#idk and it’s weird talking about it to any of my friends

[firefly--bright]

sound//waves

jean kirstein x fem!reader, modern a.u.

summary ; each sound has its own shape, something tangible for you to feel. jean's shapes are weightless but important, and you find the importance of your own shapes through him. warnings ; reader being self-conscious of her voice :') idk what the trope is here. pining idiots who don't realise they're both in the same boat, also brief alcohol consumption a/n ; hehe,,, this fic was a pretty long time coming i think? but its for @/samepictureofjeankirsteverday on instagrams celebration for hitting 1k days!! so congratulations!! its also inspired by her own fic, quietude on ao3 :) pls give it a read its SO CUTE and i loved it sm <333 congratulations again :33 ALSO i have never done karaoke before so im sorry for any,,, errors. i genuinely dont know how they work and ive watched only like 2 animes with a very vague karaoke scene </3 just pretend that every inaccuracy is For The Plot taglist ; @holding-infinity-and-a-book , @mrsnobodynobody , @hopeless-anti-romantic-again , @jeanscremebrulee , @berrijam , @happxme , @cherrypieyourface , @imgayandshesanime , @moonmalice , @kivernova , @potaho3frog , @xakilicious , @katestrophes , @gojo-ana , @ppushable, @candleohappiness , @zombiefiedskeivy

masterlist is in pinned post ✿ enter my taglist ✿ requests for headcanons are open! ✿ playlist to listen to while reading! (it has a couple karaoke songs wink wink) ✿

right tile art credits ; @ppushable on tumblr!

you'd always been conscious of how loud your voice could get. 

a little annoying, you thought, because whenever you got excited about something, your voice would jump through octaves, creating an exponential curve on a graph. when you were with friends who knew how to make you laugh, your throat would make a weird sound - stuck between a guffaw and a choke of self-conscious laughter - if it was particularly funny. and your voice was always stuck between the contrasting spaces of either being too loud or too quiet, never really being able to gauge what was required when. 

you'd rather listen than talk. your voice would work around the right people, your mouth having a mind of its own, spilling contents you didn't agree to, but you'd regret the sound of it later. secrets would lie, open, barren, self-aware, in a disgusting pile of weird decibels on your table, in the space between you and whoever had to bear witness to it. you always cringed at the sound of your own voice after hearing it back in video, wherever it was captured. 

you grew up quiet, never growing used to using your voice until you were a late teenager. not knowing the importance of words until they were said, until after the reactions were met. 

and then you met jean. loud, boisterous laughter filled the room as he shouted the rules of the game, clearly drunk, at a party you couldn't remember the importance of, and you were next to your equally as loud and agreeing friend who shouted cheers and another one, her other half, she had loudly exclaimed, her twin, really, and you could hear the resemblance in the way they both chanted a cheer of “jean! jean! jean! jean!” continuously as the guy wearing a button-up shirt that was now soaked with wine with a bottle of the liquid held a considerable height away from him, drinking with twitching lips and shut eyes. He stopped with a spluttering cough, unashamed still, a large, cocky grin plastered over his lips - plump and red with the tint of the wine. Then he let out a loud whoop and you wondered how he didnt feel the guilt of being loud weighing down on him. Maybe it was the alcohol, you assumed, taking a cautious, controlled sip of your own. Sasha and connie soon joined him, and along with their arm came yours, linked in between sasha’s tight grip.

Introductions were made, voices inclining louder to be heard over the music. “Sash told us about you,” jean shouted, a surprisingly inviting smile on his intimidating face, and you joked around, “yeah shes in love with me!” jean all but nodded with an approving smile, and the rest of the evening by pounding music that you could feel your heartbeat on, and you don't hear jean’s presence until about two weeks after it all.

He was quiet then. Suddenly his face went back to being intimidating, and his voice was heard through a groan the first time you heard it after the boisterous party. “Marc, can you please-”

Marco continues about his day, and then you add on with your unfamiliar voice shrinking under the sounds of the cafeteria that was quickly filling in with tangible shapes of voices. The rest of them have to lean in a little closer to you to listen, and your voice shakes against your chest at the bearable effort just to talk about your mundane and frankly low-grade joke about stagnant coffee that you couldnt even remember after you said it, but somehow made them laugh.

