#if I was sad I don't remember

[m3mentomor1]

CHOCOTONE MY BELOVED

[st0rmyskies]

Okay, found an adorable Link-ism while playing through Twilight Princess last night.

We all know that Twilight has a special affinity for animals.

And that he's pretty emotive in the game, like when he finds a little treasure that makes him homesick.

But--and so help me god I can't find a single video or gif of this--when you walk into Castle Town from the western gate, Twi will pretty insistently turn his head. The reaction has a pretty wide radius from the source. And anytime I notice that I'm always looking for a heart piece or a golden bug that I can go take to that autistic girl and get a fifty in exchange.

But there aren't any hiding treasures that I can tell. Just two Ordon goats, chilling in their market stalls, minding their business.

And Twi simply can't walk by without watching them every single time.

[iamespecter]

HOLY SHIT I FOUND YOU!! I SAW YOUR FNAF ART LIKE A YEAR AGO ON PINTREST AND I WAS LIKE DAMN THATS PRETTY FUCKING AWSOME BUT FOR THE LIFE OF ME I COULDN'T FIND THE ARTIST BUT I JUST DID, ITS YOU!!

I have no idea which art of mine you found from pinterest but based on what you're implying I lowkey think it's this screenshot redraw I made for the FNAF movie lmao (which I hope I'm right)

Unfortunately you won't get much FNAF art from me nowadays anon, ever since Ruin disappointed me immensely I've just lost most of the hope I've been clinging onto for the franchise, now I'm just here... reminiscing, watching from the sidelines, and making a once-in-a-blue-moon art for it if I'm feeling extra

[crocodilenjoyer]

he's our little brother. take care of him.

anne carson - antigone / alec benjamin - if we have each other / dan pearce - single dad laughing: the best of year one / kodaline - brother

[dailyloopdeloop]

loop and mirabelle. That's it that's the ask

DAY 84: enrolled in the gossip wars

[buttercupshands]

so... official lyrics for "Flower Bud" ending came out

made a quick thing to tie the lyrics with the moments when they play in the ending itself

[millacm]

What if bad end Timothy?

jk happy family!! and then back to the beginning my last neverafter sketches, I've been marathoning ACOC so i'll be posting doodles from that soon~

[beanghostprincess]

There's just something so inherently beautiful about the way Luffy loves Sanji. Because his perception of Sanji, at the end of the day, is always "he's a good person". Plain. Simple. Easy like that. "You're just like that" is what Luffy tells him. He's just, basically, a kindhearted soul. And he could quite literally list all of his qualities, but he doesn't because he doesn't need to. Why would he do that when the best description for his cook is just saying he has a good heart? The way Luffy perceives Sanji is just so beautiful to me because, while Sanji sees himself as somebody unworthy of love and easily dispensable, Luffy sees him as the representation of kindness itself. For Luffy, food is the epitome of happiness and love. Hunger means wanting something. Eating means taking something you want. And food as a concept means being full. Hunger itself is a need your body asks for, and Luffy has never been shy about it and he takes and takes and enjoys himself until he's completely full. Sanji has been hungry his whole life but has never, not even once, thought about eating out of pleasure, but only need. His job is to cook and to serve and not to eat. And Luffy sees that as the most selfless act of kindness. To create and give food to the ones who need it and want it. Sanji makes others happy, and Luffy can't understand why he keeps depriving himself of the food (happiness) he makes. He does these things out of plain, simple kindness and without expecting anything in return, and Luffy sees that. Luffy sees Sanji's heart served on a silver platter because that's what Sanji offers him every time. And Luffy doesn't want Sanji's heart or selfless acts of kindness. He wants Sanji to be kind without harming himself in the process and actually take what he wants for once (eating). Luffy doesn't get why he keeps torturing himself and giving his everything to others when he could just share it. Sanji has so much frustration and rage and pain and sadness he won't let himself feel, and Luffy is quite literally the definition of "If you need to be mean, be mean to me" (from the song 'I don't smoke' by Mitski) and "If you gave me all the anger you can't swallow I would eat it gladly for you, just don't choke" (I just thought about this thing I'm such a poet).

[livetogether--diealone]

Old couple flirting on the job

+ bonus: sixth love language: being annoying

[couterror]

THE GIRLS!!!!

