#my legit first thought was

[cobaltfluff]

curse you genetics!!

bonus:

[jemmalynette]

Maybe all the things you thought made you you aren’t really…you. Barbie (2023) / Fight Club (1999)

[silusvesuius]

[fruchtfliege]

"Oh, sorry, did I push you?"

Naruto season 1 episode 3, forever in my heart

[paimonial-rage]

cocky bastard vibes - zhongli

ship: zhongli x reader

synopsis: in which reader shares their free thoughts on the liyue statue of seven

notes: standalone snippet part of the bookkeeping!verse

It was a beautiful day in Liyue. The grass was a luscious green and the birds were singing a beautiful song. After a nice stay at the Emerald Maple Inn, you and Mr. Zhongli decided to have a cup of tea next to the Statue of the Seven before heading on your way to Qingce Village. You were to accompany him to pick up supplies for the next funeral rite, and with the way the morning was going, you knew nothing would ruin this peaceful day.

"So how much do you want to bet that Rex Lapis was hot and knew it?”

You ignored the choked sound that came from your side as you gazed up at the picturesque statue. Though your companion would probably consider your question quite out of the blue, you couldn’t say it was the first time you wondered such a thing. Whenever you passed by one of them in Liyue, the thought always plagued your mind for a few hours after. Judging by Mr. Zhongli’s reaction, though, it seemed he did not share your sentiments.

"Ehem… That… certainly is an interesting thought. I can’t say whether or not previous records touched on such a topic."

You hummed, gazing up at the statue. Really? That couldn’t be true. Why wouldn’t anyone talk about a statue looking like that?

“Well there are many reasons why I’d say I’m right. First off, his outfit. He has a hooded cloak on while also being shirtless. There’s absolutely no logical reason to dress like that unless they’re from the deserts of Sumeru, wouldn’t you say? It obviously was a conscious fashion decision. If you pair that with the seductive way he’s sitting, I’d be inclined to assume he’s quite clearly feeling his look.”

Silence came from your side. Hm, Mr. Zhongli still wasn’t convinced? Then you would go on.

“You do see it, right? His posture is relaxed, yet confident. Not to mention the way he’s looking at that cube in his hand with practically bedroom eyes. His knees are apart too. My friend from Sumeru told me that when a man sits like that, he’s displaying his dominance.”

Still silence.

"You can't sit in a seductive pose like that without on some level being aware you look good doing it. I mean look at him! He's shirtless and everything! I've heard even macho fishermen say that they pray to the statue for a good night before coming home to see their wives. You can’t blame them, right?"

A hesitant cough.

"I-I'm sure it was a younger time when those statues were sculpted."

You groaned.

"Maybe, but you’re not even looking! If you did, you’d agree with me that Rex Lapis is clearly exuding such massive 'cocky bastard' vibes!" You countered.

For some reason, the more you spoke, the more flustered he became.

"C'mon, Mr. Zhongli! Why are you so embarrassed? It's not like I'm slandering his good name! I mean, if Rex Lapis didn't want us talking about him like this, maybe he shouldn't have made a statue with abs clean enough to eat off of!"

Okay, maybe at this point, you were piling it on a bit thick. Could anyone blame you? His face was in his hand as if he had a headache, and were his ears tinged the slightest hint of red? It was an interesting sight. Never had you seen him look so completely flustered. Sure you were rather blunt, but you didn't think your words were that provocative. Mr. Zhongli really was practically a 65 year old man.

"I thought you respected the Geo Archon…" He muttered weakly.

You gasped in offense.

"I do! I’d even consider my words the utmost of pious behavior. In Mondstadt, the sisters of the church consider themselves married to Barbatos, the Anemo Archon. So finding the Geo Archon to be a sex god is pretty much the same thing, right?”

“No, it is not.”

[i-will-always-love-the-jedi]

(Spoiler for Temptation of the Force)

✨just had to sketch one of my favorite scenes✨

I legit died at this scene because it has so MUCH MEANING ok, it’s the song sacrificing herself to strengthen the ocean with the light of a Star and-

…

[mislamicpearl]

Every fandom NEEDS a compilation of the main characters hugging each other. And by fandom I mean me, I needed a hug compilation.

