attention and esteem. And can’t get either.

Look how stunned he is to encounter a boundary when she won’t let him touch her needle. “Wards are made to be broken” but she’s not going to let him past any of hers. 

Jiang Cheng, Insecurest Boi

Oh you beautiful sad angry boy. 

(More after the cut!)

Jiang Cheng is angrily waving the laundry around practicing his angry sword moves without a sparring partner, which is noteworthy partly because it shows how dedicated he is, but also because it shows how much he depends on Wei Wuxian for social interaction and cultivation practice. There must be 40 or 50 kids he could go practice with, but he’s by himself.

Camera Operator: Why you gotta take it out on me?

When he bitches to Yanli about his Dad preferring Wei Wuxian, she gaslights him.

Yanli is so gentle and kind, and she’s been the real mother for both of these boys when she didn’t have to be. But she ain’t perfect.

Yanli found this soup recipe on youtube. The ingredients are: water

Jiang Cheng has such a complex about Wei Wuxian he won't take the fish from him directly. He just looks hungry until Yanli grabs a stick and passes it to him.

Look, Jiang Cheng, we know you have reasons to be upset, but you need to get the fuck over yourself.

Aw, look at Xiao Zhan pretending this fish is cooked/palatable. (note: it is not)

Xiao Zhan deserves multiple awards for this performance. With bonus points for gratuitously eye-fucking Wang Zhoucheng into next week.

Wang Zhuocheng is an amazing actor who plays an incredible range of emotions, but selling the “delicious fish” lie exceeds his abilities. Look how he steels himself before he opens his mouth.

Yanli tells Wei Wuxian to be good starting tomorrow, and WWX gives her his patented lying-motherfucker salute.

This one has 4 fingers, unlike the 3-fingered boy scout salute he gave Lan Wangji on the roof in the previous episode. The extra finger is for extra lying.

Lan Lecture: Goofing off

Wei Wuxian is bored and spends the lecture time goofing off or sleeping like any other smart kid with ADHD.

Eventually he draws a bunny while Nie Huasang tosses him a nut wrapped in paper and he eats it. It’s the same kind of nut he eats at the beginning of his second life, when he remarks that they tasted better 16 years ago.

Don’t mind me, just putting Nie-Xiong’s nuts in my mouth

It’s cute how WWX and NHS are so vaguely gay for each other without bothering to be seriously gay for each other.

Several of the rules that are read out during this part of the lecture are things that Wei Wuxian is doing during this part of the lecture, or will become known for doing in the near future.

sitting improperly

causing noise

teasing others

ignoring others and being undisciplined

borrowing money

being late

Lan Lecture: Showing off

The question & answer part of the lecture arrives, which is when Wei Wuxian gets to show off his gifts. 

He is that classic kid who already knows the essence of the material, does not need stuff explained, and is super bored at rote learning.

Lan Qiren makes Lan Wangji show off his skills to the whole class, which would guarantee an after-school ass kicking for the teacher's pet except that LWJ is basically the most aggressive person in the entire Lan clan (thanks Mom for those "I'm going to kill you now" genes!) and is unbeatable. 

Lan Lecture: Going off

Next, Wei Wuxian introduces an idea for sustainable energy.

He starts off challenging Lan Qiren's hypothetical scenario, and as Lan Qiren draws breath to answer him, Lan Wangji starts speaking. LWJ has been listening very carefully and is speaking out of turn instead of letting the master speak, which is...probably not how he usually conducts himself?

From Wei Wuxian’s perspective, this is just the run-up to his next outrageous suggestion, but for Lan Wangji, this has to be an enormous moment. This boy who is unexpectedly a good sparring partner with swords and words is also an intellectual sparring partner - someone who can give Lan Wangji an actual chance to debate something.  

Wei Wuxian’s answer "it's such a waste" is directed to Lan Wangji, not to the class as a whole. Lan Wangji, Gusu’s loneliest boy, is suddenly in a relationship with an equal. The relationship is adversarial, but it's EQUAL.

