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ghost-proofbaby · 10 months ago

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OH SAY LESS 14 WITH ASTARION PLEASE

so this is my first time publicly writing and posting astarion, so please be gentle. higher word count solely because i felt the need to add lore because, ya know, first time writing him! also, i changed the line just a tiny bit to better fit the character and scene. ALSO, uh... this is a little fade to black. i'm sorry. it just got too long.

14. "Oh, you're hard to please."

warnings: foreplay, sorta fade to black smut (it's there if you squint your eyes), an ungodly amount of pet names, mentions of past sexual abuse and healing from it, technical game spoilers, not edited, 18+ so minors do not interact

pairings: astarion x afab!reader (no pronouns used)

wc: 4.4k+

join the smutty party! send me one of these smut dialogue prompts with a character

How long had it been since Astarion had actually enjoyed sex? Craved it, even?

If he recalls correctly, it had to have started to become tainted well over a century ago. Somewhere between the first and the third victim, when he’d realized how every single beautiful soul he had entrapped were simply being lured to their own death. And then, the sour taste left in his mouth only became more pungent the longer it went on, the more he came to the realization of just how used he felt. His body was no longer his own – it technically hadn’t been his from the very second he’d emerged from his own grave, and Cazador had been waiting for him – and everything about the act became an old rehearsed dance that he’d grit his teeth through. A chore, something to make his stomach churn, something to regret. A means to an end.

Plainly put, it had been a while.

But then you happened. You, who hadn’t blinked an eye when the first time you met him, he’d literally threatened you with a gods damned blade to your throat. You, who had repeatedly trusted him, even when it had been an objectively stupid thing to do. You, who had always offered him the utmost patience and genuine understanding, to the point in which if he thought about it too hard, he’d probably cry. You, who had led your group of misfits with brain worms right into victory, with plenty of personal demons defeated along the way.

Personal demons including Cazador.

Maybe that’s when things changed for Astarion. He’d already fallen for you before your group had reached Baldur’s Gate, he’d already gotten to know your body intimately before ever laying eyes on that ridiculously oversized brain you somehow made look easy to defeat. But that had been different, hadn’t it? He hadn’t really wanted to do that (not meant as an offense to you – certainly not after all was said and done), but had thought he needed to. To gain your trust, to gain your protection. And in the end, it turned out he never needed to do such a thing. You’d never said it outloud, probably at risk of making him feel even more regret after you’d learned all his secrets and darkest corners, but he knew.

And knowing that you didn’t view him as something purely sexual, as a means to an end, as an item to use – well, it had the opposite effect of his request to no longer be viewed in that light.

“What are you doing?” he says as he quickly looks up from his current book he’d been pursuing the moment you’d entered the room. He hardly cared for the words on the page – he just needed a way to pass the hours until you were available again.

It was a hard habit to kick. Being so codependent on you, even with the end of the world resolved and the gift of safety being handed over to him on a silver platter.

“We received mail,” you’re grinning wickedly as you hold up an embellished envelope, delicate fingers pinching the parchment as if it were the greatest gift to ever exist. He’d argue the real gift at hand was the last three months – time spent with you, in a place he can call home. But nothing could impede on your good mood as you throw yourself down on the mattress beside him, “From Withers, of all people!”

His brows shoot up for just a moment before his face twists up with something akin to distrust, “Withers? What in the Hells does that sack of dust and bones wan-”

“A reunion,” you cut him off, the look on your face warning enough against his attempt at an insult. “He’s reaching out to all of us to bring us together for a celebration, to check in on everyone, let us see each other again. Apparently, we were the easiest of the bunch to find.”

Astarion quickly lets out a tut as he snaps the book shut and discards it on the bedside table closest to him, “Well, we certainly need to fix that. Soon enough all of those little shits are going to end up on our doorstep, preaching about the power of friendship and how they want to check in on us.”

You snort at that, laying flat on your back with your hair wildly spread out in a makeshift halo behind you. The sight causes something to stir within him, his gut twisting as he watches the way your knees knock together before slowly falling apart, your legs settling down as flat as the rest of your body.

He hadn’t taken you since that night at his grave. Before the epic final battle, before the two of you had made the decision to settle down somewhere for some well-earned peace and quiet.

