#maybe a cringe comparison but

[alteredsilicone]

I like the idea of the Operators being "mature" but in the sense that, due to being molded into child soldiers, they were forced to grow up way too fast and the obvious trauma and mental dysfunction that comes from such circumstances shines through. Like, even the Tenno that embody the "look inside a broken thing and take away its pain" are unsettling in the way that a young child should not be taking on such burdens... Worst of all - they're essentially godlike creatures, so there really is nobody else that understands their struggle or can truly comfort them. Margulis tried, the Lotus tries but the Tenno are still alone in their predicament.

[non-un-topo]

My Neekeys over the last two-odd years. I was curious to see the changes 🤔

[slothquisitor]

Unpopular opinion maybe, but I would like the new Dragon Age game to be a little cringe. I think we’re forgetting our roots if it we expect it to not be.

[leliwardens]

i want to work my fights/arguments in my writing since i feel i'm lacking in that area because i need to realize my full potential in the very specific scene in my head in the winter palace where the big huge blowout ends with alivah accusing leliana of "fucking justinia behind her back" (wanting to upset her but also....genuinely believing it) and getting slapped for it leading to their (brief) breakup

it's so good in my head and i need to get it on paper i say as i am in the same position with all my other wips

[pushing500]

Comparing 2015 OC art to 2023 OC art

I'm kind of just doing this so I can see the difference, but y'all can look too if you want ¯\_(ツ)_/¯

Angsty 2015 vampire OCs (The Berardi brothers). I'd been writing stories about these guys since 2013 but was still working out what I wanted them to look like. Originally only Pascal (the youngest) and Antioco (the oldest) had names, but in my melodramatic teenage scrawling I named more of them and decided that, one day, there would be one hundred vampires in this family...

And so in 2023, I made teenage Gracie proud and drew/came up with backstories for 100 vampires (they're half-vampires now though).

Most of these guys aren't around in the "main timeline" of my oc universe, but there's more than enough art and story on my laptop set in the aptly named "Berardi Timeline" when they were all still alive.

The surviving ones are this bunch here, my lovely boys~

Yeah, I think I can see some improvement in my art. 😂 Hopefully, by the end of 2024, I can look back and see even more!

One day I swear I'll get down to business and write an actual story about one or more of my 600+ OCs, buuuut... not today. Rimworld go brrrrrrrr

[shikitsune]

My bf is not even into Genshin (though he knows much about the game cause I gush to him about my hyperfixations), so hearing him just casually throw out there in a conversation that he's the Cyno to my Tighnari was like- um HELLO??? 😭😭😭😭❤️

[microwaving-tesilid-argente]

ok i might be talking complete nonsense here, but. the Strict Order as a metaphor for an author facing writer's block.

"the Strict Order abandoned the world," yeah if i wrote a sweet potato story where the main character just keeps suffering with no sign of resolution, i'd drop the story too (<- has actually done this with a tesilid fanfic orz)

"The world rejected the Strict Order's abandonment, so to keep the world going the Strict Order made Tesilid keep rewinding time." That's just like when you get stuck at a certain point in the plot and keep rewriting the events leading up to that moment to try to make it work. nods sagely i understand. i too make my OCs go through scenarios lots of times until we get it right. sometimes it takes months. sometimes it never works.

"The saintess only exists in timeline ~86," oh yes, the classic 'idk how to solve this problem so i'll introduce a new character' trick. i'm familiar

"okay but if time looping is the Strict Order rewriting the story, then why can Tesilid remember it" because the author already wrote those scenes and it'll be sad to throw them all out. and also it's a cool gimmick to have a regressor story. (<- has drastically changed the premise and worldbuilding of a story just to make an alternate timeline relevant before)