Wei Wuxian carries on explaining his idea: How about digging up and desecrating corpses? No no no Not for fun, but in order to have massive, unthinkable power? 

Seems like a waste to just leave the dead to their rest when you could be using them for something. 

Lan Qiren: I can see we are going to have to kill you eventually, aren't we

Jiang Cheng: oh my god Wei Wuxian you can't just ask about decapitating corpses

Jiang Yanli: perhaps my unwavering loyalty to Dad's methods with my baby brother should be reexamined

Nie Huasang: my dude, conceal don’t feel, seriously

Lan Wangji: hmmm he’s not exactly wrong

Lan Wangji was a LOT more horrified at Wei Wuxian sticking a note on Lan Qiren’s ass than he is at this whole demonic cultivation thing. Lan Wangji is really really attracted to Wei Wuxian’s talent and intelligence, even when it's completely heterodox. You can see it much later when Wen Ning gets his personality back; Lan Wangji is impressed and congratulatory, unlike literally everyone else in the cultivation world.

Punishment

When Wei Wuxian gets sent to copy a chapter 1000 times, Jiang Cheng and Yanli are both horrified, whereas Wei Wuxian’s reaction is totally chill. 

Basically he knows that he has reached the part of the classroom discussion where he is inevitably sent for punishment, because he is totally used to that being how things go in his education.

Similarly, kneeling doesn't bother him because Madame Yu made him kneel for everything.  Wei Wuxian is the mascot for too-smart bored kids everywhere.

On his way out, Wei Wuxian hits Lan Wangji with this troubled look of yearning. In this moment where Wei Wuxian is sparking Lan Wangji’s interest and tentatively seeking a path toward Lan Wangji’s heart, he is also mapping out the unorthodox path he will follow away from him as they grow up.  

Lan Qiren in his rage does the dumbest and, frankly, most irresponsible thing the parent of a teenager can do in this situation; he sends Lan Wangji to supervise Wei Wuxian’s punishment. 

"This terrible WWX is a one-man bad crowd. Let me send my deeply conflicted, stubborn, intensely private, teetotling, abstinent and abstemious newphew to spend several days in a private location with him, being bored together."

Lan Wangji responds to this order with 100% calmness, not even an eyebrow furrow.

I'm sure no cussing, pornography, romantic portraits, flirty ink grinding, or changes in forms of address will happen.

Lan Lecture: Blowing off

Wei Wuxian meanwhile has fucked off to go make more friends, and is hanging out with Wen Ning. Wen Ning demonstrates his archery by hitting the worlds slowest falling rock in midair and Wei Wuxian earnestly praises him and offers to trade skill pointers.

I love how sweet and kind WWX is to this younger kid who is obviously a little different.

When Wen Qing shows up, Wei Wuxian takes another opportunity to get into her business, but he skips the charm this time. He also 100% correctly deduces what she is up to.

Swords by the Waterfall

Then comes another sexy sword fight as Lan Wangji sneaks up on Wei Wuxian and almost get his face sliced open as a reward.

Now that the swords are out it’s time for...homework, sigh. Summer school is the worst.

Outro

Writing Prompt: Lan Xichen’s letter to Nie Mingjue after meeting Meng Yao

Episode 05 Restless Rewatch is over here!

[enbyleighlines]

Would you consider writing Jiang Cheng's response to Nie Huaisang's confession as anpther one of the modern mdzs fics? Maybe with Wen Qing as well since I know she and Jiang Cheng have a relationship too? I cannot get enough of the modern au. I already love the way you write nhs so much and I need them to have a happy ending 😭

Absolutely, my friend! I’m glad to hear you are enjoying them~

—

On the night of his Jiejie’s wedding, Jiang Cheng drives Wen Qing and himself back to his apartment in silence. Both of them are exhausted from the long day, so the lack of conversation isn’t unusual or awkward.

Still, Wen Qing must have sensed something. As soon as they settle in for the night, and Jiang Cheng is about to climb into bed, she speaks up.

“Something on your mind?” She asks, looking up from the book she had been reading. She is marking her place with a finger.

