#literally this song is so important to the narrative and the film is so fucking hollow without it

[daincrediblegg]

OK THIS IS NOT A FUCKING DRILL EVERYONE FUCKING REPEAT AFTER ME. THIS IS WHAT YOU WILL DO WHEN YOU WATCH MUPPET CHRISTMAS CAROL THIS YEAR:

You will navigate to the page on disney plus (and it has to be here. Unless someone has actually uploaded the REAL movie anywhere else you cannot get it elsewhere)

BUT YOU WILL NOT HIT PLAY. You won’t do it. Because it’s NOT THE REAL VERSION OF THE FILM AND DISNEY IS FUCKING LYING TO YOU AS IT ALWAYS DOES

You will scroll down HERE. To EXTRAS instead. You MUST GO HERE. This is non -negotiable

THEN YOU WILL SCROLL DOWN TO THE BOTTOM OF THE EXTRAS AND YOU WILL THEN HIT PLAY ON THIS BAD BOY: THE FULL LENGTH VERSION

And you will watch it. And you will thank me for having been so blind and led astray by that stupid fucking mouse. You’re welcome.

[notebookmusical]

“In light of everything that’s happened in the past three months alone, here’s some incredibly valid reasons to be pissed off at Taylor Swift, or simply not like her — as someone who loved her, and loved her music. First and foremost, Taylor Swift is personally burning a hole through the ozone with the amount of CO2 she uses. That’s not even the main point of this video; but this is a graph from 2022 of how much CO2 she produced of her 170 private jet flights, versus the average person. She has spent 70 grand on jet fuel alone. Taylor Swift, alone has used 170 tons of CO2 in the past 3 months. The average person only burns like, 16 tons. That’s not even the main part of this video. The main point of the video is the fact that she has not spoken up about Palestine. And the reason that is so fundamentally frustrating is that Taylor Swift has influence. Quote Brittany Broski, when she also didn’t speak up about Palestine — “if you have a platform, and you have people listening, you have to use it.” It’s criminal to not use it, and Taylor Swift uses it. This is from September 2023. Record-breaking registration numbers from one Instagram post. Literally stating, saying “I’ve been so lucky to see so many of you guys at my US shows recently. I’ve heard you raise your voices, and I know how powerful they are. Make sure you’re ready to use them in our elections this year!” They had a 72(%) increase in 18-year-old registrations. When it comes to Palestine, she’s completely silent. And now that it’s somewhat more socially acceptable to attend Pro-Palestine events, she’s been quietly going with Selena Gomez, but I for one, think that your Instagram is perhaps the best asset you have. If not, money. And I’m sure in a couple months, we’ll learn about how Taylor Swift was quietly setting up foundations for pro-Palestine, and that she was always for the cause and she’s always supported them, but all it takes is one fucking Instagram post. Especially when Israel Palestine is fundamentally a war of narratives. It’s whose story do you believe, despite the mounting evidence that proves that Israel has continuously been doing ethnic cleansing and genocide. They are still maintaining this narrative that they are not doing that. And all Taylor Swift has to do is say “hey, 22 thousand deaths in 3 months? The most in any modern war? This doesn’t seem right.” I don’t even want her to be that leftist or radical, but literally just to ask the question to her largely American audience, when US has bypassed Congress twice to sell millions in arms aid to Israel.  Just for her to be like “Should that many kids be dying, perhaps?” The bar is on the floor, but she still refuses to do it. And the reason why Taylor Swift in particular, not because of the influence that she has and not because of the platform that she has, but why her in particular, is because the IDF continues to use her songs. I know it was a public trend, but the fact that so many occupation forces felt comfortable and confident  to make like, dance edits to Taylor Swift’s music. I think it’s so important how an artist’s music is used because when the republicans wanted to use Eminem’s 8 mile track, he was like “absolutely fucking not, I do not give you consent to do that, and I do not associate with your politics. Don’t do that.” I feel like she should know that her music is being used as the anthem of the occupation forces as they go and bomb civilians. Her, and other artists like her, like Beyonce, who showed her film in Israel, and they’re all like dancing and singing, and saying “you’re not going to break my soul”, whilst they continue to bomb the shit out of civilians have said nothing. And I hope, as I’ve demonstrated in the video, for the people who are going to be like “What’s Taylor swift going to do? She’s not a politician.” Be serious. Be serious. She has a fucking chokehold on at least a billion people. She could’ve said and done way more than what she’s done, and also the CO2 levels." (from: this tiktok*)

* i tried to transcribe the tiktok since tiktok wasn't showing the captions for me but if i misheard anything please let me know!

[ashleyfanfic]

"Stay A Thousand Years"

Is a fun little choral version of Jon and Dany's love song "Truth" from Game of Thrones. Oh, why did he write it? Cause he felt like it and it went with what could have been with their epic love story and BECAUSE THEY FUCKING DESERVED IT. Oh, don't think it's that important that this little version ended up being release? Did you know he also did a special one for Jaime and Brienne that was never released because Jon and Dany's was more epic?

You will never convince me that everyone involved with that show knew Dany was going down a dark path. NEVER! Yeah, some of the actors have to justify it to be settled into their role and live with the fact that they were part of one of the greatest television spectacles of all time that epically crashed and burned for bad storytelling and "subverting expectations". Guys, they literally tried to justify her death by saying "she killed slavers and we all cheered". TYRION SAID THIS! Yes we all fucking cheered. She killed people who enslaved other people. She killed bad people. Her brother was abusive to her and threatened to cut her child out and leave it for Drogo if he didn't get what he wanted. He was crazy and would have been a terrible ruler. But no, we should take the way he died and the way she let him die as her madness.

So, let's flip the coin and look at the perennial fanboy favorite, Stannis Baratheon. Let's see, who were the people we saw Stannis kill? Like, actually kill. Well, he sacrificed his brother and law to the lord of light. He tried to kill Gendry but used his blood to help along the deaths of Joffrey, Robb, and Balon Greyjoy. Granted, Joffrey and Balon were pieces of shit. But Robb, for all his faults and stupidity, looked to be a not horrible king. Then, in the biggest douche bag move of all the douche bag moves on the show, Stannis had his daughter burned alive out of religious zealotry. To help him win a battle that it was clear he wasn't going to win. His sweet, precious, intelligent daughter who loved him and him. You want to talk about characters on this show who did nothing wrong, look no further than Shireen Baratheon. But Stannis okayed her being cooked over a fire like a hot dog.

My long and winding point goes back to this: the villain arch of Daenerys didn't make sense then, it doesn't make sense now, and it will never make sense. Some of these actors get really into their roles and they mean a lot to them. They have to find some way to justify their actions in order to be able to make it come across on the screen believably. Which is what I think Kit's deal is, cause when he's actually made to talk about it with a fan or even in from of Emilia, he's not so set on Jon made the right decision. In fact, from the clips that were released of his chat with the fan over that zoom call or whatever, he's firmly in the Jon and Dany Together Forever club. He agrees that it made all the sense in the world for them to be together. Because it does. They are the alpha and omega, fire and ice, the true love story of that show. Their characters and their coming from nothing and into the front of the story is what it's fucking about. It's called Song of Ice and Fire. Not Ice and his shitty cousin he thought was his sister (don't even get me started on the destruction done to Arya and Sansa in those final seasons, or God forbid, Jaime Lannister).

I wish we could all agree that no matter what narrative anyone in the cast or crew want to try to pin on it, the final season failed so epically bad that a lot of things happened: a petition was started to redo the entire last season (which had no chance of going anywhere but 1.4 million is a lot of people), Kit Harington checked himself into rehab (there were signs during filming that he might not have been doing so great and God bless him he didn't deserve the emotional torture those two writer asshats did to him all the time), COUNTLESS celebrities all made it very public that they were with Daenerys, the ending was stupid, and she and Jon should have ruled the seven kingdoms, and the best, the piece that really tells you how badly they fucked it up, Dan and Dave were removed from having anything to do with Star Wars and Lord of the Rings. Honestly, none of us should have trusted them when one half of that due made the Wolverine Origin movie and made Deadpool silent. He's the merc with the mouth. You do not silence Deadpool.

If you really think the ending of that show settles with everyone ok, then tell me why Kit Harington is trying so very hard to get a show with Jon Snow started. He hates the ending his character had even though he said it made sense to him at the time. If it did that, baby, why you trying so hard to bring Jon Snow back?

And then you have the people at HBO. If you think that your favorite is the face of that show, I will out right laugh at you and call you a moron to your face. Aside from the dragons, DAENERYS is the face of Game of Thrones. Not Sansa, not Tyrion, not Jon, Arya, or Bran. No, the face is Daenerys because she was epic. There was no other character on that show like her. She is the one that TRULY brought magic into that world. Not only did she have the dragons, but she had been proven to be impervious to fire. That was shown before she was gifted the eggs. There was something special about her in her first scene.

Which brings me back to Ramin and his love for Daenerys. Do you know how many songs he's done for Daenerys? A LOT. "Mhysa" for one. He even admitted in an interview once that he liked writing music for her and her scenes. Of course he did. That's where all the magic was. He also says that he wrote the love song for Jon and Dany backwards, doing the large sweeping song of their love scene and then going backwards and doing the softer tones of them just bonding. But then, to find out that he'd written this other song, this "Stay A Thousand Years" based off Dany's line in the first episode of the final season to represent their love for one another and how epic it COULD HAVE BEEN. They were the point.

I'll bring you back to my brother's point he makes all the time: if Jon's purpose for being brought back wasn't to kill the Night King, then what was the point? There are scenes shot with Emilia where she is clearly wearing a baby bump tummy. Perhaps the true plan, what should have happened, was Dany being pregnant by Jon (otherwise why have Tyrion bring it up in Season 7 and then Jon basically "Hold my beer" to her if that wasn't going to be the point?). But you know what you probably couldn't do and get away with it, just have everyone kind of go along with it? Have Jon kill a pregnant Daenerys. You think people complained about Jon killing Dany now? There is no way they could have done that which means their ending of turning Dany mad and Jon having to put her down like a rabid dog wouldn't have worked. And what wouldn't it have worked? Because like the ending we got, it made no sense. Honestly, the worst thing that ever happened to Daenerys is actually meeting and listening to Tyrion. Her life went to shit after that happened.

[bathroomtrapped]

What are the basic differences between saws original script and the outcome? Why did they not play those scenes?

theres a lot of superficial changes, like their ages and adams last name being denlon. honestly still not sure where faulkner-stanheight got confirmed as his last name!

a lot of the things that were cut had to do with adams character and im not entirely sure why it was cut. his reason for being there was because he was suicidal. jigsaw said something along the lines of "everyday youve wanted to die". he wanted to go to vet school and had an interaction with some cat in his apartment. theres a scene where his mother calls, saying his father isnt mad and that he should call them. he writes on a sticky note "call mom" then adds a "?"

he has an interaction with a shitty neighbor, begs god to become a better person

theres probably a few small details about him im forgetting bc its been a while since ive reread the screenplay but the common theme is that the saw movie cut out a MASSIVE amount of context for adams character.

im not entirely sure why, i think some scenes might have to do with cutting down on time (the cat scene would probably get cut for time before filming once they actually start working on the project) vs something that was cut to make the story tighter and change adams role in the story.

he tells lawrence that basically, be hid the photo because he "didnt know what he would do". aka he was scared that itd motivate lawrence to kill him more. not sure why this is cut because some people clearly did not pick up on that lol

basically everything we know about adam is only known to us because it has something to do with lawrence. we know it because lawrence needs to. its unfortunately bc i like adam enough to want to know more but it serves the story better. hes the audience. we know what we know bc adam knows it or learns it. hes the one behind the camera. hes a voyeur. hes literally nothing. he died forgotten by basically everyone and hes just BARELY there in the narrative bc hes just... nothing.

at the end of the day, he was just a pawn. hes not important to anyone but lawrence because this is his story. this is his test and were just the people chained up and forced to watch it play out. i imagine his backstory and personal information was cut for this reason.