“Oh hey!” marco spoke from beside him after he spotted your head approaching them from a distance, his voice a happy, upbeat version of it’s usual quiet and important self. You waved to them with a smile, not uttering a word until you were at their table. With sasha beside you, you let her do the talking at first. Consonants loud, slight country accent clear as the day above you, she spoke about the “boooorrriinnggg” lecture she just had to attend, her back slumping against the seat. Your face rested consciously on your palm, an unintentional look shared between you and jean that said mostly nothing but quiet and secret amusement. His eyes were pretty, speaking a thousand, weighted words against his lids, all of which were heard clearly by you. Hes a stranger, really, nothing more than a name and a scruffy but pretty face, but that didnt stop the bounds of familiarity working their way through the shared space between you. Marco snorts from beside him, and pushes his remaining fries to the brunette. Sasha hums approvingly, comforting, the waves travelling to you safely. Undisturbed, just how youd prefer them to be, and her voice floats above your body, letting it settle there, with you looking at it’s gentle remnants.

“Ackerman’s classes are always a terror-shock,” jean spoke, now, directly to  you, eyes on yours, and you had to stop yourself from being consumed by the tidal waves of sound - his voice, low, warm, joking, natural as if your presence was just enough for him to find comfort in.  

You laugh along with him and your voice - a hungry animal of itself - involuntarily, becomes more itself than you’ve ever found it to be. Which is a shock, but then sasha rests her head on your shoulder, asking you, “when’s your next class?” her voice vibrating on your shoulder, travelling through your bones. Your voice - the hungry animal - or whatever it gently became, replies with a, “in a couple minutes.” 

“What block?” jean asks, and marco checks his phone for his own calendar. 

You hum even if you don't have to think, “block-b. Just a bit of a walk.”

“I have class the same way. I can walk you,” he says, casually, picking his back up from the ground beside him, his knee knocking into yours for a moment. He doesn't apologize. You get up next, picking up the remnants of the trash left on your table and follow him.

His voice is a constant after that. Surprisingly, his voice becomes something you reach out to, the tendrils of waves asking you to stay a bit longer, to shed your coat, to give him your bag to hold. Gentle commands that all but fuel your hungry voice, lungs soaking into whatever has become of his laughter mixed with yours. 

“Karaoke night!” sasha shouts, entering the apartment with no remorse of her voice being louder than the howling dogs at night. You exchange a natural, knowing glance with jean who stands next to you in the kitchen, handing you a spoon. Connie follows her in, and his presence is just as loud, the shape being a little sharp against your palm, just enough to remind you that this is your friend. His bag flops against the table and he groans with each joint that moves in him. 

“Im going to sing the best songs-” he starts, but jean is quick to cut his voice off, as usual, “-you’re going to sing CPR by Cuppcake you crazy bastard, im going to hit you-” “im not going to sing that! I have taste and dignity and-” “-you have a will to make us suffer.” jean states, and the two of them go back and forth while you hand marco’s cup to him in the living room. “Thanks,” he says, whispered among the background, his lips pursed with an attempt of hiding his laughter. 

You smile back at him, but your laugh isnt hidden. You turn around, hands on your hips, exclaiming, “okay! Karaoke night in three hours. Then we go to mitras’ and eat something good.”

Sasha agreed with a mouthful of food and a muffled voice, and you reeled from the fact that you could project your own voice into the apartment with such force. You’ve always been loud, and your mouth always ended up working by itself, spilling contents you didn't agree to be spilt, and you grew quiet again with the consciousness of it all. You never knew how to strike the right balance between quiet and loud.

But then you met jean, who was looking at you, his mouth drawn between half smirk and half amusement, brows raised only slightly, enough to keep you questioning.

“What?” you asked him. Cornered him, really, and your voice was meant to be sharp but ended up being soft around it’s edges, a happy smile accompanying it, and jean’s smirk widened, just by a bit. He shrugged. “Nuffin,” he said, voice half-hidden and half-proud under the food he was chewing. 

