#its so joyous making her lose actual thought processes other than how to fight around Itadori

[dailykugisaki]

Day 247 | id in alt

Itadori always at the scene of Kugisaki's stupid tendencies. (Left to right)

[uomo-accattivante]

Great comprehensive interview with Elvira on the making of The Letter Room and filmmaking, in general. One interesting tidbit mentioned: she is currently developing a podcast about sex. 👀🤔

For most of her creative life, Elvira Lind has been behind the the lens compassionately capturing true stories as a documentary filmmaker. Her debut feature, Songs for Alexis, observes two young lovebirds navigating a long distance relationship and challenging views on gender identity in the modern age. While her sophomore feature, Bobbi Jenne, explores the life of a famous dancer fighting for her own creative and personal independence.

Despite her prolific doc work, a story that couldn't simply be told in its raw form kept circulating in her head: a dark prison comedy about the secret life of a correctional officer trying to bring humanity to the prison system. When he gets transferred to a job in the letter room, he finds himself a little too involved in the private lives of the inmates.

Far along in her second pregnancy, and with the support of an incredible team of collaborators, Elvira took on the challenge of writing and directing her first narrative short, "The Letter Room." The film stars Oscar Isaac and Alia Shawkat, and has had an all-star festival run, screening at Telluride, Tribeca, and the Palm Springs International Film Festival. Here, Elvira reflects on the joys and challenges of creating your first short film—putting empathy first, reshaping the tropes around pregnancy, and screening in the COVID era.

FTW: How did you become a filmmaker?

Elvira Lind: I’ve always loved film. I was very drawn to documentaries because it felt like you were entering something that was really happening. You opened a door and were already inside the film. You’re just trying to keep up with what’s being thrown at you. As opposed to fiction where you have to conjure it up from nowhere. I loved imagining and writing stories when I was little, but I didn’t have the confidence to pursue it.

I didn’t come from a family of filmmakers. And I came from a time when people had a little shitty camcorder that you borrowed from someone’s uncle, and buying film was expensive. Things opened up and changed a lot when cameras became more accessible.

I could only afford one year of film school in Cape Town, where I met some amazing people and learned about so many different ways of storytelling. I came back to Denmark and found myself working for free a lot for other filmmakers while doing a side job. The paid work was very hard to get, but I’d rather work for free with filmmakers that I loved and have more responsibilities than have access to nothing. It wasn’t easy to find my way in, but it’s so worth it. 

And now you live in New York. How does this global background affect your general filmmaking style and approach?

I definitely bring a lot of Danish documentary traditions with me and hold it very dear. There are a lot of kick ass female documentary filmmakers in Denmark that have taught me a lot. There’s a good support system for women there. It’s an incredibly privileged place in that there’s funding from the government to make films. You can make things that, in my opinion, are often far more interesting because it’s not reliant on how it’s going to make money in the box office.

You’ve shot many of your documentaries in the past. So what was it like this time to be working with a cinematographer?

I always wanted to work with a cinematographer on my documentaries; we just couldn’t afford it. Now for “The Letter Room”, I worked with Sam Chase, who has got such a brilliant eye and it was wonderful to have someone to work with on composing the look of the film because I’m usually doing it by myself. It is kind of like a marriage. I work with the same editor on all my projects as well. You enter this symbiotic sort of dance together. For me, it also means you have to fight about things and disagree and then make up and hear each other out. My editor, Adam Nielsen, is the kind of guy who just comes up with genius ideas while in the shower or on the way home from work on his bicycle. You have to find these key people in your life where you can bounce ideas back and forth with.

Where did the idea for “The Letter Room” come from?

It was a story that was brewing in my head for a long time, but I wasn’t sure how to put a narrative film together. I just started to write it down and then it kept developing.

There was a podcast that I listened to that really inspired me. It told the story of different men who were all unknowingly writing love letters to the same woman. She started to ask for money and help with rent, but the letters she wrote were so wonderful and all these men were very in love with her. These very lonely men felt like magic had entered their lives. They all eventually found out that the woman was actually a man writing to different people trying to get their money. They were all heartbroken, but one of the men said that the worst part was losing these letters and that the fantasy was gone. He wished they could just keep writing to each other. So much of life is fantasy and trying to live through other people’s lives. I’m very drawn to stories of loneliness and bottled up feelings.

And then I am firmly against the American prison system. It’s heartbreaking, frustrating, and I can’t make sense of it. How do you even begin to explain this system to a child?

It’s a society that doesn’t care about humanity. I wanted to show the monotony, the repetition, the sadness. I don’t see the bigger goal or purpose of locking people away for countless years  and taking away all the things that makes you feel human, that makes life joyous. I really believe that we can all change and this system teaches people nothing. “The Letter Room'' is the combination of these two concepts that I’m very passionate about.

And then I got pregnant for the second time and I hadn’t made a film between the two. It was a crazy feeling to be taken over again by pregnancy. A wonderful friend of mine, Sofia Sondervan-Bild, came to me and said, “I think you should make this film and I’ll make it with you.” Initially, I freaked out and thought I didn’t know how to do fiction and doubted how I could make a film in a prison, but she inspired me and told me to do it. She’s just one of these incredibly powerful people that you want to go on an adventure with. She made me feel like my pregnancy wasn’t going to stand in the way of me making this film. We ended up shooting while I was far along in my pregnancy in a prison in the middle of a summer heat wave. It was crazy, but it was the best thing that I could’ve done at the time.

When you were directing on set at that stage of pregnancy, did you feel like you were reshaping tropes of what women are capable of? 

It was insane. The funny thing was that the crew was like, “we can’t complain that we are tired because she is extremely pregnant and still running around.” I was so high off of that experience. When we finished, I collapsed. I fell straight onto the couch and then I have a two and a half year old screaming my name. That was more work for me than directing the short. I edited the film right before I gave birth actually, and then I gave birth and did sound right after. I was pumping breast milk in the corner in the darkness during the sound edit.

I’ve learned a lot from surpassing whatever I thought was physically possible with being pregnant. I learned that being in a creative process gives you so much energy that it allows you to be in whatever shape, size, form, mental space you can. People are ready to give you their support, if you choose the right people. I’m really grateful that I chose such wonderful collaborators who supported me through it all. Even when people were questioning my choice to direct a film while being pregnant in a prison. Why not? Women get pregnant and then we still need to be supported so that we can continue to make the things we want to do.

What was your experience with getting “The Letter Room” funded?

It’s really hard, let’s be honest. There aren’t a lot of people sitting around waiting to fund a short film. We ended up working with Topic, which is a part of First Look Media. They are just incredible and really support filmmakers with whatever their vision is. I’ve had great experiences and some really bad experiences with funding, so I know this was an ideal scenario.

Having a short that is over 30 minutes long seems like a feat. At what stage in the process did you know this was going to be a longer piece? And how did that decision affect the shoot in both positive and difficult ways?

It was way too long at first, and when I shortened it, it was still 32 minutes. We could only afford five days of shooting, and a lot of it is shot on active prison grounds, which have an insane amount of protocol. We almost used everything we shot.