[neonliminality]

Honest to god never thought to look up Beetlejuice on tumblr or look up to see if there was fanfic. Realized that was a thing I could just do after watch the trailer. Been reading almost non stop for the past 4 days.

[lover-of-mine]

My favorite thing about new people watching 911 is the way that most people hit a moment, from what I gathered usually around merry exmas or after the tsunami that they are like "I thought the buddie bitches were being dramatic, that you were making things up, these men have a child, they look at each other like they have spend eternity looking for the other, these bitches are gay and in love what the fuck" and they haven't even watched the grocery store fight yet. I love giggling at those and being like "you haven't seen the half of it, just wait" because it just keeps getting worse lol

[anaer]

and for my next fic

the meet-cute:

sukuna, actual serial killer: wow that guy is being annoying, someone should just kill him; that would shut him up gojo: haha yeah but don't say that too loud people don't like you when they know you murder people sukuna: 👀👀

the fifth date:

sukuna: so as a fellow serial killer-- gojo: what sukuna: what do you mean what gojo: what do you mean fellow serial killer; i'm not a serial killer, don't lump me in with you sukuna: what. wait did you already know i'm a serial killer gojo: obviously, but why would you think i'm a serial killer??? sukuna: have you listened to anything you say??????

it's not gojo's fault he gives off serial killer vibes

[gayferrari]

Trying to catch up with old charles lore. Could you explain to me the singapore 2019 drama, like why ferrari let seb pit first and not tell charles?

[I typed this long-ass answer my browser ATE IT then I RETYPED IT AGAIN heroically. the things I do for sebchal drama...]

omg Singapore 2019!! OK SO. I rewatched that race not too long ago and off the top of my head, I can't remember the strategy decision being that outrageous at the time. Both during race comm and in the aftermath there wasn't noise about it. I might me wrong here, but I don't think it was a strategy screw-up, per se — iirc, Seb and Max (who was just behind him) pitted on the same lap, so it might have been that it was more convenient to pit Seb because he had a clearer window, or to offset RBR strategy moves, or it might have been that Charles's tyres could hold longer. I don't think pitting Seb first was a big deal, by itself. ofc, usually when that happens between teammates, the one ahead is ordered to give back position, barring special circumstances. Seb wasn't ordered to give the position to Charles.

My two cents: if it had been the other way around — Seb starting on pole and getting undercut by his teammate who started P3 — Ferrari would have made them switch back. But in that situation, ordering Seb to switch with Charles would have been more trouble than it was worth it. Ferrari started the season with Seb as their clear #1, and by Singapore he hadn't won a race in a year and Charles was on track for his third win in a row. Like... ordering your veteran driver / multi wdc to yield a race win to his much junior teammate would have caused a bigger mess than not just keeping the race order stand. Just imagine the headlines (FERRARI HAVE LOST CONFIDENCE IN VETTEL??? etc etc etc). They're damned if he does, damned if he doesn't. (And I'm not sure Seb would have, honestly.) I mostly remember the aftermath of Singapore 2019, at the time, as being a big relief to Ferrari fans and Seb fans. It was very "He's still got it, he's still here, we are so back" kinda vibe. Ferrari got their 1-2 and their third win in a row, and neither of their drivers was in serious contention for wdc by then so the individual points mattered less, but that individual win meant A LOT to Seb (who, at that point, Ferrari meant to retain! His renewal negotiations fell apart over 6 months later)

tldr, I would say the team thought that letting Seb win even if it meant Charles got done dirty was less poisonous in the long term than the other way. I don't think it was deliberate. I also don't think it was glaring incompetence as far as Binotto-era strategy choices go. Reminder that this was before Ferrari got nerfed for the illegal engine, they had absolutely no idea they wouldn't win a race again until 2022. They were fully expecting to challenge for wins again soon enough, u know?

ALSO I found this very cool picture on google AND this very fun (in hindsight) reddit comment while searching for said picture

158 upvotes.......

Anyway typing this out made me want a rancid sebchal fic where Seb is ordered to let Charles pass :)))) and who knows what happens then

[silvermeww]

okay, when was someone going to tell me that

oh, idk, steven started at 19, burgh has a younger sister, clay actually isn't born american, skyla's whole fam thing and ELESA IS 15???? (even younger than skyla like wtf???)