The moonlight dances past the open curtains, and his breath catches in his throat at the way the blue shadows dance across your skin. It almost reminds him of the first time he’d seen you fight. It hadn’t just been the blood splattered across your cheeks that had really gotten the better of his curiosity (even if that’s what he had told you when you asked), it had been the sunlight. Those rays of gold that had mingled with your own aura of warmth after you had helped the tieflings for the first time.

You put the sun to shame, truly. And he missed it – Gods, did he miss it – but he was content to bask in the peace of night for a few months more before he finally cut you loose from the leash to begin your next phase of adventures to find him a cure. You had promised him you would, had already dedicated plenty of free time to research, and all you really needed was his word to begin.

He’s selfish. The two of you can find a way for him to walk in the sun once more another day; all he wants right now is to bury himself in your warmth, to slot his body between your thighs, to hear every breathy gasp and the way you’d practically sing his name-

“Star?” you’re looking up at him from an awkward angle, eyes owlish and chin tilted painfully far back as you clearly await an answer to a question he’d been too lost in a daydream to overhear, “Did you hear me?”

He clears his throat and adjusts the pillows behind his back, keeping him propped up as he admires you, “Of course I did, darling.”

“Then what did I just say?”

“Something about how we’re absolutely not going to this reunion, yes?”

Your smile is nothing but patient as you flip onto your stomach. He watches the way your shorts ride up your thighs, how the top of the soft fabric bunches at your waist. His fingers practically twitch with the need to weasel their way under it, to press his cold fingertips into warm flesh and hear you preen.

Whenever you’re ready, you had whispered to him one night shortly after saving the world. Just tell me when, and I’m yours.

He was ready. Insatiably ready, really.

“Very funny. I said we should go, though. It’d be nice to see everyone again, wouldn’t it? All our friends?”

You’re still talking about this damned reunion. Astarion has half the mind to figure out a way to summon the insufferable skeleton right here, right now, and drive a dagger into his bones until he’s truly nothing but dust. Solely for the distraction.

“Your friends, my dear,” he corrects gently, “We both know they’re only overly fond of one of us in this relationship, and it certainly isn’t the one that they repeatedly threatened to stake.”

The furrow of your brows is impossibly cute – he knows that look of determination. It’s the same one you wore when he mentioned it was likely that the two of you would never find a cure to his condition.

“Our friends,” you insist, “Karlach adores you, Star. And Wyll has always been proud of you, whether he told you as much or not.”

“And what of Gale?”

Your lips twitch at that, “Gale… certainly wouldn’t stake you on sight.”

“Ah, yes,” he flourishes, trying to keep his eyes from wandering anywhere but where your hands press into your cheeks as you prop your face up to speak to him, “Not staking me. The ultimate sign of kinship.”

Focusing is a losing battle when you roll your eyes, and he finds his mind overtaken with insatiable lust again. Imaginative ways that he could have your eyes rolling for him under different circumstances.

“You’re not getting out of this. They are your friends just as well as mine – so argue all you want, but we’re going to the reunion.”

“Are you sure there’s no other way I might be able to…” he pauses with intent, finally lifting one of his docile hands to your cheek, letting his finger graze the skin with a feather light touch before it travels back into the mess of your hair, “Persuade you otherwise?”

You almost fall for it, too. Your eyes flutter shut, your head tilts into his touch as if you were starved for the connection. But even with the lack of sexual intimacy, you both know there hasn’t been a day that has gone by in the last three months where Astarion hasn’t found a way to get his hands on you.

Holding your own, resting his cheek on your shoulder, spinning you like a child in the kitchen – he had quite the sudden arsenal of romantic gestures that didn’t involve old wounds. It had been awkward here and there, some of them landing and some of them leaving you both looking like fools, but he was trying.

Almost as hard as he was currently trying to not jump your bones.

When you recognize the innuendo for what it is, however, you harden immediately. Your shoulders set, a frown settles, and your eyes open with set determination he knows he can’t falter without speaking plainly to you.

“No.”

“No?”

You’re quick to lift yourself up onto your knees, putting distance between yourself and his hands, “The days of weaponizing sex are over. I don’t even want to joke about that.”

And, oh, he’s finding himself in quite the mood tonight, because as soon as you’re retracting, he’s following. As you settle on the haunches of your calves, he’s lifting up from his reclined position, leaning forward so that his face is breaths away from yours.

“I mean it,” you warn, narrowing your eyes and holding up a finger in that small space between you two.

He tests his luck, wasting no time in snapping his fangs just millimeters from your skin. You both know he wouldn’t actually bite you, but it still humors him to see the way you whip your hand out of his reach.