during the editing process, there were scenes cut. i know the trap was supposed to be more elaborate originally. i think the cat scene was cut out to save time and the mom scene/motivation/history was cut to firmly center the narrative on lawrence

one change that fucking BAFFLES me is that at the end during the love scene, adam originally asks lawrence "am i going to be okay?". in the film its "are WE going to be okay?" umm im honestly not quite sure what series of thoughts propelled them to make such a gay film by accident, call the end the LOVE SCENE publicly, and then proceed to be shocked when people call them on it? leigh was shocked to see chainshipping fics back during the ff.net days (fun fact: the first ever chainshipping fanfic was published on ffnet called rebirth. its still up)

my best guess is that leigh wanted to push their "relationship" (whatever they think that is) further for more emotional pay off. most of the changes seem to pull their themes tighter. it ends up working in its favor. adam is lawrences test and his moral core or whatever, so they have a pretty instant connection. it was probably done to make lawrence suffer more! or maybe make it gayer and leigh is just doing a bit

theres also the lampshade song lol. some dumb shit leigh made up and cary refused to do, so they changed it to the weird little piggy thing instead. MINOR minor improvement

certain words were changed because cary just kinda... rolled with it. he adjusted the script a few times bc he rly liked lawrence for some reason. he still does. leigh just accepted it and let him do his thing

amanda was also amanda denlon in the screenplay im pretty sure

tapp was dunked on by john as he assassins creed-ed him in the throat for being a 40 YEAR OLD VIRGIN! absolutely insane

the way adam finds out lawrence is a doctor is different, he talks about possibly being injected with rohypnol LOL

the heart was actually a clue leading to the word toilet written over his heart, under his shirt. the blood heart wasnt in the script LOL. i imagine cary didnt want to have toilet written on his bare chest for the film? a shame

theres more interactions with tapp, sing, lawrence, and brett (his lawyer) im assuming its what happened before they asked lawrence to sit and watch amandas testimony. they say his fingerprints were found at the scene, not a pen. i think either way its interesting because. wow! lawrences prints are in the system which means he has a record. the implications are kinda funny, it makes how baffled he is that tapp dare accuse him of such a thing! even more ironic. now we know that mark was involved in the police and planted the pen, so he probably just out his prints into the system as well

amanda works at lawrences hospital. not sure why this is cut? possibly bc shawnee was begged to join bc james had a big crush on her and she didnt even want to originally. she might notve wanted to do multiple scenes or something at the time before she decided on returning as amanda (for whatever reason, im not quite sure why she became so attached to the series after not joining as enthusiastically as cary did after watching the 2003 short)

amandas reason is also different. i think jigsaw literally hated depressed ppl so much in the script bc she was there for therapy or something LOL. not drugs. prob just cut to improve it

thats all i got. theres a lot of changes for logics sake related to the trap, wording changes for flow (im assuming), time constraints, and to streamline the themes and center it on lawrence

[yourbodymyarchive]

Jon Sims Spotify Playlist Explained

I was gonna make this post regardless of whether anyone even remotely interacted with prev. post but two (count 'em, 2) people said I should, so I am.

I'm explaining some (not all, there's too many songs for that) of my song choices for my Jon Sims music playlist that is focused on his narrative. This is gonna be long.

Let's start with the first song on the playlist, marking the beginning of Season 1 (I sectioned it into seasons, by the way.)

Season 1:

Swan Lake, Op. 20 Act 1: Introduction - No.1, Scene.Allegro giusto (A.K.A The Swan Lake introduction song).

I think that Jon's narrative and the Black Swan narrative are extremely similar. For those who haven't seen the movie Black Swan, the story is about a young woman, Nina, who becomes obsessed with perfecting the duality of portraying the White Swan and the Black Swan. She essentially destroys herself in pursuit of her darker side, a side that was brought out by her dance director. I think if you put Jon Sims in this situation, he would act the same as her. Both individuals are desperate to be seen as competent and perfect and there is something to be said about transformation and the pain of transforming yourself into a being that can no longer revert back to purity. There is only black, but there is also perfection.

Spellbound - Siouxsie and the Banshees

The lyrics, the goddamn lyrics. Just the entirety of the archives, they are all caught in the spell, the web of games, and the dance. They have to dance along or else they'll get hurt. I also think Siouxsie songs have a very TMA-esque sound to them in general, in that these songs could fit in my film adaptation of TMA (the one I'm making in my mind constantly).

Season 2:

Let It Happen - Tame Impala

Like I said, my mind has been conjuring up a TMA film adaptation since I first started listening and this song would definitely play in a scene with all the avatars speaking "let it happen" to Jon. I also love how the song talks about something trying to get out of the narrator's body, something that they can't fight against much longer, because it's closer and closer and it will get out. Jon Sims, as the closest thing to an important person, could be said to be the capsule for the Eye. And all of the other avatars know this, because they're the same, but Jon refuses to let it happen. He can't give up. He doesn't want to give in. Eventually, he does, but his struggle to maintain humanity causes him pain and suffering and a coma. Should've just let it happen, bud.

Boys Don't Cry - The Cure

Literally the most S2 Jon song. The narrator says he's gone too far, he's laughing at the hysterics, he's at a cliff's edge of emotions, and he wants other's forgiveness but it's far too late and he knows it's all gone to shit. Jon, at the height of his paranoia, knew it was wrong to stalk and interrogate and suspect nearly every single one of his friends, but forgiveness was never in the cards anyway, he knew that. He just needed to know he wasn't gonna fucking die. His friends and their emotions came second, and that's what tore them apart.

Season 3:

Your Body, My Temple - Will Wood (For Camp Here & There)

Not really a Jon song, so much as it is about Jon from Elias's POV. The song features a narrator who is viewing the object of their affection with religious fervor. They speak about how they'd die at the object's hands if only to have their name on their final breath. The main line as well, "your body, my temple," highlights how the narrator views the object as a holy spectacle, assigning divinity to them, even when it is not wanted. Elias certainly assigned godhood to Jon and his expression of love and admiration bordered on worship, or, arguably, was worship. After all, Jon was the harbinger of the new world. The man who brought in fear in all its glory and gave Elias his throne. Worthy of worship? I think so.

Cat People (Putting Out Fire) - David Bowie

S3 Jon was a man putting out fire with gasoline, no question about it. He went forward and met various dangerous avatars just for the chance at learning more and more about the new world he was wrapped up in. Some of these lyrics also scream Jon Sims. For example, "See these eyes so green / I can stare for a thousand years / Just be still with me / You wouldn't believe what I've been through." The narrator, additionally, sees himself as a monster of sorts, the kind that people look away from. There is a passion so fiery in his eyes that it makes them look red, and then people close the blinds on him. S3 was the season where Jon was just beginning to understand his abilities, and the people surrounding him hated them. It made him other. It made him something to be feared.

Season 4:

Chin Music For The Unsuspecting Hero - Foster The People

The opening lyrics to this are literally the most S4 Jon Sims lyrics I've ever heard in my entire miserable life. "Today I walked through the door and fell down on my floor / Got all of my papers out and read them." Which is then followed by the chorus, with another round of Jon lyrics: "Where are my friends now? / They're not around when I need them / I cannot pretend / Yeah, I find myself against all the odds again." The narrator follows up the first chorus with lyrics talking about how they have to wake up and go to work, get screamed at, go home to sleep, and scream at their god that they're doing what they can. This is just so S4 Jon moving through the motions like a ghost, wondering where his friends have gone, the people he could trust. They are all gone. He'll never see them again. He's all alone. Basira sees him as a weapon, Melanie is far too angry to be polite to anyone anymore, Daisy is a shell of herself, Tim is dead, Sasha is dead, and Martin might as well be dead. Tragic!

All I Think About Now - Pixies

Like the one above, but a bit less sad. Not really. This song is all about staying stuck in the past and wondering if going back to the beginning would allow the narrator to find another way. Reminiscing on the happier times, lamenting on how happiness is nonexistent now. Trying to thank the people from the past. Once again: tragic!

Season 5:

I start off S5 with a different season break song. The playlist is sectioned off with a different Swan Lake song. S5 starts with:

Starman - David Bowie

I've always imagined this as the outro song for 160. There is a starman (Eye) waiting in the sky and he would really love to meet Jon. This world is theirs now. They don't want it to end, not really. It's too beautiful.

Komm, Susser Tod - Arianne (For Neon Genesis Evangelion: The End of Evangelion)

Now. This is one of the most Jon Sims songs ever. The narrator is crushed to see that their actions have let so many people down, but they know that by killing themselves, or leaving forever, their world might turn out better. Of course, this isn't true. The world is ending either way. Regardless, they wish to go back in time and fix things, trust again, love again. Very MAG200. The world is tumbling down, returning to nothing, and the narrator believes it's all their fault. Their love is worth nothing. They have nothing in the world. Except, maybe, Jon had his own love that mattered most. It helped. A bit.

Gilded Lily - Cults

This is one of the last few songs and it hit me so hard the first time I heard it, honestly. The narrator knows it was, in some way, their fault for not seeing things as clearly as they should've. The chorus repeating "Haven't I given enough?" remains as one of my top Jon lyrics. He gave so much to stop these powers from spreading, from infecting other worlds with their fear and destruction. No one person should have to do that. He was young, really, in the grand scheme of things. There was no instruction manual.

There's also a line here that is very JonMartin: "Always the fool with the slowest heart / But I know you'll take me with you / We'll live in spaces between walls." I really do truly hope the narrative was kind to them and they're living somewhere else, living in spaces between walls.

Well. That's the end of that. I included the ending of Swan Lake as the final song to the playlist, because I am crazy about the parallels. Playlist attached now. Thank you if you've read this far. I ramble. I hope you liked the ramble.

[onewomancitadel]

Sorry this is going to be somewhat of an inflammatory post (really saying something) but I really don't think that Jaune/Pyrrha or Ruby/Penny or any other marked loss in the story is literally Ozlem in the sense it's a romance. If they were actually textual endgame true love forever romances, that is the way I think Ozlem is, then it would be really sad and not Ozlem actually redeemed which is the whole point.

I don't think this is a story where you lose your true love and just have to move on, and I think true love exists in the story. It's idealistic, fairytales are real (and all the struggles related therein), relationships are not based on the vagaries of real life, it's a heightened story. I think what they want to do is explore pain and loss but it's done so in a still yet heightened way (like, no one in real life is going to age several decades waiting for his friends to come back) and in a way that leaves room for redemption.

If the answer were just Jaune moves on, say, from his initial romance, then that effectively implies it's what Salem should have done (just move on) which sets up the wrong resolution where I'm otherwise expecting Salem and Ozma to meet and reconcile again. This is high-stakes romance, the injustice is that Ozma's been tasked to fight her.

I historically fucking hated encountering posts from people like 'oh Jaune can just move on, he can be with [insert arbitrary female character here]' under the guise of mature commentary; I unironically prefer Jaune/Pyrrha being actual textual endgame romance suffering-forever type business if they had done that because it would've been more idealistic and interesting. If that makes people uncomfortable so be it, but I really hate the idea that romantic love in storytelling is just kind of a cursory experience and not important. It's the exact same ideology that justifies weaksauce romances in action films with female characters as narrative boon. It can't be arbitrary because it's storytelling.

There has to be some reason to build these ideas up in a particular fashion, and when it comes to Ozlem in particular, there's nothing really powerful about Jaune/Cinder as redeemed Ozlem if he already had an Ozlem romance, because then you're basically making Cinder the goldfish replacement. I wouldn't be happy about that as a Knightfall shipper or if I were a Jaune/Pyrrha shipper.

And I mean, for the people who want to do the song and dance that platonic connections matter too - yes, I agree - which is exactly what still manages to make the connections with Pyrrha and Penny (and the rest of them) powerful whilst leaving room for romantic redemption. The problem is that 'different' is interpreted to mean 'better', and just because romantic love realises different things in a story doesn't mean it's 'superior'; it is superior for what it's good at. If we're speaking textually, basically everything I have said here does support that.

I guess this really circles back around to a type of narrative cynicism (and a cynicism about romantic love) which proliferates online, and of course fanon which dominates the conversation. I know I could still be proven wrong, and I don't have a problem with that, but I do bemoan the opportunity for something more interesting to be explored. The idea that Ozlem can't just be solved by Salem going to a self-help course is far more interesting to me, but then we're starting to talk about what the point of storytelling is.

[gay-jesus-probably]

So one of my christmas gifts was a book called The Worst Journey in the World by Apsley Cherry-Garrard, and so far I’m very much enjoying it. It was written by one of the survivors of the Terra Nova Antarctica expedition, and basically describes the whole expedition, the various side missions that survived, and the tragedy of Scott’s attempt at the South Pole.

What I’m enjoying most is that this was published back in 1922, and apparently a lot less fucks were given about focusing on the narrative and telling a coherent story, because my man Cherry-Garrard is all over the place, and the ship hasn’t even made land in Antarctica yet. There’s been multiple descriptions of the daily post-dinner sing-a-longs, and the spontaneous ones that tended to just happen whenever things got bad. Their main method of coping with stress was to just start singing ridiculous songs at the top of their lungs. Almost all of them were completely tone deaf. Anyone who refused to contribute to the daily singing had to either make up a limerick or add money to the group wine fund.

Several paragraphs were dedicated to describing the ships cat in loving detail, and how they made him his own little hammock and used up fair amount of their camera film just taking pictures of him. The cat’s name cannot be repeated on the grounds that it was 1910, the cat had completely black fur, and you can probably see where this is going. One crewmember jumped into the ocean to pull the kitty out after he fell in.

The book also keeps getting derailed by Cherry-Garrard getting distracted rambling about how god damn delightful penguins are. This man loves them, it’s the sweetest thing. He interrupted his own introduction to ask me to go read a different book about adelie penguins, admitted that it had literally nothing to do with his story and wouldn’t be at all relevant, but insisted I had to do it because it would be the most delightful hour of my life. The adelie penguins liked to follow their ship, because they’d never seen boats or people before and wanted to make new friends. The adelie’s assumed that barking and howling was a friendly greeting, so they kept trying to make friends with the expeditions dogs. They were outraged every time someone stopped them from walking directly into the dogs, who really wanted to eat the penguins.