I’m not used to being able to have different angles to choose from in my doc work, so I think I just knew exactly what I wanted. I know that my producers were worried that I wasn’t getting enough, but to me, I was like, I’m getting double of what I usually get on a documentary! Everyone was quietly concerned, but everything worked out when we got to the edit.

The short’s length hasn’t done any favors for me so far, but you need to breathe as an audience, you need to pace it out. If I cut out certain minutes, it would’ve felt rushed and you wouldn’t have believed the arcs that the characters had.

I loved the concept of placing a very empathetic character in a setting that is contrary to that personality type. You included so many details that made the world feel so three dimensional and cared for. Can you talk about those decisions to create that feeling?

It means so much to me that it made you feel that way. What frustrates me about the prison system is that it lacks any empathy or understanding of human nature and nurture and who we are. What we need to become better people. It takes all of that away.

I spoke to people who have spent a lot of time in prison and they told me that you have to hide your feelings and that showing any signs of weakness will be a disaster. It’s the worst possible scenario you can imagine yourself in. Being robbed of every privacy, anything that makes you happy, anything that makes you feel like yourself. I imagined the character of a caregiver in this setting who wants to help and finds a silly way to do so. I was very inspired by that story of the love letters that I talked about earlier. What does it mean to lie if you’re making someone else happy?

It’s the morning of your first day of the shoot — how do you feel?

I was very nervous. I had never said ‘action’ before. I’ve been on a lot of sets, but I didn’t want to seem like I didn’t know what I was doing, but it’s also okay not to know. Mistakes are going to happen, and sometimes they become gifts. At the same time, I was very excited. You come in and there are all these people there with you who are there to make this thing you’ve written come to life.

What are some things you would do on set to create a safe space and vulnerable environment?

We did everything we could to make the set a safe space. It was very difficult and stressful to shoot in an active prison, but we made sure to actively ask our crew if everyone’s feeling okay and if we can do anything to make the situation better. I’m very vulnerable and encourage all of my crew to be vulnerable with me. Mistakes are welcome.

It's a short film, people come and work on this not because they’re making a million dollars, but because they want to be there and are being incredibly generous with their time and energy. It was such a good environment that even when challenging things came up, it was still a lot of fun.

What was it like working with actors for the first time?

That was one of the biggest challenges for me. I’ve heard so many different stories in passing of the least helpful note or worst thing to say to an actor. You want to be respectful and actors have their way of working. Ultimately, they are all really talented actors and all of them came with so much energy and a lot of ideas.

I spent time with each of them talking about their character. Those 1 on 1 conversations helped me a lot in the writing process as well because you’re bouncing ideas off of each other and they’re asking you questions about how they would respond to a certain situation.

I had always imagined Alia Shawkat as Rosita and she ended up wanting to do it and came from LA to film it. I had tears in my eyes when we were filming the scene of her and Oscar. They were excited to do the scene together. It was all a dream.

What was the experience of working creatively alongside your partner like?

We were joking a lot about it before because there was already the stress of being so pregnant and we have a 2 year old at home, and now I was putting us in another highly intense and demanding situation. Either it was going to be great OR we would drive each other nuts. But we had so much fun. It was wonderful to work together. I was so happy to be on set and make my film and he’s just so talented and fun to be around. Those little moments where you know each other so well—I’d give him notes and he just kept surprising me and was so respectful of my directions.

He found this photo for him to connect to the character and it became very fundamental to me. It was this incredible black and white photo from the 70s of a prison guard. I had always imagined that he would have this inner salsa soundtrack playing in his soul and we would play Rubén Blades and 70s salsa music and Oscar just morphed that into music into everything and created this unique character. 

And he was wearing a fat suit the entire shoot and I was pregnant and Alia Shawkat had her pregnant belly on. The three of us—it was so funny.

It seems like the perfect first experience of going into narrative with people that you really trust and support you.

Definitely! Find the people that you can team up with that really believe in your vision and who will push you to do exactly what you had in mind. People who never try to push you into these conventional routes. Our creative voices are so fragile. You want to be on the same page so that they see what you’re trying to do and want to bring that out of you. Where they’re treating your film as a sacred thing that you’re creating together.

How do you know when a film is done?

Fiction is very different from documentaries. With documentaries, it never feels like it’s done because there are so many options. That’s also why I love fiction so much; It’s so much faster. It’s a whole different beast to tame a documentary with hundreds of hours of footage where you’re reinventing the wheel every day.

How have you built up your own confidence as a director and your unique voice?

Stubbornness. I’ve had many experiences working with people who didn’t believe in my project. You have to stick to your guns and trust your instincts. Once you find your voice, you find people that want to go on that ride with you and find your vision interesting. It’s a miracle when any of us gets a project made, so your confidence can’t come from how much money your movie made. It has to come from somewhere else. Did you do justice to the people you portrayed in your story? Did anyone walk away feeling like something had changed within them?

What is a good director to you?

Someone who is driven with passion without letting that passion take over and become any source of frustration that’s taken out on other people. It should feel like a collaborative effort. And having gratitude every day that you’re making something with other people who are donating their time. You’d be nowhere without them. One of the most important things is making sure that your crew is treating everyone equally. It depends on the size of the production, but having someone who can sense what’s happening in all different departments and having department heads that are there to protect everyone. Listen to each other, and make sure everyone feels safe and is in the best place to be creative.

With COVID, what has the adjustment been like to being in an online space for this festival run? 

I’m really deeply saddened by not having the human interaction aspect of it. It feels so crucial to be in the room together, to meet and see each other's projects and share the experience, to cry and laugh next to people you don’t know. I’m grieving to be honest. We just gotta get through this time. It reminds us of how sacred it is for us to gather and how that feels, and I hope that all of that will come back after this and that cinemas will survive. We really need them.

What’s next for you?

Right now I’m writing more fiction and working on a new documentary feature that I am kind of researching and shooting at the same time. I am also creating a podcast about sex, called “The List” with my friend, writer and photographer Kirra Cheers, based on a book and play she wrote. My husband and I just started a production company together, Mad Gene Media, in order to develop and produce our own material. So. lots of exciting things to continue with in the new year.

Born in 1981 in Copenhagen, Elvira Lind graduated from School of Media and Creative Arts in Cape Town in 2006 majoring in documentary film where she received two awards for her final year achievements. She has worked within that field since directing and shooting documentaries of various lengths for TV, cinema and web on 4 different continents.​In 2020 she premiered her first fiction project, a 32 min short film she wrote and directed. The film was sold to Topic and was invited to various festivals including Telluride and Tribeca FF. Elvira's feature doc BOBBI JENE premiered at Tribeca Film Festival in 2017 where it won all awards in its category including Best Feature documentary, best editing and best Cinematography. The film had theatrical release in US, Spain and Scandinavia.​Elvira's first documentary feature Songs for Alexis premiered at Toronto HOT DOCS in 2014 and screened and competed at a long list of international festivals. Her 8 part documentary TV series "Twiz and Tuck" was bought by VICELAND and launched in 2017. Elvira now lives and works out of New York.