Chips. Barbeque, the ones you bought especially for him, the one sasha was hoarding. You narrowed your eyes at him in faux suspicion, but let it go only a bit after, turning your back to him as his voice travels to you without hinderance. “Sash, stop eating th3e damn-” “i’ll do whatever i want to!” she says, turning her back on him as well, facing the marble countertop of the kitchen with jean’s - now her - bag of chips, crinkling under her fingers as she dug through them, feeding one to you.

Karaoke was set. Three hours timing, as you said - a little too loud, unconscious of it being that way - and your shoes squeak over the floor. There had been a significant wait, but connie’s rambling had done you good. “For once,” jean said, voice barely heard over the sound of all the other occupied rooms, “he’s useful.” “that’s not what you said last night.” connie says, but his voice is octaves higher than jean’s and impossible to ignore. You open the door to the room with a smile, and marco groans. “Guys, keep it in your pants for one night.” “im not the one-!” jean starts, but sasha clamps his mouth shut with her hand. “If you're not going to sing, i don't want to hear your stupid, neighing voice complaining,” she said, a murderous tilt in the sound, something you didn't want to mess with.

Sasha in a bad mood wasn't sasha at all - a learned fact that had been taught very unfortunately to you - and you tried your best to get her moods up with whatever means necessary, hopping next to the big screen and detangling the wire of the microphone as marco scrolled through the song options, humming under his breath. A round of lemon sodas was immediately ordered, and jean left a seat for you in the corner of the couch facing the screen, an unsaid determination to get you to sit closer to him. Connie slung his arm around marco’s shoulders and, like the demon on the former’s shoulder, guided him to choose Copacabana by barry manillow.

“Wanna duet, beautiful?” he asked you, hand flat open for you to hand him the mic. You raised your brows with a smile, “you cant handle me, springer.” even if in reality, it was you who couldnt handle him, his voice ten times louder and unashamed than yours, something you admired.

“sash! Connie’s challenging you!” you say instead, smile poisoning your sentence, making it irregular. “hey! I never said-” he starts, but sasha bounces off her seat to your voice, hugging your arm, taking up the challenge and squinting at connie with vitriol. “You're on, baldie.”

Connie’s not a competitive person. He’d never cared about grades, about being first in class, about races, in board games - it was all just that to him. A game, something to have fun about; an admirable trait if went unpaired with the rest of his jokes. But he liked doing things out of spite - a revenge that flowed so deep that he had to do something drastic. 

Even before the music turned on, before their cue, they'd started their serenading, making marco wince with an adoring smile as he grabbed sasha’s outstretched, inviting hand.

You made your way back to jean, as you always found yourself doing, licking your lips against the cold of the AC blasting in the room, the floors shaking under the weight of your beating heart to the thumps of the song, rhythmic and out of tune. Marco sang well, you knew this, but his voice got lost under the competitiveness of sasha and connie, shouting over each other and clambering over the lyrics as they ran away from the screen, still getting the words wrong. 

You laugh, sitting down, stealing a chip from the bowl jean held in his lap as he flipped through the book of remarks strangers before you had written in the same room, their handwritings messy and intoxicated with the extensive - and expensive - cocktail menu, hearts littered under the praises of their time. 

“I wonder if they added it,” you said, almost shouting as he leaned in as well, head ducking near your mouth to hold your words in his heart. Impossibly close, his cologne masking the smell of the leathery couch and the stinge of cold air, and he lifts his head, a curious glint in his eye only enhanced by the rotating, artificial, lights that played their colours on the wall along with the trapped soundwaves. “Wanna check?” his lips upturned into a smirk, a pink light bouncing off his hair, then green, then a blue, the same colours in the same order projecting onto you and the adoring afflictions of his voice were not lost on you.

Jean chuckled, the sound hiding under the unbearable symphonies, pointing his finger at one of the notes. “Someone wrote-” you had to lean in close to hear him, afraid that you wouldn't catch the waves woven so delicately and carefully for you, that you'd miss them, somehow, “-that they are sad that… oh shit, thats connie.” the note, scrawled with a blue ballpoint pen, complained about how there was a lack of the sonic movie soundtrack on the machine. You laughed, your shoulders shaking under the now weightless time, a physical proof of your smile. Jean held it in his heart, woven carefully, as if it would slip away somehow.