...Granted, his love of adelie penguins may come from the fact that Cherry-Garrard was one of the members of the very unfortunate winter expedition, who were sent on a journey across Antarctica in the dead of winter to find the emperor penguin breeding grounds and get their hands on some eggs in the early stages of development, which the author considered to be the titular worst journey in the world. And he continued to hold that stance after being drafted into WW1 and wounded badly enough that it took him years to recover. Also they’d been commissioned to get the emperor penguin eggs for scientists to study, based on a then popular theory that studying embryo’s in early stages of development would show how they’d evolved, so at the time getting those eggs was considered extremely important for better understanding the species. By the time they returned to England, the theory had been disproved and the eggs they nearly died for were considered worthless. So bearing all that in mind, I kinda understand why Apsley Cherry-Garrard has a bit of a love-hate relationship with emperor penguins, and is much more fond of the silly little adelie’s that hang out with the crew and aren’t responsible for him being made to trek across Antarctica in the dead of winter.

Oh also, penguins aside, apparently on the voyage out the only assigned positions on the Terra Nova was just having a watch schedule. Literally everything else was volunteer work; when something needed doing, someone would yell that it had to happen, and whoever was closest/capable would jump on it. Apparently this was really good for morale, because this meant the whole crew took turns doing the worst jobs, regardless of rank. You gotta respect a British ship in 1910 that had the officers voluntarily manning the bilge pumps, bailing out water in storms, and shovelling coal right with everyone else. Also somewhat unrelated but every description of the ship sounds like an absolute clusterfuck. Their petrol supply was somehow constantly being washed overboard and people had to jump into the goddamn ocean to get it back every time. The youngest members of the crew all bunked together, and everyone referred to their cabin as the nursery. Cherry-Garrard’s description of his morning routine on the ship included an offhanded mention of bringing breakfast up to the guy that sleeps under the chart table on the bridge. Half the crew kept their clothes dumped out on their beds at all times, because the ship was so heavily loaded with equipment and supplies they ran out of space to store their own clothing. They still made enough room to bring a self-playing piano.

There’s just so much going on here, and I love it.

[magentaink18]

Although there are a lot of unnecessary sub plots in the redux version of Apocalypse Now, the anti-war message is much stronger (kinda because there’s more instances of needless destruction and displays of America being shitty) but I guess it is also diluted with the goofy sub-plots so it balances out anyways.

Also Chef has unspoken rizz. Man managed to pull a playboy bunny despite completely ignoring her interesting infodump about birds. Well I guess he didn’t “pull” her per se, but they seemed to get along well, like she was being genuine or at least came across that way because if she was putting on any kinda act, we wouldn’t have had the bird monologue but idk man I guess you need to talk about your interests when you can when you’re working for an enterprise that is in place to oppress and dehumanise you. I love bird lady more than anything but Hugh Hefner can eat shit.

This film’s fatal flaw is its overindulgence but the self awareness does take the edge off ,, like the narrative, characterization and general composition is amazingly produced and entertaining while still clearly communicating a serious message. I think the main critique of glorification is often misinterpreted irony. Like many aspects are so hyperbolic (nonetheless accurate to the actual Vietnam War) that they’re meant to appear ridiculous and uncomfortable in order to convey the corruption of the US military

Also funny surfer man go brrrr

Song - Let’s Go Trippin’ (Dick Dale)

I literally never make edits of characters and then the one that my brain decided to make one that ignores the importance of the central message of the film it’s from .

I suppose there’s always the argument that the main cast of characters were drafted against their will and are just trying to get through it. Of course that doesn’t justify everything they do. I’d say the character who makes the least effort to participate is Chef bc he never fires a gun at anyone (apart from the tiger because the poor fella’s terrified). But what I’m saying is that the main characters aren’t into war or particularly patriotic and it doesn’t fully align with their beliefs much at all - they’re just tryna get through it - unlike , say , Kilgore. They are characterised in unique ways in which any pRiDe fOr tHeiR cOunTrY (used to justify corruption) they may have isn’t explicitly there or at the centre of the way they’re characterised.

Me when idiot surfer man who does nothing but fuck up at the expense of other people

Sorry guys my neuros are divergent I need to have a balance of fun and silliness with analysis and critical evaluation when watching this film for the 100th time

They also made Willard way sillier and goofier. I love to see the poor jaded and traumatised lad actually have a little bit of fun. A few giggles for a treat. Just a little bit of clownery to balance out the edginess.

Respectfully, there’s also a significant increase in boobs in the redux version, immediately making it better than the Final Cut /hj

Also also they gave Clean a proper burial and sendoff,,,

Sure, the Final Cut is better in terms of what constitutes a good film but the redux version fucks if you liked the Final Cut for its narrative and characters aside from its more filmic aspects. Not to say there aren’t some elements of cinematography that were left out the Final Cut that go hard as fuck. Like the transition from Roxanne behind the curtain to Willard back on the boat in the mist ,,,, mmmmmmmmmmm

It also ties up a few small minor loose ends and clarifies on a few details

Willard’s from Ohio? *insert Ohio joke here idk man I’m British*

Maybe I’m psychoanalysing Chief too much rn but out of all the characters, the way in which they’re presented, he’s the most likely to have started off as the most patriotic. However, his whole thing is following orders and ensuring order and professionalism is retained so maybe he could just be a fan of those things and not inherently having his motives be that he’s abiding to the rules because he loves his country, but abiding to the rules because he loves rules. Whatever patriotism he may or may not have had is destroyed over the course of the film and meets its definitive end with the death and burial (as seen in the redux version) of Clean. The scene where he folds up the tattered US flag that was previously on the boat and hands it to Willard. Or at least that’s my interpretation since he still made that whole announcement when handing it to him but it just felt as if he was reciting empty lines if anything but idk but he’s an interesting character either way. But damn that scene goes hard and it was good to see Clean get the sendoff he was entitled to instead of his body just disappearing without an explanation :’]

[path-of-my-childhood]

The Story Behind Every Song on folklore - According to Aaron Dessner

By: Brady Gerber for Vulture Date: July 27th 2020

The National multi-instrumentalist spoke to Vulture over the phone from upstate New York a few hours after the surprise release of Swift’s eighth studio album. (“A pretty wild ride,” he admits, sounding tired yet happy.) He was clear that he can’t speak on behalf of Swift’s lyrics, much like he can’t for The National frontman Matt Berninger’s either, or the thinking behind Jack Antonoff’s songs. (Here’s a cheat sheet: Jack’s songs soar, Aaron’s glide.) But Dessner was game to speak to his specific contributions, influences, and own interpretations of each song on folklore, a record you can sum up by two words that came up often during our conversation: nostalgic and wry.

“the 1″

“the 1” and “hoax,” the first song and the last song, were the last songs we did. The album was sort of finished before that. We thought it was complete, but Taylor then went back into the folder of ideas that I had shared. I think in a way, she didn’t realize she was writing for this album or a future something. She wrote “the 1,” and then she wrote “hoax” a couple of hours later and sent them in the middle of the night. When I woke up in the morning, I wrote her before she woke up in LA and said, “These have to be on the record.” She woke up and said, “I agree” [laughs] These are the bookends, you know?

It’s clear that “the 1” is not written from her perspective. It’s written from another friend’s perspective. There’s an emotional wryness and rawness, while also to this kind of wink in her eyes. There’s a little bit of her sense of humor in there, in addition to this kind of sadness that exists both underneath and on the surface. I enjoy that about her writing.

The song began from the voice memo she sent me, and then I worked on the music some and we tracked her vocals, and then my brother added orchestration. There are a few other little bits, but basically that was one of the very last things we did.

“cardigan“

That’s the first song we wrote [in early May]. After Taylor asked if I would be interested in writing with her remotely and working on songs, I said, “Are you interested in a certain kind of sound?” She said, “I’m just interested in what you do and what you’re up to. Just send anything, literally anything, it could be the weirdest thing you’ve ever done,” so I sent a folder of stuff I had done that I was really excited about recently. “cardigan” was one of those sketches; it was originally called “Maple.” It was basically exactly what it is on the record, except we added orchestration later that my brother wrote.

I sent [the file] at 9 p.m., and around 2 a.m. or something, there was “cardigan,” fully written. That’s when I realized something crazy was happening. She just dialed directly into the heart of the music and wrote an incredible song and fully conceived of it and then kept going. It harkens back to lessons learned, or experiences in your youth, in a really beautiful way and this sense of longing and sadness, but ultimately, it’s cathartic. I thought it was a perfect match for the music, and how her voice feels. It was kind of a guide. It had these lower register parts, and I think we both realized that this was a bit of a lightning rod for a lot of the rest of the record.

The National’s Influence On Swift

She said that she’s a fan of the emotion that’s conveyed in our music. She doesn’t often get to work with music that is so raw and emotional, or melodic and emotional, at the same time. When I sent her the folder, that was one of the main feelings. She said, “What the fuck? How do you just have that?” [laughs] I was humbled and honored because she just said, “It’s a gift, and I want to write to all of this.” She didn’t write to all of it, but a lot of it, and relatively quickly.

She is a fan of the band, and she’s a fan of Big Red Machine. She’s well aware of the sentiment of it and what I do, but she didn’t ask for a certain kind of thing. I know that the film [I Am Easy To Find] has really affected her, and she’s very much in love with that film and the record. Maybe it’s subconsciously been an influence.

“the last great american dynasty”

I wrote that after we’d been working for a while. It was an attempt to write something attractive, more uptempo and kind of pushing. I also was interested in this almost In Rainbows-style latticework of electric guitars. They come in and sort of pull you along, kind of reminiscent of Big Red Machine. It was very much in this sound world that I’ve been playing around with, and she immediately clicked with that. Initially I was imagining these dreamlike distant electric guitars and electronics but with an element of folk. There’s a lot going on in that sense. I sent it before I went on a run, and when I got back from the run, that song was there [laughs].

She told me the story behind it, which sort of recounts the narrative of Rebekah Harkness, whom people actually called Betty. She was married to the heir of Standard Oil fortune, married into the Harkness family, and they bought this house in Rhode Island up on a cliff. It’s kind of the story of this woman and the outrageous parties she threw. She was infamous for not fitting in, entirely, in society; that story, at the end, becomes personal. Eventually, Taylor bought that house. I think that is symptomatic of folklore, this type of narrative song. We didn’t do very much to that either.

“exile” (ft. Bon Iver)

Taylor and William Bowery, the singer-songwriter, wrote that song initially together and sent it to me as a sort of a rough demo where Taylor was singing both the male and female parts. It’s supposed to be a dialogue between two lovers. I interpreted that and built the song, played the piano, and built around that template. We recorded Taylor’s vocals with her singing her parts but also the male parts.

We talked a lot about who she thought would be perfect to sing, and we kept coming back to Justin [Vernon]. Obviously, he’s a dear friend of mine and collaborator. I said, “Well, if he’s inspired by the song, he’ll do it, and if not, he won’t.” I sent it to him and said, “No pressure at all, literally no pressure, but how do you feel about this?” He said, “Wow.” He wrote some parts into it also, and we went back and forth a little bit, but it felt like an incredibly natural and safe collaboration between friends. It didn’t feel like getting a guest star or whatever. It was just like, well, we’re working on something, and obviously he’s crazy talented, but it just felt right. I think they both put so much raw emotion into it. It’s like a surface bubbling. It’s believable, you know? You believe that they’re having this intense dialogue.

With other people I had to be secretive, but with Justin, because he was going to sing, I actually did send him a version of the song with her vocals and told him what I was up to. He was like, “Whoa! Awesome!” But he’s been involved in so many big collaborative things that he wasn’t interested in it from that point of view. It’s more because he loved the song and he thought he could do something with it that would add something.

“my tears ricochet”

This is one of my absolute favorite songs on the record. I think it’s a brilliant composition, and Taylor’s words, the way her voice sounds and how this song feels, are, to me, one of the critical pieces. It’s lodged in my brain. That’s also very important to Taylor and Jack. It’s like a beacon for this record.

“mirrorball”

“mirrorball” is, to me, a hazy sort of beautiful. It almost reminds me of ‘90s-era Cardigans, or something like Mazzy Star. It has this kind of glow and haze. It feels really good before “seven,” which becomes very wistful and nostalgic. There are just such iconic images in the lyrics [“Spinning in my highest heels”], which aren’t coming to me at the moment because my brain is not working [laughs].

How Jack Antonoff’s Folklore Songs Differ From Dessner’s

I think we have different styles, and we weren’t making them together or in the same room. We both could probably come closer together in a sense that weirdly works. It’s like an archipelago, and each song is an island, but it’s all related. Taylor obviously binds it all together. And I think Jack, if he was working with orchestrations, there’s an emotional quality to his songs that’s clearly in the same world as mine.