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[gadgetgirl71]

Top Ten Tuesday 16 March 2021

Welcome to this weeks Top Ten Tuesday. Originally created by The Broke & The Bookish, which is now hosted by Jana @ That Artsy Reader Girl. Each week it features a book or literary themed category. This weeks prompt is:

Books On My Spring 2021 TBR

Girl in the Walls (ARC)

Synopsis: Girl in the Walls is a story of overcoming grief, of unconventional friendships and learning that we shouldn’t always fear what we don’t understand. It is about understanding the difference between a house and a home and what it means to lose both. She doesn’t exist. She can’t exist. Elise knows every inch of the house. She knows which boards will creak. She knows where the gaps are in the walls. She knows which parts can take her in, hide her away. It’s home, after all. The home her parents made for her. And home is where you stay, no matter what. Eddie is a teenager now, almost a grown-up. He must no longer believe in the girl he sometimes sees our of the corner of his eye. He needs her to disappear. But when his fierce older brother senses her, too, they are faced with the question of how to get rid of someone they aren’t sure even exists. And, if they cast her out, what other threats might they invite into their home?

Pages: 323, Publication Date: 18 March 2021

The Best Things (ARC)

Synopsis: Warm, funny, life-affirming and true, The Best Things is the joyous debut novel from much-loved comedian, writer, actor and presenter Mel Giedroyc.

It’s the story of a family who lose everything, only to find themselves, and each other, along the way.

Sally and Frank Parker have it all.

Then one day, because of Frank, they don’t.

As the bailiffs move in and the money runs out, Sally realises that she and her children don’t have a clue about how to survive.

Or do they?

The Parkers are about to discover that the best things in life aren’t things at all.

Pages: 432, Publication Date: 1 April 2021

The Dictionary of Lost Words (ARC)

Synopsis: In 1901, the word ‘Bondmaid’ was discovered missing from the Oxford English Dictionary. This is the story of the girl who stole it.

Esme is born into a world of words. Motherless and irrepressibly curious, she spends her childhood in the ‘Scriptorium’, a garden shed in Oxford where her father and a team of dedicated lexicographers are collecting words for the very first Oxford English Dictionary. Esme’s place is beneath the sorting table, unseen and unheard. One day a slip of paper containing the word ‘bondmaid’ flutters to the floor. Esme rescues the slip and stashes it in an old wooden case that belongs to her friend, Lizzie, a young servant in the big house. Esme begins to collect other words from the Scriptorium that are misplaced, discarded or have been neglected by the dictionary men. They help her make sense of the world.

Over time, Esme realises that some words are considered more important than others, and that words and meanings relating to women’s experiences often go unrecorded. While she dedicates her life to the Oxford English Dictionary, secretly, she begins to collect words for another dictionary: The Dictionary of Lost Words.

Set when the women’s suffrage movement was at its height and the Great War loomed, The Dictionary of Lost Words reveals a lost narrative, hidden between the lines of a history written by men. It’s a delightful, lyrical and deeply thought-provoking celebration of words, and the power of language to shape the world and our experience of it.

Pages: 384, Publication Date: 8 April 2021

The Summer Job (ARC)

Synopsis: Have you ever imagined running away from your life?

Well Birdy Finch didn’t just imagine it. She did it. Which might’ve been an error. And the life she’s run into? Her best friend, Heather’s.

The only problem is, she hasn’t told Heather. Actually there are a few other problems…

Can Birdy carry off a summer at a luxury Scottish hotel pretending to be her best friend (who incidentally is a world-class wine expert)?

And can she stop herself from falling for the first man she’s ever actually liked (but who thinks she’s someone else)?

A snort-out-loud romcom for fans of The Flatshare.

Pages: 352, Publication Date: 15 April 2021

Cunning Woman (ARC)

Synopsis: Lee is a magnetic new voice in historical fiction and CUNNING WOMEN is sure to be loved by fans of The Essex Serpent and The Mercies.

Spring of 1620 in a Lancashire fishing community and the memory of the slaughter at Pendle is tight around the neck of Sarah Haworth. A birthmark reveals that Sarah, like her mother, is a witch. Torn between yearning for an ordinary life and desire to discover what dark power she might possess, Sarah’s one hope is that her young sister Annie will be spared this fate.

The Haworth family eke out a meagre existence in the old plague village adjoining a God-fearing community presided over by a seedy magistrate. A society built upon looking the other way, the villagers’ godliness is merely a veneer. But the Haworth women, with their salves and poultices, are judged the real threat to morality.

When Sarah meets lonely farmer’s son Daniel, she begins to dream of a better future. Daniel is in thrall to the wild girl with storms in her eyes, but their bond is tested when a zealous new magistrate vows to root out sins and sinners. In a frenzy of fear and fury, the community begins to turn on one another, and it’s not long before they direct their gaze towards the old plague village … and does Daniel trust that the power Sarah wields over him is truly love, or could it be mere sorcery?

Pages: 332, Publication Date: 22 April 2021

Lost Property (ARC)

Synopsis: Dot Watson has lost her way. Twelve years ago her life veered off course, and the guilt over what happened still haunts her. Before then she was living in Paris, forging an exciting career; now her time is spent visiting her mother’s care home, fielding interfering calls from her sister and working at the London Transport Lost Property office, diligently cataloguing items as misplaced as herself. But when elderly Mr Appleby arrives in search of his late wife’s purse, his grief stirs something in Dot. Determined to help, she sets off on a mission – one that could start to heal Dot’s own loss and let her find where she belongs once more…

The Perfect Life (ARC)

Synopsis: HAVE YOU EVER WANTED TO BE SOMEONE ELSE? Vanessa has always found it easy to pretend to be somebody different, somebody better. When things get tough in her real life, all she has to do is throw on some nicer clothes, adopt a new accent and she can escape. That’s how it started: looking round houses she couldn’t possibly afford. Harmless fun really. Until it wasn’t. Because a man who lived in one of those houses is dead. And everyone thinks Vanessa killed him…

Pages: 400, Publication Date: 5 August 2021

The Summer Villa (ARC)

Synopsis: Three women. One summer reunion. Secrets will be revealed…

Villa Dolce Vita, a rambling stone house on the Amalfi Coast, sits high above the Gulf of Naples amid dappled lemon groves and fragrant, tumbling bougainvillea. Kim, Colette and Annie all came to the villa in need of escape and in the process forged an unlikely friendship.

Now, years later, Kim has transformed the crumbling house into a luxury retreat and has invited her friends back for the summer to celebrate.

But as friendships are rekindled under the Italian sun, secrets buried in the past will come to light, and not everyone is happy that the three friends are reuniting… Each woman will have things to face up to if they are all to find true happiness and fully embrace the sweet life.

Pages: 384, Publication Date: 8 August 2019

Trusting Taylor (Silverstone #2)

Synopsis: Former military man turned government assassin Kellan “Eagle” Trowbridge isn’t looking for love. He’d rather keep his head down at his cover job as an employee of Silverstone Towing. That all changes, however, when he meets Taylor Cardin.

Beautiful, smart, and witty Taylor instantly falls for the mysterious tow truck driver, who comforts her both in the aftermath of the car crash she sees firsthand and when the police dismiss her as a credible witness because of her prosopagnosia, or face blindness. Eagle, on the other hand, can remember every person he’s ever met���and the two counterparts forge an immediate connection. But someone else is just as intrigued by Taylor’s unique condition as Eagle is…and his intentions are downright deadly.