 

Something to do. Together, like a secret, because really, how else would he say it if not like this? Like the shape carved itself just for you, smooth and soft. How else would he say something unimportant so close to you, his hand encircling your shoulders, arm resting on the back of the couch, voice the only thing you hear even if the loudness of the setting is all too present and all too distracting. Because that’s what this was, even with the distracting and present and loudness of the setting, he asks you, and his words form their own shape and fall into your lap, a gentle, warm question with round edges, easy to hold in your open palms that eagerly closed over it to not let it go.

Your heart beats to the thumps of the song. Your teeth ache with the sweetness of his voice as you nod with the same glint in your eye, and the unsaid but well-heard command is enough to get him standing up and walking to the machine, checking and flipping over the songs that offered themselves, his white shirt tinted against the moody lighting, the old bracelet you made him hanging over his wrist with a poorly tied knot that somehow withstood the test of time and weather and temperatures of his warm body. His hand scratched the back of his neck, and the present song was almost coming to an end, not that you were paying attention to it, but it was hard to not remind yourself of the moment you were in when the moment included him, the same ground he stood on being the same ground your feet rested on, the same room his voice held and clung onto also being the same room your own voice was in, floating to his, something you found it doing a little too often.

Your name was spoken on the microphone, brightly, with a wide smile, something you hadn't been used to until you met sasha. Your eyes met hers, crinkled at the ends with a smile wider than her heart, as she pointed at you, “your turn! jean-boy, choose something!” met with another shared and important - because all of them were important - glance with jean, eyebrows raised, affection rippling over his features, and you relented, hopping up to the microphone as she handed it to you.

“Oh, but when i asked you to, you didn't sing? I see how it is," Connie said, teasing smile on his lips. Marco shook his head with a smile as you shrugged. “You dont pay the rent,” you said simply, and the opening to cant take my eyes off of you by frankie vallie clung to your clothes, spreading a wide and knowing smile over your face, glancing at jean again. Again.

Sasha watches. Seeing it play out - not rehearsed, a little clunky, your shoes creaking under your weight as you hop to the beat, looking at jean who, in turn, looks at you, and sasha watches. Your voice hums out the tune before you sing it, before the lyrics start rolling in, impatience staining your tongue because of excitement, and she watches. Connie gulps down his drink from the corner of the room and tries getting up, but marco pushes him back down with a gentle and forceful hand, “dont,” his voice says, lost again, and connie doesnt ask why. Sasha hands her microphone to jean, clunky and unrehearsed, and he takes it without reluctance because he could never refuse being near you. 

Your shoulders shake without effort or thinking, and the usual hesitance that comes to jean so easily, like habit, almost disappears, finding solace in god knows where but he’s just glad its not there right now, with you. Brilliant smile, voice usually small and a little uneasy now grows with the swell of the song and he cant help but not sing. His voice is nothing but background and really, all he’s doing is humming into the mic just as you were moments before, and he sees everything. Your voice makes it hard not to notice you, stark against the background of the four walled-room, head bopping to the beat. It's hard not to notice when something so tangible and breathing and beautiful is in front of him, singing, smiling towards him, looking at him like you do with your eyes all shiny and almost sparkling under the shitty lights, he thinks, how can someone make a karaoke room feel like a shrine? 

He's not poetic. He knows this - out of the two of you, you find more of the metaphors, the small but noteworthy variables with the phrases and words - but he’d turn into a poet just to make one of the songs you like to sing so much. Humming under your breath, kept there until future and important use while making coffee, lost lyrics that you couldn't remember building up at the back of your throat as your hand flew across the your computer’s keyboard but even then he’d choose your inexperienced and unpracticed voice over a well made concert. 

Your lips shine with the light, and he forgets how to breathe. His mic floats somewhere near his mouth, he’s sure of that much, but everything else is lost to him. Your voice becomes his guide, wavering a little at the higher pitches, careful of the lyrics. You mess up once, laugh it off, shrugging your shoulders, and your smile is etched onto the speakers, making their way across the room and into his ears and, god, he can feel it. The beat doesn't matter to him, his heart finds the way of your voice and beats to it. As soft, as careful, unhesitant and unrestrained until the three minutes and twenty-four seconds of the song are over. And all he did was blink.