We actually didn’t have a moodboard for the album at all. I don’t think that way. I don’t really know if she does either. I don’t think Jack... well, Jack might, but when I say the Cardigans or Mazzy Star, those aren’t Jack’s words about “mirrorball,” it’s just what calls to mind for me. Mainly she talked about emotion and to lean into it, the nostalgia and wistfulness, and the kind of raw, meditative emotion that I often kind of inhabit that I think felt very much where her heart was. We didn’t shy away from that.

“seven”

This is the second song we wrote. It’s kind of looking back at childhood and those childhood feelings, recounting memories and memorializing them. It’s this beautiful folk song. It has one of the most important lines on the record: “And just like a folk song, our love will be passed on.” That’s what this album is doing. It’s passing down. It’s memorializing love, childhood, and memories. It’s a folkloric way of processing.

“august”

This is maybe the closest thing to a pop song. It gets loud. It has this shimmering summer haze to it. It’s kind of like coming out of “seven” where you have this image of her in the swing and she’s seven years old, and then in “august” I think it feels like fast-forwarding to now. That’s an interesting contrast. I think it’s just a breezy, sort of intoxicating feeling.

“this is me trying”

“this is me trying,” to me, relates to the entire album. Maybe I’m reading into it too much from my own perspective, but [I think of] the whole album as an exercise and working through these stories, whether personal or old through someone else’s perspective. It’s connecting a lot of things. But I love the feeling in it and the production that Jack did. It has this lazy swagger.

“illicit affairs”

This feels like one of the real folk songs on the record, a sharp-witted narrative folk song. It just shows her versatility and her power as a songwriter, the sharpness of her writing. It’s a great song.

“invisible string”

That was another one where it was music that I’d been playing for a couple of months and sort of humming along to her. It felt like one of the songs that pulls you along. Just playing it on one guitar, it has this emotional locomotion in it, a meditative finger-picking pattern that I really gravitate to. It’s played on this rubber bridge that my friend put on [the guitar] and it deadens the strings so that it sounds old. The core of it sounds like a folk song.

It’s also kind of a sneaky pop song, because of the beat that comes in. She knew that there was something coming because she said, “You know, I love this and I’m hearing something already.” And then she said, “This will change the story,” this beautiful and direct kind of recounting of a relationship in its origin.

“mad woman”

That might be the most scathing song on folklore. It has a darkness that I think is cathartic, sort of witch-hunting and gaslighting and maybe bullying. Sometimes you become the person people try to pin you into a corner to be, which is not really fair. But again, don’t quote me on that [laughs], I just have my own interpretation. It’s one of the biggest releases on the album to me. It has this very sharp tone to it, but sort of in gothic folklore. It’s this record’s goth song.

“epiphany”

For “epiphany,” she did have this idea of a beautiful drone, or a very cinematic sort of widescreen song, where it’s not a lot of accents but more like a sea to bathe in. A stillness, in a sense. I first made this crazy drone which starts the song, and it’s there the whole time. It’s lots of different instruments played and then slowed down and reversed. It created this giant stack of harmony, which is so giant that it was kind of hard to manage, sonically, but it was very beautiful to get lost in. And then I played the piano to it, and it almost felt classical or something, those suspended chords.

I think she just heard it, and instantly, this song came to her, which is really an important one. It’s partially the story of her grandfather, who was a soldier, and partially then a story about a nurse in modern times. I don’t know if this is how she did it, but to me, it’s like a nurse, doctor, or medical professional, where med school doesn’t fully prepare you for seeing someone pass away or just the difficult emotional things that you’ll encounter in your job. In the past, heroes were just soldiers. Now they’re also medical professionals. To me, that’s the underlying mission of the song. There are some things that you see that are hard to talk about. You can’t talk about it. You just bear witness to them. But there’s something else incredibly soothing and comforting about this song. To me, it’s this Icelandic kind of feel, almost classical. My brother did really beautiful orchestration of it.

“betty”

This one Taylor and William wrote, and then both Jack and I worked on it. We all kind of passed it around. This is the one where Taylor wanted a reference. She wanted it to have an early Bob Dylan, sort of a Freewheelin’ Bob Dylan feel. We pushed it a little more towards John Wesley Harding, since it has some drums. It’s this epic narrative folk song where it tells us a long story and connects back to “cardigan.” It starts to connect dots and I think it’s a beautifully written folk song.

Is ‘betty” queer canon? I can’t speak to what it’s about. I have my own ideas. I also know where Taylor’s heart is, and I think that’s great anytime a song takes on greater meaning for anyone.

Is William Bowery secretly Joe Alwyn? I don’t know. We’re close, but she won’t tell me that. I think it’s actually someone else, but it’s good to have some mysteries.

“peace”

I wrote this, and Justin provided the pulse. We trade ideas all the time and he made a folder, and there was a pulse in there that I wrote these basslines to. In the other parts of the composition, I did it to Justin’s pulse. Taylor heard this sketch and she wrote the song. It reminds me of Joni Mitchell, in a way - there’s this really powerful and emotional love song, even the impressionistic, almost jazz-like bridge, and she weaves it perfectly together. This is one of my favorites, for sure. But the truth is that the music, that way of playing with harmonized basslines, is something that probably comes a little bit from me being inspired by how Justin does that sometimes. There’s probably a connection there. We didn’t talk too much about it [laughs].

“hoax”

This is a big departure. I think she said to me, “Don’t try to give it any other space other than what feels natural to you.” If you leave me in a room with a piano, I might play something like this. I take a lot of comfort in this. I think I imagined her playing this and singing it. After writing all these songs, this one felt the most emotional and, in a way, the rawest. It is one of my favorites. There’s sadness, but it’s a kind of hopeful sadness. It’s a recognition that you take on the burden of your partners, your loved ones, and their ups and downs. That’s both “peace” and “hoax” to me. That’s part of how I feel about those songs because I think that’s life. There’s a reality, the gravity or an understanding of the human condition.

Does Taylor Explain Her Lyrics?

She would always talk about it. The narrative is essential, and kind of what it’s all about. We’d always talk about that upfront and saying that would guide me with the music. But again, she is operating at many levels where there are connections between all of these songs, or many of them are interrelated in the characters that reappear. There are threads. I think that sometimes she would point it out entirely, but I would start to see these patterns. It’s cool when you see someone’s mind working.

“the lakes”

That’s a Jack song. It’s a beautiful kind of garden, or like you’re lost in a beautiful garden. There’s a kind of Greek poetry to it. Tragic poetry, I guess.

The Meaning Of Folklore

We didn’t talk about it at first. It was only after writing six or seven songs, basically when I thought my writing was done, when we got on the phone and said, “OK, I think we’re making an album. I have these six other ideas that I love with Jack [Antonoff] that we’ve already done, and I think what we’ve done fits really well with them.” It’s sort of these narratives, these folkloric songs, with characters that interweave and are written from different perspectives. She had a vision, and it was connecting back in some way to the folk tradition, but obviously not entirely sonically. It’s more about the narrative aspect of it.

I think it’s this sort of nostalgia and wistfulness that is in a lot of the songs. A lot of them have this kind of longing for looking back on things that have happened in your life, in your friend’s life, or another loved one’s life, and the kind of storytelling around that. That was clear to her. But then we kept going, and more and more songs happened.

It was a very organic process where [meaning] wasn’t something that we really discussed. It just kind of would happen where she would dive back into the folder and find other things that were inspiring. Or she and William Bowery would write “exile,” and then that happened. There were different stages of the process.

Okay, but is it A24-core? [Laughs.] Good comparison. 

[dreaminterlude]

Hello! Feel free to ignore this if you're tired of speaking about the MV, but I was wondering if it's okay for KPop groups to be using the 1001 nights stories as aesthetic inspiration for their MVs, like, isn't that what people find offensive? Using the culture as just an aesthetic? I know the stories aren't Islamic, so I'm speaking from a cultural view.

“long ago, during the time of the sassanid dynasty, in the peninsula of india and china were two kings who were brothers.”

this is the opening frame tale of shahrazad and shahriyar, the two main characters in a thousand and one nights. shahriyar is said to be the king of india and china. (x)

during the planning of the remake of aladdin, people were having conversations on who aladdin “belongs” to and who should be cast for the role: someone not only from the middle east per se but specifically from the levant (lebanon, syria, jordan, palestine) (so not even iraq or egypt like mena massoud who was eventually cast for the role), south asian, or chinese. because there is actually a history of aladdin, the character, being “chinese,” because in the original story in a thousand and one nights, aladdin takes place in china.

these are depictions of arabian nights. on the left, aladdin is on his way to the sultan’s palace. on the right, aladdin and the princess badr al-budur. (also from the same article, “who was the ‘real aladdin? from chinese to arab in 300 years”)

from “who ‘wrote aladdin? the forgotten syrian storyteller”:

The 1001 Nights has a pretty remarkable genealogy. Our oldest documentation of it is an Arabic papyrus from Egypt, reused as scrap with inscriptions dated 879 CE. There was an earlier Persian book called Hazār afsāna (A Thousand Stories) that did not survive. But key elements of the frame story of Shahriyar and Shahrazad were already common in Pali and Sanskrit texts from ancient India, while another Arabic book called One Hundred and One Nights has an alternate version also found in a third-century Chinese Buddhist text of the Tripiṭaka.

i mentioned in my previous ask that a thousand and one nights is one of the most prolific pieces of literature in the world. it is literally global literature that takes its shape from many transregional interpretations from all the way “west” in pre-islamic arabia and sassanian persia all the way east into the qing dynasty which had control over korea at a few points in its dynastic legacy.

my argument from the beginning of this conversation is that you cannot box these cultural narratives that literally bleed into each other and have such a rich history and genealogy, not in spite of, but because of the way orality functions in shaping these literary narratives. 

my point is that it’s hard to definitively put the brakes on 1001 nights and say that people outside of the middle east or south asia don’t have “claim” to the story. i’m not saying that kpop can appropriate it, but i think it depends on how it’s being done. this is very similar to the point i make on my post about the “appropriation” of bruce lee in the kick it music video, who is a global figure in many ways to many people for many reasons. nct could have gone all out and appropriated bruce lee and a lot of the chinese elements they incorporated, but they incorporated those elements in a nonspecific way. likewise, in the case of this mv, things are so nonspecific, which, in turn, has allowed so many different people to make claims on the aesthetics of the mv. the aesthetics are reminiscent as west as spain all the way “east.”

there is also an element of “camp” that is involved in both this mv and misfit, that my good friend iman brought up, and i think it’s a really important point to consider when you look at the way both were filmed and how the sets/outfits were configured. camp, according to iman, is meant to be a little over the top and a little playful, without being offensively done. think ostentatious, exaggerated, affected, theatrical and also playing with effeminate behavior (ie: think about that one scene where they’re playing with putting flowers in each other’s hair, which i just think is so interesting in this entire conversation)

the reason this music video is even more interesting is that it’s not only theatrical and playful, but it derives is theatrics and playfulness from the way 1001 nights is theatrical and playful in and of itself. if you read 1001 nights, you’ll understand what i’m talking about. there are many performances in the story itself that lends themselves to absurdity, even though there are very complex and serious elements embedded throughout. for example, the very concept of genies in that story (and in pre-islamic/sassanian folklore) is meant to represent trickery and michief, which is the whole reason nct go with the trope, not simply for aesthetic purposes, but for what these concepts symbolize and give meaning to the actual song itself, which is meant to be fun, absurd, mischievous, and alluring.

i appreciate that you’re not talking about an islamic perspective, but many people are conflating the two concepts (religion and culture) together, so it makes a difficult task to untangle and analyze this issue properly, so i think “islam” in this sense plays a really important conversation as far as “aesthetics” are concerned. so if i’m going to be honest, those who participate in projecting an image of nct sitting in a “mosque” or misappropriating what the story of a thousand and one nights means to them (as an exclusively middle eastern/arab story), then they are fetishizing/orientalizing what islam/1001 nights seems to THEM. those who are conflating the religion with the elements from 1001 nights, are pointblank essentializing their view of islam and the story as an exotic static aesthetic through a reductive analysis of men wearing black robes circling fire (some derogatorily and offensively equating it to islamic mysticism—they are literally using the word “mysticism” in a classic orientalist way and equating it to the fire scene that takes place in the mv. what the fuck lol), sitting on “eastern” rugs in a “mosque” in “prayer,” and being genies. if people choose to see “islam” or “middle eastern culture” through that imagery, that is their orientalist understanding of what islam and this “culture” is, not what it actually is, and in fact does the harm people think the mv is doing

[letterboxd]

Wigging Out.

Choreographer and director Jonathan Butterell tells Gemma Gracewood about stepping behind the camera for Everybody’s Talking About Jamie, his love for Sheffield, and making sure queer history is kept alive. Richard E. Grant weighs in on tolerance and Thatcher.

Of 2021’s many conundrums, one for musical lovers is why the narratively problematic Dear Evan Hansen gets a TIFF premiere and theatrical release this month, while the joyously awaited Everybody’s Talking About Jamie went straight to Amazon Prime.

And yet, as the show’s lyrics go, life keeps you guessing, along came a blessing. There’s something about the film streaming onto young people’s home screens, with its moments of fourth-wall breaking where Jamie speaks straight to the viewer, that feels so important, given the content: a gay teen whose drag-queen destiny sits at odds with the less ambitious expectations of his working-class town.

