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gods-perfect-idiots · 4 months ago

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Okay bear with me folks, I have some ~thoughts~ about the Vanessa/Wade relationship (or frankly lack thereof) in Deadpool & Wolverine. I should start by saying that I am analyzing this with the (likely erroneous) assumption that everything on screen is 100% intentional and mindfully written to deepen the characters and inform their arcs. For the record, I don't necessarily believe that's true - there is certainly room for mistakes, lazy writing, confusing plot elements, or in this case, sidelining a potentially strong and important character for nebulous reasons (I'm guessing scheduling conflicts + run time concerns + actor's strike complications but idk for sure). (Also thanks to @gossippool and @kendyroy for encouraging me to post my thoughts instead of just rambling in the tags in the first place, y'all are the realest)

Long rambly post below the cut fyi

Now, granted, it has been a while since I watched the original Deadpool so I am not as well-versed in their early relationship as I am in the handful of scenes Morena Baccarin has in dp3, but I do think it is pretty canon that Wade generally struggles to express his deeper worries and feelings (without filtering it heavily through crude humor, sex, and pop culture references of course), especially after the events of dp1 and the physical and mental damage he sustains, and Vanessa is frankly no exception despite how much he cares for her. The entire first movie hinges on the fact that he doesn't really believe she could love him in his post-Francis mangled state, which is pretty contrived imo given that the film has established already how bonded they are, and she doesn't strike me as being written to be so shallow as to reject him based on a physical deformity. I mean iirc she wanted to stick around through chemo despite him being literally riddled with inoperable cancer, so she clearly is in it for the long haul (at least in dp1), messiness and all.

Now, in dp2, obviously she is shot and killed early in the film, and Wade spends much of the rest of the film wallowing in his very profound grief, trauma, and guilt over losing her due directly to his violent lifestyle. He goes to prison, he basically gives up on life and seems very resigned to dying once he has the power suppressant collar on, even excited to do so so he can be reunited with her. She is mostly sidelined as a Fuzzy Dead Wife trope basically, but the important thing here is that he spends weeks if not months in the throes of despair over losing the love of his life just as they were trying to start a family, and trying to reach across the boundaries of death to be with her.

Now, my first couple times watching dp3 I was frustrated by the trite narrative presented in the interview scene towards the beginning - specifically Wade's whole "my girl is getting tired of my shtick and I need to show her I matter". It felt contrived and disingenuous, and I just brushed it off as iffy writing, a means to an end, but the more I reflect upon it the more I think it is based in an emotional reality that is just handled with a very light touch by the film in favor of fanservice and Poolverine content (NOT that I'm complaining in the slightest - I think this movie is a masterpiece in many ways, albeit a flawed one but that's beside the point here), which for the record I am not against because I think it lends it an air of realism. This is Wade's story after all, Vanessa is a part of it but it is ultimately about him and his journey.

Basically, I think the combination of what happened to him in dp1 (the brain damage, the trauma, the awareness of the fourth wall, etc) followed by the events of dp2 (Vanessa's death, his grief and the associated guilt and trauma of being the direct cause of her death) led to an unbridgeable emotional gap between the two of them that ultimately leads to their breakup.

It's important to note that I don't think Vanessa has any recollection of her own death, given that Wade goes back and saves her before she can take the bullet, and so of course she can never fully fathom what Wade went through grieving her and their life together and their potential family, for however long he spent between her death and bringing her back with Cable's device. She can try (and she clearly does in the one scene I'll talk about next) but I fear she accepts, maybe even in that scene, that she can never succeed. He is beyond her reach by this point, and vice versa, his experiences having fundamentally changed him.

The one scene we really see from their relationship between dp2 and dp3 is the one where Cassandra mind-gropes Wade in the Void and we see Vanessa struggling to reach Wade across this aforementioned gap - she wants him to open up, she wants him to share what he's going through, she wants him to be the person she initially fell in love with (not even selfishly - to her nothing has changed really, because to her no time has passed). But not only does he not understand what she's really asking for but he responds in such a way that makes me think he has unprocessed issues that are only tangentially related to what she's saying - ie the stuff about mattering, about asking her if she even wants to be with him, etc. And he's not the Wade Wilson she met back in dp1 anymore. He watched her die and grieved her and brought her back, believing it would make everything go back to normal and they could resume their life together as if nothing had changed, but he has been fundamentally changed in a way that she can't grasp, even if he WAS good at externally processing his trauma openly without the artifice of wry jokes. She didn't "come back wrong" - instead, she came back exactly the same as before, but HE'S different now. Not wrong, per se. But changed.

It's an interesting scene because it's obviously a memory, and a crucial one at that, but you can see how Wade is misunderstanding what she's saying, viewing it through the prism of his own lack of self-worth and his own hopelessness - he takes away that she thinks he doesn't matter (even though like he says she didn't actually say that, but I don't think Cassandra invented that wholecloth - I think she pulled it out of his psyche because that's what he believes deep down, hence why his fixation on mattering even though she never said those words exactly), he takes away that she doesn't want to be with him, that she thinks he's nothing. Which would be frustrating as an audience member to witness as a pretty simple misunderstanding which could potentially be solved with one conversation, but it feels believable to me that these two people who have shared a great love would be fundamentally separated by unimaginable, cosmic trauma, and the on conversation they would need to have to rectify the misunderstanding is one that is impossible for Wade to verbalize and equally impossible for Vanessa to conceive of. It was one thing when they had shared trauma like violence and SA in dp1, but what Wade has gone through in dp1 and dp2, humor aside, is unfathomably traumatic, brain-breakingly so even, and that's not even factoring in the possible mental illnesses he now struggles with (I've seen folks suggest schizophrenia, DID, depression, etc. but I won't get into armchair diagnosing a fictional character here - suffice it to say he is canonically unwell as a result of what has happened to him, and yes it manifests as quirky fourth wall breaks and cheeky one-liners, but within the universe of the movies he is undeniably profoundly mentally ill, and that includes this humorous alter ego he created to cope with his trauma).

I think off-screen Vanessa probably really tried to reach him, maybe for years (the six year gap implies to me that they didn't break up immediately, that they tried for a while to stay together), trying to get her Wade back, but that Wade is gone. He struggled to express that to her until eventually he started to feel rejected because he couldn't express his trauma or how much he has changed, because even he can't fully conceive of the gulf that has formed between them. The truth is, he WANTS to be that Wade again, for her and for himself, but that Wade died when she died. Or maybe he had already started dying when Francis got a hold of him in dp1.

Anyway, all this is to say, I think Morena Baccarin WAS criminally underutilized in dp2 and dp3, but I think there is a strong argument to be made for the believability of their breakup regardless. I think even relationships built on enormous love can crumble due to trauma, and what Wade suffers over these movies is mind-bogglingly enormous trauma. It's especially heartbreaking that he blames himself for their relationship ending, talks like she just got tired of him, thought he didn't matter, whatever. But it is a credit to him that he never seems to feel anger towards her about it. He doesn't seem to feel entitled to her, though he longs for her and what they had and what she represented (hope, love, a future, a family), but ultimately she becomes more of a symbol of what he lost when he gained his powers, because let's be super fr right now - even if they had succeeded in having a baby, not only would they have lived in fear of her or the kid getting killed, but ultimately Wade would likely outlive both of them even if they managed to die natural deaths. The moment he gained his powers he was already destined to lose her, which is heartbreaking because she was the only reason he opted for the treatment in the first place - so he could stay with her.

I think a big part of Deadpool & Wolverine is watching Wade continue to process his own motivations (vis-a-vis Vanessa but also his other friends) and how he does eventually let go of the idea of "mattering" in favor of just saving the people he cares about (*cough* and being saved right back *cough* by Wolvie, as the final line and shot implies). And in the process he finds someone new who cares about him, who thinks he matters, who tries to sacrifice himself for him and his friends after mere days of knowing him, who comes home with him at the end of the story, who breaks his own centuries-old patterns, who has also experienced unimaginable grief and trauma, who has struggled with wanting to die and being unable to, who not only matches his crazy but matches his FREAK and also not only won't die on him but CAN'T die on him - and more importantly cannot be randomly killed by a stray bullet.

Idk if any of this makes much sense but I do think if you read between the lines and consider the potency of trauma and grief, guilt and emotional damage at play here, Vanessa and Wade's off-screen breakup is actually pretty realistic, and really heart-breaking to boot.

You can tell she still cares about him in so many ways - she shows up for his birthday party, she shows up to his welcome home party at the end, she finds excuses for physical contact multiple times, her eyes get soft when she looks at him, but there is a distance there that Morena Baccarin does an incredible job of portraying. She cares about him deeply, she has mourned the loss of their potential life together, she has let him go and accepted that the Wade she fell in love with is gone, but she wants him in her life even though she's moving on because she realizes he's gone somewhere she can't follow (literally and figuratively). And she wants him to be happy which is why I fully believe she would immediately clock the Poolverine of it all and not-so-subtly encourage them to make it official.

Anyway. Poolverine forever. Nothing against Vanessa at all - I think she delivers a nuanced and beautiful performance, I think their relationship is sweet and heart-wrenching in large part due to her acting chops, especially given how little she is given to work with - but I think their relationship was sadly doomed from almost the very start, because Wade becomes this traumatized superhuman and Vanessa would always be at risk in his orbit, but also would always on the outside of his multiverse superhero experiences. I think it's weirdly beautiful, even if I am filling in a lot of gaps and giving the writers maybe undue credit.

Anyway... thoughts? Please DM me or write in the tags, I am feral about this movie and just want to talk about it with anyone haha. If you have further insight into these characters too I'd love to hear it - I am by no means an expert in these movies or characters!

#wade wilson #deadpool & wolverine #deadpool and wolverine #poolverine #deadclaws #wolverine #deadpool #deadpool 3 #deadpool x wolverine #vanessa x wade #rambly meta thoughts #anyway thanks for reading if you made it through #I def didnt edit this much just sorta wrote it out #I have more to say but it will have to wait I think #deadpool meta #vanessa meta

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embracing-the-ineffable · 7 months ago

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Beware clickbait accusations

Hi fandom, here's what happened yesterday: A reporter named Rachel Johnson, who is the sister to Boris Johnson and a big terfy supporter of JK Rowling, released a 4-part true crime podcast featuring two women accusing Neil Gaiman of SA. Yesterday. The day before the UK elections. This post explores the possible political links in more detail.

CW: this post is free of graphic details, but if you follow these links, there may be explicit descriptions of sex, kink, and bdsm, plus mentions of mental illness and suicidal thoughts.

I want to believe and support survivors, and I also want to base my thoughts and actions on facts. I thought the xitter livestream commentary from Not Becky for all 4 episodes was very insightful. There's also a first episode transcript without extra commentary. (Edit: released after I wrote this post: the full audio plus transcripts for all four episodes of the podcast are now available to download here, or you can read all four transcripts in your browser.) I have since concluded (pending more time to think and read and learn, or any new information, of course):

This seems like the worst kind of clickbait, an unjustified mess that will hurt everyone involved (except possibly a few politicians who might benefit somehow, we'll see). The evidence the "reporters" present directly contradicts their accusations. They're counting on people reading headlines and not digging any deeper.

They tried to make something sinister where there was apparently consent and a caring relationship. Have they exploited one or both of these women? S, in particular, is described as vulnerable and with a history of unspecified mental illness. They have all of the message history between S and Neil, and her messages make the sexy stuff between the two of them sound enthusiastically consensual. There are even messages (multiple!) where she specifically says everything was consensual. Here's one:

They're playing horror music in the background to try to make us feel horrified, even as S reassures us that things were consensual. It's emotional manipulation by the reporters.

The times S sounds upset during the interview are the times she talks about Neil leaving her behind or not paying attention to her. Not the times she talks about consent violations. Her stories during the interview are inconsistent, and they contradict her messages with Neil and with others. Maybe we'll get better information from a more reputable news source, or maybe not, I don't know. I also don't know why anyone who cares about her would have advised her to do this interview.

Then they tracked down lots of other women who know/have dated Neil and they all had glowing things to say, except one other lover from 20 years ago, K. She described some bad sex, and then pointed to a time in their 2-year relationship when she felt something wasn't consensual and he thought it was. And after their breakup, they continued to text and flirt, for decades.

This podcast "exposé" feels like explosive clickbait with political ramifications. The evidence here doesn't support a pattern of poor conduct so much as establish Neil as a fellow well-meaning human with imperfect judgement. That doesn't mean the accusations are all made up; intimate partner violence is complicated, and the responsibility for checking in and getting regular enthusiastic consent from partners is very real, especially when kink or bdsm are involved.

I don't know what the right balance is here between supporting survivors, thinking critically, assuming good intentions, and waiting for better information, but I feel confident that this podcast alone is not enough to condemn anyone aside from the irresponsible journalists who inflicted it on the rest of us.

PS/edit: I'm tagging my relevant posts (mostly reblogs) with #ineffable grief, and you can see all of them here.

#neil gaiman #clickbait #think critically #ineffable grief #be kind #intimate partner violence #mental health #Irresponsible journalists #uk politics #good omens fandom #good omens

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heliza24 · 12 days ago

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Consent and Abuse in The Vampire Chronicles (and how it explains things like Daniel and Louis's disappearances)

TW: discussions of abuse, sexual abuse and rape, and CSA throughout this meta.

I’ve now read the first six Vampire Chronicles books, and I want to talk about the role that consent, or more importantly, the lack thereof, plays in the morality the books espouse. When I was a few books in, I discovered this post by @diasdelasombra, which uses excerpts from several scholarly texts to create a schema that helps us understand who Anne Rice considered a “worthy” victim of abuse. To summarize, the characters that Anne favors and who are featured in the narrative were violated against their will, but don’t whine about their misfortune. Instead they extend grace and forgiveness to their abuser. (Think of David or Lestat) The characters who are portrayed as conniving, wicked, or who are punished by the narrative are those who don’t adequately protest their assault, or who harbor anger or plans of revenge towards their abuser (think of Claudia).

When I say abuse here, I am specifically talking about sexual abuse and rape, but also being turned into a vampire against your will. Being bitten by a vampire is obviously sexually coded, and being transformed into a fledgling vampire nonconsensually is a metaphor for a rape. So I’m going to spend this meta talking about nonconsensual turnings interchangeably with rape.