"what about ailette's existence--" same as muriel, where you insert a new character in hopes of solving a plot problem. except this time the characters write the plot themselves, because just this once you give priority to their character traits & goals rather than where you thought you wanted the plot to go. (tesilid has someone he can be himself around and who can do certain things on his behalf, instead of being fully constrained by his obligations. ailette gets insane buffs instead of being restricted by the world's difficulty.) therefore the chars now have more agency and are not only solving problems, but also taking the story in a direction you never would have thought of before. (whatever the hell tesilid and ailette are cooking rn, separately, which is surely going to result in interesting developments later on)

tldr; the strict order as a metaphor for an author who hit writer's block. their friend World Shaper inserts their OC Ailette in and their writing style is to let the characters run away with the plot. it works. world shaper and all their friends are co-writers working on the story together and reacting to it in real time.

[tunas-spriting]

well most importantly to me, the panel art of the latest upd8 was absolutely spectacular!!!!

[chaseprice]

Me and Jen started Matt smith season of dw last night.

[opens-up-4-nobody]

...

[platinummice]

Remember being a kid and watching people play undertale and that being like the first thing I drew fanatic for(will reblog with pics if I can find any) and It was a very good time I can’t remember any real negative interactions I had when I was younger and maybe that’s cause I’m pretty alright at dodging discourse or maybe the fandom was better at the time or MAYBE people stopped just not interacting with content they don’t like idk but I think of those times fondly and if you think undertale is cringe well I don’t care

[maryse127]

Between being surprised at seeing stroopwafels in a British supermarket and now seeing photos of F1 drivers eating them I am having cravings. Luckily for me tomorrow is market day in my town so there should be a stand with the good stroopwafels because I hate the ones from the supermarket

[jackerscracker]

I was looking through my archive and holy shit my art improved a lot since October

[eclaire-went-bam]

EDIT;; my autistic brain was confused at the "hating when egotypicals complain abt being self centred" so i took it as "hating when egotypicals complain about Me being self-centred" which, yah. No. i don't really care if anyone does that honestly. i openly act grandiose but in a way that's so cartoonish that people think i'm joking & think it's endearing, so no i don't care if ppl complain abt that

However

alternative reading, "hating when neurotypicals complain that THEY are self-centred"

I Grab The Molotov

Woe I made a hyper specific NPD bingo

Egotypicals can interact just dont be weird

[mynamesaplant]

Forgiveness is Electric

--------------------------------------------------------------------------

Just a little short story about @critterbitter's hc of Emmet, Ingo, and Elesa. This is between the Volume Control and Volume Control (Reprise). Just a tiny change, Emmet caught Tynamo bc I sort of forgot when he did... My bad. Please go take a look at Critter's work, it is beautiful in every sense of the word.

I lied about posting to AO3 last time with Yearning for Wood Floors, but I will update that soon along with this one.

Enjoy!~

--------------------------------------------------------------------------

“I do not think she will like those.”

“Who doesn’t love sweets?”

Ingo argued, plucking a box of Snom-Caps and turning it over and over in his hands. He contemplated the choices of candy in the aisle, the teenage clerk puffing their long, purple-streaked hair from their eyes behind the counter as the two children agonized over their decision. The clerk, Dakota, saw Ingo and Emmet in here all the time, the former had something of a sweet tooth and the latter… Well, whatever the opposite of a sweet tooth was, that was Emmet. The kid just loved sour things.

It wasn’t unusual to see them, but it didn’t usually take this long for them to make their selection. They had been there for nearly fifteen minutes, painstakingly reading each and every label and discussing them in hushed undertones. That was unusual by itself. Ingo was not known for his volume control.

Although unusual, they weren’t worried about them doing anything shady like stealing or being careless and knock things off the shelf. Might as well let them go about their business. To pass the time, they watched the fretful newly acquired Tynamo circle around them faster and faster until Emmet snatched the Pokémon deftly from the air and soothingly stroked its back.

“I am Emmet. We do not know what she likes.”

“We must do something! I just feel so dreadful.”