You turn, handing the mic back to sasha, connie’s standing applause met with a wide, unbashful grin and a little bow, faux pride in your posture. 

Jean all but follows your footsteps only a little ways from sasha, as she chooses another song of her liking, and his eyes are on you, adjusting the sleeve of your shirt that had folded up. You look at him, lips moving under his gaze, sound travelling and only a little delayed because jean thinks about your lips for too long. “You have a good voice,” you remark, smiling, and he blinks. Thank god the place is only dimly lit because his face feels red, heart pumping dangerously close to his chest. 

“Yeah?” he asks, as if he needs confirmation. Really, he just wants to hear your voice again.

You hum. He leans in to hear it as if it's something more important. It is, to him, every molecule that's disturbed by your voice to reach to his ear is something that he needs to be accounted for. He’ll make a home there, he thinks, where your voice lives in between the atoms, the shape it makes mid-air, just for him to hear.

“HORSEBOY THIS ONES FOR YOU,” connie shouts in the already loud speaker, making jean wince, connie pointing his finger between jean’s brows, a scowl on the latter’s features. The starting notes of “my heart will go on” start playing, and jean groans, head tilting upwards, catching the way you laugh softly, and turning to you incredulously. 

“Y’know your bald head is shining like a disco ball right now?” he says in retaliation to the now belting-his-heart-out connie, his hand making a fist over his heart, eyes screwed shut, pinch between his eyebrows, knees bending at an almost-painful angle that will most surely make them hurt later, with marco doing the background vocals, eyes closed, and… was that a tear? 

“Jesus, and then? what did he say?” sasha’s voice loudly asked, uncaring for any sleeping neighbours that would surely be jolted awake by her, coercing you to tell her more about the terrible group project you had just gotten out of last week. “He said he’d just give the work to someone who owed him a favour.” you said with mild but mostly dissipated annoyance.

Marco winced from in front of you, legs crossing two steps at a time. Jean scowled, turning his face to yours from where he climbed beside marco, “what the fuck?” to which you could only shrug with pursed lips. Sasha’s arm was around your shoulders, her fingers tracing comfortable shapes on the cup of your shoulder. 

“Wait, who owed him a favour?” connie asked from behind you, two steps under yours. You spared him a glance and shrugged again, “no idea. And then, of course, he told me, last minute, that they couldn't do it and he didn't have the skills,” you put air quotations around the last word, clearing your throat for dramatic effect, “to complete it himself.” 

“What the fuck does that even mean-” “what a fucking dick,” “god, im so sorry,” jeans voice was the first one you heard, followed by sasha’s, and then marco’s. “I wish we could still guillotine people.” connie spoke up just after you crossed the last step, marco’s shoes squeaking to a halt before your door. You fished your keys out of your pocket, opening the door to its jingle.

“Guillotines are for rich people, dumbass,” jean said, rolling his shoulders back as if the sentence itself burdened him.

“of course you’d say that, you french fuck.” connie spoke, wiggling out of his coat the second he stepped through your door. Sasha went headfirst for the couch, collapsing into the cushions without any plan to remove her own coat. Her soft snores soon filled the apartment - a trait both her and jean shared. The two could fall asleep anywhere and anytime, state of their body be damned. Jean had told you, after a long nap, his voice a low hum, that he had insomnia as a kid. He didn't know how he grew out of it, but it ended up with him on the opposite side of the sleep spectrum - unable to wake up unless shaken very violently. He asked you to slap him awake once, and when you hesitated, connie stepped in with a loud smack to jean’s cheek.

Marco stretched out his arms while walking to sasha’s room. “Im taking her bed.” he says, a tired yawn stretching out at the end of his sentence. Connie groans, “where will i sleep?” he asks, looking at you with a smirk, “if only a beautiful girl with a pretty voice tells me i can use her room…oh, if only,” he sighs, placing the back of his hand on his forehead. 

“Yeah. if only, you bitchless moron.” jean says, and you shake your head with a smile. 

“Do you think women are bitches, jean?” connie asks, the hand on his forehead finding itself on his chest, gasping. sasha ‘s snores break through his sentence.