When I read about the dichotomy of victimhood detailed in the original post, the books suddenly shifted in my mind, and I felt like I understood Anne as a writer for the first time. I love these books and their resulting adaptations, but I do believe that Anne had many flawed beliefs, and this insistence that the only proper response to assault is complete and total forgiveness of the perpetrator is certainly one of them. I want to take the theory put forward by the original post one step further, and propose that in addition to imperfect victims, Anne also struggled to write about characters that engaged in sex/vampirism consensually. This feels very Catholic to me; you’re allowed to enjoy sex, but only if you didn’t ask for it. It’s the lust and the longing that’s sinful. It’s this discomfort with consensual desire, along with the insistence that victims must forgive their abusers, that is at the heart of many of the most frustrating aspects of the Vampire Chronicles. It also drives some of the conflict I see in the fandom, and has the potential to impact the TV adaptation in interesting ways. I talk about all of that in detail below the cut:

We can see this central belief about abuse and worthy victims easily in the characters Anne chooses to feature. Lestat, David, and Marius were all turned against their will, but crucially do not linger, protest, or whine once the act is done. Lestat is incapable of holding any kind of grudge, Marius approaches vampirism and eternity with calm stoicism, and David immediately forgives Lestat for turning him against his will.

I think this is key when we try to understand why Anne wanted to replace Louis with David as a companion for Lestat. Louis’s turning is complicated; you get the sense that he did consent to it, even as he tells Daniel that he “can’t say that [he] decided” to become a vampire. And even though he does forgive Lestat at the end of IwtV, the telling of the story in that book is filled with resentment and anger. Louis is not a perfect bastion of forgiveness by any means. Anne talked about how she wanted to move on from the grief that Louis represented and also the passivity he embodies as a character (which she classifies as uniquely feminine, which adds another dimension of meaning to who is allowed to consent to sexual acts and remain angry at abuse) but I also have to assume that she wanted to move on from his anger. Which is actually a huge disservice to Louis, Lestat, and the complexity of the narrative.

The other characters who are turned consensually are all abandoned by the narrative. Madeleine is killed, Gabrielle largely disappears after TVL, Nicki kills himself, and Daniel goes mad and is then simply forgotten.

My love of Daniel is the reason why I started stringing this theory together. Daniel is the most clear-cut case in the entire chronicles of a consenting adult who deeply desires to become a vampire. He has no reservations, no resistance. The Devil’s Minion chapter is unique in that it lingers on Daniel's love and desire. Daniel is briefly allowed to want something unabashedly that is also coded as sinful and evil. And once the consummation of his desire happens, Anne simply doesn’t know how to continue to writing him. Armand’s insistence that fledglings will come to hate their makers seems in some ways to be a result of Anne’s worldview, that desire cannot cannot endure unpunished, rather than something Armand would believe in-universe (he never hated Marius, after all). When fans rail at the way Daniel’s story seems to disappear from the page, this is what we are protesting: Daniel’s desire deserved to be shown, Daniel deserved to evolve, and Daniel’s willingness does not require rebuke.

There is of course another interpretation of the Devil’s Minion chapter, which is that it is Armand playing out his and Marius’s relationship, but this time with Armand in control. In some ways I think the Devil’s Minion chapter is the one successful attempt Anne makes to subvert the cycle of abuse. Yes, Armand is re-enacting many of the things done to him, but Daniel is happy to do this role play with him, at least for a while. While far from perfect, their relationship manages to turn abusive history into present day kink, and exist in a context of mutual care.

Armand himself is probably the most interesting edge case in terms of Anne’s dichotomy of worthy and unworthy victims. He asks to be turned into a vampire, but he’s also a child, which makes his ability to consent unclear. (Whether Anne even believed that child sexual abuse was possible at all is up for debate; she wrote a message on her “fan voice mail” that is still transcribed on her website that defends a convicted pedophile and seems to argue that 14 and 15 year olds are effectively adults and therefore cannot be abused. Yikes yikes yikes.) This kind of uncertainty seems to be reflected in the changing way Anne writes Armand throughout the series. He’s evil at first in the same way that Claudia is evil; a conniving forever child who is smart and vicious enough that what was done to him can be justified. But Anne softened on Armand after Queen of the Damned. As the series goes on, Armand comes to resemble Anne’s perfect victim more and more. He forgives Marius relatively quickly, for instance, for turning Benji and Sybelle without his consent.

For Marius (and Lestat) overcoming victim status also means becoming the abuser, the rapist, the perpetrator of the dark trick. The only way to not be trapped under the cycle of abuse is to perpetrate it. Even though it is hidden in a lot of language about love and forgiveness, this theme is ever present in the Chronicles and to me it’s where the true horror of the books lies.

We see these values begin to be applied to world building and the book’s overarching philosophy more and more as the series progresses. Akasha is the big bad in Queen of the Damned because she represents the ultimate lack of forgiveness. She is angry at all the men in the world for their collective abuses (a world view that seems to originate at least partially from the overly protective and restrictive way Enkil treats her, in my opinion) and seeks to kill them. She is an unquestioned evil, in a way that most characters aren’t in The Chronicles. And Maharet and Mekare, who are much more forgiving towards Khayman, one of the perpetrators of their own rape, are the ones able to defeat Akasha. Forgiveness and grace trumps righteous anger every time.

Memnoch the Devil is an interesting book (even if it is not a *good* one, imo) because it spends its pages interrogating this idea of abuse and forgiveness, but blows it up to a theological scale. Memnoch’s main argument with God is that he lets humans suffer needlessly. Memnoch feels that all that is good and holy amongst humans can be found in the way we love each other and find joy in sex, art, food, and celebration. But God requires humans to suffer through disease and death, and sometimes even violence brought about by religion. When Memnoch is put in charge of hell, he makes souls worthy of heaven by working on them until they are ready to forgive God for the suffering they had to endure during life. That’s what makes you worthy of heaven: forgiveness. I find this so interesting because it almost feels like Anne is arguing with herself over philosophy and religion. Memnoch is very convincing and his belief that joy without guilt is good is given due weight by the narrative. In some ways it’s what these books are about- sensual pleasure without guilt. But on the other hand, Memnoch is the devil (if that- Lestat is never quite sure if he’s really the devil or just a malignant spirit) which means we shouldn’t trust what he says. The idea of God as the ultimate abuser— the person who puts humanity through unspeakable horrors on a wide scale, and then requires our forgiveness in order to find peace— really chimes with the way that Anne writes about abuse in the rest of the series. According to this view, the cycle of abuse is absolutely inescapable. It is decreed by the almighty, and the only way to not be completely crushed by it is to accept its omnipresence and embrace its perpetrators without anger.

This focus on forgiveness is clearly a huge part of Anne’s (and therefore the vampires’) worldview, and I of course find that pretty problematic. But I also think it hurts the reader’s ability to connect to the characters and can have the unfortunate side effect of draining the books of the conflict needed to create a propulsive plot. The vampires’ inclination to completely forgive those who have wronged them, and to not linger at all in any feelings of anger, grief, or resentment, sometimes leads to baffling situations where conflicts that loom large in one book are completely forgotten in the next. The most jarring example of this to me is Armand casually playing chess with Santino in Queen of the Damned. Santino! The vampire who kidnapped him, forced him to eat his best friend, and generally tortured him. And they simply never address this. They just start playing a casual game of chess on Night Island after Akasha has been defeated. Situations like this can make character seem like they are acting completely out of character, and it makes it hard to understand their motives. Yes, there’s the in-universe explanation that time heals all wounds and eventually vampires just live long enough that they can’t hold any grudges. But I still think it’s reasonable to assume that Armand would hesitate before casually engaging with Santino again, no matter how long has passed. This kind of automatic forgiveness also means that we skip over so many conflicts that that would be fascinating to read about. If Armand and Santino really do need to reconcile, I want to see what that looks like. I want to see Armand remember Ricardo when he looks at Santino. I want to see what David and Lestat mending their relationship after Lestat’s violation looks like. But we don’t get any of that and instead the vampires move seamlessly on to something else, which is often much less interesting than these interpersonal conflicts that Anne ignores. And because of that, I think this focus on forgiveness creates books that are less fulfilling than they could be.

I think this focus on forgiveness is also at the heart of some of the conflict I see between book readers and show-only fans. I often see book readers talking about how Armand and Louis come back to each other later in the books, that Louis forgives Armand enough to live with him again for a time. And this makes sense in a book universe that prioritizes forgiveness above all else. In fact it actually signifies positive character growth for Louis, as it means he is becoming closer to Anne’s definition of a worthy victim who can forgive those who wronged him.

Fans of the show insist that the TV version of Louis will never forgive Armand, and for all I know they might be right. The TV show has shown that it’s very capable of taking the events and themes that Anne presented and reframing them. The show is already presenting a more critical depiction of CSA, in my opinion, by doing things like eliminating the incest subtext between Louis and Claudia and making it clear that Marius groomed Armand. I also think the show does a better job of keeping emotional stakes consistent. Louis may forgive Armand, but something more substantial than time passing will have to happen to facilitate that in the TV show. So show Louis may indeed never forgive Armand, given those new parameters.

In its efforts to reframe some of Anne’s themes, I believe the television show is shifting the emphasis on forgiveness slightly. Louis’s arc over the first two seasons depends on him reaching a state of forgiveness, not for an abuser, but for himself. He extends grace to Lestat as part of this process, but I really believe that the catharsis comes from Louis embracing his own failings and his own power, and moving forward with confidence. He has not forgotten his anger or the things that were taken from him, but he has the ability to face the rest of eternity now without self-recrimination. I imagine moving forward that this is going to be a major theme of the show. No matter if you sought vampirism out or had it thrust upon you, you must learn to how to deal with its horrors and its perks. You must learn to embrace your own monstrosity and not shrink from it. And you must find a way to accept the love that those around you are willing to offer, whether or not you always perfectly deserve it. I think these are lessons that Lestat, Armand, and even Daniel have yet to learn in the television show. Those character arcs are going to fuel the show through its coming seasons, and I for one cannot wait to see it unfold.

I’m interested to hear from other readers to see if they picked up on these themes, and how they anticipate the show will adapt them. Please tell me your thoughts! And thank you for reading this far.

#interview with the vampire #iwtv #the vampire chronicles #anne rice #my meta

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katakaluptastrophy · 1 year ago

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Can we talk about Magnus in Harrow the Ninth? Because there's a tendency to paint him as this constantly cheerful figure and he's not - he's just very Fifth.

He's the only person who seems even slightly upset about the whole gun-toting horror thing:

“Did the Sleeper get them?”

“Only by assumption,” said Harrowhark, while Abigail’s dolt of a husband said, “I bloody hope so.”

“Magnus,” Abigail said, a touch disapprovingly.

“Well, if the Sleeper didn’t, that’s two maniacs with an ancient weapon and a love of blowing off faces, dear,” said Magnus.

And he's got a very low opinion of Silas:

"She won’t tell me what he said to her, just that he ‘was horrid.’”

“Cheeky little so-and-so,” said Magnus. “If he were my son, I’d give him something to think about. I’m not surprised he’s gone to ground.”

“I would hope your son might be of different character,” said his wife, half-smiling.

“Protesilaus should have biffed him.”

“It’s strange,” said Abigail, ignoring her husband’s exhortations to biffing.

Behind the jolly Jeeves and Wooster-esque talk of biffing people, let's remember that this is Magnus - who from Gideon's POV never saw a teenager he didn't want to adopt - earnestly wishing that a grown man had hit a 16 year old kid.

And when Harrow explains that she thinks she saw him jump to his death, Magnus isn't particularly sympathetic:

“We should have made him a greater priority,” said Lady Pent.

Magnus said, “I’m not certain.”

and

“We didn’t need him,” he said bracingly.

Abigail said, “We need everyone.”

“I never thought he was quite the thing.”

This "never quite the thing" line is the same one Abigail uses when she says Ianthe shouldn't have become a Lyctor and you get the sense it has a quite specific meaning on the Fifth. You get the distinct feeling Magnus is saying "good riddance" in response to a teenager's apparent suicide.

And then of course there's Magnus' conversation with Harrow as the River bubble collapses, as Harrow debates whether she should leave her body to Gideon:

She said: “If I go back, it will finally destroy her soul.”

It was Magnus who stepped forward and looked at Harrow face-to-face. And perhaps she felt that more keenly: that he was the man who had, in Gideon’s own words a lifetime ago, been nice to her cavalier. His mouth was hard now, but his eyes were as kind as they had ever been. And kindness was a knife.

He doesn't pull any punches in laying out his understanding of the situation to Harrow:

“This whole thing happened because you wouldn’t face up to Gideon dying,” he said, which was a stab as precise as any Nonius had managed. “I don’t blame you. But where would you be, right now, if you’d said: She is dead? You’re keeping her things like a lover keeping old notes, but with her death, the stuff that made her Gideon was destroyed. That’s how Lyctorhood works, isn’t it? She died. She can’t come back, even if you keep her stuffed away in a drawer you can’t look at. You’re not waiting for her resurrection; you’ve made yourself her mausoleum.”

His wife looked at Harrow’s face and murmured, “Magnus, you’ve made your point,” but he uncharacteristically ignored her.

He's trying to get through to her in a very fraught situation, but he's certainly not pulling his punches:

“You’re a smart girl, Harrowhark. You might turn some of that brain to the toughest lesson: that of grief.”

Abigail is also trying to talk her out of things, but she's much more discursive and apologetic. Magnus is kind, but it's kindness as a knife, not a cushion.

Magnus is so often written off as just a silly, goofy character, when he's more complicated than that. He's allowed to have a very real frustration with the River bubble and with Harrow, however much he does also care for her and want to help her.

And you know what, he's a CFO stuck in a horrorscape with his delighted ghost nerd wife and a bunch of soldiers. He runs with it - he cracks one of his House ordinal jokes while physically tackling a gun-toting ghost and makes a decent go at it before getting shot. But he's very much out of his comfort zone, angry, and no longer entirely held back by propriety.

#the locked tomb #tlt #magnus quinn #harrow the ninth #To digress into TUG spoiler territory...#A Lyctoral Abigail slowly blurring her calm and polite filter into Magnus' directness...

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tkwrites · 2 months ago

Text

Meet Me At The Mistletoe - Quinn Hughes x ofc

Video from @fallinallincurls

Title: Meet Me at the Mistletoe

Author: Tory / @tkwrites

Relationship: Quinn Hughes x Sarah Roberts

Summary: Based on the song of the same name by Dave Barnes, Quinn and Sarah prepare for and host a team Christmas Party, including shopping on a very special but inconvenient day.

Warnings: Grief. Talk of dead parents and honoring traditions. Some sex is alluded to, but nothing described. A tiny bit of praise kink stroking.

Word Count: 8,000

Comments: I'm back with my first ever Christmas fic! I’ve been waiting to write a song based on Meet Me at the Mistletoe by Dave Barnes since I first heard it three or four years ago. It has such a great story and evokes a specific feeling I felt like Quinn and Sarah were especially suited for. When Cici from @thedevilrisen reached out to me about joining a Christmas fic event called Ho Ho Hockey, I knew this had to be the story I wrote for it.