Emmet could see Ingo working himself up over this, just as he had a few hours ago, and Emmet placed a reassuring hand on his brother’s arm. His smile and eyes softened as his twin turned to him, Ingo’s eyes glittering with emotion and whatever proclamation dying on the back of his tongue.

He hadn’t meant it. He really hadn’t. He always got too loud when he was excited.

It had just backfired on him horribly.

Ingo cringed even now as he remembered the tears in her eyes, her hands slapped over her ears, and eyes huge with confusion and pain. She had run off before he could even apologize, and that knowledge was eating him alive all day.

Candy wouldn’t fix this. In his heart of hearts, he knew that, and maybe he had come here to grab himself some of his favorite snacks to ease the pain of losing a potential friend.

It was hard for them to understand others. Emmet and Ingo were so in-sync with each other that everyone seemed to be moving so much slower by comparison. It was like playing charades with someone who was underwater, the twins made perfect sense to one another, but it was unclear to everyone else.

This was not new to them, but it didn’t make it any less frustrating.

With their moms being busy with work and their uncle who didn’t have much interest with them most times, Emmet and Ingo came to rely on each other almost exclusively. Drayden would give them a little bit of pocket change, but never much. They had to be ultraconservative with what he gave them and had taken it upon themselves to run around Anville Town to take little odd jobs.

Leaves to rake? Oran berries to pick? Snow to shovel?

Emmet and Ingo did it all and saved what they could. They barely scraped together the money to purchase the Pokéballs needed to catch Tynamo and for additional balls to try and catch Ingo a starter.

Even though they knew everyone, they weren’t really close to anyone in town.

That could have been different if Ingo hadn’t ruined everything!

“Perhaps sweets are not the solution…”

Ingo finally admitted, setting the box down and rising to his feet. Readjusting his cap on his head and dusting off his knees to unconsciously tidy his appearance, Ingo’s frown deepened in thought. Even if he and Emmet apologized to her, Miss Elesa would not understand them. Drat! If only he had remembered her hearing aids, he had completely forgotten them tucked behind her black hair.

Emmet watched his face scrunch up, clearly having a long inner dialogue with himself where he alternatively berated himself and told himself that there was no crying over spilled milk. Gray eyes scanning the shelf, he took a bag of sour gummy-Bewear for himself, and chocolate covered pretzels for his brother, before hauling them to the counter where Dakota waited.

Tynamo drifted just below his elbow, still quite nervous around new people and often retreating to its ball when too anxious. Emmet’s soft encouragement was the only thing keeping the EleFish out while Dakota rang up both bags.

“Tynamo? Good for you, kiddo. I hear they’re not easy to catch.”

They rested their elbows on the counter, chin resting atop with a kind smile to the quieter twin. Dakota could see him beaming with pride, but he merely nodded, shuffling on the spot while he fished in the pocket of his overalls for some money. His Tynamo, like its trainer, seemed a little bashful at their words, and retreated into its ball.

“200… I think you brother is comatose over there.”

Dakota said not unkindly. Emmet jerked his head to where his brother stood motionless in front of the candy.

“Ingo!”

It was Ingo’s turn to jerk out of his, as Dakota had put it, “comatose state”. He trotted over to his side, staring at the bags of candies with confusion before it all seemed to click into place.

“You did not have to spend your pocket money on me.”

Emmet’s smile softened at the bashful note in his sibling’s voice. He wanted to. Ingo was feeling down, his twin often overthinking problems and burning himself out in the process. Emmet liked to take a step back to listen and reflect on people and conversations. A little break would do Ingo some good, so he insisted on the treats.

“I am Emmet. I wanted to. Yup!”

While Dakota bagged their treats in a small brown paper bag, they couldn’t help but lean over the counter to examine them. Although many people didn’t understand the secret code that the twins exchanged between glances, mouth twitches, and hand movements, Dakota could tell something was awry. Withholding the bag, they leaned over the counter with a faintly curious expression and a light tone.