Jiang Cheng knows that if he brushes off her question, that she will simply shrug and go back to reading. She will drop it, and probably not bring it up again. That is just the type of relationship they have. It is casual, surface level... a little cold. They both keep each other at arm’s length, metaphorically speaking. Their bodies can touch but their hearts can not, not for long, not long enough to risk forming an attachment.

Of course, Jiang Cheng also knows that he’s only lying to himself. He has already grown attached. Wen Qing just doesn’t need to know that.

When Jiang Cheng doesn’t immediately answer, Wen Qing folds the corner of the page she is on and sets the book aside. She gives the empty side of the bed a few pats. “Come on,” she says, “Say what you want to say, or forever hold your peace.”

Jiang Cheng rolls his eyes, but sits down beside her anyway. “Nie Huaisang said something to me today,” he begins.

Wen Qing raises a single eyebrow, and waits patiently.

“They... told me that they like me,” Jiang Cheng confesses, trying to keep his voice tight and emotionless.

“Okay?”

“Ever since high school,” Jiang Cheng continues, “Can you believe that? Holding onto a crush from high school that long?”

Wen Qing snorts, but at least she tries to hide it behind her hand.

Jiang Cheng flushes, remembering that he is still harboring a crush on Wen Qing that had begun in high school. God, he can be such a hypocrite!

“Well,” Wen Qing says, “What did you say?”

“What could I say?” Jiang Cheng counters, deflecting by pure reflex. He feels the guilt he had suppressed earlier begin to bubble back up. “I told them... I didn’t know what to think. I mean, they sprung that on me so suddenly! So I said I’d give them a proper answer later, after I’ve thought things through.”

Wen Qing hums. Even as exhausted as she is, she clearly sees where Jiang Cheng is going with this. “And how do you feel about Nie Huaisang?” she asks, knowingly.

“I don’t know,” Jiang Cheng admits. It’s the not knowing that is messing him up, but he doesn’t say that. “I mean, Nie Huaisang... they’re assigned male at birth? I think that’s what they’re calling it these days. And I’m not gay. So I shouldn’t be attracted to them.”

“But you are?” Wen Qing guesses.

“Is that weird? Am I gay now?”

This time, Wen Qing is unable to hold back her laughter. She giggles into her fist, clutching her stomach with the other hand.

Jiang Cheng scowls and waits for her to finish.

After a moment, Wen Qing meets his gaze again. She’s still smirking, though, that little curl at the edge of her lip that drives Jiang Cheng wild. “If anything, you would be bi,” she corrects him, “Unless you no longer find me attractive?”

It’s a dig at him and they both know it. Jiang Cheng shoves her shoulder, and she only laughs some more.

“So we can rule out you being gay,” Wen Qing teases.

“Will you take this seriously?” Jiang Cheng grouches. “Just answer the question. Is it weird, for me to be attracted to Nie Huaisang?”

Wen Qing gives him another smile. This one is genuine, almost fond. “Of course it isn’t weird,” she says, “You might have a slight attraction to men, or you could just find the concept of androgyny attractive. As much as I wish human sexuality was as simple as movies and TV would have us believe, it’s far more complex than that.”

Jiang Cheng considers that. “Is there a word for... being attracted to androgynous people? As well as women?”

“Probably,” Wen Qing answers, “but I don’t know what it is. I find the concept of labels limiting at best and misleading at worst. But if you think it would help, I can do some research for you.”

Jiang Cheng leans back against the headboard. He doesn’t know if it would help. He supposes Wen Qing might be right about the labels thing. Any time they’ve attempted to put a label on the strange relationship they share, it’s only ever ended in heartache. And, on that note, being attracted to Nie Huaisang isn’t Jiang Cheng’s only problem.

“Hey, Wen Qing,” Jiang Cheng murmurs, “Are you... jealous, at all?”

Wen Qing sighs. “You know I’m not a jealous person,” she reminds him, “Why? Do you want me to be jealous?”