If you enjoyed this, please let me know by commenting, reblogging, or sending in an ask. Your encouragement and comments truly inspire me to keep writing. Sending all the love your way!

Meet Me at the Mistletoe

A Quinn & Sarah Snapshot

“Will you help me plan a Christmas party?” Quinn blurted, trying to catch his breath.

“Hu?” Sarah asked, struggling to keep up with the abrupt change of subject.

Upon getting home from work, she’d practically jumped him in the kitchen. They’d made it as far as the lucky couch before desire consumed them both. He’d been on a roadie for the past few days, and though he got back the evening before, she’d been asleep when he arrived, so they weren’t able to welcome each other home properly.

Now, she lay beside him, wedged between the back of the couch - cushions had been tossed aside in their frenzy - and his body, feeling sated and satisfied as her head rested on his chest.

“I have to plan a Christmas party for the team,” he explained, knowing he couldn’t put it off anymore. Even though they still had a few months, he knew she would appreciate the advanced warning and that it would only make it easier if they started now.

“Why do you have to do it? I’d think that would be something the coaching staff would do.”

“It’s for players only. We have another one with coaches and staff. It's kind of tradition for the captain to plan it.”

Her lips pressed together, “I don’t know how much time I can dedicate to party planning in December. That’ll be right around finals.” She didn’t have as many traditional classes this semester, but there was still plenty to do.

“That’s why I’m bringing it up now, and it doesn’t have to be huge,” he rushed to explain. “Last year, JT and Natalie just had people over for drinks, and we did a gift exchange.”

“You want to have it here?”

“I thought it would be nice.” Now that Sarah was here, the apartment felt more homey and like the kind of place he wanted to show off.

“So cocktails and gifts?”

“Yeah, or whatever we want it to be. I think they had some food last year.”

“Okay,” she said.

“So you can help me?” Quinn asked.

“Yeah. I don’t know that I’ll have time to go to tastings or anything like that.”

“Tastings?”

“For food?”

He laughed, “I figured we’d just order from De Beppe and set up a cocktail bar.”

“Oh,” it seemed like he didn’t even need her help. “That sounds nice and easy.”

His hand snuck down to cradle the curve of her bottom, “you know I don’t like to make things overly complicated.”

“It’s just for adults?” she confirmed.

“It was last year,” he said. “Why? Do you want kids to come?”

She shrugged, “not necessarily. Just if they do, we’ll need to host it somewhere else. Our house isn’t really kid proofed.”

When he didn’t respond, she glanced up to find him looking at her with a goofy smile on his face.

“What?”

“You said our house.”

“Hu?”

“You said our house,” he repeated. “Before you’ve always said your house,” he pointed to himself, “or the house.”

“Oh.”

Slipping his arms around her waist, he pulled her a little tighter against him, loving the feel of her soft curls as they crushed against his hip. “I’m just glad you’re feeling more at home.”

A pocket of calm silence enveloped them.

“We’ll need to decorate,” Sarah said after a few minutes.

Quinn agreed. When he thought about hosting the party, the house was always decorated for Christmas, but he’d never thought about what it would take to get it into that state.

“We can figure that out later,” she murmured, laying her head back on his chest, allowing his steady heartbeat to lull her into the state of calm that always came over her when he was home.

They spent another hour there, snuggled up together, only moving when Quinn went fishing for a blanket and had to lean halfway off the couch to get it.

They didn’t get up until Sarah’s stomach grumbled loudly.

“Did you eat today?” Quinn asked, his tone accusing.

“I had a smoothie for breakfast.”

“Sarah,” he admonished. She never ate as well when he wasn’t home. Not just in quality, in quantity.

“I know,” she said, looking down sheepishly. “I even had a salad in the fridge at work, I just got so caught up in stuff. I did eat a protein bar on my way home,” she remembered.

Deciding he’d tackle the issue of her nutrition later, Quinn traced his fingers up the curve of her spine. “What should we have for dinner tonight?” he asked as he mentally prepared himself for the inevitable exit from their cozy cocoon.

She mumbled something that sounded suspiciously like, “I don’t care. Just feed me.”

He laughed. “You got it,” he said, pressing a kiss to her forehead. “Why don’t you go get changed, and I’ll scrounge up something for us to eat.”

Are you free November 9th?

When Quinn sent this message, she didn’t think anything of it. They were both so busy that it was normal to schedule things three weeks in advance.

Yep, what's up that day?

Just wanna take you on a date before the game.

The purposeful vagueness and his wanting to do something on a game day raised her eyebrows. Game days were usually reserved for napping and chill time at home before he had to go to the rink.

Okay. It's in my calendar.

He hearted the message, and Sarah went back to work.

Pick you up at 11 out front, okay?

Though it was a Saturday, and she was off, Quinn knew Sarah would be working on her thesis and he needed to catch her before she got too absorbed by it, no longer concerned with looking at her phone.

For what?

We have a date, remember?

Oh, right. She’d mostly forgotten about the whole exchange, despite looking in her planner that morning and finding (heart) Date (heart) written in the sparkly blue ink she used to denote all things Quinn related.

What should I wear?

Usually, when he called something a date, it meant dinner out, but this was the middle of the day, and she knew it wouldn’t last terribly long.

Whatever - jeans are fine.

Now, she was really intrigued. Okay. See you then.

Wondering what on earth he had planned in the middle of the day on a Saturday, on a Saturday game day, no less, Sarah went back to her studies. It was hard to focus, though. Quinn was definitely up to something. They were even playing the Oilers that evening. Something fishy was definitely going on.

All the same, at 10:30, she changed out of her pajamas, pulled half of her hair up, and put on some makeup before walking down to the lobby.

Quinn was right on time, parked right in front of the front door.

“Thanks, Reece,” she said as he held the door open for her.

“Have a good day, Ms. Roberts,” he said with a nod.

She slid into the seat of Quinn’s posh new car. She’d learned by now that most players leased a new car at the beginning of every season. Instead of the Jeep, Quinn now had a sleek and luxurious new Porsche SUV. Most of her hated that it was so expensive when there were perfectly good, reliable options that were half the price. Each time she got in it, though, she had to admit: it was extremely comfortable, and the features really were something else. She found a small measure of comfort that at least it wasn’t some ridiculous sports car.

“So, where are we headed?” she asked as he pulled back into traffic.

“You’ll see,” he said with a little smile as he reached across the console for her hand.

Although he had a destination programmed into the car's GPS, she wasn’t entirely sure how the thing worked and didn’t want to accidentally get them off course by fiddling with it.

They went out of the city, which surprised her. He was bothering to take her to Richmond when they had to get back in time for the game? Not that the 30 minute drive was outrageous, but it seemed a luxury to her when they didn’t have all that much time to begin with.

“We needed to come all the way out to Richmond to go to Costco?”

“It’s the second Saturday of the month,” he said quietly, “and this one's bigger than the one by home. I’m sorry we couldn’t go tonight.”

“Oh,” her breath hitched as his intention settled on her. She’d stopped mentally marking second Saturdays about a year after her dad died, so she hadn’t even known.

The hiss of his seatbelt retracting brought Sarah out of her daze, and she reached for him before he could get out of the car.

“Thank you,” she said, feeling both a swell of gratitude as well as a tightening in her chest.

He beamed, glad he’d pulled it off. “I’ve been trying to get here, but you were so busy with the start of the semester, and then I was out of town…” he trailed off.

“This is really sweet, Quinn.” Holding his chin, she leaned over the center console to press her lips to his.

He’d wanted to set up this date since she’d told him about her family’s monthly Costco adventures. “Ready?” he asked, nodding toward the store.

She took a deep breath, letting it sigh out before nodding, “yeah.”

When she rounded the car and he took her hand, she tried to blink the tears from her eyes.

“I haven’t been back here,” she said quietly, wanting to explain, just in case she burst into tears. That hadn’t happened for a while, but she could never quite rule it out, especially now that the ache of doing this with him, but without her dad, was freshly torn open. That, mixed with the gratitude she felt at his want to do this for her, especially on a game day, brought up a swirl of so many emotions. Quinn was so incredibly thoughtful.

He stopped in his tracks, “is this your first time back since your dad died?” he asked.

“No, I went with mom whenever she or I was visiting, and we all go whenever I’m in town,” she said, “I just don’t think I’ve been without my siblings since she died.”

“Are you okay? We don’t have to go.” He was such an idiot. He should have asked her about it instead of just springing this on her.

“No, I want to go,” she assured, giving his hand a squeeze. “It just makes me a little nostalgic, that’s all.”

Before they got to the doors. She tugged him back, “this is really thoughtful, Q.” Why hadn’t she said it before? “Thank you. I feel really cared for.”

The big, genuine smile that took over his face made her heart swell.

“So what are we looking for?” she asked, grabbing a cart and following him inside.

“I kind of thought…” he trailed off, lifting the cap off his head, trying to smooth his hair down. Out of the corner of his eye, he saw a mother turn her pointing little girl away.

“Hm?”

“I thought we could get some Christmas decorations. Like, obviously, we need a tree, but I didn’t know if you wanted a real one, or…” he trailed off.

“Isn’t it a little early to be decorating for Christmas? I figured you were a strictly after Thanksgiving kinda guy.”

He laughed, “I mean, I am, but this was the only second Saturday I’m in town before January, so I figured we could shop and then decorate later.”

A smile beamed over her face, and a sigh unknotted some of the anxiety coiling in his chest. They’d talked, well argued, a little about Christmas. He wanted her to come to Michigan with his family, but it was her siblings' year to be together, so she wanted them to go to Nevada. He was just about ready to fly everyone to Vancouver. It was their first Christmas together. He didn’t want to spend it apart, but he didn’t want either of them to miss out on time with their families.

“I’ve never had a real tree,” she mused.

“Really?”

“My mom always said she hated the mess.” She paused for a moment, remembering, “well, I guess that’s not quite true. Trav and Trev had a real tree the year I lived with them, but it wasn't really my thing. I went back to Nevada in mid-December, so I didn’t help decorate or anything.”

“Okay, so we’ll get a real tree,” he agreed, glad to have that sorted. “You should get to experience it at least once.”

“Okay,” she agreed, a light coming into her face he usually associated with her while she was talking about her research.

The smile Quinn gave her in response - large and happy and indulgent - made her stomach flutter.

“What do you think the theme should be?” she asked.

“Hu?”

“The theme,” she repeated, “like red, or blue or, like, snow?”

“I don’t…know?”

“Is there anything you really like?”

“I hate the flocking,” he said.

“Not what I asked, but still helpful,” she said with a cheeky smile and a wink.

Quinn felt himself blush. “I don’t know…I feel like I’m bad at this kind of stuff.”

“What kind of stuff,” she asked, guiding them to the decor aisles.

“Decorating and stuff.”

She pshawed, waving her hand, “my mom always said if you like what you come up with, design is never bad. It might not be someone else's taste or style, but it’s not their house.”

Right, her mom was an interior designer.

“What do you like?” he asked, stopping to look at a display of dancing elves. They were sort of horrifyingly kitschy, but he couldn’t look away.

“I like classic things. Like red and green, or blue and white. Or, one year, my mom did this really pretty floral design. That doesn’t really match our vibe, though.”

“Did she design a new tree every year?”

“Sometimes. It all depended on what set her off. She’d sometimes find something like a tartan ribbon, and she’d spin a whole design off of that. We had another little tree in our basement that all of our homemade ornaments went on. We always put presents under that one.”

“Do you want two?”

“Trees?”

“Yeah, one upstairs and one downstairs.”

“Do you?”

He shrugged. “We could put one by the lucky couch.”

The lucky couch being the suede couch. She’d jokingly called it that after their escapades when the Canucks clinched into the playoffs, “I feel like all I do on this couch is get lucky,” and the name had stuck.

“Do you want that?” she asked now, looking at him seriously.

Closing his eyes, he tried to imagine what that would be like. Ultimately, he shrugged, “wouldn’t hurt.”

She laughed a little. “How about we sort the theme first?”

He nodded, glad that she had some kind of a plan.

“Why don’t we split up for a minute? We’ll each find a few things we like, and hopefully, a theme will come out of that.” It was something her mom often did when working with clients. It brought out shared styles.

“Okay.”

Sarah wandered off with the cart, heart so full she felt like it might just push into her mouth.

After five minutes, when Quinn didn't come back, she went looking for him. She found him on one of the fringe aisles, locked in a conversation with a star struck fan.

He glanced up when she rounded the corner.

When it became obvious that the person currently holding his attention wouldn't let up anytime soon, he waited for them to finish their thought about the upcoming game and then started to excuse himself. “It was nice talking with you, but I need to be going.”

“Oh,” the guy seemed to remember they were standing in Costco, “of course. Thanks for chatting, man.”

They shook hands, and Quinn stepped around him to join up with Sarah.

“Did you find anything, or did you immediately get bombarded?”

The smile he sent her way was indulgent. “I got a bit of a look.” Taking the other end of the cart, he pulled her down one of the decor aisles and pointed out some different shaped gold glass ornaments.

“I liked those, too, but I liked the silver better.”

“We could get both,” Quinn suggested, lifting a box of each color into the cart.

“You want to go metallic?”

One side of his mouth twisted.

“So, no,” Sarah laughed. “What do you think instead?”

“I don’t know. I just think only metallic is kind of weird.”

“Okay,” Sarah turned to another section of baubles and started putting them between the silver and gold.

They discussed the combinations but couldn’t agree on what colors looked better together.

“Why don’t we just do two trees,” Quinn suggested after having the same circular conversation twice.

Sarah agreed, glad he brought it up again.

“Do you want two live ones?”

“I think we should get one fake one. I’m already a little worried I’m going to forget to water the one.”

“Do we have to water it?”

“I’d imagine so. It’s a living plant, isn’t it?”

He’d never thought about it. “Yeah, I guess.”

“Didn’t you have real trees growing up?”

“Yeah,” he agreed, before sheepishly adding on, “but my mom did all of that.”

Just as he expected, Sarah snorted. “I can’t believe your dad made your mom take care of something for a holiday she doesn’t even celebrate.”

“She celebrated Christmas,” Quinn argued. “It’s not like she was against it or something.”

“It’s the principle of the thing.”

He smiled indulgently at her.

They spent another hour wandering around Costco, deciding what to buy. Sarah tried not to wince at the price when it totaled on the checking screen. It was their first year, after all. These things would always be basics they could use over and over again.

After loading it in the back of his car and starting for home, Sarah spoke again. “Quinn?”

He glanced at her, worry etched onto his face.

“I just wanted to say thank you again,” she assured, reaching for his hand. “This was so thoughtful and kind.”