“No! I.. i love women. I mean, im not like, im not… like a slut or anything, but-” “sounds like something a slut would say. Fuckboy.” “I respect women!”

“Ladies, ladies. Stop fighting over me.” you say, walking towards your room without sparing either of them a glance, expecting jean to follow you. “Cuddle with marco, con, I know you want to.” 

Connie groans, again, a little too dramatically to be taken seriously in the first place. There’s no malice hidden in his voice, none of the usual complains you would've found, “fine. If you say so. See, jean? This is how you respect women.” 

“Youre only saying that because she’s pretty.” jean says. You try not to let it get in your head as you enter your room, your door creaking open. “Night, marco!” you whisper-yell across the hall, even though sasha’s eyes wouldn't open even a peek with any amount of sound. “Goodnight!” he whisper-yells back from across the hall, only a couple steps away from the door of your room. 

Jean and connie’s voices are still arguing about something, but you're too tired to make their words out, all of it becoming gibberish. You clear your throat - a sound that’s enough to get them to stop. “Goodnight.” 

“Hey, wait-” jean speaks, and connie snickers from behind him.

Your room is silent, save from the irregular sounds of the cars passing downstairs, gravel under their rubbery tires. Everythings been said and done; teeth brushed, face washed, pillows fluffed (by jean’s persistence). You collapsed onto bed, leaving enough room for jean to squish into, the sound of ruffling blankets and the plush, squishy pillow under your ear. He lays on his back for a moment, before facing his body towards you, the deliberate motion creating squeaks of spring from the mattress. Everything has its own sound. Jean’s hands tuck under his head, and you resist the urge to laugh at his position. He sees right through you.

“Whats so funny?” he asks, whispers, really. You're not sure why. Maybe it's the overwhelming silence, the inability of breaking the warmth that crosses across both of your bodies, sharing the same blanket.

“You look funny tucked in like that,” you say, imitating his hushed voice. Maybe it is too important, you think, to talk about things that are funny in the moment for no reason but to keep your heart steady against the faraway but present sound of his - just one of those sounds that didn't need to be heard to know it was there for you.

His sigh turns into a laugh. You're both laughing at nothing, soft puffs of air, carbon dioxide overlapping carbon dioxide. Sounds are science, right? This felt a lot like poetry. Maybe they all merge together, and Jean speaks up before you can think more about it, “do you think Connie is spooning Marco right now?” 

You laugh a little more. “Are you jealous?” “that we’re not…cuddling?” he asks, a little unsure, but with a small smile anyway. He's hesitating. You know him enough to know the way his voice - though soft and pliable right now, gaseous against your palms, shape unreadable - sounds when he's unsure. You shrug. “Are you?” you don't know if the whispering is making you bolder or if you're just tired. You’ve always been a little conscious of your voice, a little too in your head about needing to be soft, uncaring if your sentence goes unheard. It doesn't matter as long as youre peaceful, as long as your voice doesn't disrupt disrupt disrupt.

His cheeks go a little red. It's how you know you’ve got him. Your smile turns softer, a little more understanding. “I…okay,” he says. You're both not sure what he means by it, but you can't help but marking it as important, just as everything he’s said to you.

“Your voice is…really pretty, by the way.” jean states, eyes not meeting yours. His lips form a thin line after saying it, as if he’d been wanting to keep it a secret, as if the fact that it somehow got out was a fault. You don't have much to say to that, though, so the sentence lays there, between the space of the pillows, between the blankets. It’s weighed, careful but untamed, and it lingers there for a moment, soft and pliable and unconscious. 

“I mean… like everytime i hear your voice its… its nice. Not just when you're singing. I like that too.” he rambles, voice still a hush, words still soft and pliable - putty-like, shapeless but you catch them and you don't let them go, let them seep into your skin and against your bones and into your bloodstream. “When you pick up the phone, or when you're humming something. I know it's… i know you think it's not meant to be heard. But I hear you. And i… I like hearing you.” he says. He likes hearing you. He likes hearing you. The words don't have shape. They wave over you, not tidal, not forceful, but like the same warmth of the blanket that rests over your shoulders, crinkled at the edges, a little worn out as if he’s been saying it to himself before giving it to you. 