“You guys alright?”

Unsurprisingly, the two exchanged looks, and a wordless conversation was held between them while Dakota waited. It was Ingo who swiveled his head back to face them, his face knit into a calculating grimace that seemed a little less friendly than usual, but only marginally.

“Yes,” he said slowly, eyes not breaking with the clerk, but they could see him shifting uncomfortably. “Emmet and I are attempting to right a wrong. However, we are encountering several roadblocks.”

There is a pause. Dakota still held the bag just out of reach as they gnawed on their lower lip. This wasn’t really their business, and they weren’t the type to stick their nose in where it didn’t belong… They thought of Drayden, who spent a lot of time in Opelucid and not watching his nephews – he barely spent any time with them.

They’re just kids.

“Do you need some help? It’s my job to help customers in the store y’know.”

Another pause. Another exchange of glances.

“I-” Ingo tries to being, already hard pressed to say anything and even less so when his sibling elbowed him in the ribs and shot him a look. He wouldn’t be allowed to take all the blame. “We upset one of our classmates with our carelessness. We think she was attempting to befriend us, but- uh… there were a few errors on our part.”

“And you’re trying to get candy for her to forgive you?”

“We thought about it, but it grew too complicated. We do not know what candy she likes, but more importantly, we do not think it’s a suitable apology.”

The clerk nodded, tapping the counter in thought as they tried to piece together some genuine advice for the boys.

“I think it’s a nice peace offering, but I think an apology would be better.”

“We broke her hearing aids… Yep…”

Emmet croaked suddenly, shrinking back in shame at the same time that Ingo grabbed the brim of his hat to tug it lower over his eyes.

“Ah,” Dakota hummed, tapping the counter even faster. They meant the new family that moved in from Sinnoh. They remembered their dads talking about the new signs that had to go all over town for the girl’s safety. Dakota couldn’t remember her name. “How did you break them?” They asked, already knowing the answer.

“Volume control.”

Ingo cringed, remembering his uncle’s warning about his naturally loud voice. Inside voice, Drayden had been emphasizing, and Ingo was trying to take those words to heart, but it was difficult. Since Ingo’s face didn’t emote well, he relied on his voice and his movement to articulate his emotions to others. They nod sympathetically.

“You didn’t see them?”

“No…”

The boy was squirming now, his shame and embarrassment with the situation reaching an all-time high. He felt Emmet moving to his side, reassuringly pressing against his arm, and resting his head on his twin’s shoulder. A flood of comfort helped Ingo release a breath he hadn’t realized he had been holding.

Behind the counter, the clerk was rummaging through something – although tall for their age, Emmet and Ingo couldn’t see what they were doing. They heaved a box onto the counter, tipping it so the contents spilled out for them to see, and the boys were confused.

“Headphones?”

Emmet leaned forward on his tiptoes to look at the colorful array of boxes that ranged from normal headphones to ones that had Pikachu and Eevee ears topping them.

“Yeah, uh, maybe if she wears these, you’ll remember right away that she has headphones in.”

It was a half-baked idea. In truth, Dakota felt a bit sheepish about it now that the idea was out of their head, but when they looked up, the boys were beaming – well, Emmet beamed. Ingo reminded of them of their friend’s Purrloin in a way they couldn’t quite put their finger on.

“Bravo! What a marvelous suggestion!”

Ingo practically cheered, stepping beside Emmet to look through the headphones. It was probably going to cost them a bit from the tags on the boxes, but it would be worth it. The headphones would immediately remind Ingo that she had hearing aids in so he would be more inclined to get Miss Elesa’s attention in a different fashion, but it also might do the same for others who were unaware of her deafness.