A smile spread over his face, “you don’t need to thank me, Sarah. “I like when I can do something special for you.”

It wasn’t a strange thing to her anymore, to be with such a caring partner, who not only remembered things about her, but put them to use. Just the other day, he’d brought a set of playing cards home from Seattle after she mentioned wanting to use some different ones in her research with Walter.

Quinn let her pull his hand into her lap, glad that he’d pulled this off and that she’d enjoyed it so much.

When the day of the party arrived, Sarah was feeling remarkably calm.

While they were planning, she felt the weight of hosting the team as the Captain’s girlfriend like a physical thing she had to uphold. Not only did she want everyone to have a good time, she felt it was partially her responsibility to represent Quinn well. Not that he couldn’t do that on his own. He could. It just felt like another mantle she had to uphold and worried she would somehow fail or let him down.

After sharing these fears with her therapist, she helped her to remember that while her fears were understandable, there wasn’t really any basis for them. She’d already spent time with the team with the title of the captain’s girlfriend. The only difference now, as Jenny pointed out, was that she and Quinn were living together. “Which,” Jenny told her, “really only solidifies your relationship. If the team had any issues with Quinn dating you, they would have brought them up a long time ago.”

Now, as she got ready, hosting their first party together felt like a cementing step in their relationship. It felt a bit like something out of a fairy tale.

Pulling at the skirt of her dress until it fell the way it was meant to, she smoothed her hands over her hips as she smiled. It’d been a ridiculously long process to find the right dress, but now that she was on the other side of it, the final result was well worth work.

After going shopping with Bella and Katelyn, she came home empty handed. Everything they'd found was too…much. Too frilly, or too plain. Nothing fit correctly, or it didn’t cover what she wanted covered or didn’t flatter her body. She didn’t even have an image in her head of what she wanted to wear (she rarely did), but nothing they found felt right.

She’d be lying if she didn’t acknowledge that dress hunting had, at least partially, been so hard because she felt more than a little frumpy and even a little bit fat standing next to both beautiful women. Not that either of them did anything to make her feel that way. They were kind and nice, and two of her best friends among the wives and girlfriends. Still, anytime she tried on a dress, on top of it not being right, when she stood next to them, her eyes were automatically drawn to her hips and stomach, which were so much rounder than either of theirs.

Generally, body image didn’t bother her - she knew she was attractive and knew Quinn found her attractive. Even knowing that, she had a hard time turning off that comparison part of her brain when seeing herself reflected back next to the two thin women she was with.

So, while both of them walked away with beautiful party dresses, Katelyn in a short, delicately sewn green frock, and Bella in a sparkly blue sweeping number, Sarah was forced to go hunting for the perfect dress online. Knowing she was running out of time, she bought fourteen, figuring she would return what she didn’t like.

Of course, it was the last one - which arrived only a week before the party - that finally sang to her. Even Quinn commented on it when he saw it hanging in the closet, telling her, “I like this one.”

“Yeah?”

He’d nodded, offered her a cheeky smile as he said, “I can't wait to see what it looks like on you.”

At the time, she’d laughed and shaken her head, but with the way he was looking at her now, she knew he hadn’t been lying.

“Wow,” Quinn said, eyes scanning up and down her body when Sarah walked out of the walk-in closet.

The sparkly fabric cradled her curves as if it had been made for her. He especially liked the way it just barely cupped her ass before billowing down to the floor. He’d never seen her in something so fancy - they’d never had the occasion to dress up like this.

Thoughts of past prom and formal dates skipped through his mind, and he decided she was the prettiest date he’d ever had. Especially with the way the dark red color turned her eyes a stormy blue.

She gave him a teasing, little smile, “you like it?”

Scoffing, he gave up fighting the impulse to grasp her hips. The fabric was smooth and surprisingly soft under his palms. He’d expected the tinsel-y shine to be scratchy. Whoever made it knew what they were doing.

“I don’t know how I’m going to keep my hands off you all night,” he said as his eyes drank in her figure one more time.

Slipping her arms around his neck, she gave him a seductive smile and a wink, “lucky for you, I think we could arrange for you to take me home tonight.”

“Really?” he teased, one hand sliding around to cradle that curve of her butt he’d been admiring earlier.

“Play your cards right, and I think you just might.”

“I might have to corner you under the mistletoe before then.”

“I thought you hated mistletoe,” she said, rolling her eyes. He'd been mildly horrified when he found she'd hung two sprigs of it in the apartment – one in the front hall and one in the doorway to the kitchen.

“I don’t know that I’d hate it with you,” he said, voice soft as he caressed her hips again. “I hated when people would try to corral me under it with some girl they wanted me to date,” he explained. “If it means I get to kiss you, I’m going to take advantage every time I can.”

Thinking of past Christmases and failed mistletoe attempts, Quinn was so struck by her. His life from a year ago had been turned totally upside down. All in good ways, but it was still startling to glance back at how lonely he was last Christmas in comparison to the joy, love, and contentment he felt this year.

“You’re going to be the prettiest girl here,” he said, unable to stop himself from looking her over again.

Though she smiled, she snorted and rolled her eyes.

“You will be,” he insisted, pulling her against him. He couldn’t fight not touching her more.

Deciding she was too tired to push back against his compliments, Sarah leaned in to press her lips to his. With her heels on, he was just an inch taller than she was. Kissing Quinn was never difficult, but she did enjoy the easier access their closer heights allowed for.

He mumbled a noise, his other hand coming up to cup the back of her head to intensify the kiss.

As she broke away, he couldn’t stop himself from asking, “are you not wearing any underwear?”

Her eyes fluttered open. “What?” she asked, a laugh splitting her mouth into a natural, pretty smile.

“I can’t feel anything,” he explained, running his palm over her bum again.

“Strictly speaking? No.”

His eyes grew round with shock.

“But I have shape wear on, so it’s kind of worse. Harder to get off.”

An almost relieved smile crossed his face.

“Why?”

“I just…I was gonna have a real hard time tonight if you weren’t wearing anything under this dress,” he admitted as his palm slid up the curve of her body.

“I don’t think I could face a party with your teammates without any underwear on.”

“Too bad,” he tsked, “then I really wouldn’t be able to keep my hands off you all night.”

“Be a good boy,” she admonished, moving his fingers from where they were sneaking under the straps.

Licking his lips, Quinn looked into her face, his expression eager.

She held his gaze, letting the tension build between them.

His phone buzzed in his pocket, vibrating against her leg. He didn’t look away.

“That’ll be the food,” she said, breaking the spell. “You better go grab it.”

“Yeah.” Shaking his head gently, Quinn reminded himself they were heading into a party and now was not the time for him to start fantasizing. “I’ll be right back.”

“Those pants still look super hot on you!” she called, following him.

A few weeks before, she’d first told him she liked them by sending him a Canucks Instagram story that showed him walking through the arena parking garage, along with the message, got me drooling over your thighs in this suit. The gray fabric was cut close, making his legs look deliciously thick and muscled.

His laughter echoed off the windows as he jogged down the stairs. “I’m wearing them just for you!” he called back before the front door shut.

Making her way down to the kitchen, Sarah surveyed the apartment on the way. They had decided to put the second tree next to the lucky couch, which only served to make the spot more romantic. Since it’d gone up, they’d spent at least one night a week curled up together reading by it’s light. It was decorated in silver and green, while the larger, fresh tree was decorated in classic red and gold, including some geometric diamonds her mom used in their last family tree. Sarah had asked her sister, Rachel, if she could send them to her. It was nice, having that little part of her mom in the house at a time they both loved so much, nice to see pieces of Quinn mixed in with everything.

Other than the trees, there were no other holiday decorations besides a Christmas Village that had belonged to her dad, which was set up on the sideboard in the living room.

An hour later, almost everyone was there, dressed in their holiday finery.

Quinn had an incredibly soft, dark green cashmere sweater on over top of a white dress shirt. He’d almost worn the bomb cufflinks Sarah had given him, but at the last minute, he decided it would be more practical if he rolled his sleeves up.

The way Sarah’s eyes lingered on his forearms when he had told him he made the right choice.

Sarah had insisted the men needed to wear slacks, “if the women are putting on dresses, it’s the least you can do. No dude gets to show up in jeans when women have to wear shape wear.”

He said he saw her point and dropped the bad news on the boys the following day.

“Oh my God!” Bella gushed, walking into the house. “It looks gorgeous in here!”

“Thank you. It was really fun to decorate together for the first time.”

“Huggy helped with this?” Brock asked dubiously, walking up and slipping an arm around Bella’s waist. Sarah swore they both could wear head to toe hunting orange and still be the most beautiful couple she’d ever seen. Seeing them dressed for the season was like looking into a catalog, two perfect people in exactly the perfect clothes, matched to perfection. If they stood by the tree, she was pretty sure she could submit the picture to any department store in the world, and they’d put them in an ad without question. It was quite stunning, really.

“He did,” Sarah said, beaming. “We decided on the theme together and got decorations, and we put up the trees before you guys left over Thanksgiving.”

“Brock never helps with stuff like that,” Bella teased.

“I offered!” Brock corrected. “She said she doesn't trust my taste,” he told Sarah conspiratorially before dropping a kiss to Bella’s cheek and announcing, “I’m going to get us drinks.”

“Oh my god,” Bella exclaimed once he was gone, “where did you find this dress? It’s, like, perfect!”

“Its from this Australian company called Blackmilk. It was the last one to arrive,” Sarah said with a roll of her eyes, “of course.”

“Well, it was worth the wait. You look killer. Your ass looks insane.”

Sarah laughed, “the spanx have a lot to do with that.”

Bella shook her head, “no. You have a great ass. I wish I had curves like yours.”

Glancing down at herself, then at Bella’s petite frame, Sarah wondered who it served for women to be pitted against each other this way. The beauty industry, probably. Whoever invented spanx.

“That's sweet, thank you.”

Bella hooked her arm through Sarah's and demanded a tour of the apartment with everything decorated.

Watching from across the living room as Sarah opened the door, looking comfortable and every part the hostess, Quinn smiled, glad to see her feeling so at home.

He was only a little surprised to see the Millers on the other side of the door. He’d invited them, but didn’t hear anything back.

“I’m so glad you could make it!” Sarah gushed, accepting the box of chocolates Natalie offered, before wrapping her in a hug.

There had been some debate whether or not the Millers would be able to attend - it was their first team function in quite a while - but Sarah was extremely glad they were here. It wouldn’t feel like a team party without them.

“Come in, come in. We have cocktails and mocktails and lots of food,” she said, turning to embrace JT.

He smiled, uncharacteristically quiet.

Natalie stayed by Sarah’s side as he wandered into the party, getting progressively louder as he bro-hugged and took some ribbing from his teammates, jibing them in turn as if no time had passed. “Thank you for not making a big deal of this,” she said.

Sarah shrugged, “I’m just glad you’re here.”

The other woman gave her a watery smile, and Sarah took her arm to pull her into the house, “what can I get you to drink?”

The one thing Quinn hadn’t counted on when planning this party was how much he’d be separated from her. When they attended parties in the past, they were often together, or at least not apart for long. Now, with the role of hosts, they had people to talk to and drinks to refresh, and it felt like everything was pulling them away from each other, rather than closer together.

As the night went on, even though they were still separated, Quinn found he always seemed to know where Sarah was. Not just from her laugh, which he did hear in abundance, or from glimpsing light glinting off her sparkly dress, which occasionally flashed in the corners of his vision. No, it was that same magnetic force that pulled him to her the first time he saw her, still in full effect.

He was talking with Conor when he felt that longing hook in his navel, nudging him in her direction.

When he looked up, however, he couldn’t see her. It only took a moment for her to reappear, walking from the kitchen, smiling at something Meghan was showing her on her phone. Probably photos of Quint, he guessed. She had a new bottle of Perrier in one hand and a bowl of ice in the other.

As if sensing his gaze, she glanced up.

She winked, and a ridiculous, cheesy smile took over his whole face.

Once their eyes met, their connection followed suit, snapping into alignment as they held each other's gaze. He was on the other side of the apartment, in the living room, but for a brief moment, it seemed everyone else fell away and they were alone in the house again.

They’d taken pictures in front of the Christmas tree at the beginning of the night as soon as Elias and Katelyn had arrived and could hold the camera. Sarah wanted to send them to her family. He’d smiled when the photo had popped up in the chat she had with his family. His mom had almost immediately hearted the photo and gushed over how beautiful Sarah looked in her dress.

You look nice too, Quinn, Luke had quipped.

That had been the last time he had his hands on her, and watching her chat with Meghan as she tipped fresh ice into the metal bucket, he was itching to touch her again.

“So, what did you think of that video session today?” Conor asked.

“Hu?” Quinn murmured, unable to tear his eyes from Sarah as she started to laugh.

Conor followed his sightline. “Oh god, you’re hopeless,” he murmured. “Go get your fix, then come talk to me,” he said, tone only half joking as he pushed Quinn’s shoulder in the direction of the kitchen.

“Can I borrow her for a minute?” Quinn asked, throwing a smile in Meghan's direction as he walked up to them.

Not waiting for an answer, he took the bowl from Sarah's hand, setting it on the bar cart and leading her back in the direction of the kitchen by a loose grip on her upper arm.

“Quinn, what's wrong?” she asked, glancing back to make sure Meghan didn't feel abandoned. Thankfully, Natalie had taken her place in the conversation.

“Nothing wrong,” he said, stopping to lean in the kitchen doorway.

One of her eyebrows raised, “you just needed to come hang out in the kitchen?”

A snort of laughter escaped his mouth before he pointed up. Sarah followed his finger to the little sprig of fake mistletoe she’d hung there. “I thought you were joking,” she said, her eyes coming back to his face.

“About this dress?” he asked, slipping his hands over her hips and around to hold her bum. “Or about wanting to kiss you under the mistletoe?”

She glanced back to the party, hoping no one caught Quinn groping her so openly. “I don't know. About the cornering bit, I guess.”

A smile crept over his face, “how else was I supposed to guarantee we'd end up here together?”

Sarah tried to roll her eyes but ended up smiling instead. It was nice to feel so wanted.

“I missed you,” he said, nudging her to step toward him by tightening his hands.

“Quinn, people can see,” she admonished, even as she moved closer.

“So?”

“So you have your hands all over my ass in plain sight.”

“I don’t think anyone would blame me for wanting to touch you in this dress,” he said.

A thrill spiked in her chest. She’d never had this much pull over a man. “And what were you hoping for under this mistletoe?” she asked.

“Just need a minute to tide me over until the party ends,” he murmured, leaning in.

His lips brushed over hers.

Deciding she didn’t care if people saw, Sarah sighed into him. Everyone knew they were dating, after all. More than dating - they were living together. They were throwing a party together. No one would be shocked to see them under the mistletoe.