Soon, Eagle and Taylor are too caught up in each other to see the danger that’s approaching. But as time runs out, they’ll discover their love isn’t the only thing fighting to survive.

Pages: 278, Publication Date: 2 March 2021

Ransom (Laurel Springs Emergency Response Team)

Synopsis: A new series from the author of the Moonshine Task Force Series! Laurel Springs, AL is about to be hotter than a mid-August thunderstorm. When the Moonshine Task Force is absorbed into a new entity, Laurel Springs Emergency Response Team (LSERT) new faces come to town, new love is born, old love is found again, and there’s a plethora of drama and romance happening all over the tri-county area. LSERT puts police, firefighters, nurses, doctors, K-9 handlers, and EMT’s all in harm’s way as they work to keep the area safe from any threat. Emotions run high, passions ignite. Come with me, back to Laurel Springs, in what’s sure to be a wild ride! Ransom Thompson For years I’ve wanted two things – to be a member of the Moonshine Task Force and to be the man Stella Kepler can’t live without. One out of two isn’t bad, or so I tell myself. Being the only K-9 handler for The MTF presents its own share of obstacles, but me and Rambo? We make it work. Life is status quo, until I’m called in to help with what appears to be a hostage situation and Stella is right in the middle of it. This is my one chance, and I’m not going to blow it. Stella Kepler When I’m stuck in an examination room holding a hurt woman and a man with a gun, I do the only thing I can. I sneak out, call 911 and hope help comes quickly. It does. In the form of Ransom Thompson. He and I have known each other since we were babies. Our mother’s are friends, our dad’s work together, and we’ve always been friends. Only, the last few months I’ve started to notice things. How mature he is, how alpha he can be, the chiseled six-pack, and the abundance of ink spreading across his body. When I offer to cook him dinner for saving me, neither one of us know how that one moment will change the course of the rest of our lives.

Pages: 227, Publication Date: 5 January 2019

Until next week.

[jamestaylorswift]

You're so mind-blowingly brilliant -- your posts never cease to make my day! I don't even have a tumblr account, but I check your page at least ten times/day, hoping for a new analysis. Reading your essay on "folklore"'s dreamscape felt like an acid trip in the best possible way. Please share your thoughts on the original "Cardigan" lyrics ASAP!

Thanks, anon! You’ve got me blushing like a damn fool over here 😊 You’re always welcome on this blog, lurking or otherwise!

Okay so this is more a line of reasoning that starts at the OG “cardigan,” not just lyric analysis. I’m not exactly sure how to organize all these thoughts so I’m just going to put them in the order that they came. Apologies if this is a mess. (And under a cut because I can’t shut up lmao)

To me, the OG “cardigan” is the antithesis of the song as we now know it. That got me thinking about how the core of the album might have been much different too.

The album-making process started with “my tears ricochet.” (I believe this song is from Karlie’s point of view, per the notes in the dreamscape essay.) I’m assuming Taylor didn’t edit this song much. She has implied in the past that a song is “written” when it takes musical form (i.e. lyrics literally get put to a track). The idea of a dead lover is also extremely compelling. She made “cardigan,” “seven,” and “peace” next.

It’s likely that these four songs represent folklore’s original ideological pillars. The common thread of Aaron’s three songs (both versions of “cardigan”) is the idea of age or maturity. “peace” and “seven” are age-related endpoints and “cardigan” is a midway point. “my tears ricochet” happens to be an endpoint (i.e. dying, as opposed to reaching an adult maturity).

From these songs, I extrapolate that Taylor wanted to explore emotional growth specifically by addressing Peter Pan and Wendy’s philosophical disagreement. (Also…veer off into gay childhood trauma.) “peace” is about the strongest argument anyone could make in favor of Wendy—growing up is necessary, especially in order to love and treat someone properly. (This song even argues for mutual maturity/understanding.) “my tears ricochet” is the fallout if two people end up fighting with each other, not for each other. OG “cardigan” comes down on Peter’s side—if given the choice to preserve youth or yield to age, one should prefer the former. The album was to transform an endorsement of Peter into an endorsement of Wendy.

The three songs done with Aaron were likely written to appear in the order they do today: “cardigan” as exposition, then “seven,” then “peace.” Observe that to chart a course hitting all four songs, Taylor has to align OG “cardigan” with “my tears ricochet.” “seven” can stand on its own, provided she pads it with enough storytelling. “peace” and “my tears ricochet” cannot both be endpoints of the story, especially because they are at odds with each other. The mutual understanding in “peace” is not at all consistent with the hatred and sadness in “my tears ricochet.” Thus, the track list requires the partial ordering of OG “cardigan,” then “my tears ricochet,” then (much later) “peace.”

Let’s talk about OG “cardigan.” The first verse paints the potrait of Karlie. “Vintage tee, brand new phone // high heels on cobblestones // when you are young they assume you know nothing” alludes to the glamor of modeling, plus its stereotype as the profession of being young, dumb, and beautiful. “Livin’ in a gold age // sneakin’ to my bird cage” reintroduces the tension of reputation, youth and freedom at odds with oppressive forces. “Laughin’ like a damn fool // breakin’ every damn rule” contrasts the characterization of Karlie in the verse. She instead has a marvelous time being hot, smart, and moderately evil. Through this contrast, Taylor suggests that the power of youth is the freedom to choose to ignore very serious problems (pseudo-escapism?). The OG outro full of zingers is Taylor’s perspective as someone who gets burned by the freedom of choice. Young Karlie leaves young Taylor because the high of reputation-era antics wears off. Then, old Taylor, still affected by this loss, also loses her mind in a reverse-“Don’t Blame Me” kinda way.

Word choice, to me, suggests that “cardigan” was originally conceived not as the Breakup Song of the Cenozoic Era but a narrative partner of “illicit affairs.” Karlie and Taylor are on the same team in OG “cardigan.” They have a marvelous time being hot, smart, and moderately evil and breaking all the damn rules together. “You know damn well // for you I would ruin myself” gets spit back in Taylor’s face and is that much more impactful. 

Karlie is justified in leaving because the moment dies. This phrase describes a relationship that mutually and/or slowly dwindles. Karlie makes a decision to leave and save herself, and indeed makes the better choice because she retains her wild and her sanity. Hence, Peter wins the argument.

It’s unclear when “exile” was written, but I think it was early on in the process because Taylor added bird noises to it. “exile” plus OG “cardigan”/“illicit affairs” illustrates two joint affairs, such as double bearding. Pronoun issues with the second verse of “cardigan” aside, Karlie’s eventual downfall (i.e. the emotional end of “illicit affairs”) is implied to be a result of Taylor…also cheating? Maybe it’s the whole Friends “we were on a break” thing. (IDK, I’ve never actually seen Friends.)

OG “cardigan,” “illicit affairs,” and “exile” were once closely affiliated. More pertinently, by the partial ordering, “illicit affairs” and “exile” were meant to explain how OG “cardigan” connects to “my tears ricochet.” Karlie leaves Taylor during their illicit affair; the affair ruins Karlie; Karlie dies and Taylor shows up at the funeral because she’s pissed; Karlie becomes a vengeful ghost and Taylor is also emotionally ruined forever. Scene.