(also the 'alder' at the bottom is supposed to be drayden lol)

and that's not all

say hello to:

viola being 18??? 'black whirlwind' korrina, RAMOS MEETING AZ'S FLOETTE AS A KID, genderfluid and apparently also age-fluid olympia, CLEMONT?? AND HIS WHOLE THING DOWN TO BEING 12 OF ALL AGES???

(you know what, marlon being 30 definitely makes sense with the hippie vibes)

wikstrom SAYING that he only wears that suit in pokemon battles but i've never seen his casual wear, malva being pr for flare lol, drasna selling dragon merch + great family lore if you want to know, siebold having to third-wheel lysandre and sycamore while eating (move aside malva, you're not the only elite 4 dealing with this) and 20?? YEARS OLD?? DIANTHA????????????

(way too many men in kalos are getting ladies, c'mon)

ethan being into history is such a neat detail hmmm, idk much of the frontier brains ngl, and we've finally got the region for looker and it's... hoenn??? you know what, makes sense with his chaotic vibes so i'll take it (throws away unova taped to a rock behind my back). also he's abolsutely cheating we all see that he's just relying on knowing us as protags, should've known smh

(um i think someone said that 'caitlin' should've been anabel but idk)

oh and the last one is charon, if we care about how much of a loser he really is. forget about birch and the poochyena, this guy is the lowest heh. imagine being charon (please don't).

(when the protags of johto are the same age as clemont lol) (yeah i know there are years between those events just let me have this)

and last but not least:

aaron 🤝 valerie: wanting to be pokemon (and ig gotta toss in shauntal with the ao3 writer gift heh, don't know if they would commission her or stay away), bertha's description???? i love flint just saying, cynthia 👀👀 is absolutely doing something illegal 👀👀, roark is WHAT??? (child labour laws in sinnoh must be lax ngl), maylene as well???? fantina watching scary movies is something i'll have to incorporate into my worldview and bryon?? are you okay??

so yeah. credit goes to @/KuroBlitz96 on the twitter/x for having this up, i'm just here to project sheer surprise at this massive dump of ages... my thoughts on pokemon have completely turned on its head once more lol (this is fine)

[ashipiko]

😔 enstars posting won so </3 my enstars silly…… my widdle boy atsu…. NOT MILGRAM VER. ENSTARS VER!!! WELCOME TO THE ASHIVERSE (there is 9. tehepero)

🫶 here is my boy who suffers w gramp issues. HES SO SILLIES. <3 he’s not a producer but a member of me and my friends’ group named plume!!! THEIR WHOLE THEME IS LIKE BIRDS. SHOWING OFF. FANSERVICE BASICALLY they’re fun

[essektheylyss]

Anyway, since we are apparently going hard on 'all bets are off', I'm taking the opportunity to throw out my deeply wishful thinking, absolutely not actually serious, buckwild conspiracy theory, which is that the Luxon heard Ludinus's dumbass monologue through the beacon and went, "Fuck you, bastard, maybe the titans were here before the gods, but I was here before the TITANS" and wrecked his plans.

[wavesoutbeingtossed]

Screaming from the crypt (or how the past haunts the present on Midnights)

I know it's been discussed so much since Midnights came out but just.

I love how there is such a clear narrative throughout the album (and perhaps especially on the 3am/Vault tracks). About questioning and regret and choices and coming to terms with all of it. It is one long story about how we're all a mosaic of the choices we make, each one taking something from us and leaving something else in its place.

(And now a disclaimer: I'm looking at this mostly through a narrator/subject lens, and trying not to dive too deeply into real-life events or speculation except for in a general sense. For this purpose I like to look at the body of work as art, like literature, because I find it makes it easier to see the common threads in the different songs and cohesion in the narrative.)

In looking at the 3am+ tracks in particular, it's fascinating how some turns of phrases or themes repeat themselves in different songs, in different contexts. (I'm only focusing on the non-standard tracks because there are too many songs and I'd be here all day but I bet I could do a part two lol.) I know many people have pointed out the parallels throughout her discography already and I’m not saying anything groundbreaking by writing this, but I love how these parallels run through in the same album, because it makes it seem like it's one long story, or at least, one long rumination on many different stories that are coalescing into a single narrative.