Allowing herself to sink into the kiss, she opened her mouth and welcomed the sweet, tangy taste of his tongue. He must have just drunk some of the cranberry punch she made.

A contented noise escaped his mouth, and Quinn leaned a little closer, savoring the hint of chocolate liqueur in her mouth.

The knowledge that his entire team and their partners were in the house caught up to him, and Quinn pulled back. He didn’t really want to, but he also didn’t want the ribbing that would surely come his way if it went any farther.

He just needed to make it to that evening anyway.

Pursing his lips together, he met her eyes.

Her smile told him she was looking just as forward to the end of the party as he was.

The anticipation of it spiked in his stomach, making him feel giddy.

The laughter and drinks kept flowing long after the gift exchange wound down.

In an effort to do something different from the year before, they’d proposed a white elephant type exchange, but each gift had to be worth at least 100 dollars and something nice, not jokey.

The most fought over gifts were a bottle of imported Irish Whiskey Dakota brought and a diamond necklace Sarah had found in a vintage shop along her regular route home.

Quinn ended up with a pair of tickets to a cooking class with a local chef, while Sarah ended up with a ridiculously soft cashmere scarf.

Though Sarah expected that everyone, with their rigorous travel schedules, would want to get home as soon as possible, it seemed they all were savoring the time together without their kids and without the pressure of practice or a game.

It was nice to see all the guys casual and carefree in a way that didn’t happen very often. She rarely saw the whole team so relaxed together.

When it became evident that everyone would be staying much later than anticipated, Sarah started to readjust her expectations for the evening. The way things were going, they’d be too tired to do anything but do a quick clean of the apartment and flop into bed when the night wound down.

Quinn was chatting with Lankinen in the kitchen, looking so effortlessly handsome in his sweater and slacks. Those slacks really should be a crime. his thighs looked good enough to bite. And then he’d gone and rolled up his sleeves. He had strong wrists and forearms, and when he wore shirts like this, she always felt a strange surge of attraction to them.

As she continued to stare, just as she expected would happen, he looked up to meet her gaze.

She gave a subtle head tilt toward the entry hall and raised her eyebrows.

A smile crept over his face, and he nodded.

Trying to be casual, she made her way to the front door. She’d hung mistletoe in the entryway, imagining kissing each other hello and goodbye at the door, even though that rarely happened in their everyday life.

By the time Quinn was able to make his excuses and follow Sarah to the front door, she’d been there for several minutes, He found her leaning against the wall, with her head tilted back, seemingly savoring the time alone.

He was just wondering if he should leave and come back when she glanced over.

A smile immediately spread over her face, and she straightened.

“You okay?” he asked, closing the distance between them.

“Yeah.” Her voice was quiet, just for him.

Slipping her arms around his neck, she met his eyes. Even in the dim, entryway light, she could see how the color of his sweater brought out the green in his eyes, making them a mottled, foresty color.

“You should wear green more often.”

The left corner of his mouth tipped up. “I should?”

“Yeah.” Her fingers wove themselves into the curls at the base of his skull. “It brings out the color in your eyes.”

He fluttered his lashes, and she giggled. “Can you just learn to take a compliment?”

A blush flashed over his cheeks.

“You’re just really handsome,” she said, almost as if it was a confession.

Quinn resisted the urge to deflect the compliment and busied himself with running his hands over the smooth fabric of her dress. “You should wear this all the time.”

“All the time?” she repeated.

He nodded.

“Even at the aquarium?”

A laugh chuffed out of his mouth. “Okay, maybe not all the time,” he continued before she could cut in, “you just look really beautiful in it.”

She knew how Quinn felt about this dress, he’d made that abundantly clear throughout the night - checking her out each time she entered the room and with his little stunt in the kitchen - but hearing the sincerity in his voice now made it burrow home with a bit more force.

It was her turn to blush.

“You’re doing okay?” he asked. “I can start telling people they need to leave.”

She shook her head, “You don’t need to do that. I’m having fun. Just wanted you to myself for a minute.”

Quinn felt a ridiculously big smile spread over his face. “Always happy to do that,” he said, leaning closer.

As their mouths melted together, Sarah thought she heard shushing but pushed the whispers out of her mind, relishing the stolen moment alone.

She didn’t think about it for the rest of the night, which lasted well into the next morning. By the time everyone left, after Natalie and JT stayed late to help them clean up, it was past two.

Glancing at her phone for the first time after loading the dishwasher, Sarah was surprised to see she had a message from Katelyn. When she opened it, she found a dimly lit photo of her and Quinn in the entryway, kissing under the mistletoe. His hands were on her waist, and hers were in his hair. Through her editing magic, Kate had blurred everything else in the background, making the photo look just like Sarah felt in that moment – as if she and Quinn were in their own little bubble.

Caught you guys under the mistletoe. It was too cute not to take a pic. Hope you don’t mind. Thanks for a great party. E was telling me on the way home how happy Q’s been since he met you. Anyway, just glad this crazy world brought us together. Love you, girl.

Love you too. Thank you for the beautiful picture.

Katelyn hearted the message, and when Sarah showed it to Quinn, he said, “that one should go in the launch deck, don’t you think?”

Sarah nodded, her movement slow with sudden fatigue.

“Come on,” he murmured, wrapping an arm around her shoulder and leading her away from the kitchen and the dishes. “We can finish this up in the morning. Let’s get to bed.”

Too tired to argue that they really should just get it all done now, she let him lead her upstairs.

They got ready for bed, and as he pulled her close, Quinn whispered, “I love you, you know that?”

“I know.” It took a sleepy minute for her to continue, “I love you, too. I’m glad we did this.”

Tucking his nose into her hair, Quinn breathed in her familiar scent. His voice was dim when he thanked her.

She turned, pressing her nose into the divot of his collar bone so he felt and heard her next words.

“I’m glad this Christmas is with you.”

“I wouldn’t want it with anyone else.”

Want more Quinn & Sarah? Check out the Snapshots Masterlist

To read all my fics, check out the Fanfiction Masterlist

#quinn & sarah snapshots #quinn hughes #qh43 #qhughes #quinn hughes fanfiction #quinn hughes fanfic #quinn hughes imagine #quinn hughes oneshot #quinn hughes x ofc #quinn hughes au #quinn hughes fic #quinn hughes blurb #quinn fic #nhl fanfiction #hockey fanfiction #hockey romance #ho ho hockey 2024 🎄#ho ho hockey master list 🎄#Spotify

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silverwhittlingknife · 8 months ago

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So you're a go to source for all things Dick&Tim bros and you tend to write primarily from Dick's POV. So, odd question, but if you were to summarize their relationship from his POV in FIVE panels which panels would you pick? Keeping in mind that one specific aspect of their relationship that you love needs to be clearly represented by each panel (loyalty, trust etc). I hope this is a fun challenge and not an annoying question so if you don't want to answer that's cool! Have a wonderful day!

No more talk. The same thoughts run through two minds... (SotB 29) / You're my equal. My closest ally. (RR 1) / I can't stop thinking how much I rely on him. (GoG 3)

25 Feelings Dick Has About Tim

This was such a kind ask & a cool challenge which I totally failed; here are TWENTY-five panels of Dick's POV on Tim sdfdsfds Look, I got carried away! Marcia and Cindy! The boys!!

OKAY SO BEFORE I GET TO THE PANELS A FEW NOTES:

WARNING THAT THERE ARE SOME NEGATIVE EMOTIONS IN HERE because I love conflict but but but you gotta remember those are not the final word!! They are complicated people and sometimes they get mad at each other BUT ultimately their relationship is so hugely important in both their lives & they love each other and rely on each other so much -!!! <3

Also I have CONCLUDING THOUGHTS at the end about what Dick's POV leaves out (mostly: a lot of Dick defending & protecting & supporting Tim, which Dick does instinctively but isn't very self-aware about most of the time)

I have loosely organized my list into 5^5 format (5 categories with 5 examples each!), so if you want to skip to a relevant one, here are the categories!!

Below the cut:

I hate him and find him infuriating (#1-5)

On second thought, he's endearing & fun (#6-10)

Grief is complicated & he's all tangled up in mine (#11-15)

I love him & think highly of him (#16-20)

I rely on him & though it's hard for me, I trust him (#21-25)

I hate him and find him infuriating (#1 - 5)

1) He thinks he’s so smart and can psychoanalyze me and Bruce, but he doesn’t know me at all, he should get lost (New Titans 61)

2) He thinks he’s so smart and can psychoanalyze Bruce but he doesn’t know Bruce at all, he should get lost (Gotham Knights 26)

3) He is so nosy about stuff that is MY business (Robin 0)

4) He sounds like an insincere suck-up half the time... but okay, fine, if you push him he's got a sense of humor about it (New Titans 65)

5) I'm sure he's a better vigilante than me. It's my fault for being a failure, but I resent him anyway. (Nightwing 9 - Dick's having a nightmare)

On second thought, he's kinda endearing (#6-10)

6) He worries too much and gets anxious so easily, but it makes him fun to tease (Robin 67)

7) I'm not that competitive - okay, so maybe I'm a little competitive, I gotta make sure he doesn't get a swelled head (Prodigal)

8) I'm supposed to be his favorite! It is not cool for him to be fanboying over my not-girlfriend's not-boyfriend!! (Birds of Prey 19)

9) We have fun together. I can kick back and relax when it's just the two of us. Plus I get to boss him around a bit. (Prodigal)

10) He’s always trying to reassure me, and I guess it's a little comforting, but also he doesn’t really get it. Or me. He makes excuses that he shouldn't, because he doesn't understand that I suck. (Nightwing 64)

Grief is complicated and he's all tangled up in mine (#11 - 15)

11) He reminds me of everything I try not to think about. Sometimes the memories are so strong it hurts to look at him. (Batman 441)

12) WHY IS HE BEING IMPOSSIBLE ALL OF A SUDDEN??? THIS IS SO FRUSTRATING (Nightwing 139)

13) We're the same. He says all the things I don't let myself think about. It's like arguing with myself. (Nightwing 139)

14) He thinks he gets to tell me what to do but he doesn’t, fuck him (Battle for the Cowl)

15) Life sucks, so what. I sucked it up so he should too (RR 1)

I love him and think highly of him (#16 - 20)

16) He’s the closest thing to a brother I’ll ever have. If someone hurts him I will hurt them harder. (Nightwing 6)

17) I can't handle the idea of losing him. (Nightwing 97)

17) He’s so good and I’m not. I'm afraid I’m bad for him. (Nightwing 110)

18) He’s better than me, and it’s kind of a relief because I know no matter what he’ll be okay. (Gates of Gotham 3)

19) In my head he’s the responsible one. (Gotham Knights 10)

I rely on him, and though it's hard for me, I trust him (#20-25)

20) I know I have to trust him but I'm afraid he'll make the wrong choices and get hurt (Nightwing 139)

21) I'm sure I know what he should do because I see myself in him - not that I can take my own advice, but he should (Blackest Night 3)

22) I trust him. When I’m losing my grip on things, he pulls me back. (Gotham Knights 10)

23) I want him to trust me (Red Robin 12)

24) He can tell when I'm lying. Sometimes he sees my weaknesses better than I wish he did. (Detective Comics 874)

25) He’s always there when I need him. (Teen Titans / Outsiders Secret Files)

Final rambling thoughts:

TIM: Uhh, okay, so I'm just skimming this list - do you really trust me? you're not just saying that? - but anyway, I'm confused because you left some stuff out? Like some stuff that's kinda important? DICK: No? I think I got everything? TIM (starts counting on his fingers): The time I was having a bad day but then I called you. The time I got captured by Two-Face but then you saved me. The time I fell off a train but then you saved me. The time I fell off a building but then you saved me. The time I fell off a different building - DICK: I feel like you're trying to make some kind of point but I'm not sure what it could be.

SO THE THING IS, I put 25 panels in here and not a single one has Dick catching Tim when he’s falling!!! But I think that's a central motif of their relationship from Tim’s POV, not Dick’s. I love Dick, but in some ways I think he is spectacularly un-self-aware.

And I think he especially has a lot of blind spots about Tim. He kinda intermittently gets that Tim admires him, and he enjoys it in a playful I-get-to-boss-you-around way. But Dick tends to consistently underestimate all of his own good qualities & skills, and he meets Tim at a point in his life when he's especially down on himself & his abilities. And so he's unable to see his own influence on Tim, & therefore unable to fully understand a lot of Tim's priorities and loyalties and motivations, because you can't actually understand Tim without understanding Dick's impact on him. There's a fascinating moment in Bruce Wayne: Murderer when Dick's completely blindsided & upset to discover that Tim doesn't entirely trust Bruce, even though this has been a definitive fact of Tim's whole thing ever since he showed up with his Batman needs Robin theory, and Barbara has to actively remind Dick of the obvious-to-everyone-except-Dick fact that a lot of Tim's loyalty is to Dick, and Tim loves Bruce but feels free to be more wary of him. (And to give Bruce credit: this is not something he ever begrudges.) But anyway Babs points this out, and Dick manages to sorta process it for about five seconds, but he cannot actually accept it into his worldview so instead he discards it at the speed of light and goes off and has an argument with Tim instead sdfsfdsf

All of Dick's virtues - Dick's kindness at the circus and Dick's determination to fight through grief and Dick's rigid sense of morals and Dick's vigilante skills and every time Dick has ever backed Tim up or listened to him or protected him or saved him from something or just been casually kind to a stranger in Tim's presence etc etc etc - all these things loom really large in Tim's mental story of Who Dick Is, and What Dick And Tim's Relationship Is. Tim meets Dick before he meets Bruce, trusts Dick more than Bruce, aspires to be Robin instead of Batman. And so in Tim's default version of the story, Dick is the super-special and admirable hero and Tim is... nobody in particular, a tagalong outsider who's barely managing to be a hero, not part of Dick and Bruce's family and not part of their story, who, if he's VERY LUCKY and tries REALLY HARD, might be able to fight his way to proving himself and offering something to Dick that Dick will value, if Dick doesn't get fed up with him first.

But that's not Dick's version of the story!!!

Dick's version of the story is almost the exact opposite, a story where Dick's an outcast failure black sheep who's screwing up everything he tries, and meanwhile Tim is The Sudden New Perfect Robin Who's Better Than Me And Probably Bruce Loves Him More And Probably They Gossip About What A Loser I Am, mixed with a complicated edge of Tim Thinks He's So Smart But He Doesn't Know Me/Us At All. Dick gets much more attached to Tim over time, and Tim gets unnervingly better at the know-it-all psychoanalysis so then Dick gets to have complicated feelings about him being right instead of just annoyance at him for being wrong, plus Dick's relationship with Bruce improves a lot, so Tim stops feeling so threatening. But Dick never fundamentally changes his basic theory of their relationship in which Tim is highly impressive and capable, and Dick is not so much.