“Were you not the one who insisted that we ask before we bite?” you snap, and his smile only worsens. Like a cheshire cat, like a child never scorned by the world – he’s radiant and basking in the moment.

He lets out a small hmph before saying, “You’re no fun, my dear. Come on – just play with me for a moment, won’t you?”

Your face softens at his teasing tone, and he can see the way he’s withering away your defenses one by one. There was once a time where he’d done it with malicious intent, but this time around, it’s with nothing but good intentions.

If you asked him, he’d go as far as to swear it on his own grave.

“I’m sorry,” you apologize as if you’d done something wrong, and it makes more than half of his own playfulness drain from his face in absolute displeasure. Before he can so much as open his mouth to scold you about unnecessary apologies, you’re continuing on, “I just… After everything we’ve been through, it’s not something I find particularly joyous to joke about.”

What a rare thing, to have found someone to bare your soul and all your burdens to, and watch them offer to help you shoulder the weight without second thought or regret.

He’s never met someone like you in all his years, and he might never again.

“And if I told you I wasn’t joking?” he asks slowly, carefully, trying to choose each word with the utmost care, “I’m not weaponizing – I’m offering.”

Whenever you’re ready. Just tell me when, and I’m yours.

He was ready. Very, desperately, sorely ready.

The topic of the reunion is all but forgotten as you process his words, nose twitching as you decipher all that’s he laying out before you. “I want more than an offer.”

“Excuse me?”

He can’t help the small laugh that leaves him as he sits up properly, leaning into your space fully now with one hand pressing into the mattress just beside one of your thighs. He can feel the heat radiating from you, smell your blood rushing to your head as you try to be sensible. It’s a pitiful excuse for an internal war; all he has to do is close that conveniently small distance between your lips with his own, and you’ll have lost all sense of logic.

“You’re…” you trail off, searching his eyes as if he holds the answer you’re currently looking for, “You’re sacred to me, Astarion. You must know that. And it will take much more than some joking offer to convince me to have sex with you when I know-”

“I’m not joking,” he’s nearly whining, letting his forehead fall forward to press to yours, “Gods, I am not joking about this. Cross my heart and hope to die again.”

If he has to beg, he will.

He’s spent two hundred years in an insufferable position of pure misery, pure shit, and the realization that he’s finally free has everything clicking into place. Proof of the change exists solely in the fact that he could have resorted to his tired old seduction routine from his life before to get what he wanted, but instead, he’s trying to just communicate.

It was a novel moment.

But he could appreciate it later, when the crotch of his pants wasn’t becoming increasingly uncomfortably tight and he wasn’t watching you closer than prey. When his stomach wasn’t so tight with desire and anticipation, just waiting for your word to indulge.

“Do I need to beg?” he sighs, his lips brushing against yours ever so slightly from proximity. He catches the shiver that runs up your spine. “We both know I’m not particularly fond of it, but if I have to get on my knees for you- well, actually, that’s the entire point of what I’m asking.”

You laugh at that, and his gut twists again, because it’s the most beautiful sound he’s ever had the opportunity to hear. Something more breath than any vocality, something sharp and spelling out the loss of words on your tongue.

Your silence is enough for him to push it all a step further. Forehead still leaning against yours, he properly presses his lips to yours this time, slotting them between softer than a feather’s caress. Finding home as he can physically feel himself steal your breath away. His fangs just barely nip your bottom lip, unintentionally but still eliciting a delicious reaction of a gasp that makes him graze you a second time just to feel the way you’re leaning into him more, becoming absolute putty in his hands. Pliable for his taking, and Gods, he wants to take you.

Something snaps.

All hesitation has vanished as he grabs at your hips quickly, making use of the way your brain has gone blank from a simple kiss in order to lay you out below him. He moves you with ease, incredible speed in slotting himself between your legs before he’s caging your entire body in with his own. The squeak that leaves your lips from his manhandling affects him even more than your gasps had, a low growl shaking his chest as he kisses you deeper. Tasting, begging, searching – he wants this, but he needs to know that you want this just as badly.

Your hands find purchase on each of his shoulders, squeezing tightly as if needing something to tether yourself to. You pull him in closer for a second, eagerly returning the kiss, almost feverish in the way you drink him in. But the next, you’re pushing him away, a game of want and sensibility still clouding your judgment impossibly.