“Sure – er, thank you…” Dakota was looking at the prices now and mentally smacked their forehead. They probably couldn’t afford the headphones. “I’ll-” They hesitate. It almost pained them to say what they were going to next. “I’ll pay for them so you can take them to her now.” The twins’ eyes went wide, both about to protest when Dakota interrupted, “In exchange, you can do a few chores for me at my place. I need to do some yardwork, but it always gives me hay fever. Sound like a deal?”

The answer was easy for them. Dakota told them to pick ones that they thought Miss Elesa would like.

“I think these ones are quite dashing.”

Ingo said, picking up the box with the Pikachu ears. Emmet pursed his lips and shook his head.

“Nope. Too big. Not a gamer girl.”

They continued to rummage through the boxes. They agreed that she must like Electric types. She had a Blitzle as her partner after all.

“I cannot recall, she is from Hoenn, correct?”

Emmet shrugged, unsure himself because they had both been looking through a magazine with an expose on the newest train lines running out of Nimbasa when she had been introduced. That just meant to them that, when the time came, going on their Pokémon journey by rail would be all the easier.

“Not sure.” He looked at the box Ingo had in his hand and his smile broadened, nodding in agreement to his brother’s unasked query. The perfect balance of subtle but stylish. “I am Emmet. Those are perfect.”

Plusle and Minun headphones.

[zot3-flopped]

Sylvia Plath did not stick her head in an oven for this! When Taylor Swift took the Grammys stage last month to claim her award for Best Pop Vocal Album for Midnights, she saw that spotlight as an opportunity to announce her 11th studio album: The Tortured Poets Department. The follow-up cut to audience members—Swift’s music industry peers, mind you—told us all that we would ever need to know, and the collective disinterest across the crowd echoed through our TVs.

Folks from all walks of life took to social media to express a multitude of reactions. Swifties clamored to their beloved monarch’s forthcoming era, while others lambasted the terminally cringe title and artwork and ridiculed Swift for making a night recognizing musical achievements across an entire industry about herself—knowing perfectly well that it would send her fanbase into a surge that would, no doubt, overpower the excitement around the ceremony itself.

Quite a few people questioned whether or not that moment suggested that a critical—definitely not commercial—tide would turn against the world’s most-famous pop star. And, perhaps it has—but, to most, it will look like nothing more than a single ripple in Swift’s ocean of successes.

Swift remained relatively hush-hush about The Tortured Poets Department up until its release, leaving her fans, admirers and haters alike with nothing but an album title to ponder about. And it’s a bad title.

If you have never been in Swift’s corner, her taking the route of labeling her next “era” as “tortured” was likely catnip for your disinterest. If you are a fan—not necessarily a Swiftie, but even just a casual lover of her best and brightest work—you might be beside yourself about the first Swift album title longer than one word in 14 years.

In terms of popularity—certainly not always in terms of quality—no musician has been bigger this century than Swift, which makes it impossible to really buy into the “torture” of it all.

This is not to say that Swift being the most famous person in the world makes her immune to having multi-dimensional feelings of heartbreak, mental illness or what-have-you.

But, she has made the choice—as a 34-year-old adult—to take those complex, universal familiars and monetize them into a wardrobe she can wear for whatever portion of her Eras Tour setlist she opts to dedicate to the material.

Torture is fashion to Taylor Swift, and she wears her milieu dully. This album will surely get comparisons to Rupi Kaur’s poetry, either for its simplicity, empty language, commodification or all of the above.

And, sure, there are parallels there, especially in how The Tortured Poets Department, too, is going to set the art of poetry back another decade—as Swift’s naive call-to-arms of her own milky-white sorrow rings in like some quintessential “I am going to take pictures of a typewriter on my desk and have a Pinterest mood-board of Courier New font” iPhone fodder. 2013 called and it wants it capricious, suburban girl-who-is-taking-a-gap-year wig back!

Soaking our book reports in coffee or having our moms burn the edges with a kitchen lighter cannot come back into fashion; the cyclical notions of culture cannot make the space for such retreads.