And so asking Dick about Tim is kinda like if you asked George Bailey to tell you about Harry Bailey in It's A Wonderful Life; like, you'll be there for five hours while he tells you how great Harry is, and how accomplished Harry is, and how he doesn't really get how or why Harry does the things he does, and maybe George does feel a little resentful or jealous sometimes, but that pales in comparison to all his admiration and trust for Harry who he loves so much, who's better than him in so many ways, and he's not gonna openly gripe but secretly he can't help but feel sometimes like he's such a failure in comparison to Harry, a perfect person who emerged fully formed from Zeus's head with all the virtues and also all the accomplishments, etc. etc. etc. --

-- and he will not actually remember the part where he changed and saved Harry's whole entire life unless you literally send him to an alternate timeline in order to force him to remember it. <3

#i enjoyed thinking about this so much i wrote a novel with All My Thoughts sorry sdfsdfs #tim drake #dick grayson #somewhat tangential but as i was writing this i was thinking about zahri's post #about how different types of stories offer different kinds of emotional payoffs #and i think for me for dick and tim the main two payoffs are:#1) someone who sees & understands your grief for deaths that will never get fixed or get better #and who will face your ghosts with you EVEN WHEN you're also mad at each other #2) someone who you look at and you see all the ways that you suck & he's better & you're a loser who's failed him etc etc #but it turns out that you're wrong. that you're good enough. not that none of the failures were real or that they were all in your head #but it turns out that it's okay that you didn't always immediately do or feel the right thing #and it's okay that you weren't perfect. you can fuck up six thousand ways & everything you did right will still matter #not because of making excuses or allowances or somebody pityingly trying to make you feel better #but because in the end the things you did right are just Genuinely More Valuable than anything you did wrong #all the times you tried & everything that you tried to give - everything you think wasn't good enough - it was.#IN OTHER WORDS they are both convinced they're not good enough & they are both wrong <3 #anyway dick and tim are both INCREDIBLY SIMILAR and also CONSTANTLY misreading each other and i love that for them #and like. they will sometimes totally misread each other & then never figure out the part that they misunderstood #but then they manage to keep going anyway. we love each other on purpose <333 #ask tag #dick&tim

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unbidden-yidden-deactivated20240 · 1 year ago

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I'm not 100% sure how to articulate this, but something that has been bothering me about I/P discourse (especially in the last month, it's gotten so much worse) that I haven't seen talked about in a productive way is the "yoking" effect that the extremist ugly takes create for the good-faith people just trying to talk about their issues. And I see it on both sides, and have felt compelled to act this way myself.

Essentially, when I talk about antisemitism (especially the significant spike in the last month), my goal is focused on educating people about the antisemitism and urging them to do something about their own behavior, help groups that are working on it, and/or become part of the people working on advocacy to that effect. I just want to talk about the antisemitism, and have that stand as a topic on its own terms. But the problem is, I'm a Jew and extremists on both sides have made it so that anything I post about this requires disclaimers that I also support the rights, freedoms, and care about the lives of Palestinians also. And I do! But that's not the point. The point is that Jews facing antisemitism should be able to talk about this without bringing in a whole separate topic to prove we're worth listening to. And I saw this with Israelis trying to talk about the grief they were feeling after the Hamas pogrom; they couldn't do it without either including some kind of statement about wanting peace, separating Hamas from Palestinians as a whole, etc. or face relentless antisemitic abuse.

And this effect comes both from outside people [supposedly] supporting Palestine being awful unless the Jew in question attaches sufficient disclaimers, as well as [supposedly] pro-Israel people who couldn't help themselves from spouting off dumb racist shit in their posts on otherwise valid topics.

But as I've watched things play out, and Western outsiders become more and more antisemitic in their [supposed] support of Palestine, I've noticed Palestinians and their not-antisemitic allies having to couch their [valid] criticisms of Israel with caveats about how antisemitism is not okay, or else face harassment when talking about their legitimate issues - even ones that aren't about Israel at all.

That's what I mean by "yoking" - this inability to talk about ourselves and our own issues without bad faith actors coercing us to address the other and "prove" that we're worth listening to. It's dehumanizing, because it means that our legitimate issues are always and only ever able to be discussed in the shadow of the other. They aren't allowed to stand on their own without risking harassment.

Anyway, I think the reasons we got here are complicated, but I lay most of the blame at the feet of uninvolved westerners using this conflict as a proxy for their own problems. I don't know that there's a way to fix this at this point, either, because the discourse has become so unbelievably toxic. I think the closest thing I've got is just the suggestion that if you see a Palestinian (or ally) talking about Palestinian issues and not being antisemitic about it, don't derail what they're saying even if they don't specifically denounce Hamas outright and/or antisemitism in their post. And if Jews (including and especially Israelis) are talking about antisemitism and/or legitimate issues and aren't being racist or Islamophobic about it, don't derail what we're saying even if we don't offer caveats denouncing the Israeli government and/or Islamophobia/anti-Arab racism in that specific post.

We can support each other in the face of danger and want peace without having to constantly be forced to talk about other issues and divert focus from our own issues.

#this could probably be worded better #but this frustration has been living in my mind rent-free since I've noticed it happening in both directions #and I can't not say anything about it

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tillsfan · 1 month ago

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a dive into Till’s feelings regarding Ivan and Mizi!

ivantill’s whole thing is being INSANELY complicated. i am a full on believer that they have mutual (unrealized) feelings, but i think the word “love” is definitely too vague to properly describe what they have. vivinos said a “deep LOVE/HATE” relationship for a reason.

i think till both genuinely feeling love for ivan yet hating him at the same time is absolutely reasonable. ivan has pushed and pulled till his whole life. till never felt secure near ivan, as much as he cares about him. but, ivan was always there. till felt comfort with ivan’s presence despite the lack of security he gave. till heavily valued ivan’s opinion, getting upset when ivan implied he didn’t see till as a friend. he trusted ivan enough to attempt to run away with him, and he potentially would have spent the rest of his life with ivan if they actually escaped.

i while love mutual love ivantill as much as the next guy, saying their feelings were 100% romantic is wrong. their emotions towards one another being so raw is something that defines them, which is why it’s difficult to put their mutual feelings into a specific box.

another thing we need to take into account is that neither of them know what love really is. they inhabit a world that isn’t MEANT for humans to love. they were never taught what love is and how to feel it. this is part of the reason they could never develop properly. they live in a world where the concept of romance and relationships aren’t properly established between humans.

but, i do believe like they could’ve had a chance under different circumstances. they were a slowburn that was never able to properly develop because, again, they lived in a world that didn’t allow them to, and they both ruined things for themselves. ivan had a huge tendency to self sabotage because of his severely low self esteem. he convinced himself that his feelings were shallow, and projected that onto till through his actions, confusing and distressing the latter. in addition, till was avoidant of the reality in front of him, ivan. due to till feeling such a lack of security with ivan, and never being able to understand ivan, he avoided intimacy with him altogether. till also just has a fear of intimacy in general. there was a significant amount of miscommunication between both parties.

in addition, saying that till didn’t love mizi is just. false. he dedicated all of his life to her, she was literally his muse. he loved her in his own way, even if he had to put her on a pedestal to do so. yes, he didn’t know anything about her as a person, but that doesn’t mean his feelings weren’t real. saying he never truly loved her undermines so much of his character.

mizi was till’s coping mechanism, yes. he adored her from a distance. he liked the idea of her and not her as an individual, but that doesn’t make his feelings any less real. he loved and cared for her. we saw how torn he was after mizi disappeared in round 5. he almost DIED because of his grief, before ivan ‘saved’ him. his feelings towards her were as authentic as they could be for someone who kept everyone at a distance.

while you could say till’s love for mizi isn’t inherently romantic, the same can be said for ivantill. nothing stated in the patreon confirmed what EXACTLY till felt towards mizi besides her being a fantastical figure to him. and his “love” towards ivan doesn’t HAVE to be romantic (even though i believe it is), it could very much be platonic. vivinos is purposefully vague with what kind of love each character feels because, as i said, feelings aren’t something that can be properly established in this universe.

hope u guys enjoyed my rant Yay 🌹

#alnst #alien stage #alnst analysis #alnst till #alnst ivan #alnst mizi #alien stage till #alien stage ivan #alien stage mizi #ivantill

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obsessive-valentine · 3 months ago

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5 stages of Grief (pt2)

Platonic Vampire Family + Fem!Reader

You attempt to come to terms with what you have become and youre new life with the Beaumont vampires, some more accepting than others. Part 2 of forever and always

You woke up amongst fine fabrics and soft pillows, it was like you were sinking into a cloud being hugged from all angles. Had you died in the night and now gifted an eternity on a cloud, you never thought so deeply about the afterlife. Was this heaven that so many speak of, or something different, maybe a waiting cloud as you wait in the in-between for your turn to move on.

Your eyes are heavy and your body is taking a lot longer to start up again. Your thoughts were slow, disjointed, as though your mind had been emptied and was slowly being pieced back together, you couldn't think of anything logical or of meaning.

But your body didn't ache and rattle like it had before. Devoid of the sting in your chest and weight of your limbs.

Only one thing remained—a dull, growing sting on your inner wrist.

As you came closer to reality, you could feel a presence beside you, a hand running through your hair, slow and deliberate. It felt so tender, you don't think you've felt such softness for some time. Between that and the sound of a fireplace crackling reaching your ears, you were almost soothed back asleep.

You clenched your hands into a fist and then relieved the pressure once again, slowly moved your toes and drew in a long breath before letting go of a sigh. All signs you are, in-fact, alive. You cracked your eyes open but you only saw blur and the minimal light is so hard on your eyes.

The hand running through your hair had stopped and now rested on the crown of your head. Then a sweet voice broke through the stillness of the room and traveled gently to your ear, almost a whisper "You're safe now, sweet girl. Don't strain, be slow" She encouraged.

You knew that voice "Lavinia?" you whispered twisting your head to the side to see for yourself if your assumption was right. "Yes, It's me. You're here with me" she said almost reassuring herself more than you. She sat beside the bed in a plain wooden chair, her face softening even more under your gaze, a hand still extended to rest on your head unable to part.

What you didn't know is the incomprehensible amount of relief she was experiencing- that her girl had woken up. There was the chance that she could still lose you, that a complication could have arouse.

As you slept, your body no longer needing to breathe, your skin pale and cold to the touch, Lavinia had begun to fear the worst. The night had felt endless, each hour creeping by as you lay there, motionless. No twitch of your fingers, no flutter of your eyelids.

"Where am I?" you questioned as you noticed more and more about this unfamiliar room as the blur coving your vision dissipated. The bed was a work of art in itself dark wood polished to shine -nothing like your flimsy wooden cot, the wallpaper a beautiful deep forest green with intricate patterns that extended all the way up the towering walls -your wallpaper was a cheap old and childish pattern.

The fireplace made from a beautiful stone with crackling logs, and candle holders that looked to be solid gold shone as they reflected the fire. The house is quiet, no one to be heard inside or out, only objects seemed to talk like the incredibly expensive-looking clock ticking away on the wall.

"This is my home, we're in your room" she added as specification but as calmly as she could, slow and trying to read your face "My room? This isn't my room" you stated matter-of-factly, your brows now sewn together in confusion.

"It will be a while until you can understand whats happening, but this is your home now" she tried again gently but regretted her approach once confusion was replaced with worry. You'd fully woken up now, dread beginning to bubble up in you. The memories of last night and trusting the strange man to cure you, that didn't help you solve what was happening currently though, it only deepened the confused creases on your brow.

You pushed up off the pillows causing Lavinia to draw back her hand, you sat up and shuffled back to get some distance- some breathing room "I know you're scared," she murmured softly, though she could feel her own unease building. "It’s confusing, but you’re safer here now. I can’t send you home… you’d be in danger." It's been a while since Lavinia had to deal with this sort of thing with something as fragile as you and the untouched human mind, and she was struggling to explain without making you even more frantic.

She only really spoke the straight truth (usually an appreciated trait amongst the family, but the truth could be hard and scary for a young being), and while she tried to do so gently with you, there is no easy way to do this. Her boys went through this exact experience, and she supposed it was inevitable.

“Danger?” Your voice was firmer now, as you sat up, your gaze unwavering. “What are you talking about? I don’t understand any of this… it’s my choice to go home if I want, isn’t it? Why am I even here?”

Lavinia took a deep breath, steadying herself before speaking again, her hands folding calmly in her lap. “If it were safe, I would let you go back to your family,” she lied, There no way you're leaving her sight again. She held your gaze with a tempered but resolute calm expression “But things have changed in ways that even I couldn’t undo. And, to let you go back home -amongst humans. I'd be putting you in terrible danger, as you are not one of them anymore.”

your face went from one of fear and confusion to a deadpan stare "Not human?" you whispered in disbelief, not that you supposedly weren't human but the audacity of Lavinia thinking she'd gone mad. "Just tell me what's going on" you demanded with twisting dread and emotion once again taking control of you

The words sat heavy between you both, and you felt your stomach twist. Her expression softened as she continued, “You’re here because… last night, Soren and I did what we thought was necessary to save you. You’re no longer ill, but neither are you… quite the same as you were.” Soren? the man that came to you in the night promising you an escape to cheat death? he was apart of this too?

She sucked in a breath and sighed watching your steady stare, waiting for a clear explanation, there was no getting around this.

Lavinia reached for one of your hands, ignoring you trying to pull it back out of her grasp. She sat closer- on the edge of the bed and placed your fingers against her neck "What do you feel?" she questioned.

You've never been more confused "Just tell me what's happening" you demanded again she shook her head "I'm trying to. Tell me what you feel" she managed to keep her composed tone this whole time despite dreadfully waiting for your moment of realisation.

You tried to focus, what answer did she want? you sat there for a minute contemplating, you were feeling nothing? "Nothing, right?" Lavinia answered for you. You shrugged still not understanding.

"...not even a pulse?" she questioned watching you expectantly. "What" you questioned "Vampires don't have pulses little one" You're face dropped at the mention of such a monster.

The words sank in slowly, your hand still pressed against her neck as if you’d feel it any moment—a heartbeat, a sign of life—but there was nothing. The emptiness under your fingertips sent a chill through you.

Your voice wavered. “Vampire?”

Lavinia nodded, her expression a blend of sadness and conviction. “Yes. You’re here because Soren and I chose to save you… this way. It was the only way to stop the sickness from taking you. Making you a Vampire.”