You always were stubborn about things like morals. And, well, it wasn’t very moral to just jump right into sex with your traumatized boyfriend who had explicitly said not to view him in terms of sex, was it?

It was Astarion’s own damn fault.

He could have just acted like a normal person, initiated a normal conversation in which he renegotiated his boundaries. But you’ve been on his mind all day, and he’s long since proven since the very day that you met him that he has little to none impulse control.

“My, my,” he murmurs, pulling back from the kiss, eyes wild, looking at you with even more hunger than he had the first night you’d given him a taste of your blood in camp, “You’re just an impossible thing to please, aren’t you? Do you want me near, do you want me far? Tell me, my love, what do you want?”

He settles all his weight onto one of his forearms as the other slowly brings his hand to your side, caressing over the soft fabric of your shirt – a shirt he’s quickly realizing is actually his own. He recognizes those flowy sleeves, that lacing across the chest, the off-white tone that had seen better days. Given all its wear and tear, he’s almost sure that it’s one of his shirts he had grown most comfortable wearing during the nights of your adventures against the Netherbrain.

It’s cute. A sort of domesticity that he can ponder over later, when your legs aren’t hanging on his hips and your breaths aren’t coming out staccato as he hovers just out of reach from you.

“I want whatever you want,” you whisper. Your eyes flutter open, looking at him with pupils so dilated they could swallow him whole.

“Let me be very clear, then,” he hums, cold fingers creeping their way to the hem of the shirt, slipping beneath with practiced ease to find the smooth skin of your hips below. They dance and skitter up, up, up until he’s brushing against your ribs, “I want you. I want that warm cunt of yours, I want to feel every gasp and breath as your walls squeeze around me. I want to fuck you until you’re unable to walk on your own two legs, until you can only remember my name. I want to watch you come undone, my dear, and for it to be my own undoing.”

Your lips quiver in anticipation, and he feels your thighs tighten their hold on him, “Such pretty words. And… and no ulterior motives? No sense of obligation?”

“None at all,” he smiles, a predator closing in on his prey, “I’m choosing this. If you want it, if you’ll have me, then I’m ready, pet.”

Pet. The nickname rolls off his tongue, and he can imagine your walls fluttering just as your eyes do.

Your hands lift from his shoulders to bury in his hair instead. One cradling the back of his head, the other resting on the nape of his neck as you toy with a snowy curl. It unfurls him further, has him humming lowly as he dips down to recapture your lips and bring you into him even closer. Closer. He needs all and any space between the two of you to become nonexistent. To feel every inch of your skin pressed to his, to allow you to physically curl up into his chest just as you had his mind all those moons ago, to make a home in a room with your name on it already somewhere between his third and fourth rib.

“Do you really have to doubt if I’ll have you, my love?” you mutter against his mouth, smile breaking the kiss momentarily before he’s back with a vengeance. You don’t care – you’re apparently in a chatty mood, dodging his kiss to get your last words in, “There’s been a space in my heart for you since the moment I first met yo-”

“Yes, yes, very romantic,” he interrupts urgently, suddenly tugging your shirt up, “But, truth be told, love? I’m hoping there’s a space between your legs for me at this moment.”

You snort, eyes pinched shut as you attempt to shake your head at the ridiculousness of the words that just left his mouth. At any other moment, you might point out how the outrageous comment is just another defense mechanism, veering him away from having to acknowledge the gentle sentiment behind your own words, but now’s not the time. When you open your mouth, probably to say something exactly along those lines, he rolls his hips down against yours, pinning your lower half deep into the mattress. You feel just how hard he is through his trousers – it’s impossible to miss, but he’s deliberating being sure that you feel it as he lets the tips of his fangs sink into your bottom lip.

The resolve of fighting against his wishes is quickly dissolved. One thing after another, and Astarion has you bare beneath him before any other distractions or annoying conversation can send the two of you further off track. Your, his, shirt is tossed to one side of the room. Your parents fly to the other side of the bed. Only once he has the entire spanse of your body nude and vulnerable to him does he take the time to pause, to look down at you with absolute adoration.

“Gods, you’re beautiful.”

He’s said those words to you a million times before. Consistently greeting you with them, muttering them in the dead of night, whispering them as he kisses you awake. But they never lose their weight. And certainly not now, as he’s looking down at you like it’s the first time he’s ever seen that freckle on your chest or the curve of your stomach barren before him.

“Please, if you’re comfortable with it…” you start, voice laced with desperation, but he shakes his head.