He kind of does, but he won’t ever admit it. And it’s not jealousy itself he craves, exactly, just the confirmation that maybe Wen Qing feels a fraction of what he feels for her. That maybe she considers him a part of herself, something she doesn’t want to lose.

Wen Qing sighs again. “We’re not exclusive, either,” she adds.

Jiang Cheng is painfully aware. He spits, “I know.” And then, “But have you actually ever... slept with anyone else? While the two of us have been a thing?”

Silence fills the room. Wen Qing fidgets with the ends of her bangs. “I’m too busy for that,” she deflects.

They’re both living a lie. That much is clear. Jiang Cheng blows out air though his teeth, and attempts to put his temper and ego aside for the moment. “So is it really fair, then, if I ask Nie Huaisang out on a date?”

Wen Qing surprises him. She reaches out and puts her hand over his, lacing their fingers. “C’mon, don’t they say everything’s fair in love and war?”

Jiang Cheng sucks in a breath. It’s the closest Wen Qing has ever gotten to admitting that there is love between them. He gives himself a moment to savor the little victory. And then he says, point blank, “I want to know if you’re okay with me asking Nie Huaisang out on a date.”

“Yes,” Wen Qing answers easily. She gives his fingers a squeeze. “Will you be okay asking them out on a date?”

“I don’t know,” Jiang Cheng admits.

“What’s holding you back? Be honest. Is it the whole gay thing?” Wen Qing’s smirk has returned. “I hope you realize how dumb that sounds to me. I did the whole gay panic thing back in middle school. That’s child’s play to me.”

“Yeah, yeah.” Jiang Cheng finds himself smiling now, too. He remembers that Wen Qing was the first out and proud person he ever met. He remembers her wearing bi pride pins on her backpack, and how she was always the first person to put bigots in their place. She’s always been the strongest and bravest person he knows. He loves her so damn much. He only hopes that one day he’ll find the courage to tell her.

“So what’s really holding you back?” Wen Qing asks.

Jiang Cheng’s grin falls. He feels bad saying it aloud, even if he knows Wen Qing won’t judge him. But he says it anyway. “I’m afraid of hurting them,” he admits, “What if things go great at first, but when it comes to... getting intimate, I freeze up? What if I don’t find them attractive under the makeup?”

Wen Qing squeezes his fingers again. “That’s always a possibility,” she tells him.

“And I know I don’t know shit about being transgender or nonbinary or whatever,” Jiang Cheng continues, “but I heard that being misgendered hurts. And what if Nie Huaisang thinks I’m misgendering them, by not being attracted to them?”

“I don’t know,” Wen Qing says.

That shuts Jiang Cheng up. He looks at her, surprised. “What?” He asks.

“I don’t know,” she repeats. Her expression is so warm, so affectionate. “There are no easy answers, Jiang Cheng. Especially when it comes to matters of the heart. But I think it’s a good sign that you thought so much about this. It’s clear that you care about them. So... I think you should ask them out. You clearly want to.”

“I do want to,” Jiang Cheng confesses. He puts a hand to his chest, and is startled to find that his heart is pounding. When did that happen?

Wen Qing leans over and gives him a peck on the cheek. “So ask them out,” she whispers.

Then, she rolls over, turns off the lamp on her side of the bed, and goes to sleep.

But Jiang Cheng stays awake for a little while longer. He listens to his heart beat, and replays the conversation they just had in his head.

His fears and concerns are still there. But somehow, they feel more manageable.

—

It takes three days for Jiang Cheng to work up the courage.

Finally, he texts Nie Huaisang and asks them to meet him for a morning coffee at a locally owned vegan cafe and bakery. He figures it’d be the kind of place that Nie Huaisang would enjoy.

Jiang Cheng choses a table near a window. It makes him feel a little less claustrophobic. And then he waits.

Nie Huaisang arrives right on time, orders a latte at the counter, and brings it with them to sit in the booth across from Jiang Cheng. The nerves are apparent in every move they make, every little twitch of their fingers conveying intense anxiety.

Jiang Cheng wants to sandwich those fingers between his warm palms, and make them stop trembling.