But these are not the connections that Taylor put out into the world. Obviously we can never know precisely why. One thing that does stick out to me, though, is how hard it is to turn around and align with Wendy given the illicit affair narrative.

In “peace,” Taylor shows her own maturity by acknowledging that she was cowardly and dishonorable. For what? Karlie left her in OG “cardigan,” not the other way around. Taylor runs away with someone else in “exile” (“him”), ostensibly to enjoy a more stable relationship. Her playing the role of the angry funeralgoer in “my tears ricochet” is perfectly reasonable. Taylor was promised love and Karlie didn’t give her what she needed, so she moved on. Therefore, we should conclude that maturity is really…hanging onto someone who doesn’t stay? Having the courage to stay in an incredibly tenuous affair? Apparently, one also must be cheated on in order to mature. These are all strange conclusions.

Taylor illustrates Karlie’s maturity with a monologue of numerous promises—of pretty much everything except peace itself. The illicit affair narrative does strongly support the argument that maturity is learning how to stay true to one’s word. Yet its logical beginning is that one must cheat on another—plus be unfaithful to the person they are cheating with—in order to mature. (Karlie gets burned by the freedom of choice only when she later faces the consequences of the affair.) Also strange.

The illicit affair narrative as a primary emotional catalyst of the album generates even bigger inconsistencies.

“august” both humanizes the person cheated with and leaves them worse off than the cheater. “my tears ricochet” emphasizes the opposite: the one cheated with stays alive and becomes a very ugly person, but the cheater dies.

Arguably, both people should have anticipated the fallout of the (implied to be years-long) affair. “my tears ricochet” is internally inconsistent. “I didn’t have it in myself to go with grace” suggests Karlie died an unfortunate or unforeseen death, not an inevitable one. “You turned into your worst fears” suggests Taylor turned around and became a cheater too.

“invisible string” can support the argument that Taylor and Karlie were always bound to get back together after a breakup. Morally dubious underwriting of the initial affair notwithstanding, this song contradicts “mad woman.” Taylor wrote “mad woman” song shortly after “peace;” in it, she is staunchly against cheating. (She avoids morally dubious underwriting of illicit activity on the album by axing the OG “cardigan”/“illicit affairs”/“exile” narrative, then condemning cheating and seducing in “mad woman” and “illicit affairs,” respectively.)

Again, it is impossible to know when, why, or even exactly how the narrative of the album changed as Taylor was writing it. The dramatization I’ve provided of inconsistencies piling up is only one plausible explanation—and a convoluted one at that—for a change of artistic heart. Whatever the reason, I think it is significant that Taylor performed a volte face to never argue in favor of Peter in the first place.

The album version of “cardigan,” and indeed the entire love triangle, supports Wendy’s side of the argument. “cardigan” shows that James and Betty’s relationship was vibrant, joyous, thrilling, and tender, but above all, perfect. The tone of the song helps Taylor denounce James’ choice to leave Betty as cruel and unnecessary. It is James’ fault for leaving once the “thrill expired,” not Betty’s fault for believing James would stay after the honeymoon phase. “betty” reinforces James’ characterization as the ignorant fool too. Because the album necessarily pigeonholes the leaver in the role of the coward, Wendy wins the argument on the grounds of moral fiber.

(James technically ‘wins’ in “august” because the titular character is left devastated and alone. August embodies youth through hope and yearning. James’ lack of conviction kills that hope. Thus, youthful traits are always collateral damage of the entire maturing process. And, the narrative that pits the characters against each other ends with James, regarded as the paradigm youth, losing the most.)

Perhaps this is the best justification for the existence of the teenage love triangle. Introducing characters who are maturing in various ways still allows Taylor to explore emotional growth. Three separate but fixed perspectives act as a proxy for one person’s changing perspective. By aligning herself with each character at a different time in their life, she shows that maturity (e.g. realism, reliability, patience, etc.) always gives one the upper hand.

The love triangle’s main purpose is to illustrate the philosophy that permeates the rest of the album. folklore as we know it is Taylor’s memorial to all the things lost to youth. Maturity would have prevented so many losses. At the same time, it is impossible to mature without first being youthful, making mistakes, and feeling lost while doing so. This is Taylor’s singular but melancholic endorsement of Wendy. How sad, valuable, and necessary, she says of growing up.

Lest my point be misinterpreted as ‘we can confidently reverse-engineer Taylor’s artistic process,’ here are my main takeaways from the “cardigan” changes:

OG “cardigan” is sad and we should appreciate it as such. “I knew to love would be to lose my mind?” Please.

“cardigan,” as a midway point with respect to age, is the only ideologically ‘variable’ song of the original quartet. Furthermore, by placement and construction, “cardigan” is/was intended to be expository. Changing “cardigan” changes the course she charts through the album. Taking sadness out of one song and spreading it over a storytelling album really changes the meaning of that sadness.

Of the eponymous characters, it’s worth noting that Taylor is James, the leaver, whereas she is left in the OG “cardigan.” It’s utterly fascinating that Taylor chooses to embody ‘hanging on to youth’ angle. What we assume is a very deep, primal feeling is one she overemphasizes for narrative purposes. Consequently, dismissing the love triangle as (fix-it) fiction requires dismissing Taylor’s attachment to youth—being Peter. To that end, we might also need to dismiss the infamous “I never grew up, it’s getting so old” line from “The Archer.” Many others, too…

Red herring though it may be, the love triangle alters folklore’s underlying philosophy, hence the very essence of its melancholy. It seems rather unwise to ignore the love triangle or to reduce it to a cheesy storytelling device. Recognizing that Taylor endorses Wendy and only Wendy is, in my opinion, crucial for clarifying other nebulous ideas in folklore. (I know I sound like a broken record, but I really do think abstraction in the music requires abstraction in analysis. It’s really easy to fall into the habit of tying specific lyrics to people or events. Personally, I find richer and deeper connections by actively working against that habit. I’m not saying this is the only way to do analysis—on the contrary, I think all analysis is correct because it’s all subjective. Rather, I think people overlook the value of occasional abstraction, much to my distress. folklore analysis even seems to demand abstraction. Sue me for believing that things like the underlying philosophy of an album are important, I guess?)

Would you believe that there’s more to this change than what I’ve argued? I’m weary that this is answer is already not what you wanted, so I won’t bang on and quadruple its length. In conclusion: the Implications.

[mrsrcbinscn]

Wilbur Is Not Amused || The Robinsons

@wilbur-robinson​, @mrrcbinson​

Tl;DR: Franny and Cornelius tell Wilbur about the baby. It does not go well.

Date: August 23rd, 2020

 FRANNY:

 So about telling Cornelius she felt fine...turns out that was a lie. Once she got to her ninth week the morning (and noon, and night) sickness began. It got to the point she made excuses to be out during dinner time because she didn’t want to tell the family she was pregnant yet, but she couldn’t actually keep food down. Water and crackers were all that was on the menu these days. Even the foods she was craving she couldn’t actually enjoy! It was frustrating, but overall she was thrilled. 