+ some doodles

[vvildside]

eddie has no business to have such a full plump pink lips like that no wonder venom only want him to be his host brah

[thechibilitwick]

bored

[buttfrovski]

did.. he wear a suit for stan's birthday?

edit:

[forcebookish]

Force Jiratchapong Srisang as Top Tanin in Only Friends, ep. 7 (🥺🥺🥺)

[nakaremfarlei]

Was just thinking about the amount of animals Obi-Wan interacts with compared to literally everyone else and in the Clone Wars episode where Kamino gets attacked he literally gets saved twice by the same ray-like animal and just...

The growth from judging Qui-Gon for the 'pathetic lifeforms' he picks up to whatever he has going on during the Clone Wars era. He must have gotten that from Qui-Gon though, right?

And because it's my brain and it's rotting with all the star wars stuff I am consuming I was thinking of Obi-Wan saving all these creatures and the 212th having to deal with that. Surely they made one of the rooms pet proof in case one of them needs a new home. There also have to be clones who love that because of course Obi-Wan can't really take care of rescues on top of all his duties.

After the first few times this happens Cody learns to order animal food and other necessities. And if the Republic doesn't fulfill these requests or asks too many questions he'll just have to make sure to organize them on planet during the campaigns.

[wavesoutbeingtossed]

I know you don't like discussing the muses but i love your takes and perspectives and i had to ask you about this. after listening to ttpd, did you have the impression that she really loved matty more than any of her exes/previous relationships?. And listening to the whole album as a whole would you call it the ''matty album'' or do you think there are more prominent themes in there than their period together?. (hope this doesn't bother you, feel free to delete if you don't feel like answering it)

hey anon! You're right, I don't really like to get into the muses as I don't really think there's anything to add to the conversation at this point, and ultimately I don't think it matters.

That being said, and with the caveat that I am not Taylor and I do not know Taylor so I cannot speak to her thoughts and can only make relatively educated guesses based on being an avid consumer of her work and a student of the human condition (lol), no I do not think Taylor loved Matty more than anyone else. I think there was maybe a brief period in the thick of things where she *thought* she did because she was not thinking clearly and was in full-on denial, but to me the message that is loud and clear in the album (and more or less explicitly stated in the epilogue) is that it was not any kind of real love affair. It was certainly infatuation and lust and the promise of something more, and there may have been some love as well, but he was in no way the love of her life by any measure.

I would call it a "Matty album" insofar as they're about events in which he was present, sure. But I feel it much more as a Taylor album, if that makes sense, even though I know that's a cop out because every album is to a degree. I can't explain it well, but I don't see TTPD as a Matty (or Joe) album in the way that I would maybe say Red is a "Jake" album or 1989 may be a "Harry" album or even Lover being a "Joe" album whatever, because even if they don't figure in all the songs, that kind of heartbreak permeates so much of the material.

The thing about TTPD and the Matty situation is that the Matty situation is really a Joe situation (which in some ways is actually partially a Jake situation). I always say I hate treating Taylor like a character so I hate speaking about her and her work in this way, but you don't get the Matty situation without the Joe situation precipitating it. It's @taylortruther's now-infamous donut vs. hole analogy. The reason Taylor makes the choices she does with Matty is directly tied to what happened with Joe that made her feel she needed to. Which is not to say Taylor isn't responsible for her own actions or doesn't have agency in her own life, but I mean it in that the situation in which she found herself with Joe, and the pain it caused, is what made the alternative so comforting and perhaps even necessary in her mind. It's why it makes it so hard to "paternity test" the album, because the stories are inherently intertwined and you don't get the former without the latter.

The major "theme" of the album to me is the loss of a very specific, very personal dream, and the way in which she lost it, and the way in which grieving that loss drove her to make the choices she did. We're all talking very delicately about it because it's a sensitive topic, but it's late on Friday and few people are going to see this, so I'm going to say it: it's the give you my wild, give you a child of it all. The yearning she expresses both overtly and sub-textually for having a family in the album is palpable in a very iykyk kind of way, and it's the realization that those plans are not going to come to fruition in the way she had once imagined that drives a lot of the pain she experiences, and makes her jump at the chance to find that again with someone else.