Battle (let’s go)

For instance, the one that jumped out at me when I started writing this post the other week was, "Tore your banners down, took the battle underground," in The Great War and "If clarity's in death, then why won't this die? Years of tearing down our banners, you and I," in Would've, Could've Should've. It's a story about staying stuck in the same cycle of reliving trauma and coping mechanisms and bad habits over and over again and fantasizing about how taking the “antagonist” out and gaining the upper hand for good would bring closure (WCS), but the truth is that nothing ever will. All that cycle does, though, is repeat itself in other situations, and in this case pushes someone away the narrator cares for (TGW). The difference is that the imagined battle in WCS is a two-way street in her mind (that is ultimately unwinnable because it was never a fair fight), but in TGW it's one-sided -- she's the one fighting dirty, taking shots, the way she'd been doing in her imagination (or nightmares) all these years. But the person in front of her isn't fighting back the way the person in her mind in WCS would, because their intentions are honourable instead of exploitative.

And that's paralleled in another pair of lyrics from the two songs, "And maybe it's the past talking, screaming from the crypt, telling me to punish you for things you never did," (in TGW) and "The tomb won't close, I fight with you in my sleep," (in WCS). In both cases, the funeral imagery makes it seem like this past event should be dead and buried in WCS, but it keeps rising from the dead, haunting her no matter what she does and in TGW, another (or perhaps the same?) tomb that won't close keeps unleashing new ways to hurt her and in turn the new person in her life. In other words, the trauma from the past continues to bleed into the present.

(Again from a literary point of view, I'm not saying the events of the two songs are linked IRL, but they're fascinating textual parallels on the album as a string of chapters, which is why Dear Reader is so compelling, but that's a whole other essay.)

To keep the battle motif going, there’s yet another parallel, this time between TGW’s "[You were a] soldier down on that icy ground, looked up at me with honor and truth," and You’re Losing Me’s "All I did was bleed as I tried to be the bravest soldier, fighting in only your army.” In the former, the subject is laying down his armour in the war she’s projecting onto him, waving the white flag, and she realizes that she’s about to destroy something if she doesn’t put her sword down too. By the time we get to YLM, the roles are almost reversed; at the very least they’re supposed to be on the same team, but in this case she’s doing all the heavy lifting, fighting for their relationship in contrast to his apathy killing it. It’s also pretty interesting (if not outright intentional) that one of the 3am+ editions of the albums starts with The Great War, where they find themselves in conflict (even if it’s in her head) that ends in a truce, and ends with You’re Losing Me signalling the end of the relationship, evidence that the resolution in the first song wasn’t an ending but merely a ceasefire before the last battle.

Putting the rest under a cut because this is waaaaay too long now ⤵️

(There’s also another metaphor there in The Great War with its battle imagery: World War I, aka The Great War, was supposed to be the war to end all wars, because loss on its scale was never seen before and when it ended, most thought never again would the world embroil itself in such battle, the horrors and implications were so devastating. Two decades later, the world found itself in WWII, with an even larger scope and more horrific consequences, the intervening time between the two a period of festering conflicts and resentment leading to some of the worst acts the world would see. Bringing real life into it for a second, there’s something a little poetic, though sad, about The Great War the song being about a fight that could have ended the relationship that they ultimately resolved and was meant to be evidence of the strength of their love, but so too did it end up being a period of détente, the greater battle coming for them years later. But that is not the point of this post.)

If one thing had been different

Another major theme in these editions is pondering the "what ifs?" of life, but I think it takes on even more significance in the broader context of the album in the lyrics of "I'm never gonna meet what could've been, would've been, should've been you," in Bigger than the Whole Sky and the repetition of would've/could've in Would've, Could've, Should've (I would've looked away at the first glance, I would've stayed on my knees, I would've gone along with the righteous, I could've gone on as I was, would've could've should've if I'd only played it safe, etc.) In both songs, the narrator is mourning an alternate course their life could have taken* and questioning what they could have done differently, in the aftermath of trauma and loss, and the regret that comes with that loss, and with the loss of agency in the situation because ultimately it was never in their hands. In an album full of questions, wondering about the path not taken, or the forks in the road that have led to a different version of your life, it's digging deeper into the contrast of choice vs. fate, action vs. reaction, dwelling on the past vs. moving on. When you're supposed to let go of the past, what do you do when it is holding your future hostage?