Director and choreographer Jonathan Butterell, who also helmed the stage production (itself inspired by Jenny Popplewell’s 2011 BBC documentary, Jamie: Drag Queen at 16) agrees that the worldwide Amazon release is a very good silver lining. “I made the film for the cinema but, in 250 territories across the world, this is going to have a reach that—don’t get me wrong, cinema, cinema, cinema, collective experience, collective experience, collective experience—but it will get to people that it might not have got to before.

Jonathan Butterell on set with star Max Harwood, as Jamie.

“It feels as niche a story as you could possibly be. But also for me, I wanted it to feel like a universal story, that it didn’t matter where on any spectrum you found yourself, you could understand a young person wanting to take their place in the world freely, openly and safely.”

Everybody’s Talking About Jamie, with screenplay and lyrics by Tom MacRae and songs by Dan Gillespie Sells, sits neatly among a series of very specific feel-good British films about the working class experience, such as Billy Elliot, Kinky Boots and Pride. The film adds some historical weight to the story with a new song, ‘This Was Me’, which allows Jamie’s mentor, Hugo (played by Richard E. Grant), to take us into England’s recent past—the dark days of the discriminatory Section 28 laws, at a time when the HIV/AIDS epidemic was still ravaging the community.

Hugo’s drag persona Loco Chanelle (played in the flashback by the stage musical’s original Jamie—John McCrea from Cruella and God’s Own Country), sports a wig that looks suspiciously like the Iron Lady’s unmistakable head of hair. Grant confirms that was Hugo’s intention. “His heyday was in the 1980s, so as a ‘fuck you’ to Mrs Thatcher, what better than to be dressed up like that, at six-foot-eight, with a wig that could bring down the Taj Mahal!”

Richard E. Grant as Hugo, getting to work on Jamie’s contours.

In light of the current pandemic, and the fact that the 1967 legalization of homosexuality in Britain is only “an historical blink away”, Grant’s hope is for more tolerance in the world. “Maybe Covid gives people some sense of what that was like, but with Covid there’s not the prejudice against you, whereas AIDS, for the most part in my understanding, was [seen as] a ‘gay disease’, and there were many people across the globe who thought that this was, you know, whatever god they believe in, was their way of punishing something that they thought was unacceptable.

“The message of this movie is of inclusivity, diversity, and more than ever, tolerance. My god, we could do with a dose of that right now.”

Read on for our Q&A with Jonathan Butterell about the filmic influences behind Everybody’s Talking About Jamie.

Hugo in a reverie, surrounded by his drag menagerie.

Can we talk about the new song, ‘This Was Me’, and the way you directed it in the film? It’s a show-stopper, with Richard E. Grant singing in that beautiful high register, and then moving into Holly Johnson’s singing, as you go back in time to show that deeply devastating and important history. Jonathan Butterell: It felt inevitable, the shift, and necessary. Myself, Dan Gillespie Sells, the composer, and Tom MacRae, the screenwriter, we created this piece together, the three of us, and it’s a film by the three of us. We lived through that time, we went on those marches. Actually, in one of those marches [shown in flashback], Dan’s mum—actual mum—is in a wheelchair, by a young boy who was holding a plaque saying “my mum’s a lesbian and I love her”.

That is Dan with his mum back in the day, and it all speaks to our stories and it moves me, I can see it’s moving you. It moves me because I lived through that time, and it was a complex time for a young person. It was a time that you felt you had to be empowered in order to fight, and you felt very vulnerable because of the need to fight. And because of that disease, because HIV was prevalent and we lost people—we lost close people—it was a difficult time. I wanted to make sure that that story kept being told and was passed on to the next generation.

It’s so important isn’t it, to walk into the future facing backwards? It still exists, that need to fight still exists. The conversation, yes, has moved on, has changed, but not for all people and not in all communities.

What would be your go-to movie musical song at a karaoke night? My goodness. There’d be so many.

I mean, is it going to be a Cabaret, a Chicago showstopper, or something more Mary Poppins, something from Rent? I think what I would go to, which is what I remember as a little boy, is Curly singing ‘Oh, What A Beautiful Mornin’. It’s such a kind of perfect, beautiful, simple song. That, and ‘The Lonely Goatherd’, because I just want to yodel. It would be epic. Trust me.

What is the best film featuring posing and why is it Paris Is Burning? It’s always Paris Is Burning. Back in the day, I was obsessed with Paris Is Burning, I was obsessed with that world. In fact, at one moment I even met [director] Jennie Livingston in trying to make a theater piece inspired by that. I lived in New York for eleven years and I met Willi Ninja. I just adored everything about him, and he would tell me stories. And again, it was so removed from the boy from Sheffield, I mean so far. That New York ballroom scene was so removed from my world, but I got it. Those two boys at the top of the film, I just wanted to be one of those boys who just hung out outside the club.

Harwood and Butterell on set, with Lauren Patel (right) as Jamie’s bestie Pritti Pasha.

What films did you and Tom and Dan look at to get a feeling for how to present the musical numbers? Actually, a lot of pop videos, from present day to past. There’s an homage, in the black-and-white sequences, to a little ‘Vogue’ Madonna moment. Pop is very central to me in this story because pop is what a working-class kid from a working-class community will be listening to. That’s in his phone, that’s in his ears. Not that many young people listen to much radio at this moment in time, but that’s what will be on Margaret’s radio, that’s what’s coming into the kitchen. And that was central to the storytelling for me.

Bob Fosse also really influenced me, and particularly All That Jazz and where his flights of imagination take him. I felt that was so appropriate for Jamie, and again in a very, very different way, but I could see how Jamie’s imagination could spark something so fantastical that would lead him to dance, lead him to walk on the most amazing catwalk, lead into being in the most fabulous, fabulous nightclub with the most amazing creatures you’ve ever met in your life.

For me personally, the film that most inspired me was Ken Loach’s Kes, because that is my community. Both the world in which Jamie exists—Parsons Cross council estate, is my world, is my community—and the world of that young boy, finding his place in the world with his kestrel friend, I remember identifying with that boy so clearly. He was very different from me, very different. But I got him, and I felt like Ken Loach got me through him.

Ken Loach made a few films set in Sheffield, didn’t he? But also, Sheffield is a setting and an influence on The Full Monty, The History Boys, Funny Cow and that brilliant Pulp documentary. So Jamie feels like a natural successor. It absolutely does. Sheffield’s where I grew up, it’s my hometown. Although I moved away from it, I always return. To have a chance to celebrate my community, and particularly that community in Parsons Cross council estate. If you’re in Sheffield and you’re in a taxi and you said, “Take me to Parsons Cross,” they’d say, “Well, I’ll drop you there, but I’m not staying.” Because again there’s a blinkered view of that community. And I know that community to be proud, glorious and beautiful.

And yes, that community, particularly through the ’80s, really suffered because some of that community would serve the steelworks and had three generations of unemployment, so they became disenfranchised because of that. But the community I grew up in, my Auntie Joan, who lived on that road, literally on that road, was a proud, working class, glorious woman who served chips at school.

Aside from Everybody’s Talking About Jamie, what would be the most important queer British cinematic story to you? (And how do you choose between My Beautiful Laundrette and God’s Own Country?!) You can’t. My Beautiful Laundrette influenced me so much because, one, Daniel Day Lewis was extraordinary in that film, and two, because of the cross-cultural aspect of it. I went, “I know this world”, because again I grew up in that world. And it affirmed something in me, which is the power and the radicalness of who I could be and what I could be.

With God’s Own Country, when I saw that film—and that was Francis’ first film, which I thought was extraordinary for a first-time filmmaker—I knew he knew that world from the inside, from the absolute inside. And I know what that rural community was like. I read that script, because we share agents, and I was blown away by it—again, because of the two cultures coming together.

Jamie Campbell, the film’s real-life inspiration, with screen-Jamie Max Harwood.

Richard E. Grant’s character, Hugo, is such a pivotal mentor for Jamie. What did you need to hear from a mentor when you were sixteen? Don’t let yourself hold yourself back, because I think it was me who put some limitations on myself. And of course I came from a working-class community. I was a queer kid in a tough British comprehensive school. And did I experience tough times? Yes I did. And did I deal with those tough times? Yes I did. But the song that speaks to me mostly in this is ‘Wall in my Head’, in which Jamie takes some responsibility for the continuation of those thoughts, continuations of the sorts of shame, and that’s a sophisticated thing for a sixteen-year-old boy to tackle.

I also was lucky enough to have a mother like Margaret—and a dad like Margaret as well, just to be clear! And I remember my mum, at seventeen when I left home, just leaving a little note on my bed. It was quite a long letter. She said, Jonathan, you’ve probably chosen to walk a rocky path, but don’t stray from it, don’t steer away from it. That’s the path you've chosen, there may be rock-throwers along the way, but you’ll find your way through it. That stayed with me and I think that’s what resonates with me. And when I saw that documentary, Jamie: Drag Queen at 16, I felt that that sparked the need for me to tell that story.

Sarah Lancashire as Jamie’s mum, Margaret New.

We need more mums and dads like Margaret, don’t we? We do, we do. And the wonderful thing is, Margaret Campbell will say it and I think Margaret New in the film will say it: she’s not a Saint, she’s an ordinary mum. And she has to play catch up and she doesn’t understand in many ways, and she gets things wrong and she overprotects. But she comes from one place and that is a mum’s love of her child and wanting them to take their place safely in the world and to be fully and totally themselves.

Related content

Eternal Alien’s list of films Made in Sheffield

Letterboxd’s Camp Showdown

Persephon’s list of films recommended by drag queens

Passion’s list of films mentioned by Jaymes Mansfield in her Drag Herstory YouTube series

Follow Gemma on Letterboxd

‘Everybody’s Talking About Jamie’ is streaming now on Amazon Prime Video.

[hexalt]

CW for discussion of suicide

- She's the crazy ex-girlfriend - What? No, I'm not. - She's the crazy ex-girlfriend - That's a sexist term! - She's the crazy ex-girlfriend - Can you guys stop singing for just a second? - She's so broken insiiiiiide! - The situation's a lot more nuanced than that!

There’s the essay! You get it now. JK.

Crazy Ex-Girlfriend is the culmination of Rachel Bloom’s YouTube channel (and the song “Fuck Me, Ray Bradbury” in particular where she combined her lifelong obsession with musical theatre and sketch comedy and Aline Brosh McKenna stumbling onto Bloom’s channel one night while having an idea for a television show that subverted the tropes in scripts she’d been writing like The Devil Wears Prada and 27 Dresses.

The show begins with a flashback to teenage Rebecca Bunch (played by Bloom) at summer camp performing in South Pacific. She leaves summer camp gushing about the performance, holding hands with the guy she spent all summer with, Josh Chan. He says it was fun for the time, but it’s time to get back to real life. We flash forward to the present in New York, Rebecca’s world muted in greys and blues with clothing as conservative as her hair.

She’s become a top tier lawyer, a career that she doesn’t enjoy but was pushed into by her overprotective, controlling mother. She’s just found out she’s being promoted to junior partner, and that’s just objectively, on paper fantastic, right?! ...So why isn’t she happy? She goes out onto the streets in the midst of a panic attack, spilling her pills all over the ground, and suddenly sees an ad for butter asking, “When was the last time you were truly happy?” A literal arrow and beam of sunlight then point to none other than Josh Chan. She strikes up a conversation with him where he tells her he’s been trying to make it in New York but doesn’t like it, so he’s moving back to his hometown, West Covina, California, where everyone is just...happy.

The word echoes in her mind, and she absorbs it like a pill. She decides to break free of the hold others have had over her life and turns down the promotion of her mother’s dreams. I didn’t realize the show was a musical when I started it, and it’s at this point that Rebecca is breaking out into its first song, “West Covina”. It’s a parody of the extravagant, classic Broadway numbers filled with a children’s marching band whose funding gets cut, locals joining Rebecca in synchronized song and dance, and finishing with her being lifted into the sky while sitting on a giant pretzel. This was the moment I realized there was something special here.

With this introduction, the stage has been set for the premise of the show. Each season was planned with an overall theme. Season one is all about denial, season two is about being obsessed with love and losing yourself in it, season three is about the spiral and hitting rock bottom, and season four is about renewal and starting from scratch. You can see this from how the theme songs change every year, each being the musical thesis for that season.

We start the show with a bunch of cliché characters: the crazy ex-girlfriend; her quirky sidekick; the hot love interest; his bitchy girlfriend; and his sarcastic best friend who’s clearly a much better match for the heroine. The magic of Crazy Ex-Girlfriend is that no one in West Covina is the sum of their tropes. As Rachel says herself, “People aren’t badly written, people are made of specificities.”

The show is revolutionary for the authenticity with which it explores various topics but for the sake of this piece, we’ll discuss mental health, gender, Jewish identity, and sexuality. All topics that Bloom has dug into in her previous works but none better than here.