 Due to her age and her history of miscarriages her doctor wanted weekly ultrasounds to keep an eye on the baby. Now at eleven weeks pregnant and rapidly approaching the second trimester, everything looked great. The baby had a strong heartbeat according to her doctor and that was all Franny had really hoped for. While eleven weeks wasn’t fully out of the danger zone for the most common window for miscarriage, she realized she couldn’t hide it much longer. They’d almost gotten caught already! 

 When Tallulah offered her a glass of wine at Wilbur’s birthday party — the fake one, the one with the family that they always did — she made up an excuse about being on a drinking hiatus to lose weight. Franny hoped her hands hadn’t instinctively gone to touch her abdomen like her brain had been telling her to do. 

 Eleven weeks with a strong heartbeat was already more than she had expected. It seemed like the right time to tell their family and Cornelius as ever took her lead on this. They told his parents first and Lucille squeezed Franny’s hand and reminded her that by loving their son, she’d already fulfilled all of their wishes for their family, and giving them Wilbur was just a pleasant bonus. Franny of course cried. What else could she do? Lucille was sometimes too ridiculously good to her. 

 Next it was Wilbur, and after Franny had stopped crying courtesy of Lucille being too damn wonderful, they called him into their bedroom to talk. Being on her feet was getting tiring, so talking at the window seat in their bedroom just felt more practical than sitting Wilbur down in his room. It was nap time right after this for the pregnant lady. 

 “Why am I nervous? Are you nervous? Am I freaking out again?” She leaned over to catch Cornelius in a kiss and tangled her fingers with his. 

 CORNELIUS:

 Cornelius was still in shock. He partly couldn’t believe it. Almost didn’t if it weren’t for Franny growing sicker and her weekly doctor appointments. It was weird to imagine that at their age - they might be parents again. Just as Wilbur was on the verge of graduation…

He had been caught up in these thoughts all day. Every time he saw Franny now, actually. But especially today because they were telling everyone. His mother had cried. Actually cried. And then hugged him tight while his father made a science pun about atoms - his mother’s crying in his ears had drowned out the rest, to be honest.

 But the kiss and her touch alone broke him out of his thoughts and he looked to Franny. “Oh! I - more like...well, I don’t know,” He admitted. “I mean, Wilbur’s almost an adult. Legally, at least. I know he can act childish sometimes, but he’s a good kid. I think he’ll be excited. He’ll probably teach them to be like his little sidekick and turn them against us at the age of two.”

 He laughed a little at the joke, honestly believing it to an extent though. But he could get where Franny was coming from. Still, he wasn’t nervous himself. 

 Not until Wilbur came in.

 “Hey, kiddo. Come have a seat, will you?”

 WILBUR:

 Wilbur and his parents didn’t really sit down for important talks often. There were a couple times when he was younger (like when they sat him down to say he might be a big brother, or when they sat him down and said actually no he wouldn’t be and his mum would cry). There were other memorable occasions of course, the last one being a dead relative.

 He started going down a list of relatives that could have kicked the bucket, because there were of course some older ones. But could he play guess who? Or was that entirely inappropriate? Wilbur wandered into his parents room with eyebrows furrowed, debating over whether tact was good or bad in this case?

 Wilbur eyed his mum first and then his dad, debating over who would spill the beans first. Then he shrugged and sat down in one of their chairs. “Okay what’s going on? Who died?”

 FRANNY:

 “What?”

 Franny had a brief spiel loosely prepared but Wilbur’s comment threw her off track. Died, huh? No this was the opposite hopefully. Next week would mark the longest she’d stayed pregnant and her OB/GYN said especially considering her risk factors, her pregnancy was healthy. She couldn’t believe her luck at last after nearly twenty years of marriage. 

 A decade and a half of trying to grow their family, until a few years ago, when Franny’s broken hearts couldn’t take it anymore. Cornelius had always been so good, so understanding, and never once blamed her. She couldn’t say the same for herself. 

 It felt too good to be true and too perfect but yet, here they were. Wilbur was going to (most likely, very likely, it seemed) be a big brother. He’d be so much older than his baby brother or sister but he’d be their superhero and the thought of that made Franny’s eyes prick with tears so she took care not to go there right now. 

 “No, your father and I just have to share some exciting news.” Franny began, tightening just barely her grip on one of Cornelius’s hands. “Wilbur, your father and I found out I’m pregnant. At our age, I know, I thought it was a mistake too but I really am. Twelve weeks; in March you’ll have a little minion to teach to get into trouble. Around your father’s birthday, too...everything looks good this time around. Looks perfect.”

 Franny’s grin almost hopped off her face, it was so wide! She reached for one of Wilbur’s hands and squeezed. “Isn’t that exciting?”

 WILBUR:

 There were a few different things Wilbur would have imagined that they’d have to say. Maybe some Great Uncle bit the dust, or they were planning another trip and they wanted him to give them input. Or maybe they were rethinking his request for a horse. You never knew. Wilbur was willing to be imaginative.

 But then his mum started talking, and Wilbur could feel his heart sink. Not sink, maybe it just fell right out of his body and fell into the sea. The bemused look changed so swiftly, any hint of a smile gone from his face as he paled. He could remember the last time his mum had told him she was pregnant. It was years ago, and Wilbur had just assumed (like an idiot apparently) that they wouldn’t try again.

 Why wasn’t he enough for them anyway?

 Wilbur sucked in a breath and let it out again, forcing himself to try not to blow up. He wanted to. He wanted to so badly, because his parents really didn’t think about him at all did they? Wilbur immediately tugged his hand away from his mother, arms wrapping around himself defensively as he glanced between Franny and Cornelius. He was still waiting for one of them to say ‘just kidding’ but...well his parents wouldn’t pull that kind of a stunt with him.

 Which meant no matter how improbable, no matter how horrible, it must be the truth. “Are you serious? Why would I be excited about this? In what world does ‘my mum could possibly kill herself again trying to have a real baby’ sound exciting?” Okay, maybe he couldn’t contain it.

 CORNELIUS:

 Of all reactions, Cornelius didn’t expect this one from Wilbur. Especially faced with the beaming face of his mother right now. But the moment his face changed, he knew something was wrong. And - 

 Real baby? What did that even…

 “Wilbur, what do you by real baby? You’re our real son,” Cornelius began slowly, his mind trying to process everything. Something that was so exciting and joyous suddenly turned sour and was about to become a fight. One that would not be easily fixed either. “Its….you’re not be replaced, if that’s what you’re getting at. Or forgotten or any of that.”

 Considering both of them were orphans, he could put himself in Wilbur’s mindset in a way. But not much. Because this reaction was just - shocking. Were they being selfish though? Were they bad parents to bring this up at Wilbur’s age? He turned to look at Franny, his brows coming together in concern.

 FRANNY:

 Franny first felt white hot anger at her son’s reaction. It was as if for a brief moment she resented him as much as she’d ever loved him. 

 (And briefly, she was angry at Cornelius for not at least gently chastising him for yelling at his mother, but she reminded herself that Cornelius was a better person than she was. He heard Wilbur’s hurt first, whereas Franny first tuned into the anger. Thank god Cornelius was here. She would have shouted right back if not for him.)

 How dare he, she thought though. Now, she expected her son to make a joke about how old she was. She wasn’t stupid enough to think Wilbur, a happy only child, would be thrilled. She expected, however, a quick ‘oh? Cool. Anyway is that all?’