“Good morning,” Nie Huaisang says. It sounds like they tried to sound nonchalant, but instead they just wind up squeaking on the first syllable.

It’s endlessly endearing. Jiang Cheng rubs the back of his neck. “Hey,” he replies.

Nie Huaisang looks down at their latte, and the foam heart on top. They swirl the spoon, distorting the image. “This is a nice place,” they say, “Cozy, and vintage. How long have you been coming here?”

“This is my first time,” Jiang Cheng answers. He doesn’t want to talk about the cafe! But he doesn’t know how to shift topics smoothly.

“Oh,” Nie Huaisang says. They peek up through their feathered bangs. Today, they’re wearing an oversized striped sweater, almost long enough to be a dress, over some leggings. As always, they look incredible.

Jiang Cheng has long found himself uncomfortably enthralled by Nie Huaisang. Their sense of style is— well, Jiang Cheng doesn’t know anything about fashion, so he doesn’t have the right words to describe it. But whatever it is, it looks good. It looks better than good. Jiang Cheng often avoids looking directly at Nie Huaisang for that very reason. But now that he’s looking, he can’t look away.

Nie Huaisang fidgets nervously, no doubt uncomfortable being under the heat of Jiang Cheng’s stare. “So,” they say, “What... have you been up to?”

It’s obviously not what they had meant to ask. Jiang Cheng suddenly realizes that he’s being a total douche for letting this drag on for so long. And so he blurts out, “I wanted to talk about what we talked about at the wedding.”

Nie Huaisang startles. They avert their gaze, and then ask, “O-oh...?”

“You said you liked me,” Jiang Cheng says, and then wishes he didn’t. Surely Nie Huaisang knew what conversation he was talking about! He berates himself inwardly for a moment, and then continues, “I wanted... to ask you out on a date.”

Nie Huaisang audibly gasps. They put a hand to their mouth a second too late to muffle it. “What...?”

“To the zoo,” Jiang Cheng adds, “Uh, you like the zoo, right? You like animals.”

“I do,” Nie Huaisang confirms. Their voice is so very small. Clearly, they had not expected this outcome. “But... I’m confused. You said... you said you don’t like men?”

“You’re not a man,” Jiang Cheng points out.

That gets a huge smile from Nie Huaisang. It lights up the entire cafe. “I’m not,” they agree, with a breathless sort of glee choking their throat. But then, the smile falls. “But I’m not a girl, either.”

“I know,” Jiang Cheng says. He straightens his spine, and tries to channel a fraction of the courage Wen Qing possesses. “I still think I’m straight, but I want to take you out on a date anyway. Maybe that means I’m not really straight, but right now, I really don’t care. I just want to take you to the zoo. And maybe to dinner, afterwards.”

Nie Huaisang looks like they don’t quite believe him. But they nod. “Okay,” they murmur, “I’d like that.”

[thesinglesjukebox]

TAYLOR SWIFT - LOVER

[6.61]

We’re mostly likers!

Tobi Tella: Gentle, passionate, and legitimately beautiful. For a song by someone who's normally thinkpiece-inducing, I don't want to think or look at this critically at all. I just want to sit and be enveloped by pure emotion (also a famous London boyfriend). [8]

Joshua Lu: Hot Girl Summer is over and Christian Girl Autumn fast approacheth, heralded by this ode to monogamy that's touching and pretty in all the obvious ways -- at least until the bridge. Taylor Swift, perhaps understanding the inherent cheesiness of ballads like this, pushes the song to its campiest limits as she spins cliche marriage vows to be lyrical and silly. The way she promises at the end to be "overdramatic and true" hints at how she's knowingly playful here, and it's a clever way to enhance this particular kind of song to its hyperbolic end. If only the rest of the song weren't too comfortable just being a "Thinking Out Loud" redux, then it might be worth revisiting. [4]