I started a draft post about the theme of womanhood and motherhood on TTPD three months ago that I never finished because I ran out of time and ran out of steam, but it was the most striking thing to me on the album, not because I didn't know that she wanted those things because that's been obvious for years (definitely since Lover, and again, peace put it all on the table), but because the vulnerability she expressed about it on the album is incredibly moving, and it's so generous of her to trust listeners with those feelings and experiences.

Again, it's the thirtysomething of it all.

She is in relationship A which she at one point believes is forever, one which she at one point believes is going to lead to marriage and children. She is so committed to that dream that she either ignores or tries to fix serious issues that may otherwise lead others to think the two people in the relationship are incompatible, both because she loves the person deeply and because she feels that this is meant to be the way she achieves that dream. She gives it her everything, and it still dies a slow, painful, onerous death, and she feels like it may take her along with it. The dream of getting married and presumably having a family gets taken off the table: how we don't know and will likely never know because that is private between the parties involved. All that matters in the context of the album is that those plans never come to fruition and never would.

Then you have relationship B, an old flame who knows just enough buttons to push both to trigger and to flatter. A person who she presumably trusts with very sensitive, personal information as her life slowly crumbles, and this person is telling her all the things she wants to hear because he knows about what is happening in relationship A because she's told him. Person in relationship B doesn't get an "in" with her and sell her this dream unless what happens in relationship A precedes it. It's not a grand love affair for the ages, it's not a mutual decision on building their own dream together. It's Person B learning about what is happening with Person A and saying "I can do that!" even if he can't or doesn't. The dream he sells her is a rental car; it's not his own, he's just borrowing it from someone else and selling it back to her.

And the reason she falls for it is because it is what she aches for the most in her personal life, and she is grappling with it disintegrating, so she (unfortunately for her) falls for the easy way out, and in turn sells herself a story about how this must be fated, and this must be meant to be, because this person wants all the same things she does and she didn't even have to bargain for it! Well, yes, because she fed him the dream in the first place. (Like a mark falling for a sleeper cell spy.) It's too good to be true because it isn't true. IMO Person B doesn't come running out of the gate with the marriage/baby/dream life promises unless he knows that is what she most desires. But what's left unsaid out of all of it is that: those dreams were her dreams because they were her dreams with Person A. It was a whole life they had together, and a whole life they had planned for in some fashion, and a whole life that has to be dismantled in the aftermath.

So all this to say, yes, on the surface, Matty is a "main character" on the album, but truly he's a side character to Taylor as the narrator and person experiencing it and Joe as the ghost bit-player-who-haunts-every-scene. (Again, I hate referring to real people as characters, it gives me the absolute ick, but in this case it's the only way to answer the question.) I jokingly call it the Matty album for shorthand or when I want to say something out of pocket, but really, it's a disservice to the album to say that because it's not a muse album as in it's about the romance (like, say, Red often is), it's about a soul-crushing heartbreak that goes beyond it. The romance is the symptom, not the cause.

The loss of youth is tied in with all this: she's not 22 anymore. She isn't even 32 anymore. She had a very specific idea of what her life was going to look like at this point and had planned for that life, and it goes up in smoke. But again, to bring the womanhood into it all: there is, unfortunately, a deadline for these things. You're with someone for over half a decade you think is going to be your life partner and father of your children and and then he's not. You spent half a decade building this relationship for it to crumble, but now you're in your mid-30s and you don't necessarily have another half-decade to build that trust and faith in someone else before being ready to start a family. And maybe you're scared that anyone else who may become your partner will need that much time to build that trust and faith, because that's kind of all you've ever know in relationships. But lo and behold, someone comes into your life you once had feelings for and maybe now do again and is offering you everything you want and thought you'd have by this point in your life right now. It feels like an elixir that as we find out is actually poison.

That youth is not just the chance for motherhood, but it's also the hopes and idealism and belief in the future that often gradually erodes as we age. But for Taylor as well, it's also tied into the trauma of what she went through particularly in 2016, which kicks off a lot of things on the album as well (her retreat, her relationship with Joe, the pivoting in her career, etc.). That event caused a pretty clear before/after in her life (like a few other events, I suspect), and another major theme in the album is her finally grappling with the full weight of that. They're all different branches of the same tree of the story of TTPD and her life.

I could talk about this stuff forever, but I'm going to stop here because it's long enough and I should save stuff for one of the dozens of drafts I have half-baked lol. But this is just something I needed to get off my chest perhaps.