God, and youve always been conscious of your voice. So when you speak next, its a surprise to you when its not the same whisper he was speaking in, instead only a bit higher than it, enough to contain only bits of your voice, the carvings on the roof of your mouth and the back of your throat and behind your teeth have no use hiding, now, because your voice projects forward just enough. Just enough because he thinks your voice is pretty.

“I… i like yours.” you say. Your eyes slip a little shut, and you feel more than hear him shift towards you, his arm crossing over your waist. “Its beautiful. Peaceful. Even when you're…insulting eren.” you sigh into his chest. His breathing holds you just as his arms, and his warm chest stutters a bit as if he’s taking a deep breath, something that tickles the parts of your hair that are near his nose. Every sound has its feeling, every sound creates waves and its on you to make them twice more meaningful as they are despite the words they hold, and even as jean gives you wordless reactions to your senseless but meaningful words, they're all accounted for. They're all just as important, just as held as everything else he’s said because its him.

“Thank you. For speaking to me. For letting me hear you.” you say with finality, no room for argument. As if he’d argue you. His lips press to the top of your head, unmoving. His palm covers your ear, making the soft sounds of his breathing muffled, but his thumb traces shapes of his sound against your ear. 

It tickles a little, but you hear the movement clearly. 

Sound waves, importance given to them. By you and by him. 

✿

[laughinglynx]

.

[wavesoutbeingtossed]

The TTPD Deep Dive (Part ?)

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

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

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

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

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

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

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

THE CONTEXT

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

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

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

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

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

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

THE SETUP

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

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

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

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

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

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

THE STORY

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

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

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

THE ALBUM

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

Fortnight

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

TTPD

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

Down Bad

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

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

My Boy Only Breaks His Favorite Toys

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

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

So Long, London

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

But Daddy I Love Him

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

Fresh Out The Slammer

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

Florida!!!

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

Guilty As Sin

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

Who’s Afraid of Little Old Me

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

I Can Fix Him (No Really I Can)

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

Loml

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

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

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

I Can Do It With a Broken Heart

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

The Smallest Man Who Ever Lived

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

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

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

The Alchemy

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

Clara Bow

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

The Manuscript

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

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

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

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

THE SUMMATION

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

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

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

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

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

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

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

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

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

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

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

[yardsards]

"they never dated but they ARE exes" is such a funny relationship for two characters to have. very awkward relationship to have irl tho

[thepoisonroom]

that post that's like "learning social skills helps with social anxiety" applies to dating also btw

[sageofthestarz]

Hey Google: How do you get over anxiety while trying to talk to moots 🤠

[milkdreamspecialmix]

also on the topic of being delusional and delirious. how is everyone tonight?

[infizero]

listen i was guilty of this once upon a time too but dawg ppl GOTTA stop calling any platonic dynamic they like “siblings” without any precedence 

[unproduciblesmackdown]

(genderly) chill as hell if i was only ever glimpsed / detected like this

[j-esbian]

i lost the post but i saw someone talking about how some of y’all act like being weird is a choice and like. YEAHHHHHHH.

that’s fine, it might be for you. but i just live like this and don’t know any other way. like yeah i’ve worked customer service, i can do innocuous small talk, but anything beyond that, i don’t understand what i’m missing. and it’s frustrating to see the tonal disconnect especially from people who are like “uwu embrace weirdness!!” where they’re like. dressing quirky and talking about bugs and listening to obscure music and eschewing small talk to ask Deep Questions on the first date and unlearning their tendency to not infodump. and generally have an idea of what Weirdness is supposed to look like. idk man some of us wake up and get out of bed and can’t figure out why the rest of their coworkers chitchat with each other but when they join the conversation it dies.

weirdness is value neutral. let’s stop trying to turn it into a badge because quite frankly, it’s not a choice for everyone. it’s fucking exhausting to never be on the same wavelength as other people and they’re going to react the way they do and label you the way they will without any conscious actions on your end. it’s difficult to talk about this without feeling like you’ll be dismissed as immature, a teenager whining “no one understands me” but the thing is. sometimes you don’t grow out of feeling alone and different, and there’s no good way to talk about it without feeling like people will think you’re just fishing for pity.