Simply from the title, many may be put off, but this is a story that has always been about deconstructing stereotypes. Rather than being called The Crazy Ex-Girlfriend, where the story would be from an outsider’s perspective, this story is from that woman’s point of view because the point isn’t to demonize Rebecca, it’s to understand her. Even if you hate her for all the awful things she’s doing.

The musical numbers are shown to be in Rebecca’s imagination, and she tells us they’re how she processes the world, but as she starts healing in the final season, she isn’t the lead singer so often anymore and other characters get to have their own problems and starring roles. When she does have a song, it’s because she’s backsliding into her former patterns.

While a lot of media will have characters that seem to have some sort of vague disorder, Crazy Ex-Girlfriend goes a step further and actually diagnoses Rebecca with Borderline Personality Disorder, while giving her an earnest, soaring anthem. She’s excited and relieved to finally have words for what’s plagued her whole life.

When diagnosing Rebecca, the show’s team consulted with doctors and psychiatrists to give her a proper diagnosis that ended up resonating with many who share it. BPD is a demonized and misunderstood disorder, and I’ve heard that for many, Crazy Ex-Girlfriend is the first honest and kind depiction they’ve seen of it in media. Where the taboo of mental illness often leads people to not get any help, Crazy Ex-Girlfriend says there is freedom and healing in identifying and sharing these parts of yourself with others.

Media often uses suicide for comedy or romanticizes it, but Crazy Ex-Girlfriend explored what’s going through someone’s mind to reach that bottomless pit. Its climactic episode is written by Jack Dolgen (Bloom’s long-time musical collaborator, co-songwriter and writer for the show) who’s dealt with suicidal ideation. Many misunderstood suicide as the person simply wanting to die for no reason, but Rebecca tells her best friend, “I didn’t even want to die. I just wanted the pain to stop. It’s like I was out of stories to tell myself that things would be okay.”

Bloom has never shied away from heavy topics. The show discusses in song the horrors of what women do to their bodies and self-esteem to conform to beauty standards, the contradiction of girl power songs that tell you to “Put Yourself First” but make sure you look good for men while doing it, and the importance of women bonding over how terrible straight men are are near and dear to her heart. This is a show that centers marginalized women, pokes fun at the misogyny they go through, and ultimately tells us the love story we thought was going to happen wasn’t between a woman and some guy but between her and her best friend.

I probably haven’t watched enough Jewish TV or film, but to me, Crazy Ex-Girlfriend is the most unapologetic and relatable Jewish portrayal I’ve seen overall. From Rebecca’s relationship with her toxic, controlling mother (if anyone ever wants to know what my mother’s like, I send them “Where’s the Bathroom”) to Patti Lupone’s Rabbi Shari answering a Rebecca that doesn’t believe in God, “Always questioning! That is the true spirit of the Jewish people,” the Jewish voices behind the show are clear.

Crazy Ex-Girlfriend continues to challenge our perceptions when a middle-aged man with an ex-wife and daughter realizes he’s bisexual and comes out in a Huey Lewis saxophone reverie. The hyper-feminine mean girl breaks up with her boyfriend and realizes the reason she was so obsessed with getting him to commit to her is the same reason she’s so scared to have female friends. She was suffering under the weight of compulsory heterosexuality, but thanks to Rebecca, she eventually finds love and friendship with women.

This thread is woven throughout the show. Many of the characters tell Rebecca when she’s at her lowest of how their lives would’ve never changed for the better if it wasn’t for her. She was a tornado that blew through West Covina, but instead of leaving destruction in her wake, she blew apart their façades, forcing true introspection into what made them happy too.

Rebecca’s story is that of a woman who felt hopeless, who felt no love or happiness in her life, when that’s all she’s ever wanted. She tried desperately to fill that void through validation from her parents and random men, things romantic comedies had taught her matter most but came up empty. She tried on a multitude of identities through the musical numbers in her mind, seeing herself as the hero and villain of the story, and eventually realized she’s neither because life doesn’t make narrative sense.

It takes her a long time but eventually she sees that all the things she thought would solve her problems can’t actually bring her happiness. What does is the real family she finds in West Covina, the town she moved to on a whim, and finally having agency over herself to use her own voice and tell her story through music.

The first words spoken by Rebecca are, “When I sang my solo, I felt, like, a really palpable connection with the audience.” Her last words are, “This is a song I wrote.” This connection with the audience that brought her such joy is something she finally gets when she gets to perform her story not to us, the TV audience, but to her loved ones in West Covina. Rebecca (and Rachel) always felt like an outcast, West Covina (and creating the show) showed her how cathartic it is to find others who understand you.

Crazy Ex-Girlfriend is the prologue to Rebecca’s life and the radical story of someone getting better. She didn’t need to change her entire being to find acceptance and happiness, she needed to embrace herself and accept love and help from others who truly cared for her. Community is what she always needed and community is what ultimately saved her.

*

P.S. If you have Spotify... I also process life through music, so I made some playlists related to the show because what better way to express my deep affection for it than through song?

CXG parodies, references, and is inspired by a lot of music from all kinds of genres, musicals, and musicians. Same goes for the videos themselves. I gathered all of them into one giant playlist along with the show’s songs.

A Rebecca Bunch mix that goes through her character arc from season 1 to 4.

I’m shamelessly a fan of Greg x Rebecca, so this is a mega mix of themselves and their relationship throughout the show.

*

I’m in a TV group where we wrote essays on our favorite shows of the 2010s, so here is mine on Crazy Ex-Girlfriend, I realized I forgot to ever post it. Also wrote one for Schitt’s Creek.

[orionsangel86]

“I Think It’s Time For Me To Move On”

...And Other Things That Have Destroyed Me This Weekend...

So there is this common trope within love stories which generally happens at the end of the second act in which everything goes wrong and we all think that the lovers are doomed to failure. Its pretty much standard in every Jane Austen novel, every romantic film every made, every single bloody love story. Go ahead, name one. I guarantee you the break up moment is there.

Within the epic love story of Dean and Cas, there have been many break up moments, and all have had their emotionally devastating impact on the relationship and the show...

But THIS was a different level. 

(For a nice summary of Destiel break up moments and understanding of this trope, @tinkdw​ wrote about it here.)

I didn’t think that there would be another moment within Dean and Cas’s relationship that could hit me this hard. The mixtape in 12x19, the wrapping of Cas’s body in 13x01, and the return of Cas in 13x05 are moments that I consider to be the very top of the scale in making this pairing undeniably romantic. Moments that pushed it beyond a platonic interpretation. These three moments have been the things I cling to when the show has otherwise made me doubt any conclusion to the DeanCas story, and since there hasn’t been another one of those moments since 13x05, until now I have been somewhat nervous that the story was dropped, or being forced back behind a platonic screen. 

15x03 has ripped that screen away. 

Emotional meta under cut...

This entire episode was an emotion fuelled dramatic roller-coaster that killed off three characters including our beloved witch queen in a scene that almost stole the show and practically canonised the SamWitch ship. Rowena’s death should have been by far the most torturous moment for viewers to endure, and it was extremely torturous and had me sobbing on a plane 3 hours into a 7 hour flight. That incredibly heartfelt moment between Sam and Rowena will probably go down as one of the top tear-jerking moments on this show. It was tragic in the best way - the way Supernatural is famous for.

But lets not gloss over the fact that in an episode where THAT should have been the climax, where THAT should have been the emotional highlight and end point, instead we get a further MORE dramatic stand off between Dean and Cas that pulled focus and ripped all of our hearts out just as violently as poor Ketch in the first act (a very clever and smug piece of meta foreshadowing there Mr Berens).

On a meta level, this is HUGE as a writing choice because they MUST know how this looks. This was the climax of the third episode of the finale season. The way Supernatural has always structured itself since Carver era is that the first three mytharc episodes of each season establish the direction of the story and set the foundations for the character level focal points and dramatic key notes to come. 

That the writers have chosen to end the foundation episodes with a DeanCas break up moment that was more dramatic than a Spanish Telenovela has just stunned me and left me reeling because I just can’t see how else this can go. This break up scene absolutely DEMANDS a huge reconciliation of the sort that will be part of the A plot of the season - the FINAL SEASON. Guys. Part of the reason I have been so quiet and so disillusioned with the show during late season 13 and season 14 was because they pushed any Destiel plot into non existent territory - it became kinda irrelevant and Dean and Cas just acted like friends (homoerotic friends yes, and sometimes like an old married couple, but it was mostly played as an afterthought imo), so for this to suddenly be brought to the forefront of the emotional story again is excellent news for us. 

The thing is, like with those huge moments I listed above, the break up scene is basically undeniably romantic when you break it down to its components:

1. It’s only Dean and Cas. 

Once again we have another scene of high stake emotions that excludes Sam. In a platonic reading of the show, it makes zero sense for there to be such a hugely disjointed relationship between Cas and Dean and Cas and Sam given he has known them both for so long now that if they were all “just friends” then surely Sam would also feel the impact of Cas’s choices as heavily as Dean. In a platonic reading, Dean comes across as an asshole, Sam comes across as being weirdly uncaring about his friend of 10 years, and Cas comes across as not even bothering to get Sam’s opinion before leaving. A romantic reading makes sense because quite literally THIS IS A ROMANTIC BREAK UP.

2. The words spoken. 

“Well I don’t think there is anything left to say.”

“I think it’s time for me to move on”

From Cas’s perspective at least, name one time in a piece of media where such language has been used for a platonic breakup sincerely? There have been heartfelt break up songs that use these exact words. (I should know I’ve spent the last 24 hours listening to them all).

That last line in particular is so heavy. It’s the last line of the episode and nothing about it is platonic. This is relationship terminology my dudes. “I need to move on, and get over you.” This is Cas’s bloody Adele song. My heart breaks for him, but if I was his sassy and fabulous best girlfriend right now I’d be sitting him down, sipping a cocktail, flipping my hair and telling him “Babe, you’re too good for him. Good Riddance. Let’s go out, have some cocktails, something pink and fruity. No dive bars for us darling. I’ll take you to Heaven... the fun one in London.”

In all seriousness though, from Cas’s perspective, this was him admitting defeat and giving up the fight for love. How anyone can possibly say Cas isn’t in love with Dean after this, well I just don’t know what show you are watching. This is the face of a heartbroken man who has just accepted that his love is unrequited. 

3. The many faces of Dean Winchester

On the other end of the scale, Dean was mostly silent after his poisonous words “And why does that something always seem to be you?”

Forgive the terrible gif quality I’ve no time for fancy gif work!

Look at his face here. He knows what he said was fucked up and he immediately regrets it. The way he swallows around that regret and then turns away.

and after Cas says that devastating final line and walks away? We get THIS reaction from him:

The jaw clench as he looks down. The sorrow on his face as he realises he has well and truly fucked this up. LOOK

Finally, he looks up, makes himself look up and watch Cas leave. If that isn’t the face of a broken man I dunno what to tell you. Anyone who thinks Dean is totally heartless and uncaring right now needs to reassess because this is NOT the face of someone uncaring. This is the face of someone who has just lost everything. Again. 

4. The FUCKING MUSIC

Seriously. The sweeping heavy drama of the low strings that come in right after Dean says that horrid line, that carry the weight of the look of horror and heartbreak on Cas’s face as they amplify the emotion there. As they blend seamlessly into the slow and subtle version of the Winchester family theme behind Cas’s heartbreaking speech and Dean’s stubborn stoic face hiding a multitude of emotion, until the violin dominates as Cas says “I think it’s time for me to move on” and the Winchester Theme swells to its climax, ripping all our hearts out just like poor Ketch as Dean watches Cas walk out of his life surrounded by darkness. 

I MEAN.

A friend on Twitter reminded us all of this point about the importance of this theme via @justanotheridijiton​ here which is essentially:

“The Winchester theme is not simply an aural marker to let the audience know when and how Sam and Dean love each other (any Supernatural fan knows that is the baseline of their relationship), but to provide narrative information, especially when the image and dialogue are incomplete or inconsistent with the true situation...  Seasoned fans will recognize the theme and its history of being paired with images indicating deep emotional bonding and a desire to do the right thing by the Winchester code. Here we trust our ears over our eyes to reveal the truth.”

So here is yet another key indicator that any surface read that this is actually an ending between Dean and Cas and that Dean really is just an angry asshole is utter bullshit. 

Honestly, this was PAINFUL, but it was painful in the best way. It was 13x01 levels of pain, but this time it was Cas choosing to walk away which makes all the difference. Dean’s greatest fear isn’t his loved ones dying on him after all, but of his loved ones choosing to leave him. This was exactly the kick up the ass Dean needs in order to win Cas back, classic love trope style. 

Hence my excitement at what is to come. Yes we won’t see Cas again until 15x06, but in the meantime I fully expect a good helping of angst and wallowing from a depressed Dean who has to deal with the fact that he has just lost the love of his life and it is all his fault. That he just pushed away the one person who promised they would always stay by his side. That has got to hurt. 