Jessica Doyle: It's fine! It's pretty, it's soft, it's got echoes of Maddie & Tae (in that lifted "close" in the chorus); Taylor sells the jealousy line as a self-deprecating in-joke that the video chose to play straight. It's a perfectly fine song, all the better for not requiring any additional knowledge to decode. It's a nice high note to leave on. So, without speaking for anyone else, I am adopting the belief that Lover is a stand-alone single released with very little promo by a talented but otherwise unremarkable country-crossover singer, whom this blog will get around to covering again in, oh, 2026 or so. [6]

Alfred Soto: Impeccable craft. Facts are facts. The use of echo, the voluptuousness of Taylor Swift's vocal prodding the acoustic strumming, the overdramatic middle eight/bridge in which she swears "to be overdramatic and true to my lover" -- I need a nap after such a bounteous feast. The other lyrics fascinate me less; the line about Christmas lights staying up is Creative Writing 1102, Week 3: Using Precise Detail. But the yearning in "Lover" is closer to autocratic than tender, which, to her credit, she sees as indistinguishable. [7]

Michael Hong: I once read a comment section where someone referred to Taylor Swift as the "queen of long bridges." Since then, I may have forgotten where I read it, but it remains something that I think is completely true and when Taylor Swift is at her best, she masterfully writes bridges. Her best bridges are midnight realizations, headbanging depictions of the crushing weight of heartbreak, or the anxious and relieving reminders of failing relationships. They often unfold as tightly-wound emotional revelations and are never without their cathartic release. But sadly, going by the early Lover singles, Taylor Swift may have lost her knack for great bridge-writing, producing the infamously cheesy "spelling is fun!" or a slightly too childish reference to Humpty Dumpty. "Lover" is no different. While "Lover" paints a grand picture of romance, everything feeling like just one of the many real possibilities, the bridge spoils the sketch, playing out like an obsessive fever dream. Contrast the way Taylor Swift sings the word "lover" on the chorus, which seems to resolve all anxiety and stop time around it, with the schmaltzy over-the-top way she stretches out the same word on the bridge until it becomes so mawkishly corny, it loses all meaning. It immediately takes you out of the romantic waltz of the rest of the track and into the overdramatic musings of a diaristic fantasy that would have been embarrassing even if read from an actual teenager's diary. The bridge is full of various awkward and uncomfortable moments from the moment we hear "ladies and gentlemen" through Taylor Swift's egregiously awkward and choppy talk-singing that seems to be on full-display across Lover -- it didn't work on "You Need to Calm Down" and it certainly doesn't work here. All's not lost because of the bridge, and I'm certain I could still get lost in the beauty of the rest, but there's certainly more realistic passion and romance in one line of the chorus than there is across that entire bridge. [5]

Ian Mathers: The sound, all that dusky reverb and brushed drums, is pretty lovely. Most of the song works well too, although god she lands hard on that title every single time it comes up, eh? I know I'm supposed to have a more complex reaction to Taylor Swift, but I got so burned out on the competing takes it's hard to focus more than "a pretty nice song I'll be fine hearing on the radio that has some clunky bits". [6]

Vikram Joseph: Love songs are a hard sell; the best ones make you overwhelmed with joy for the protagonist, or make you believe that you one day you could have all of that happiness for yourself, but that kind of listener empathy takes real skill to engender. "Lover" sounds smug and entitled, like your posh acquaintance who's never had to struggle for anything (emotional or material) in their life boring you to death down the pub about their wedding plans. The aggressively cloying middle-eight perfectly encapsulates drink number three, when they're off on one about their honeymoon plans (an all-inclusive resort in Dubai) while you're remembering why you've only seen them twice since uni and wondering whether you can get a lobotomy on the NHS. And yes, it sounds a lot like Mazzy Star, but if I want to listen to a reimagining of "Fade Into You" I'll head straight for "Coming Down" by the Dum Dum Girls, thanks. [3]

Katherine St Asaph: Early reports likened "Lover" to ersatz Mazzy Star (a reminder of what they actually sound like), when what it's clearly trying to be is "Hallelujah," and given the sparkly perkiness of the bridge and all beyond, quite possibly the Pentatonix version. The rest is the usual Taylor Swift problem: the song's supposedly about a "magnetic force of a man" but sounds like it's about a Build-a-Bear. [2]