There is nothing poetic about a billionaire—who, mind you, threatens legal action against a Twitter account for tracking her destructive private jet paths—telling stadiums of thousands of people every night that she sees and adores them.

Tavi Gevinson says it well in her Fan Fiction zine: “When 80,000 people are also crying, you become less special, too.” If Swift can return to one of her dozen beach houses across the world, kick up her feet and say “I’m a poet of struggle,” then who is to say that millions—maybe billions—of people with access to a notes app and a social media account won’t dream that dream, too?

Maybe that looks like a net-positive, but it’s inherently damning and destructive to take an art form that has long stood on the shoulders of resistance, of love and of opposition to power, systematic injustice and climate warfare and boil it down to the new defining era of your own 10-digit revenue empire. “My culture is not your costume,” yada, etc.

The Tortured Poets Department does begin with a shred of hope that, just maybe, Swift knows what she’s talking about—as she sneaks in a cheeky “all of this to say,” textbook transitional phrasing for poets, on opening track “Fortnight.”

But “Fortnight” unmasks itself quickly as a heady vat of pop nothingness, though it isn’t all Swift’s fault. “I was a functioning alcoholic, ‘til nobody noticed my new aesthetic,” she muses, attempting to bridge the gap between a behind-the-scenes life and on-stage performance—only for it to occur while propped up against the most dog-water, uninspired synth arrangement you could possibly imagine.

Between producer Jack Antonoff’s atrocious backing instrumental and the Y2K-era, teen dramedy echo chamber of a vocal harmony provided by out-of-place guest performer Post Malone, “Fortnight” chokes on the vomit of its own opaqueness.

“I took the miracle move-on drug, the effects were temporary,” Swift muses, and it sounds like satire. This is your songwriter of the century? Open the schools.

The Tortured Poets Department title-track features some of Swift’s worst lyricism to-date, including the irredeemable, relentlessly cringe “You smoked then ate seven bars of chocolate, we declared Charlie Puth should be a bigger artist / I scratch your head, you fall asleep like a tattooed golden retriever” lines glazed atop some synthesizers and drums that just ring in as hollow, unfascinating costuming.

Aside from the Puth nod, which I can only discern as a joke (given the fact that he is one of the 150-most streamed artists in the world and is one of the blandest pop practitioners alive—I don’t care if he can figure out the pitch of any sound you throw at him), I think Antonoff should stick to guitar-playing. Get that man away from a keyboard, I’m begging you.

Synths can be, if you use them correctly, one of the most emotional and provocative instruments in any musician’s tool-box. There’s a reason why keyboards defined the 1980s; they rebelled against the very oppressive nature existing outside of the cultural company they kept. There’s resistance in electronic music that, while they brandish an aesthetic that, to a layman’s ears, seems like technicolor hues for any infectious pop track, it’s a genre that aches to tell its own story. That is simply not the case here, and that electronica hangs Swift out to dry when she drags us through the lukewarm “I laughed in your face and said, ‘You’re not Dylan Thomas, I’m not Patti Smith’ / This ain’t the Chelsea Hotel, we’re modern idiots” lines, only to hit us with a softly sung F-bomb that sounds like a billionaire’s rendition of that one Miranda Cosgrove podcast clip.

I used to rag pretty heavily on Reputation—mostly because I thought (and still do, mostly) that it sounded like Swift had given up on making interesting, progressive pop music; that, in the wake of her (arguably) best album, 1989, it seemed like she’d lost the plot on where to go next. But as she’s put out Midnights and The Tortured Poets Department back-to-back, I find myself clamoring for the Reputation-era more than ever—at least seven years ago, Swift wrote songs like she had something to prove and even more to lose.

That was the always-obvious charm of Reputation, even despite the downsides—that she took a big swing from the echelons of her own musical immortality, that the comforts of winning every award and selling out the biggest venues in the world were no longer pillowing her aspirations. Even though that swing didn’t land, she still made it in the first place—and Swift is at her best either when she is clawing upwards (Reputation) or faced with nowhere to go but into the studio and noodle with the bare-bones of her own sensibilities (folklore).