So yeah, this episode emotionally destroyed me, and I’ve only really covered the primary reason, let alone all my feels over SamWitch, Rowena’s death, Belphegor’s taunting of Cas over his deepest fears and then having to suffer through smiting a creature wearing the face of his son until his body was nothing but a burnt corpse... I wonder if Bobo had a bet going in the office over how much he could hurt us all? He was certainly enjoying scrolling through the Supernatural tag on Twitter and liking everyone’s reaction tweets including some brilliant Destiel related ones. I do love Bobo. Our Angst Goblin King. 

If anyone had asked me a few weeks ago what my thoughts were on the chances of getting explicit canon Destiel by series end, I would have said somewhere in the realms of 30-40%, considering it a battle of wills between DabbBerens and CW studio execs who I still feel are against it in general. I would have considered everything that happened after 13x06 as the writers getting a big NO on Destiel from the network and therefore having to pull back on any Destiel related plot points (purely my own speculation on BTS matters of course).

Now I am wondering if Dabb kept fighting the network? If he managed to wear them down into begrudging acceptance? I’m currently up to around an 80% chance of textual canon DeanCas if we continue on this path. If Dean is clearly shown to be mourning and hating himself over Cas next episode, and if this DeanCas dramatic plot line continues to be a focal point of the emotional story arcs... well...

I’m side eyeing 15x07 a lot right now. Only in my wildest dreams would I think that they might actually introduce an old boyfriend for Dean in a “coming out” episode, but the placement, timing, and potential is all there and I’m kind of once again donning the clown mask because I’m just in awe at everything that they are doing. I guess we’ll find out soon enough. In the meantime, I’m gonna paint my face in red and white and wear my rainbow wig and listen to break up songs on Spotify whilst trying to shove my heart back into my chest where Bobo Beren’s gleefully ripped it out with his hands like the demonic angst goblin he is. Wish me luck, I’m not sure I’m gonna get through this season with my emotions intact.

[bisluthq]

"calm down guys don't show me facts i just want to cheer a white man for doing the least while dragging a woman for not meeting the standards i fantasized for her"

1) I don’t cheer him on. I literally do not care about him and had him as a banned topic here for ages lmao because of shit like this.

2) she is a white woman and a very rich and privileged one so idk man like let’s not bring race into a discussion of two white people.

3) I literally point out amazing things she’s done all the time.

4) I don’t expect celebs to be political activists and prefer it when they’re not because lmao like literally who gives a flying fuck what an entertainer thinks - unless they’re like a Nazi in which case ew - dude their job is to entertain.

5) TAYLOR SET THAT STANDARD WHEN SHE MADE A WHOLE FULL LENGTH FEATURE FILM DOCUMENTARY ABOUT HOW SHE IS A POLITICAL VOICE. TAYLOR MADE FOUR SHITTY POLITICAL SONGS. TAYLOR MADE A WHOLE ERA ABOUT POLITICS. Literally NO ONE - least of all me, a person who doesn’t like super political celebs unless they really do the work like idk America Ferrera or Kal Penn and then I tend to find them boring as celebs but I respect their work - asked her to do that. She could’ve done all her shit and I’d have been - as I am now - wow that’s dope what a nice lady. But to go on main like “guys an entertainer’s job is to speak out on shit” and do the exact same as other entertainers who haven’t said that’s their job at all (a better example than Harry is JLaw tbh who has been open about changing her mind on stuff, learning new things, and has done a bunch of shit re voting and the importance thereof as well as being a feminist like for her whole career) it’s fair to 👀

The issue isn’t what Taylor has or hasn’t done, it’s how she - briefly - framed it as something revolutionary when basically she was like “I’m joining the rest of my peers in this here year 2020” y’know?

Another issue is her giving an unhinged interview where she claims she discovered gay rights in 2019 when people - including the reporter - were like “but this has been one of your things since 2010???”

Can we please have nuanced conversations I beg you.

No one is perfect. Some people are more imperfect than others. Entertainers don’t need to be fucking Angela Davis to entertain us. It’s genuinely not a prerequisite. However when a person says “it’s my job to do this with my platform” you’d expect idk more than what JLaw’s doing when she sure as shit hasn’t said that’s her job.

It’s not a cancellable offense lmao and honestly I’m wary of cancel culture in general like I think we all have a line for behavior we can and can’t get behind and we must accept for other people the line will be in different places.

But it’s also not BASHING her or saying she’s a bad person to be like “everything about Lover era except the love songs and the narrative of Miss Americana and attached song are a bit of an eye roll but whatever she’s a very rich very privileged white lady whose job is to entertain us and let’s let her do this and I guess she had her college “I CARE” moment at 30.”

[sanstropfremir]

okay, so i watched the entire kingdom ep. and it made enjoy sf9's performance more. initial watch i didn't know they were referencing tbz's danger where they stole the crown and that sf9 was stealing it from them in this cover. i was confused like ateez when they kept asking wait what is happening and like oh is that what this means? i think there were a lot of moving parts and although they were more cohesive compared to the other groups, it did fall a bit flat for me at the end (like you mentioned). supposedly they referenced new world (kmovie) - i never watched it but luckily the overall concept and storyline of their stage was easy to understand. i liked the different outfits each member wore!! i think that was my favorite thing about their performance, despite it being all different it was still cohesive and highlighted each member. i'm still :( about their use of guns in the choreo. i felt like during some parts, the members did not know what to do with them and it just felt awkward. it was okay during their group dance but still, i felt like they could have used it more.

ahh thank you for coming back!!! i love hearing what other people think of the stages since i have such a specific viewpoint and i overlook things all the time! 

i also watched the full episode yesterday and somehow, mnet actually did a pretty good job of showing the level of effort and detail that sf9 put into their stage! actually calling up and getting lessons from not just an actor but a musical theatre actor was like, possibly the best decision they could have made, because he basically told them everything i’ve been yelling about to my lil audience of 5 here. acting lessons > drowning. this stage is massive improvement for them, especially since it's only the second(!) time they've worked on something of this scale (the first was last round’s stage). and they've still got room to grow, which is perfect. the fact that they're taking this silly pop song competition as a serious opportunity to improve their skills is really admirable and shows they have a real respect for the work that goes into the industry of entertainment. but i also hope that they don’t take the whole rankings nonsense to heart because its rigged as fuck and not worth the stress. i also hope we get to see them expand into that confidence they exude a little more and do a stage more lighthearted, where they get to visibly have fun, because ikon really does have the right idea in that you truly can't take this trash fire of a program that seriously.

i think there’s an important difference to note here in how sf9 approached applying theme to their stage versus how tbz is applying theme. sf9 applied genre first, and then lightly referenced specific films on top of that basic foundation, whereas with tbz they start with a name brand and have to build down from there. i vaguely hit on kind of this point in my review but if you have a strong genre foundation it’s easier for the audience to suspend their disbelief, because they can draw on what they understand the tropes to be from their own references, and then if you did want to add some easter eggs in over the top, they aren't necessary for viewer understanding but for those who recognize them it’s a fun lil dopamine hit. if you start from a specific reference, you then either lose your audience right away because they don't know what’s happening, or you’re constantly fighting against the audience’s ability to draw a direct comparison between the two. now you can purposefully use an audiences’ perception of particular reference or genre to subvert their expectations, like in the 2018 robin hood movie with jamie foxx and taron egerton. is it a good movie? absolutely not, it's garbage, but it does have some spectacular takes on medieval fantasy costuming that are fascinating and it successfully manages to look nothing like every other robin hood movie ever made. is it mostly over the top and very “makes you think” meme? yes, but the impulse is in the right place and also this is the first example i thought of because i was thinking about quilted flak jackets yesterday, so sue me. and yes if you are wondering i do purposefully watch bad movies for fun.

as far as the gun choreo, i totally agree with you. i mentioned this when talking about minhyuk’s sword choreo but the physical and figurative weight of a weapon are integral to how it operates in space. some of the gun choreo looks awkward because a) the guns themselves are being used a bit carelessly to how we (as predominantly western viewers) are accustomed to seeing them, and b) they’re obviously fakes and not heavy enough, so the members’ movements aren’t in sync with what we expect their movements to be because our brains understand what it means to move with weight. it's like how you can tell someone is pretending to drink out of an empty paper cup, because their movements reflect that the cup is too light. acting the weight of something is a very difficult skill and there’s a reason mime schools exist, so i wasn’t expecting that level from sf9 at all and i thought they did well regardless of the visual tip off. in comparison, let's use the gun choreo in the ateez stage, because i’m still not over it and i want an excuse to watch it a few more times. why did we not find what seonghwa did awkward or out of place, especially when they used a shotgun sound effect for a rifle and we all know you can't load a bolt action rifle by spinning it around? because the gun itself is a proper weighted replica. also the orange tip, which is required on replica stage weapons. but look at the difference in speed in how the dancers move with their rifles versus how seonghwa moves with his. look at the visible thud that it makes when it hits his shoulder. it really is the smallest details that can make or break the experience. also something something camp has a wider threshold of suspension of disbelief. also the gun choreo had a specific intention within the narrative yadda yadda. sf9 was missing some of that specific intention in a few places, so there could have been some changes to give the guns more weight (literally and figuratively).

also yes sf9 has a killer styling team so far and i’m curious to see what they bring out next!!

[taylorswifthongkong]

Aaron Dessner confirms: folklore is Taylor Swift’s goth record. Or, at least, it’s her most gothic record. It’s also a few other things, depending on your mood: an unofficial Big Red MachineDessner and Bon Iver’s Justin Vernon started Big Red Machine in 2008 as a loose musical collaboration. They released their official self-titled debut LP in 2018, and this year released “No Time For Love Like Now” with Michael Stipe. collaboration (Big RED Machine); a spiritual companion to The National’s 2019 album I Am Easy To Find, specifically its accompanying Mike Mills film, also shot in black-and-white and emphasizing a more natural setting; or just Swift’s attempt at a headphone record, one that, even if you don’t buy into the Taylor Swift mythology, rewards multiple listens as you pick up on all the intricacies of each song and realize wow, this is where the In Rainbows influence comes in. Dessner is the one to thank for all these little details.

The National multi-instrumentalist spoke to Vulture over the phone from upstate New York a few hours after the surprise release of Swift’s eighth studio album. (“A pretty wild ride,” he admits, sounding tired yet happy.) He was clear that he can’t speak on behalf of Swift’s lyrics, much like he can’t for The National frontman Matt Berninger’s either, or the thinking behind Jack Antonoff’s songs. (Here’s a cheat sheet: Jack’s songs soar, Aaron’s glide.) But Dessner was game to speak to his specific contributions, influences, and own interpretations of each song on folklore, a record you can sum up by two words that came up often during our conversation: nostalgic and wry.

“the 1″

“the 1” and “hoax,” the first song and the last song, were the last songs we did. The album was sort of finished before that. We thought it was complete, but Taylor then went back into the folder of ideasMany of Dessner’s songs started from him sending files of sketches from a folder of ideas to Swift, who then replied with updated files of her ideas and additions. Swift also would start some songs by sending voice memos to Dessner, who would then flesh them out or write music to it. Dessner would also send files to his brother, Bryce, and other collaborators to flesh out the music; he sums up the process as “sending files around.” that I had shared. I think in a way, she didn’t realize she was writing for this album or a future something. She wrote “the 1,” and then she wrote “hoax” a couple of hours later and sent them in the middle of the night. When I woke up in the morning, I wrote her before she woke up in LA and said, “These have to be on the record.” She woke up and said, “I agree” [laughs] These are the bookends, you know?

It’s clear that “the 1” is not written from her perspective. It’s written from another friend’s perspective. There’s an emotional wryness and rawness, while also to this kind of wink in her eyes. There’s a little bit of her sense of humor in there, in addition to this kind of sadness that exists both underneath and on the surface. I enjoy that about her writing.

The song [began from] the voice memo she sent me, and then I worked on the music some and we tracked her vocals, and then my brotherOn bringing in fellow The National member, Bryce Dessner: “My brother lives in France and that’s where he and his family were in lockdown. I would send songs to Bryce for him to add orchestration, and then he would send them back. He would compose to them and then I would have people record them over here remotely.” added orchestration. There are a few other little bits, but basically that was one of the very last things we did.

THE MEANING OF FOLKLORE

We didn’t talk about it at first. It was only after writing six or seven songs, basically when I thought my writing was done, when we got on the phone and said, “OK, I think we’re making an album. I have these six other ideas that I love with Jack [Antonoff] that we’ve already done, and I think what we’ve done fits really well with them.” It’s sort of these narratives, these folkloric songs, with characters that interweave and are written from different perspectives. She had a vision, and it was connecting back in some way to the folk tradition, but obviously not entirely sonically. It’s more about the narrative aspect of it.

I think it’s this sort of nostalgia and wistfulness that is in a lot of the songs. A lot of them have this kind of longing for looking back on things that have happened in your life, in your friend’s life, or another loved one’s life, and the kind of storytelling around that. That was clear to her. But then we kept going, and more and more songs happened.