You pulled your hand back, the realisation of what she had been implying crashing over you. Your hand raised to your own neck this time, you have to have a pulse. Vampires aren't real, everyone has told you to stop fearing those stupid stories. you couldn't feel anything, no beat.

"This makes no se-" you trailed off shaking your head. you threw off the blankets the still clung to your lower half and slid off the bed.

Your feet hit the cold floor, grounding you just enough to cling to one last shred of disbelief. This was a nightmare; it had to be. You ignored the weakness still lingering in your legs, gripping the bedpost for stability, but even that felt unfamiliar—the world too sharp, the air somehow thicker. You couldn’t let her words settle in, couldn’t even entertain the idea of what she was telling you.

“I’m going home,” you insisted, trying to steady yourself, your voice laced with desperation. “You’re crazy! You and that man—this whole place!”

Lavinia’s expression didn’t change; she just sat calmly, watching you, as if she'd expected this exact response. "I understand," she said gently, with the patience of someone who’d seen this scene unfold countless times before. "But where would you go, love? Do you even know where you are?” she tried to reason with you.

"I don't care- anywhere but here!" you attempted to push the door open but got stopped by Lavinia's hand around your wrist. She tried to continue to reason with logic, but you didn't let her before pulling your hand away and stumbling back. She let go, afraid of hurting you.

You ran through the door, ignoring Lavinia calling for you from behind. A large figure stood menacingly in the hallway seemingly ready to stop you, his eyes seemed to glow in the darkness of the hall and you're sure you saw long shiny fangs when he playfully smiled at you as you halted just in front of him. His dark hair stark against his pale skin, you began to believe the monster, vampires, existed and you had to get away.

He reached for you as you slipped past him and ran down the hall, but he stopped himself when Lavinia scolded him "Leave her be Dorian. Let us handle her for now" You then heard the fast steps of her heels close behind you once again.

You continued through the grand house, finding the staircase and rushing down it. You were in such a rush and focused on getting to the front door that was so close to your reach you hadn't realised that Lavinia's footfalls had stopped at the stairs and others had snuck up behind you.

Hands grasped your shoulders and ripped you away from the door, before pulling you to turn around and look at him. The man that had started this all, hed stolen you away in the night, he had done all this.

"Get away from me you monster!" your hands beat against his chest as your legs worked to try and pull yourself free and away from him "What have you done to me?!" you continued to struggle.

Your cries echoed through the silent hall, but Soren’s expression remained unmoved. He watched your struggles with a deep, quiet disdain, as if you were no more than a child throwing a tantrum. When he finally spoke, his voice was low and chilling, edged with absolute authority.

“Enough.”

The single word stopped you cold, not just because of the harshness, but because of the power it held. You felt yourself shrink under his unwavering stare, a dark glint in his eye as he watched you wilt.

“This outburst,” he continued, his voice as sharp as a blade, “will not be tolerated. Do you understand me?” He didn’t wait for you to respond, his hands clamping tighter, nearly bruising as he spoke. “You are not a prisoner here, but neither are you a fool. This is your reality now; no other place will take you as you are now. And while you are under my roof you will learn to control yourself, or suffer the consequences of your childish defiance.”

At that, Lavinia descended the stairs, her face laced with worry as she approached carefully. Her hand lifted to touch Soren’s arm, a soft pressure as if to keep him from hardening further. “Soren,” she began, voice low and calm, “she’s just frightened… please, be gentle. She’s overwhelmed and acting out of panic.” Her eyes searched his face, an unspoken plea for restraint and mercy.

Soren’s gaze flicked to Lavinia, his jaw clenching. For a brief moment, the irritation in his eyes softened. But the stern lines of his face quickly returned as he looked back at you. With a slow exhale, he released his hold abruptly, the action so sudden that you stumbled backward, just managing to catch your balance. Instinctively, you retreated behind Lavinia, clutching the back of her dress and peeking around her to keep your eyes locked on Soren, wary of his every move.

He took a measured breath, his eyes studying you with a detached, calculating expression. “Take her upstairs,” he said to Lavinia in a voice that brooked no refusal. “She has exerted herself enough already. She’ll go back to her room and sleep—without any further dramatics. Yes?” His eyes bore into you with a steady command that made you feel rooted in place.

Words failed you under his harsh gaze, and you could only nod. The strength in his tone left no room for argument; all your earlier fight dissolved into a shaky obedience. You felt Lavinia’s warm hand on your back, gently guiding you to turn toward the stairs.

“Come now,” she whispered, her tone gentle and soothing. Her arm slipped around your shoulders, shielding you as much as guiding you, her warmth and closeness a sharp contrast to the cold, stony presence that lingered behind.

As she led you up the stairs, Soren’s gaze remained fixed on you both, his expression unreadable yet intense. You didn’t dare look back at him, even as the distance grew and you ascended away from his intimidating presence. You could still feel his eyes on you like a brand, marking this moment as the first time you’d dared to defy him—and the last time you might try.

In the quiet of the upstairs hallway, Lavinia paused, her hand resting lightly on your arm. “I know this is confusing, and I know you’re frightened,” she murmured, her gaze soft as she looked down at you. “But it’s important now that you trust me and let us help you. You don’t have to be afraid.”

You bit your lip, still shaken, the lingering memory of Soren’s grip on your arms reminding you of the intensity and strictness of this new life. Yet in Lavinia’s gentle, steady gaze, there was a promise of safety—a warmth that almost made you believe her.

She gave a small smile, almost apologetic. “Come, let’s go back to your room. I’ll stay with you as long as you like.” With a final reassuring glance, she led you down the hall, her hand warm and steady on your shoulder, guiding you into the unknown with patience and care.

Lavinia helped you back into the bed and lay multiple soft and weighted blankets over you, the pressure comforting. your head sunk into the pillows as your body weakened from the lack of adrenaline.

The room, quiet as Lavinia tucked the blankets tightly around you and pulled the chair back to the bedside that she must have pushed away when trying to keep up with you earlier.

"There has to be a way I can return home for a while. say goodbye," you spoke in a hushed, and defeated tone, you turned your head to look at Lavinia who now sat in the chair next to you, listening carefully.

"I wouldn't tell them, I'll keep our secret, I promise" You tried to convince her. She gave you a sad smile "You know I can't do that sweet girl" her hand returned to you head like it had been before, slowly and softly.

Your face crumpled as you swallowed back a sob, regret surfacing as you stared at the ceiling “If I was just left alone… if I just stayed home, I might’ve gotten better on my own... Maybe I didn’t need this… Maybe—maybe I wasn’t even that sick…”

Lavinia’s hands cupped your face, anchoring you. Her eyes searched yours with such gentle, unyielding honesty that you felt your resolve falter. “If you’d stayed where you were, my love… you wouldn’t have lived to see another day.”

The truth of her words washed over you, hitting you with the cold finality that left no more room to argue, no words left to bargain. You took in a ragged breath.

Lavinia bent down and took off her shoes, she stood to lay on top of the bed. She gently gathered you bundled in blankets into her arms and hushed you. A silent comfort, loyal to your side the whole night as you tried and failed to fight sleep.

Your old life had truly slipped away in a matter of hours, beyond all bargaining.

...

The days blurred together in a hazy, dim stillness. Lavinia was a constant, hardly ever straying far from your side. If she left, it was only for brief moments to bring you something.

Your body is quite sensitive and even began to ache at certain stimulants, Lavinia did her beast to ease you in any way she could think—warm cloths for your aches, a cup of tea laced with soothing herbs, or a soft book to occupy your mind as you healed.

Your orders were simple: remain in your room, rest, let the change complete itself without resistance. The windows were draped in thick, dark curtains, shielding you from even the gentlest daylight that now pricked painfully at your eyes.

Your ears were particularly sensitive, too, they seemed to ring for hours after your escape attempt. Luckily the house was quiet, and any small sound you did pick up was gentle and low: the soft whisper and footsteps in the halls, a faint clinking of silver in a nearby room, and, on rare occasions, music—a piano drifting down the hall or the gentle hum of strings.

But recently, you'd been allowed to roam the house, and Lavinia had noticed discomfort begin to settle and boredom rise in you. So it's become a bit of a habit to follow her on trips to the kitchen or library like her little shadow.

And on this particular day Lavinia had to go into town to pick up a few things for you, to sooth the ache of your shifting teeth that recently made it hard to even talk.

So instead you were greeted by Soren as evening fell. A gentle knock to the door was enough to stir you awake. Lavinia wasn't by your side and she never knocked, you were tucked in tightly and the smell of a fabric pocket of lavender placed on your pillow that Lavinia insisted would help you sleep.

You sat up a bit "Hello?" you called out to whoever stood on the other-side of the door. The handle turned and the door opened just enough for Soren to slip in, careful to not let too much light and stun you when you'd just woken.

"Lavinia will be away for a few hours, she needed to pick up some things from town but didnt have the heart to wake you to tell you." Soren explained as he walked over to your bedside table and pulled out a palm sized box from his pocket.

“How are you feeling?” he asked, his tone flat but gentler than usual. You nodded, too busy watching as he took out a matchstick and struck it against the box. You rarely saw such a thing—matchsticks were expensive, and you were used to flint and steel. The smell of sulfur tickled your nose, and you grimaced as he lit the candle on your table, the soft glow now illuminating the room.

“Well?” He straightened and looked at you expectantly. You realized he wanted a verbal answer.

“I’m… okay," you replied, though your voice was uncertain. "Everything is just alot... its alot" you tried to explain but just sighed when you couldn't find the words to describe the physical and emotional overstimulation.

Soren nodded, a hint of understanding in his gaze. “I understand,” he said quietly. “Though it was long ago, I still remember how it felt.” He paused, glancing at the faint candlelight. “It will become your new normal soon enough.”

He turned to leave, adding as he reached the door, “I’ll be downstairs if you need anything.” Then, without another word, he slipped out, leaving you alone in the flickering glow.

...

It was that afternoon when you longed to get out of your room, youd left your bed and slipped on your house shoes that Lavinia had placed beside your bed for your nightly wanders. You'd gotten the impression they don't walk around bearfooted, far too sophisticated for that.

You rummaged curiously through the draws, and explored the room a bit closer now. Its fully furnished and some draws had items in them already. Lavinia used this room for any overspill she couldn't fit in her jewellery boxes or hang on the walls. So you came across alot of seemingly collectable things for the finer side of living.

The room itself felt like a small museum of elegant oddities, carefully curated items from a lifestyle you’d only read about. There were small touches of whimsy—a lace fan with fine embroidery, a silver compact mirror with a scene painted on the lid. As nice as it is, it just isn't your room, and you owned nothing in it. Feeling a displaced after rummaging through the room you decided to step out into the hall.

You wandered with careful steps, your fingers drug against the polished banister, eyes explored the pattern of the carpet below you and the intricate door nobs you passed. You found yourself looking out a window in a rather grand drawing room.

The garden is just as grand and beautiful, the hedges and flowers could be considered an art within themselves. The fountains flowing water into a pond could have belonged to a palace for all you know.

A voice broke the quiet behind you, sharp and cutting:

“You shouldn’t linger where you aren’t wanted,” Lucien’s low tone curled through the room, each word edged with contempt. You turned quickly, catching his cold gaze on you. Lavinia had told you about him but she didn't mention how mean he could be, 'anti-social' was the word she used. He sat poised in a grand leather chair in the corner, nearly hidden in shadow, a book open in his hands. You must have missed him when you’d first entered, his stillness as exacting as his words.

“Oh, I… I didn’t realise you were here. Sorry,” you said, your apology almost automatic. Lucien had the same icy air as his father—unpredictable and sharp-edged. And without Lavinia nearby, that feeling only intensified, leaving you feeling exposed.

He didn’t respond immediately, only closed his book with a measured snap that seemed almost a reprimand. He remained seated, but every detail of his posture suggested he was looking down on you all the same.

"You're more trouble than you're worth, some sickly poor kid off the street roaming our halls and using our stuff. How could you possibly benefit us, hm?" He challenged you.

Attempting to avoid confrontation you decided to slip away back to your room, but as your eyes looked towards your escape someone is already there blocking your way.

“Stop.” Soren’s interruption was swift, his tone final. “You are directly disrespecting my wishes,” he continued, his gaze hardening. “This household is built on loyalty and trust. She is part of this family now. My decision isn’t up for debate.”

Lucien’s mouth opened as if to argue, but his words faltered under his father’s stare. He understood well enough: Soren’s decisions, once made, are law within these walls.

“She’s here because I believe it’s best for us—and for your mother,” Soren said, his voice carrying an undeniable weight. “I have accepted her as a daughter, and you will accept her as a sister. I don’t recall you making such a fuss when Dorian arrived.” His eyes narrowed, daring Lucien to continue his defiance.

"That was different, and you know it,” Lucien shot back, his voice low but brimming with frustration. “She’s… she’s just some random girl, a stranger who's disrupting the order here, making a ruckus.”

Soren’s gaze turned cold and cutting. “A stranger? She’s no more a stranger than you were once—and no less than I was, to my own maker. I suggest you remember that.”

Lucien’s jaw clenched, his retort dying on his lips. He could feel the finality in Soren’s tone, a hard line drawn that he knew better than to cross. After a long, silent moment, his shoulders slumped, and he rose to leave, giving Soren a single lingering look before turning toward the door.

As Lucien reached the doorway, Soren delivered his final words. “And I remember you making much more of a ruckus in those early days than she has. Perhaps a bit of empathy would do you good, Lucien.”

Lucien stiffened at the remark, his pride pricked, but he didn’t respond. With a barely-contained scowl, he left the room, the weight of Soren’s words hanging heavily in the air.

Lucien walked down the hall, a muffled laugh echoed from around the corner. Dorian was waiting, clearly having overheard the tail end of the exchange, and couldn’t resist the opportunity to needle his brother.

“Oh, shut it, Dorian.” Lucien snapped, his voice low and venomous as he stormed past, not even sparing his younger sibling a glance. The laughter trailed off down the hall, Dorian probably following his brother to poke more fun at him.

The room felt charged with the memory of his glare and the prickling intensity of the words exchanged. Soren remained silent for a moment, his gaze softening as he turned back to you. He moved with a certain gentleness that seemed unusual for him, crossing the room to stand beside you.

“I apologise for his behaviour,” Soren said quietly, his tone low but steady. “Lucien… he can be difficult. Change has never been easy for him.”

“You’re doing better than we’d expected,” he continued, his voice as steady as ever but touched with something warmer, he glanced away almost like it pained him “Just keep it up.” he gave your back a gentle but curt pat.

"Should he bother you again, you're to come straight to me. I will not tolerate such childishness." he demanded before leaving. A promise of protection.