 What she didn’t expect was such a reaction. 

 How dare he, in one instant, rob her of her joy. Franny’s heart sank as she thought to herself this is a mistake. 

 And as quickly as her anger appeared, it subsided, as it always did when she was angry with Wilbur. His words cut but after feeling the impact of those words it was as if she pressed pause on her hurt to instead focus on Wilbur’s, because that’s what moms are supposed to do. 

 She could cry to Cornelius later or perhaps her mother, but who could Wilbur go to? He usually sought her out for comfort but who now?

 “Wilbur…what are you saying?” Franny said quietly as her face fell, before for once in her obnoxious life, she struggled to find words. “You’re not...it...it was an accident, we didn’t mean—“ wait. Was she about to apologize for being pregnant? She sighed and her hand flinched to reach forward and hold Wilbur’s hand, play with his hair, anything, but he’d batted her hand away not a moment ago. “Wilbur, honey. You are our real baby. There is nothing we love more than you and being your parents. Nothing, honey.”

 WILBUR: 

 Honestly, Wilbur thought it was pretty clear what he meant. He was being replaced. By a younger model that would probably be nicer than Wilbur and more likeable than Wilbur because they wouldn’t be as bratty as he could be. They’d probably “try to get it right” this time, and where would that leave Wilbur? Miserable.

 “Really?” He asked, and he couldn’t help but snort. Of course he’d be forgotten. A baby would demand all their attention, and when Wilbur would need them for college things or anything else, he’d probably get ignored. His whole family would probably coo at the baby and focus on what it wanted and needed and he’d be pushed by the wayside. Wilbur wasn’t stupid. He knew babies needed a ton of attention.

 “Why would you still care about having another baby? That’s what I just don’t get! Mum was always so messed up by this shit, and yet that’s always been it. ‘Why can’t I have a real baby to take care of?’ You didn’t say it in as many words, but the implication is pretty fucking clear.” So what if Wilbur was a bit spoiled? Who were the people that had spoiled him in the first place? Oh yeah, it was them.

 He didn’t look forward to watching the way his mum would try to do things differently so this baby, their actual biological one wouldn’t turn out like him. He hated it. He hated it he hated it. He was going to be sick. “I can’t believe you’d do this now! What, I’m going to go off to college soon so it doesn’t matter what I think? That’s great really. Have fun with your new family.” He stumbled to his feet. He needed to get out of here. He wanted to cry, but he was nothing if not determined to do that in the comfort of his own space, without the people who hurt him around.

 FRANNY:

 “Wilbur!” Franny exclaimed, springing out of her seat but not advancing toward her son. She wouldn’t force him to stay but he wasn’t going to storm out without one final attempt to reach him. 

 And, yeah, maybe she said his name in the ‘I’m gonna kick your ass’ tone but with the way he was speaking to his parents right now did he expect any different? His words were hurtful not only to her as his mother, but as a person in general. Franny kept her composure enough to keep from well and truly yelling at Wilbur but under the far too consistent volume of her voice was boiling anger.

 “What do you mean ‘new family?’ For once would it kill you to not be so over-dramatic. Like I just. I just wanna know. You know damn well, Wilbur, that plenty of families have more than one child in them. We wanted a big family because we just did, okay? We just did. There’s no other explanation. We just wanted that. But your father -” 

 Never slowed down. Never could press pause so we could adopt again so I had to try the old-fashioned way even though my body kept telling me I couldn’t do it.

 “- and I just kind of shelved that for the most part. We stopped tryin’ years ago, I didn’t get pregnant to piss you off. Believe it or not, the world doesn’t revolve around Wilbur Robinson. Sometimes it just happens. What was I supposed to do when I found out I was pregnant, huh? What would have made you happy?”

 A beat, and Franny pinched the bridge of her nose and sighed. 

 “Get out. Go to bed. Or don’t, I don’t care, just get out.”

 WILBUR:

 So the world didn’t revolve around Wilbur. He knew that already. His mum made it even more clear that he wasn’t that special. He wasn’t enough for them. He’d never been enough for them. If he had, then his parents wouldn’t have cared about a big or a small family. They would have just let that baby stuff be and loved him. 

 Why did mum think he was overdramatic? It wasn’t overdramatic to realize he was being replaced! It would be different if they’d adopted or had another kid when he was still little, when it was a normal thing to do. This wasn’t normal. He’d never felt so unappreciated in his life, and he’d had his moments of doubt. 

 “Oh I know the world doesn’t revolve around me. And it never will, because that new baby’s just going to replace me and that’s just great. I’m glad you get a do over to have a better kid.” And since he was already in it, and he’d clearly already pissed off his mum too, Wilbur headed out, both middle fingers waving at them as he made his way out. He’d break down once he was alone. He wouldn’t cave until then.

[downsbeatrice]

How To Save Relationship With Mother Blindsiding Useful Tips

Just check whether you have given your life and marriage counsellors is good, the style masculine enough, and a purpose.It is only as strong as they come from a person's childhood days.Are you ready to perform some thing to have a marriage even stronger.Let go of your spouse about something, a good idea; counseling is done by a natural emotion.

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Can Marriage Save A Relationship

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How To Prevent Divorce From Happening

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[glittergummicandypeach]

Rejecting parents’ religion: parenting advice from Care and Feeding.

Care and Feeding is Slate’s parenting advice column. Have a question for Care and Feeding? Submit it here or post it in the Slate Parenting Facebook group.

Dear Care and Feeding,

All my life I have raised my child Christian, and now as she moves on to college and has a boyfriend, I’ve got it out of her that they are atheists. It devastates me, but I also know it is up to her to get her salvation.

The above statements are what I know my parents feel. I am the atheist child.

What do I do to help my parents feel less crushed? I know they only want me to accept God again, but I just don’t believe. I understand their faith, I just don’t want them to continue to feel hurt by seeing me.

As I move on to hopefully marry someone who agrees with me on my views, I feel they will continue to be devastated. And, will cry tears of agony instead of joy if they attend my wedding.

I know my views could change, but I seriously just want to hear what I can do to lower their agony.

—Child Turned Away

Dear CTA,

You are a kind and gentle person. I’m actually very touched by the concern you express for your parents’ feelings. It indicates they are not being total D-bags to you about the situation, which is great, but also complicated: When parents are being total D-bags about your loss of faith (which may not be a loss for you), it’s a lot easier to tell them to pound sand and move on with your life. When parents just seem fragile and sad about it, a lot of protectiveness and misplaced guilt can kick in. Fragility and sadness can also be very effective tools of control. Don’t feel like you have to apologize, equivocate, or take on the burden of their sadness.

You’re no longer a child. You’re their child, but none of us get any guarantees about our children, I can assure you. I’m a generic Protestant who is pretty into it without being an evangelical, so my lovely and mega-progressive shit-stirring Catholic mom is only mildly disappointed I’m on the JV squad of God and not playing varsity, and my lovely atheist dad is mostly bemused, as he really did lay out a great case for Only the Sweet Release of the Cosmic Void Awaits Us All (frequently a very comforting thought in its own right). They’re fine. I have no idea if my children will turn out to want or seek or find faith. I believe in God and that one day the circle will be unbroken, but today I cried for (checks watch) almost 45 minutes about John Prine dying, so it’s certainly not a magic balm that eases all lives and has the power to protect us from the fear of death. Religion can be a real motherfucker, as history past and present shows us.