[incesthemes]

hey girlie it’s me, sam winchesters gay lover, your mootie 🥰🥰🥰 i just wanted to let you know, that your tags on the post about that wincest video are based and i agree with every word, hashtag slay couldn’t agree more i loved reading your essay in those tags heart ❤️

omg thank you!!! i'm basically only capable of talking in essays whether people want me to or not, unfortunately

i just have a lot of feelings on this topic and the whole "canon or not canon" argument is weird to me; the themes are pretty darn clear in supernatural (it is NOT known for its subtlety) so idk man. they don't have to kiss to be canon. and they don't have to have a romantic relationship to be canon either. how many times do they get into relationships with other people only for it to be treated as cheating/betrayal/abandonment, only for them have to give up that relationship in order to reaffirm their devotion to their brother

that's just what the text says. i'm not under any kind of delusion that they have some secret sexual or romantic relationship, but that doesn't change that sam and dean are each other's most important person regardless of that. which is really awesome imo, that romance isn't treated as more important than whatever horrible thing they have with each other, and that they don't have to consummate their relationship with romance/sex in order for it to be the most important one they have

(and of course there's romantic/sexual subtext, like parallels and metaphors and misunderstandings and jokes, but to me that just provides a solid foundation for presenting this relationship between them as the most important even though it's not romantic or sexual—because this language of romance is the only one we know, really, when it comes to writing important relationships between characters. it's the only one we know in our own personal lives, to a large extent. so you use the romance/sexuality to symbolize the actual bond they have. which is so much worse lmao)

anyway i think spn is fairly unique in this way because of how no other relationships can really ever stand parallel to the one they share; even in other shows that center male friendship, romance is allowed to coexist with brotherhood. for sam and dean, it's not, and that becomes a point of tension and conflict and resolution many, many times over the course of the show. so like yeah!!! just because it's not romantic or sexual doesn't mean it's not canon, in the sense that their relationship is the point of the show, and it is the most important relationship they have. they chose each other above all else, every single time. yknow, it's "the epic love story of sam and dean" and all that

[paranormeow7]

starting to realize some strange things about how I experience “empathy” and my relationships towards other people. I was always told that I have high empathy, especially by family, doctors, teachers etc. it was a part of my initial diagnostic criteria for “Asperger’s syndrome” when I was around 8. maybe I degraded over time or something, but one thing I’ve noticed is that I don’t think that empathy was like. Real if that makes sense? I taught myself over time to predict how other people were going to behave and react, so I could display the correct responses. I have always been incredibly anxious about how other people view me, but always from the self absorbed point of view of “what if they think i am horrible, what if they think i am weird” etc. I’ve always been desperate for deep connections and genuine relationships with other people, but that feeling is usually triggered when I see people hanging out with their friends and loved ones and thinking “why can’t I do that?” I crave attention, I crave love, I crave for just. People to talk to. And then I legitimately attempt relationships with them and I realize that, wow, I don’t feel anything towards these people. I don’t understand them or the way they display their feelings at all. My closest relationships have always gotten that close due to me beginning to stop seeing the other person as an unpredictable wild animal and more like an extension of myself, and even still, when those around me display emotion, my feelings deep down are those of confusion and annoyance. I overcompensate, I take jokes literally, because I’m afraid I hurt them. If I hurt them, they’ll think I’m horrible. I can’t let people think I’m horrible. I don’t know why I care so much about what other people think of me when I don’t feel much towards them other than fear of being rejected by them and confusion at their behaviors and responses. I don’t know why I’ll remember and miss people, strangers included, for years on end either. everyone stays with me, but there’s just a barrier there. idk. I don’t think I have any empathy at all. I think I’ve fine tuned my behavior enough to manipulate the people around me into thinking I do.

I think tricked my peers into thinking rejection sensitivity dysphoria is empathy. fucking wild

sorry none of this is comprehensible idk how to express my feelings properly aughhh

[chrisbangs]

hello... (and bye ig 👋)

[solace-seekers]

screaming into the void <3

[dokjaism]

man lmao

[forgechildofheph]

Is it possible to still like a character but dislike/feel iffy about their canon relationship/portrayal?