You get something like The Tortured Poets Department when the artist making it no longer feels challenged, where she strikes out looking.

The mid-ness of The Tortured Poets Department will not be a net-loss for Swift. She will sell out arenas and get her streams until she elects to quit this business (a phrase decidedly not in her vocabulary, surely).

She will sell more merch bundles than vinyl plants have the capacity to make, and rows of variant LP copies will haunt the record aisles of Target stores just as long as Midnights has—if not longer.

Perhaps, in five or six years’ time, we will speak of this record just as we now do of Reputation. But right now, it is obvious that Swift no longer feels challenged to be good. The Tortured Poets Department is the mark of an artist now interested in seeing how much their empire can atone for the sins of mediocrity.

Can Swift win another Album of the Year Grammy simply because she released a record during the eligibility period? The Tortured Poets Department reeks of “because I can,” not “because I should.”

On “I Can Fix Him (No Really I Can),” Swift tries stepping into the shoes of the country renegades who came before her—the Tammy Wynettes and Loretta Lynns of the world. But her self-aggrandizing inflation of importance, glinting through via a seismically-bland bridge, is backed by a minimal set dressing of guitar, drum machine and keys.

“Good boy, that’s right, come close,” she sings. “I’ll show you Heaven if you’ll be an angel—all mine. Trust me, I can handle me a dangerous man. No, really, I can.” On “Florida!!!,” Swift calls upon Florence + the Machine to help her sing the worst chorus of 2024: “Florida is one hell of a drug / Florida, can I use you up?”

Even Welch, who is a fantastic pop singer-songwriter in her own right, delivers a grossly watery verse: “The hurricane with my name, when it came I got drunk and I dared it to wash me away.”

Not even the typos on the Spotify promotional materials for this album could have foretold such offenses. I won’t even get into the sonics, because Antonoff just rewrites the same soulless patterns every time.

What separates The Tortured Poets Department from something like Reputation is that, on the latter, Swift made it known what was at stake and who she was making that album for—herself, in the aftermath of her greatest long-standing criticisms (“Look What You Made Me Do” triumphs exactly because of this).

On The Tortured Poets Department, there is a striking level of moral nothingness. The stakes are practically non-existent, and the album sounds like it was made by someone who believes that they had no other choice but to finish it, as if Swift fundamentally believes that her creative measures are firmly embedded in the massive monopoly her name and brand currently hold on popular music. That’s how you get meandering pop songs about hookups, wine moms, Stevie Nicks comparisons, Jehovah’s Witness suit mentions, hollowed-out, tone-deaf nods to white-collar crime in lieu of empowerment and, topically, Barbie dolls.

(Don’t even get me started on the Anthology lyrics, which feature these absolute barn-burners: “Touch me while your bros play Grand Theft Auto” and “My friends used to play a game where / We would pick a decade / We wished we could live in instead of this / I’d say the 1830s, but without all the racists / And getting married off for the highest bid.”) This album and its hackneyed grasps at relevance exist as “Did I just hear that?” personified, but in the most derogatory sense of the notion.

My Boy Only Breaks His Favorite Toys” features another low-point in Swift’s lyrical oeuvre, as she sings “I felt more when we played pretend than with all the Kens, ‘cause he took me out of my box”—perhaps a measure of her capitalizing on the Barbenheimer mania that none of us could escape, not even the musician who spent most of 2023 flying across the world from one country to another.

But you, us, the listener—we want to believe that Swift makes these records because she has the artistic will, drive and interest to continue giving us parts of her story in such ways that they exist as an archival of her life.