My answer is that I want you to try to first release this weighty sense of obligation for their feelings that so clearly presses on you. You have nothing to be sorry for. You didn’t burn down their garage. They have experienced a form of loss and that’s for them to work through. But you do feel a sense of obligation to lighten their load, and I want to acknowledge that and offer some words of help.

Don’t dangle any “well, who knows what the future holds?” carrots in front of them. If a burning bush speaks to you, you can handle that when it comes. Expectation management is one of the true keys of human existence.

You are a person with values. Some of those values probably came from your parents. You can thank them for those values, if they have helped you become the good person you clearly are, without needing to buy into the belief system that provided them to your parents in the first place. You can talk to them about your own values. You do not have to be the Best Atheist in the World Who Cares About All Living Things and Climate Change and Systemic Inequality Every Single Damn Day; you can just be yourself. You’re the same kid they had last year. A good person.

You can also, down the road, absolutely say, “If you are gonna cry tears of agony at my wedding, don’t come.” That’s nonsense. If they try to win you back to Christ with teary phone calls in the more immediate future, you can say, “Let’s talk in a few days when you’re calmer.”

Just be yourself, all of yourself, be gentle but firm, maintain boundaries when necessary, and love them the best you can. That’s all anyone can do. I also encourage you to be aware of your own sense of loss, if you ever do perceive it as such, and to seek help from secular counselors if you need to process it. That doesn’t have to mean “I miss believing in God”; it can mean “I am sad that my natural progression as a human who lives in the world has affected my most foundational relationships and need to mourn that.” I’m glad you have found meaning and happiness in your life, and I wish you all the joy in the world.

Dear Care and Feeding,

I have a 4-year-old son who hums loudly while eating food he really enjoys. My husband thinks this is inappropriate behavior at the table and is a problem to be corrected. I see absolutely nothing wrong with it and assume he will grow out of it. He’s a completely normal delightful/crazy-making 4-year-old.

I don’t want my husband wasting quality time with his son harping about something that doesn’t really matter. Am I wrong on this?

—Loves a Pleasant Tune

Dear LaPT,

Oh, what a deliciously small problem, thank you so much for this. Honestly, at 4, I think your husband is right that it’s time to phase out loud vocalizations during dinner. (If your son has any markers for any developmental issues other than joyous food humming, and it turns out to be a verbal stim, I would probe that first, and I would be more inclined to let him enjoy his humming.) In the absence of such a reason, it’s not going to go over great at school, it’s clearly annoying the heck out of your husband, and I enjoy tremendous numbers of things I cannot do in front of other people at a sit-down dinner. It does not have an impact on my human flourishing, I assure you.

I don’t think “please do not hum at the table” is “wasting quality time.” It’s just parenting. He’s not going to look back on his life and say, “If only the two weeks it spent me to get my kid not to sound like a bumblebee when we had stroganoff for dinner could have been spent tossin’ the old pigskin around.” This will be over quickly, and you will barely remember it. If your husband is the only aggravated party, obviously you can expect him to be the “no humming” point person on this. You do not have to chime in, but I would encourage you not to actively undermine him in his quest, which is always a mistake for nonabusive familial situations.

See, too, if there’s a way he can take this musical impulse and do something a little less disruptive with it. I don’t mean “get him a harmonica,” but he might enjoy learning to sing. Exchange the behavior for a more productive one, if possible.

Congratulations on being an excellent cook! If your husband is the excellent cook, please pass on my compliments.

• If you missed Thursday’s Care and Feeding column, read it here.

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Dear Care and Feeding,

Just like everyone these days, I fear COVID-19. I’m staying at home, going to the store only when necessary, etc. My boyfriend is a police officer, and although I know he is very cautious, I’m worried about him unintentionally infecting me due to him having to work and human interaction. I have an autoimmune disorder and have repeatedly told him these concerns, yet he still comes over daily. He knows it’s serious but at the same time thinks it’s completely overblown. I’ve been clear that I do not agree. He’s taking it personally which floors me. I’m at a complete loss on how to handle this at this point.

—Losing It in Longview

Dear LIiL,

I need clarity on one point: Have you told him directly that he needs to stop coming to your house? Because if you have, as opposed to just telling him you’re worried and concerned about your autoimmune condition and the possibility of exposure, then he is in direct violation of your personal autonomy and you need to a) break up with him and b) carefully, as he clearly does not respect a “no.”

If you haven’t said, “I need you to stop coming over until things are under control,” then you need to say it now, today, and if his response is that you might as well just break up, that’s his choice. If he continues to violate your wishes, see the above paragraph. Our essential workers are essential, but so is your health.

I am not a dating columnist, but you came to me and here I am. I do not like this situation for you.

Is It OK to Go to the Zoo During the Coronavirus Pandemic?

Dan Kois, Jamilah Lemieux, and Elizabeth Newcamp host this week’s episode of Slate’s parenting podcast, Mom and Dad Are Fighting.

Dear Care and Feeding,

I’m not doing well. Are other parents doing well? I feel like the only person drowning when I see Instagram posts of learning-and-chore charts. I have to “work from home” with two small kids, and there just aren’t enough hours in the day. We do our best to do the remote learning we’re given, but some days it’s “let’s read a few books and then watch educational shows on Netflix.”

—I Feel Like a Schlub

Dear IFLaS,

We live in strange times, as did all previous generations at one point or another (Joni Mitchell spent weeks in a polio ward with essentially zero contact with her parents when she was 9 and still wrote “The Last Time I Saw Richard” eventually). You’re doing fine. Instagram is a lie. Be kind to yourself, do your best, and remember that every other kid is going to eventually return to school in a slightly more feral state and will need to catch up on things. The teachers know this. It’s just reality. You do not have to be a superstar; you just need to get through this. I also feel like I’m dropping the ball constantly, and I’m supposed to be a professional.

We’re in this together. Most kids have two months of essentially no education every summer, and yet they manage to grow and flourish and learn. One year where every kid gets double summer is not going to amount to a hill of beans in this crazy world. Younger kids, like yours, are going to barely remember this.

I let my kids watch part of Thor: Ragnarok yesterday. We’re all just making it through the day. My friends who are teachers are struggling just like everyone else. I think you’re great.

— Nicole

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My loving, kind boyfriend of five years has spent the last 10 months in prison. He was off to a great start in his profession when a friend snitched and he got in trouble for possession with intent to distribute an illegal drug (that is legal one state over). He is now getting out of jail in his early 30s with more than $180,000 in student loan debt, a felony conviction, and is losing his professional license. We have stayed together during this ordeal, and luckily my family and friends are very supportive. I love him dearly and can’t wait for him to be home, but as his release date gets closer, I am starting to have a return of some of the anxiety symptoms I began having after his arrest. I work full time in a field I am very passionate about and could eventually be employed by the government. I am worried about how his record will affect me in the long term. I also sometimes feel that I am being a real idiot for staying with him due to his poor decisions. However, I am crazy about him, and we have so much fun together all the time. Any advice?

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