Sonia Yang: Cozy, intimate, and eschewing glitzy synths in favor of drawing upon her country roots. Rather middle of the road for an album title track, but it's packed with neat little bits such as that relaxed swing-y 6/8, the way everything cuts out for Swift to sing the "lover" at chorus end, and Swift's breathy head voice. It's not a big track but it doesn't have to be. However this is something I can see myself loving much more life than on record; without the immediate atmosphere to bask in, it does feel a bit underwhelming. [6]

Edward Okulicz: "Lover" sits in the middle of songs on its parent album for me -- it's beautifully made, but like a few of its midrange peers has one or two things that annoys me. Here, it's the word itself -- not "lover," but "luvv-verrrr." It's not that it's a weirdly coquettish thing for her to say, because Swift has always done the modern girl dreaming of the romances of literary greatness, although usually she's a little bit more creative ("Starlight") or subversive ("White Horse"). No, it's just that I don't like how she sings that one word and it feels gratuitous in a song that doesn't really need a slightly anachronistic, coquettish touch to it. Other than that, no complaints about a lovely melody, delicate production and a performance that radiates relief and warmth and comfort. Probably an 8 in a month, but not yet. [7]

Rachel Bowles: I never truly believed the old Taylor was dead, the romance of reputation's 'Delicate' hinted at it, and Lover's eponymous single confirms it. It's a wistful, waltzing, breathless ode to long term relationships, making a home and real life happy endings- Taylor's teenage 'Mine' fully realised. [7]

Alex Clifton: I fell in love with Taylor Swift's music when I was nineteen and heartbroken. Speak Now carried me through a time when all I wanted to feel was loved and complete instead of the broken mess of a teenager I was. I thought I wanted a fairytale love myself, grand gestures and bouquets of roses and a partner who would shout their love for me to the city, but I couldn't even have a real conversation with the people I had crushes on. Needless to say, it didn't happen. I spent a lot of time trying to figure out how to mend my own heart and really open myself up to love. Eventually, I found someone and learned that love lives in the smallest things. He knows the way I take my tea and holds me when I cry; I know his regular orders at restaurants and tell him stories at midnight to keep his anxiety at bay. I never knew I'd prefer a quieter love to something all-consuming that burned red to the point of self-immolation. Instead I revel in the moments we have while walking around our favourite park, playing Scrabble in a cafe, reading together in bed. Swift has found the same sort of security and has carried this feeling into one of her best songs in years. "Lover" is a sun-drenched lazy ode to love itself and is the song that Swift's been building to her whole career, complete with wedding vows. It's a mature outlook on what love can and should be--something that fills each quiet moment between all the drama and major events, a strong feeling that can't be knocked down by a single fight or small mistake. Even with the occasional overdramatic moment (lovahhhhhhhhhh) it's made me remember how much I love my partner each time I've heard it, which is what the best love songs should do. [10]

Jacob Sujin Kuppermann: The paradox of Taylor Swift is that all of her songs are inherently flashpoints in the discourse, even when there's nothing to talk about. "Lover" is the least controversial thing that Swift has done in years, both in intention and execution, and yet there's still no way to talk about it without talking about Taylor Swift, Important Pop Star And Cultural Figure. It's true that this becomes true of any sufficiently big pop star, yes-- but since (at very least) "Mean," Swift's music has been written like it's almost exclusively commentary about her own reputation. Yet the thing about "Lover," all the way down to its title, is that it's uncomplicated. It's maybe the least complicated single she's ever put out-- it's a love song with no twist, an acoustic ballad that's content to just be a big, stately acoustic ballad. It does its job-- the song will undoubtedly soundtrack twinkly-lighted summer weddings for the rest of eternity, and I won't even be mad. Because underneath it all, Taylor Swift is a pretty damn good songwriter when she doesn't feel the need to excessively perform the role of Taylor Swift. The lyric is full of lines that were clearly written with pride and skill-- the bit about guitar string scars on the bridge, most obviously-- but it doesn't feel as obsessed with the self as, say, anything on "You Need To Calm Down." And in letting the song breathe and stand for itself, she manages to reinvent herself: not as a pop megastar or some empire unto herself, but as a craftsman that happens to be the biggest thing in pop music. It's a compelling guise, and one that feels refreshing after a decade long media slog. But the greatness of "Lover" ends up leaving me feeling more skeptical of the rest of Swift's work than ever. [8]