His sons were carefully picked to continue his legacy. But you aren't here for that, you aren't his protégé, not someone he’s training. More of an indulgence for the family, a calmness and gentleness. He already is letting himself slip into a gentleness that only Lavina sees occasionally.

...

Lavinia returned and you hadn't told her about Lucien's insults just that you had bumped into him briefly, trying to save the family from any more drama that night.

"I've found some herbs that can numb that nasty toothache" Lavinia came into your room with a cup of steaming herbal tea. She gently gave it to you, her hands cradling yours for a moment to make sure you had a steady hold on the cup.

"Thank you" you couldn't wait to get rid of the constant ache in your jaw you quickly began sipping.

"I'm going down for dinner, I'll come and check on you later" her hand smoothing your hair and only leaving when you gave a nod of understanding.

You hated to imagine what she meant by dinner. If the stories are true, they are drinking people dry.

You'd begun to feel that familiar feeling of hunger yesterday, you hadn't eaten since that night you were changed which was days ago- but only now you've started to feel its effects. And have been dreading to ask about it.

The hunger grew slowly though, and it wasn't bad at the moment. You tried not to think about it.

...

You long finished your tea and the discomfort in your gums had settled. By candlelight you doodled in the leatherbound drawing book Lavinia had found for you, using pencils that Lavinia had carefully sharpened.

Until you heard your door creak open, you looked up expecting Lavinia to return. Instead the second son, Dorian, stepped inside and quietly stepped inside.

"Hi" He grinned stepping further into the room "Hello?" you responded in more of a question.

He chuckled softly at the apprehension in your voice "Don't worry, I'm not as crude as my brother. I don't intend to interrogate you" With that, he settled comfortably in Lavinia’s chair beside your bed.

"What are you drawing?" He asks casually, leaning in his elbows resting on his knees, trying to bridge the gap with some small talk. "Nothing interesting, just sketches... shouldn't you be at dinner?" you murmured, still guarded.

“Technically, yes" he admitted with a laugh, "but dinners finished, and they are having some boring conversations. And I thought I’d formally introduce myself.” His smile was warm "I'm Dorian, by the way. No longer the baby of the family, thanks to you," he added, a glint of humour in his eyes.

You relaxed just a little, feeling the genuine friendliness in his tone. There was a warmth about him, a sharp contrast to Lucien's harshness.

“Lucky me,” you replied dryly, but a small smile crept in.

Dorian noticed you at ease and leaned back, folding his arms in pride "You know, it took me a while to get used to this place too. It can be... intimidating. But you are doing great okay?"

The kindness in his voice, and his way of words is very much like Lavinia helped ease some tension from your shoulders.

“It’s… different,” you admitted, looking away, “but I guess I don’t have much choice now.”

Dorian nodded, understanding. “No, but that’s the thing about this family. Once you’re in, you’re in for good. Besides-” he added with a wink, “I could use an ally. Lucien can be... a handful and fathers a bit of a grump”

You laughed -more genuinely this time, as he grinned back at you.

Dorian fussed over you a bit, recounting his aches and discomforts from his turning and asking if you were okay. You assured him that Lavinia had been taking good care of you.

Curiosity got the best of you while talking about tooth pain "The fangs... It's like in the stories right?" You couldn't get to the point hoping he'd understand where you are coming from.

His face fell a bit, you think its the first time seeing him not smile "You're asking about blood, right?" he clarified. You nodded hesitantly "...Do I have to drink it? Do you kill people?" in a hushed wisper

“Yes, it’s like in the stories,” he began, voice low and gentle. “The fangs, the… need for blood. But it’s not as simple or as brutal as you might think. We don’t hurt anyone innocent.” He paused, giving you a reassuring glance. “But we do still need it, and some people are victims of that"

he chose his words carefully, watching your face for any signs of being overwhelmed "But never the innocent, we pick the ones who deserve less mercy." He gives your hand a reassuring squeeze, the warmth grounding you "And yes -You will have to drink soon, but from cups for a while, you won't have to be a part of that process right away- or ever if that's how you choose to do it. I'll do all the messy work for you if you want"

Having Dorian’s explanation helped more than you’d expected. With the worst of your fears quieted, though still dreading the inevitable, you managed a small “Okay,” as much for yourself as for him.

Dorian’s eyes softened with understanding. “We’ll help you through it,” he promised, his hand squeezing yours a few more times, gentle and reassuring. “Try not to dwell on it too much. It’s just one step at a time. I've had over 500 years to get used to this, don't you rush it.”

“Five hundred?!” you repeated, incredulous. He chuckled, brushing it off. “Oh, that’s a conversation for another time. I think you’ve had your fill of life-changing revelations today” he teased. “But on the bright side, I’ll never run out of stories for you—five centuries of bedtime tales at your disposal.”

You couldn’t help but laugh as you shifted your sketchbook to sit between you, handing him a pencil. “Alright, another time then” you agreed, the tension in your chest easing. Side by side, you both began to draw, with him casting sidelong glances to mimic your strokes.

Growing up, your older brothers were always too busy to pay you much attention. But sitting here now, Dorian’s easy company made you wonder if he might just be the big brother you’d always wanted. You just hoped Lucian is a fraction as good at being a brother as Dorian is.

#yandere oc #yandere #+reader #yandere vampire #platonic #vampire family

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sukifoof · 2 years ago

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hii i was talking about this on twitter so i think i will just copy paste it here cuz i’ll probably delete it there at some point <3 twitter frightens me but i love my mutuals here we are all insane about flowey in the same way

i think saying “you’re the type of friend i wish i always had” is a really important thing for asriel to admit... this whole time asriel has dealt with so much grief and guilt about chara that it separated the actual person chara from the idealized version of them in his head who he has never stopped grieving. its a huge part of his character that hes unable to view them as they were because that’s just how his ptsd and guilt affects him. as someone who went through a similar thing that kind of grief can mess with your head and how you view yourself and the person who’s gone really badly. the pacifist route, for flowey’s character specifically, is a really good example of how grief and ptsd can make you feel disconnected from yourself, everyone around you, and like if only the person you lost was back everything would be perfectly fine again. the fact that he can admit they weren’t perfect and that he made the right decision is a huge character development that we don’t get to see in the no mercy route because he’s still convinced that this idealized version of them birthed from bereavement will make everything okay. similarly to how he believed toriel might have been able to fix him, he wants to believe there’s someone out there that could somehow return him to who he was before being traumatized, but the reality of it is this is just who he is.

his grief and trauma is a huge part of who he is like it is with real people, but it doesn’t have to be all of him. i think the emphasis the fandom puts on whether chara was Good Or Bad completely misses the point that it doesn’t really. matter i guess?? they were a kid people loved and now they’re gone. we're seeing people deal with the grief this brought and we know so little of who they are because there’s also a degree of separation about who they are to the people they loved as well. idk i hope this makes sense i think a lot about how chara is a kid who hated humanity and calls themself a demon. to me that just shows an EXTREMELY traumatized child with self hatred. i don’t know why there was ever this huge moral argument about chara when they’re literally just a kid with issues. they weren’t taught how to deal with how they felt and likely held themself in lower regard compared to the dreemurrs. its the same thing with asriel, he feels responsible for them being gone and his own trauma. he just wants a friend who can teach him to understand his grief or someone who can at least let him view the situation for how it really is

i just think. flowey is so well written but not understood very well by the fandom because the type of thing he’s gone through is kind of hard to grasp. it’s a weird situation that doesn’t have a completely black or white Is He Or Chara At Fault kind of answer. they were children. people are complicated and want someone to blame when something goes wrong and flowey directed that at himself. hes such a fascinating and well written character i love him dearly i hope u guys understand how insane he makes me <3

#undertale #utdr #flowey #asriel #asriel dreemurr #chara dreemurr #chara #utdr analysis

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snakeredbirdbatkatana · 7 months ago

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Clone baby AU TimKonBartCassie

Part 1

"Don't be mad."

Tim is more than aware he might not be the most sane, he also is more than aware that sometimes he does things that can be considered rage inducing or morally wrong but he can't say he regrets his choices.

Especially when she's seven pounds four ounces and just holding her makes him ready to burn the whole word down.

A perfect blend of him, Kon, Bart, and Cassie which oddly enough was extremely difficult to do since as it turns out genetic sequencing which is already absurdly complicated gets even worse when you add two more people.

She's perfect.

It was a spur of the moment decision a nightmare that drove him right back into the center of his grief.

He was staring at his previous cloning calculations and for a moment he was so incrediblely selfish.

He wanted a piece of his friends proof in a way of how deeply devoted he is to them. Something that no matter what couldn't be taken from him, something he could love unconditionally.

In a darker part of his mind he admits that the baby, his child who is incredible could have been just his and Kon's a half kryptonian but in his experience that is still too mortal.

But combined with a speedster and demigod he might have just made an unbeatable weapon. Not that his little girl will ever be that, he won't allow it.

"Tim is that a baby?" Kon gasps.

He only had held her for five minutes the greatest thing in the word had only been alive for ten minutes before he raced to titans tower holding his precious cargo.

All of them, the other parents? His friends sitting peacefully watching some program completely unaware of what's he's done. Not that it stayed that way for long.

"Is that Luci?" Bart asks.

All of them turn even Tim completely shocked his entire explanation that he had been planning for the last few hours gone with one sentence.

"Bart do you know this random baby? Also Luci what kind of name is that? Tim why do you have a baby?Cassie demands trying to sound stern but everyone can tell is beyond confused.

Bart who had gotten up walks not an once of speed the calmest any of them have ever seen, over to him a soft smile directed at apperently Luci although Tim agrees wth Cassie it's a weird name and not what he was planning.

"Our son, and Luci is a nickname, and if I'm right Tim just spent the last twenty four-ish hours creating him."

Before he can comprehend half of what Bart just said. Luci?

Is being cradled head perfectly surported by the speedster along with soft cooing from said speedster looking so natural as if fatherhood was created just for him.

Finally he finds his voice.

"Daughter, but Bart is right she's ours."

A giggle interrupts the cooing before a smirk paints Bart's face.

"No it's definitely son but it will be a good few years before he's able to voice that specific issue, not that it's much of an issue with all the money your daddy has isn't that right little lightening?"

And once again Bart is back to being absurdly attractive holding their child that Tim is getting a feeling he had prior knowledge of. Who also is trans? Maybe? which is completely fine of course but back to the whole Bart clearly knows something.

"Imp, ok I get the whole Rob made a baby with our DNA thing. No offense but I'm not exactly surprised Sunshine, your crazy we love that about you, but Bart why are you talking like you already know them."

Kon asks sounding very tired which Tim is a little offended by, he's not crazy.

Also how dare he be so accepting of Tim's cloned child as if this is Tuesday and Tim does this everyday he definitely does not, he's not Batman well ok maybe a little bit like him but still.

Wow Tim is way to sleep deprived if this is his inner monologue right now.

"Because I do. Lilith right? That's the name you had in mind apperently he doesn't actually mind you going with that for now since in his own words it inspires his much scarier name. God I love that kid."

Tim blanks.

He swallows throat suddenly really dry.

"Bart did you go to the future?"

He is trying to process but is now very scared is a time line fractured? Could his child not exist, and nevermind the whole Bart apperently already has insider info on the child his child that Tim just made ten fucking minutes ago.

"Oh no nothing like that."

He laughes out as if Bart hasn't been sitting on life changing information for who knows how long. Which is also extremely hypocritical of him considering secret child and timeline shenanigans that he was just panicking over.

"Our wonderful, gremlin, of a child ran into me actually some evil rouge with Time Travel powers which was a whole thing."

He pauses clearly rejoicing in some memory of their child that again Tim you know his mother wasn't privy to. Even though Tim is a man which would make him Dad but he created the baby so he should have been the first to have fond memories.

"I went to interrupt said fight not knowing and your child, yah Robie he was hundred percent your child, threw a DNA test in my face told me to get out of his way and absolutely demolished the dude before who I believe and I am just speculating here, was your brother's kid grabbed the dude and threw him into some weird portal before vanishing."

Tim is gonna lose his fucking mind his baby who he just created.

Grows up to be a superhero which alright not surprising, but also apperently one of his siblings has a child also not surprising. But they apperently travel through time together and cause chaos how fucking lovely he is starting to feel really guilty about everything with Bruce.

Oh my god he has to tell Bruce. But first.

"Which sibling?"

He doesn't actually know what's he's hoping for maybe Dick's kid yah, a sunshine child, chaotic but nice yah that sounds like a good influence. On once again his twenty minute old son? Daughter something? Whatever baby.

"Well based on the guns, and arrows that were floating around. You also can't forget the helmet I would say that was Arsenal and Red Hood's very own precious bundle but Luci wouldn't give me a straight answer but what would you expect when we raised him."

Tim's tired very tired he doesn't even stop himself from face planting onto the floor. Everything will make more sense after a nap a very long nap.

Oh my god Jason procreated is his last thought before he falls into a nightmare filled sleep.

#timkonbartcassie have a kid #timkon #clone baby #tim drake #batfamily #jason todd #everyone has kids #Tim cloned people #also Bart is super intelligent he doesn't get enough credit #bart allen #connor kent #cassie sandsmark #it's a boy #or it's a girl Tim doesn't know also he's super tired and this is from his perspective so it doesn't make a lot of sense #this is an idea I had it's kind messy #I'm not a huge Jason Roy fan but I think their kid would be badass #jayroy #this is a part one I got plans #let me know what everyone thinks #bruce wayne #Bruce became a grandfather #he just doesn't know it yet #protective Tim drake #Bart Allen is a good dad argue with the wall #Tim drake is a good dad argue with the wall #everyone's a good parent #I will not admit how long I have been working on this it's been way to long #batfam #bamf batfamily #also I have been seeing so many TimKon baby posts which motivated me to finish this

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wavesoutbeingtossed · 3 months ago

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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.)

#What if i told you I’m back lol #Time for me to finally just post the thing after it’s been sitting in my drafts for so long so I can rid myself of it lol #Writing letters addressed to the fire #the tortured poets department #Consider this a treat before Eras comes back for its swan song leg idk #Would you believe that as long as this is #i deleted quite a few chunks of it from the original draft i sent to a friend(s) in the interest of ~propriety~#Because they were a little too rambly and um— ~speculative~/personal/etc and we are flying too close to the sun #And i tried to be as tactful and more or less stick to things we can point to in the music and such #So hope people catch my drift lmao but also iykyk i guess #I have so many other themes I want to talk about but I never have any time #I have so much more i want to say and yet #wavesoutbeingtossed: The Anthology #Also if things get weird i will turn off reblogs/delete the post tbd #This is not an invitation to get into muse ranting or debate in my inbox and I ask that you please respect my boundaries :)#Midnights #lover #folklore #evermore

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