He’s full of interruptions tonight, “Consider me comfortable with anything unless stated otherwise for this moment, my sweet.”

“Take off your clothes, Astarion.”

His giddy smile should annoy you. That smug satisfaction in finally, finally getting his way as he undresses himself at almost twice the speed that he had stripped you. And yet he knows you’re enjoying yourself just as much as he is. You’re reveling in drinking in the bare caricatures of his body, every inch and every curve exposed to you just as you are to him. And when his cool skin meets yours again, his body sinking right into that space between your thighs that you’ve granted to him, you let out a short gasp that reminds him that you want this just as badly as he does.

You’ve waited just as long as he has.

It almost mirrors that night on his grave. The slow descent of his body against yours, the way he slides a leg up to spread your own even further for him as he crawls his way back home to your lips. Unlike that night, however, he isn’t taking quite as much care, his movements far faster and far more needy.

He’s been waiting long enough. He’s denied himself long enough.

It really doesn’t matter when the last time he had enjoyed sex had been, because all that he cares about is that here and now, in this moment with you, there’s not a trace of imperfections to taint his enjoyment.

Cazador is dead. The brain has long since been defeated. You are both safe.

As he sinks into your heat, the only thing on his mind is that contentment, overwhelmed with the feel and smell of just you.

He’ll never be a slave again. Never be viewed as something to simply be used and disregarded again, if you have any say. And one day, some day, he’ll even feel the warmth of the sun again. Thanks to you.

But until that day, the warmth of your love is enough.

When you sigh his name out so delicately, jaw all but unhinging itself in bliss as your back arches in reaction to his touches, he knows he’s made the right choice.

And he supposes he lied, in a way, earlier.

You’re not that hard to please – not when it comes to him, at least. Not when it’s his hands trailing along your skin, not when it’s his lips and fangs nipping at every opportunity. And certainly not when it’s his name that’s being chanted like a prayer from your lips in time with every thrust, every stroke, every single movement with the sole purpose of making both of you come undone.

Astarion no longer questions when the last time he enjoyed sex was in the aftermath of it all. With you, pressed into his side, sweaty forehead nuzzling his chest, the only thing he cares about is the next time he’ll be able to do so.

“We’re still going to that reunion,” you murmur, half asleep, fading away from him quickly to fall into blissful unconsciousness.

He almost doesn’t breathe in fear of disturbing you. He’ll waste the night away, laying here, still as a statue for your comfort.

It’s no surprise when he refuses to put up a fight, instead his hand simply drawing soft stars across the back of your bare shoulder blades as he sighs, “Yes, dear. We will. Now sleep.”

“I love you.”

The words tumble from your lips so carelessly, so easily and without hesitation, he nearly shakes you awake to hear them once more. Again and again, he needs to hear them, to be reassured that you feel for him as ardently as he does you.

But he has the rest of your forever to hear them. So he lets you sleep, sending you away with a simple press of his lips to your temples as your breathing evens.

“And I love you, my dearest sun.”

#ghost's stories #smutty party #astarion #astarion x reader #astarion smut #astarion x you #my writing #there's a line in here that my best friend watched me write in real time IN PERSON that we both cackled about #i went 'i really shouldn't include it' and she went 'but it's HIM'#it's giving 'i'd rather be the only dark power inside you'#idk if this is good but it is what it is ya know #if the ending feels rushed it's because i felt terrible for how long it was getting lol #i just wanna love on the boy #i just wanna love him and he love me is that too much to ask #so many pet names i considered editing but the voices won

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wavesoutbeingtossed · 2 months ago

Text

The TTPD Deep Dive (Part ?)

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

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

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

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

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

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

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

THE CONTEXT

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

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

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

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

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

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

THE SETUP

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

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

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

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

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

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

THE STORY

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

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

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

THE ALBUM

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

Fortnight

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

TTPD

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

Down Bad

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

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

My Boy Only Breaks His Favorite Toys

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

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

So Long, London

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

But Daddy I Love Him

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

Fresh Out The Slammer

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

Florida!!!

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

Guilty As Sin

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

Who’s Afraid of Little Old Me

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

I Can Fix Him (No Really I Can)

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

Loml

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

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

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

I Can Do It With a Broken Heart

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

The Smallest Man Who Ever Lived

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

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

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

The Alchemy

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

Clara Bow

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

The Manuscript

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

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

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

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

THE SUMMATION

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

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

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

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

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

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

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

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

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

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

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

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

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