Kylo Nocom: Taylor replaces the pain of what ended up happening with the comfort of what could have been. Her fairy tale ending is real, but "Lover" is generous enough to let one believe every single thing here can exist forever and ever. The spacious drums sound like they could have been recorded from the moon; that string-plucked bridge came from heaven. [8]

Isabel Cole: Having had some time to acclimate to the roller coaster kinda rush of Taylor following up the two worst songs of her career with the first album of hers I've ever genuinely loved, I'm content enough now to say I just think this is wonderful: unhurried, cozy like a well-worn sweater, pretty without showing off, knowingly nostalgic without being cloying, humbly besotted. Impressive that after half a lifetime making music Taylor is still deepening her skill as a vocalist, finding new clarity and a few welcome hitches; her performance, like her writing here, works by not working too hard, all the more convincing for not needing argue its merits. The fact that Taylor sees leaving the Christmas lights up till January as a show of deep intimacy is as hilarious as it is completely believable -- no one who's not a bit of a control freak winds up with their face plastered on UPS trucks. Similarly, I'm so genuinely endeared by "at every table, I'll save you a seat," coming from an artist who was writing songs bearing the sting of her lifelong dweebishness well into her era of global acclaim: marry me, Juliet, you'll never have to sit alone! It's hard to imagine that when she recorded the breathless final act of Love Story she could have envisioned that one telling a love story would sound as easy as this. [8]

Wayne Weizhen Zhang: Every time I'm on the verge of disowning Taylor Swift for her terrible choice in singles, she releases something like this. "Me!" was an infantilizing failed experiment at camp, "You Need to Calm Down" was surprisingly thoughtful social commentary let down by a dud of a song, and "The Archer" sounded like a forgotten Hunger Games soundtrack cut. "Lover", though, is a timeless, gorgeous vignette of domesticity, mature in its lyricism and warmly familiar in its sound. It's the most compelling Taylor Swift has sounded since "New Year's Day." [9]

Jonathan Bradley: On early hit "Love Story," Taylor Swift punctuated a marriage proposal with a key change. The moment is one of ecstatic joy: a fairytale promise fulfilled beyond the bounds of reality. "Lover" sounds like a proposal, too -- her vow to be "overdramatic and true" is both lovely and gently self-aware -- but it's a rich and grounded union that finds more to happiness than the relief of a promise "you'll never have to be alone." It is a song of brushed drums, slow steps and brocade, a "Speak Now" from the altar and not the jealous aisles, of pleasure in shared domestic spaces where friends can stay over and Christmas decorations can stay up. There are no princes and bare promises, but Swift sings it with an awe even her earliest romances could not conceive. [9]

Joshua Copperman: Continuing my series of altering professionally produced music, I created an alternate tracklist of Lover, creating an 11 track 40 minute concept album about a battle between naivety and maturity. It goes from a scattered pop album to a fun-size Once I Was An Eagle. On this closer, love definitively wins out. "Lover" is Swift and Antonoff's take on 50s rock; purposefully campy and over-the-top, but genuine in a way that the first two singles from this era did not. As a closer, it resolves a lot of the tensions that have plagued Swift's work this decade, giving her a happy ending... but as the third track, it's baffling. I should not have to make my own context for this to take on a meaning, but that's also the whole point of pop music. (At least, it was before albums became more of a status update for an artist's life than a complete body of work.) I was on the fence about docking a point because "forever and ever" gave me "Jerika" flashbacks, but it's just a phrase that can only be given weight if someone genuinely believes in it. Kind of like "true love." [6]

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