It was a very organic process where [meaning] wasn’t something that we really discussed. It just kind of would happen where she would dive back into the folder and find other things that were inspiring. Or she and William BoweryDessner explains of the one unknown name who pops up in the folklore credits: “William Bowery is who she wrote ‘exile’ with, and ‘betty.’ He’s a singer-songwriter.” would write “exile,” and then that happened. There were different stages of the process.

Okay, but is it A24-core? [Laughs.] Good comparison.

“cardigan’”

That’s the first song we wrote [in early May]. After Taylor asked if I would be interested in writing with her remotelyOn folklore being recorded somewhat on-the-fly: “I prefer records when they have an element where the paint is still wet. We’re allowing some paint to be human and raw, so [collaborations were] not hired out too much. That was important to me, and that was important to her, too. That is definitely different from her past records.” and working on songs, I said, “Are you interested in a certain kind of sound?” She said, “I’m just interested in what you do and what you’re up to. Just send anything, literally anything, it could be the weirdest thing you’ve ever done,” so I sent a folder of stuff I had done that I was really excited about recently. “cardigan” was one of those sketches; it was originally called “Maple.” It was basically exactly what it is on the record, except we added orchestration later that my brother wrote.

I sent [the file] at 9 p.m., and around 2 a.m. or something, there was “cardigan,” fully written. That’s when I realized something crazy was happening. She just dialed directly into the heart of the music and wrote an incredible song and fully conceived of it and then kept going. It harkens back to lessons learned, or experiences in your youth, in a really beautiful way and this sense of longing and sadness, but ultimately, it’s cathartic. I thought it was a perfect match for the music, and how her voice feels. It was kind of a guide. It had these lower register parts, and I think we both realized that this was a bit of a lightning rod for a lot of the rest of the record.

THE NATIONAL’S INFLUENCE ON SWIFT:

She said that she’s a fan of the emotion that’s conveyed in our music. She doesn’t often get to work with music that is so raw and emotional, or melodic and emotional, at the same time. When I sent her the folder, that was one of the main feelings. She said, “What the fuck? How do you just have that?” [laughs] I was humbled and honored because she just said, “It’s a gift, and I want to write to all of this.” She didn’t write to all of it, but a lot of it, and relatively quickly.

She is a fan of the band, and she’s a fan of Big Red Machine. She’s well aware of the sentiment of it and what I do, but she didn’t ask for a certain kind of thing. I know that the film [I Am Easy To Find] has really affected her, and she’s very much in love with that film and the record. Maybe it’s subconsciously been an influence.

“the last great american dynasty”

I wrote that after we’d been working for a while. It was an attempt to write something attractive, more uptempo and kind of pushing. I also was interested in this almost In Rainbows-style latticework of electric guitars. They come in and sort of pull you along, kind of reminiscent of Big Red Machine. It was very much in this sound world that I’ve been playing around with, and she immediately clicked with that. Initially I was imagining these dreamlike distant electric guitars and electronics but with an element of folk. There’s a lot going on in that sense. I sent it before I went on a run, and when I got back from the run, that song was thereJust how fast of a songwriter is Taylor? Dessner marvels, “It’s almost like a song would come out like a lightning bolt. It’s exhilarating. The shared focus, the clarity of her ideas, and the way she structures things, it’s all there. But I think she works really hard when she’s working, and then she tweaks. She keeps going, so sometimes things would evolve or change. By the time she actually sings it, she’s really inside of it. She doesn’t do very many vocal takes before she nails it.” [laughs].

She told me the story behind it, which sort of recounts the narrative of Rebekah Harkness, whom people actually called Betty. She was married to the heir of Standard Oil fortune, married into the Harkness family, and they bought this house in Rhode Island up on a cliff. It’s kind of the story of this woman and the outrageous parties she threw. She was infamous for not fitting in, entirely, in society; that story, at the end, becomes personal. Eventually, Taylor bought that house. I think that is symptomatic of folklore, this type of narrative song. We didn’t do very much to that either.

“exile” (ft. Bon Iver)

Taylor and William Bowery, the singer-songwriter, wrote that song initially together and sent it to me as a sort of a rough demo where Taylor was singing both the male and female parts. It’s supposed to be a dialogue between two lovers. I interpreted that and built the song, played the piano, and built around that template. We recorded Taylor’s vocals with her singing her parts but also the male parts.

We talked a lot about who she thought would be perfect to sing, and we kept coming back to Justin [Vernon]. Obviously, he’s a dear friend of mine and collaboratorSo, is folklore secretly a new Big Red Machine album? Dessner coyly offers, “I mean, you might not be far off the truth there, but I think I won’t say more.”. I said, “Well, if he’s inspired by the song, he’ll do it, and if not, he won’t.” I sent it to him and said, “No pressure at all, literally no pressure, but how do you feel about this?” He said, “Wow.” He wrote some parts into it also, and we went back and forth a little bit, but it felt like an incredibly natural and safe collaboration between friends. It didn’t feel like getting a guest star or whatever. It was just like, well, we’re working on something, and obviously he’s crazy talented, but it just felt right. I think they both put so much raw emotion into it. It’s like a surface bubbling. It’s believable, you know? You believe that they’re having this intense dialogue.

With other people I had to be secretive, but with Justin, because he was going to sing, I actually did send him a version of the song with her vocals and told him what I was up to. He was like, “Whoa! Awesome!” But he’s been involved in so many big collaborative things that he wasn’t interested in it from that point of view. It’s more because he loved the song and he thought he could do something with it that would add something.

“my tears ricochet”

This is one of my absolute favorite songs on the record. I think it’s a brilliant composition, and Taylor’s words, the way her voice sounds and how this song feels, are, to me, one of the critical pieces. It’s lodged in my brain. That’s also very important to Taylor and Jack. It’s like a beacon for this record.

“mirrorball”

“mirrorball” is, to me, a hazy sort of beautiful. It almost reminds me of ‘90s-era Cardigans, or something like Mazzy Star. It has this kind of glow and haze. It feels really good before “seven,” which becomes very wistful and nostalgic. There are just such iconic images in the lyrics [“Spinning in my highest heels”], which aren’t coming to me at the moment because my brain is not working [laughs].

HOW JACK ANTONOFF’S FOLKORE SONGS DIFFER FROM DESSNER’S

I think we have different styles, and we weren’t making them together or in the same room. We both could probably come closer together in a sense that weirdly works. It’s like an archipelago, and each song is an island, but it’s all related. Taylor obviously binds it all together. And I think Jack, if he was working with orchestrations, there’s an emotional quality to his songs that’s clearly in the same world as mine.

We actually didn’t have a moodboard for the album at all. I don’t think that way. I don’t really know if she does either. I don’t think Jack … well, Jack might, but when I say the Cardigans or Mazzy Star, those aren’t Jack’s words about “mirrorball,” it’s just what calls to mind for me. Mainly she talked about emotion and to lean into it, the nostalgia and wistfulness, and the kind of raw, meditative emotion that I often kind of inhabit that I think felt very much where her heart was. We didn’t shy away from that.

“seven”

This is the second song we wrote. It’s kind of looking back at childhood and those childhood feelings, recounting memories and memorializing them. It’s this beautiful folk song. It has one of the most important lines on the record: “And just like a folk song, our love will be passed on.” That’s what this album is doing. It’s passing down. It’s memorializing love, childhood, and memories. It’s a folkloric way of processing.

“august”

This is maybe the closest thing to a pop song. It gets loud. It has this shimmering summer haze to it. It’s kind of like coming out of “seven” where you have this image of her in the swing and she’s seven years old, and then in “august” I think it feels like fast-forwarding to now. That’s an interesting contrast. I think it’s just a breezy, sort of intoxicating feeling.

“this is me trying”

“this is me trying,” to me, relates to the entire album. Maybe I’m reading into it too much from my own perspective, but [I think of] the whole album as an exercise and working through these stories, whether personal or old through someone else’s perspective. It’s connecting a lot of things. But I love the feeling in it and the production that Jack did. It has this lazy swagger.

“illicit affairs”

This feels like one of the real folk songs on the record, a sharp-witted narrative folk song. It just shows her versatility and her power as a songwriter, the sharpness of her writing. It’s a great song.

“invisible string”

That was another one where it was music that I’d been playing for a couple of months and sort of humming along to her. It felt like one of the songs that pulls you along. Just playing it on one guitar, it has this emotional locomotion in it, a meditative finger-picking pattern that I really gravitate to. It’s played on this rubber bridge that my friend put on [the guitar] and it deadens the strings so that it sounds old. The core of it sounds like a folk song.

It’s also kind of a sneaky pop song, because of the beat that comes in. She knew that there was something coming because she said, “You know, I love this and I’m hearing something already.” And then she said, “This will change the story,” this beautiful and direct kind of recounting of a relationship in its origin.

“mad woman”

That might be the most scathing song on folklore. It has a darkness that I think is cathartic, sort of witch-hunting and gaslighting and maybe bullying. Sometimes you become the person people try to pin you into a corner to be, which is not really fair. But again, don’t quote me on that [laughs], I just have my own interpretation. It’s one of the biggest releases on the album to me. It has this very sharp tone to it, but sort of in gothic folklore. It’s this record’s goth song.

“epiphany”

For “epiphany,” she did have this idea of a beautiful drone, or a very cinematic sort of widescreen song, where it’s not a lot of accents but more like a sea to bathe in. A stillness, in a sense. I first made this crazy drone which starts the song, and it’s there the whole time. It’s lots of different instruments played and then slowed down and reversed. It created this giant stack of harmony, which is so giant that it was kind of hard to manage, sonically, but it was very beautiful to get lost in. And then I played the piano to it, and it almost felt classical or something, those suspended chords.

I think she just heard it, and instantly, this song came to her, which is really an important one. It’s partially the story of her grandfather, who was a soldier, and partially then a story about a nurse in modern times. I don’t know if this is how she did it, but to me, it’s like a nurse, doctor, or medical professional, where med school doesn’t fully prepare you for seeing someone pass away or just the difficult emotional things that you’ll encounter in your job. In the past, heroes were just soldiers. Now they’re also medical professionals. To me, that’s the underlying mission of the song. There are some things that you see that are hard to talk about. You can’t talk about it. You just bear witness to them. But there’s something else incredibly soothing and comforting about this song. To me, it’s this Icelandic kind of feel, almost classical. My brother did really beautiful orchestration of it.

“betty”

This one Taylor and William wrote, and then both Jack and I worked on it. We all kind of passed it around. This is the one where Taylor wanted a reference. She wanted it to have an early Bob Dylan, sort of a Freewheelin’ Bob DylanBob Dylan’s second LP, released in 1963, features some of his most stripped-down acoustic folk songs, with plenty of harmonica. To this day, its lyrics still cause debate. The album’s famous cover, shot in New York on Jones St., is one block away from Cornelia Street. feel. We pushed it a little more towards John Wesley Harding, since it has some drums. It’s this epic narrative folk song where it tells us a long story and connects back to “cardigan.” It starts to connect dots and I think it’s a beautifully written folk song.

Is ‘betty” queer canon?

I can’t speak to what it’s about. I have my own ideas. I also know where Taylor’s heart is, and I think that’s great anytime a song takes on greater meaning for anyone.

Is William Bowery secretly Joe Alwyn?

I don’t know. We’re close, but she won’t tell me that. I think it’s actually someone else, but it’s good to have some mysteries.

“peace”

I wrote this, and Justin provided the pulse. We trade ideas all the time and he made a folder, and there was a pulse in there that I wrote these basslines to. In the other parts of the composition, I did it to Justin’s pulse. Taylor heard this sketch and she wrote the song. It reminds me of Joni Mitchell, in a way — there’s this really powerful and emotional love song, even the impressionistic, almost jazz-like bridge, and she weaves it perfectly together. This is one of my favorites, for sure. But the truth is that the music, that way of playing with harmonized basslines, is something that probably comes a little bit from me being inspired by how Justin does that sometimes. There’s probably a connection there. We didn’t talk too much about it [laughs].

“hoax”

This is a big departure. I think she said to me, “Don’t try to give it any other space other than what feels natural to you.” If you leave me in a room with a piano, I might play something like this. I take a lot of comfort in this. I think I imagined her playing this and singing it. After writing all these songs, this one felt the most emotional and, in a way, the rawest. It is one of my favorites. There’s sadness, but it’s a kind of hopeful sadness. It’s a recognition that you take on the burden of your partners, your loved ones, and their ups and downs. That’s both “peace” and “hoax” to me. That’s part of how I feel about those songs because I think that’s life. There’s a reality, the gravity or an understanding of the human condition.

DOES TAYLOR EXPLAIN HER LYRICS?

She would always talk about it. The narrative is essential, and kind of what it’s all about. We’d always talk about that upfront and saying that would guide me with the music. But again, she is operating at many levels where there are connections between all of these songs, or many of them are interrelated in the characters that reappear. There are threads. I think that sometimes she would point it out entirely, but I would start to see these patterns. It’s cool when you see someone’s mind working.

“the lakes”

That’s a Jack song. It’s a beautiful kind of garden, or like you’re lost in a beautiful garden. There’s a kind of Greek poetry to it. Tragic poetry, I guess.

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