But the problem is that, on The Tortured Poets Department, Swift is packaging her life into a form that is easily consumable for the 17 or 18 years olds who pour over her music. Just because her Eras Tour film is on Disney+ doesn’t mean she has to strip her songwriting (which we know can be, and has been, phenomenal) down for the sake of it being digestible by a wide spectrum of ages.

And, sure, maybe that makes the work accessible. But on The Tortured Poets Department, Swift makes Zoomer jargon her bag—titling a song after one of the most popular video games in the world and conjuring flickers of “down bad” and “I can fix him”—and it feels like she’s cosplaying because the Fountain of Youth was out of order.

Now that Swift is in her 30s, it sounds like she is infantilizing her own audience more than ever before—that singing to them at a level that could force them to reckon with something more akin with adulthood would be some kind of kink in the coil or her consumeristic threshold, that writing lyrics that sound like they were penned by a 30-year-old would, somehow, deter the interests of the billions of people who adore her.

If making one, continuous coming-of-age album is what Swift has been doing for 15 years, folklore and evermore were hiccups in the timeline—existing as the most fully-formed renderings of Swift’s own insecurities and concerns. They mirrored our platitudes towards an uncertain future with sweet, stirring remarks about isolation and heartbreak and the unavoidable, hard-worn truth about getting older. On those records, her larger-than-life living seemed, for once, to truly feel as close to the ground as ours.

Now, though, Taylor Swift is at the top of the mountain. Far better artists have made far worse records than The Tortured Poets Department, but you can’t read between the lines of this project. There is nothing to decipher from a place of quality.

Sure, Swift’s fan base will pour over these lyrics for the rest of their lives—insisting they know, for certain, which song is about who. But you cannot place a bad album on the shoulders of lore and expect it to be rectified.

We are now left at a crossroads. Women can’t critique Swift because they’ll run the risk of being labeled a “gender traitor” for doing so. Men can’t critique her because they’ll be touted as “sexist.”

And, sure, Swift is probably too easy a punching bag in this case—and most of the time, I would argue she is undeserving of being a victim of such barbs. But, you cannot write about someone being a “tattooed golden retriever” and get away with it and still retain your title as the best songwriter of your generation. You just cannot.

Sisyphus should be glad he never got the boulder to the top of the mountain—because Taylor Swift is showing us that such immortality and success ain’t all it’s cracked up to be. And, when you’re standing on the peak alone, who else is there left to hit?

In a recent interview with The Standard, Courtney Love said that Swift is “not interesting as an artist,” and I think The Tortured Poets Department proves as much. She has nothing to fight for, no doubters left to drown.

So where does she turn? Well, to boredoms of celebrity thinly veiled as sorrow everyone and their mother can latch onto—because we’ve all had to “ditch the clowns, get the crown” at some point in our lives, right?

The billionaire is having an identity crisis, but there are no social media apps for her to buy up. So she sings like Lana Del Rey and writes meta-self-referential songs about looking like Stevie Nicks.

What’s hollow about The Tortured Poets Department is that the real torture is just how unlivable these songs really are. No one can resonate with “So I leap from the gallows and I levitate down your street, crash the party like a record, scratch as I scream ‘Who’s afraid of little old me?’ You should be.” And normally, that wouldn’t be an end-all-be-all for a pop record—but when your brand is built on copious levels of “I’m just like you!” as the demigod saying it to their fans does so from a multi-million-dollar production set, it’s hard to not feel nauseated by the overlording, overbearing sense of heavy-handed detritus we’re tasked with sifting through on The Tortured Poets Department.

Love’s words to Lana, her advice to “take seven years off,” should be applied to Swift. Now, that doesn’t mean that, to make a good album, you must sit on material for years and labor extensively through the sketching, shaping and recording in order for it to be transcendentally landmark. But it’s obvious now that not even Taylor Swift wants to be the head of an empire—that she, too, can’t outrun the damning fate of being plum out of ideas by hopping in her jet and skirting off to God knows where.

See you at the Grammys.

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