(*I know there are different interpretations/speculation about BTTWS which I am not getting into on main. I'm just saying that whatever the song is about, it's grieving something that never came to be. The literal origin of the song is less important to the album than the sense of loss it portrays. Whatever the inspiration is, it's crafted to tell part of the story of Midnights of ruminating over how, to borrow from her previous work, if one thing had been different, would everything be different?)

(Also I was today years old when I realized that the words are inverted in the two songs. Apparently I've been hearing BTTWS wrong this whole time.)

There's also an interesting tangent in the role of faith in both songs: in WCS, the events of the story cause her to lose her faith (e.g. "All I used to do was pray," "you're a crisis of my faith,") and question all the things she felt had been unquestionable until that point in her life (e.g. "I could have gone along with the righteous"), whereas in BTTWS, she questions whether that very lack of faith is to blame for the loss in that song ("did some force take you because I didn't pray? [...] It's not meant to be, so I'll say words I don't believe"). It's like pinpointing the moment her life changed and upended her beliefs (WCS), but as a result then leaving her unmoored in times of crisis because ultimately there's no explanation or comfort to be taken from what she used to hold true before that (BTTWS). The words she once relied upon to guide her have long since lost their meaning, but in times of trouble it leaves her wondering if that faith she once held then lost could have prevented this pain.

(Shoutout to WCS for being Catholic guilt personified lol.)

To keep on with the vaguely faith-y notions, an obvious parallel is the line in Would’ve Could’ve Should’ve about, “I damn sure never would've danced with the devil at nineteen,” and, "When you aim at the devil, make sure you don't miss," in Dear Reader. All of WCS is about her fighting with an antagonist who haunts her, with whom she wholly regrets ever becoming involved. DR could be seen as a reflection on that fall from grace, warning the audience that if you choose to go after the person (or thing) haunting you, make sure you do so clearheaded enough to be decisive. Again, these “devils” may not be related in real life: the IRL devil in DR could be speaking about her naysayers, or Kim*ye, or Scott & Scooter B, etc., meaning not to cross your enemies until you know you can win. But taking real life out of it and looking at it textually, I am intrigued by the link between WCS and DR, so that’s what I’m going with here. And perhaps that’s even the point in a wider sense; there will be multiple “devils” in your life, or threats to your well-being. If you’re going to commit to taking them down — whether it’s an actual person, or the demons inside you that refuse to let you go — make sure you have the right ammo so that they can no longer hurt you. (Of course, one lesson from these experiences is that sometimes you can’t win, and you have to live with the fallout.)

(Sidebar: I know that “dancing with the devil” is a turn of phrase that means being led into temptation and engaging in risky behaviour, as opposed to describing the actual person. Given the religious metaphors in the song, that could very well be/is the intention, particularly when it’s preceded by, “I would have stayed on my knees” as in she would have continued to follow her faith — in whatever sense that means — had she never met this person, which could also be a more eloquent way of saying she would have continued to be live her life in a way that was righteous (even naive) and seen the world in black and white. Either way, it’s a force she wholly rejects. Like I said, multiple devils, same fight.)

Regret comes up too: in WCS, she says, "I regret you all the time," obviously directed at the person who manipulated her and led to her perceived downfall, citing him as the one impulse she wished she'd never followed, because it won't leave her no matter how hard she’s tried. In High Infidelity, she tells the person to, "put on your records and regret me," and on the surface, it’s like she’s turning the tables, painting herself as the one now causing the regret in someone else, the one inflicting the pain this time. Yet the verse preceding it and the lines following it in the chorus depict a partner who is also emotionally manipulative and vindictive like in WCS (“you said I was freeloading, I didn’t know you were keeping count,” “put on your headphones and burn my city,”). It’s not so much that she’s intentionally harming the person (the way the person in WCS does to her), but rather that the venom in the subject’s feelings towards her seeps through; she’s imagining the way he’s going to feel about her when she leaves, hating her just for by being who she is. (There could be another tangent about how in both songs she’s there to be a “token” in a game for both of the men, who play her for their own purposes.) The regret is dripping with disdain. It’s as though she’s picturing how the person is going to hate her for doing what she’s thinking of doing the way she hates the person who first hurt her.

Sadness, unsurprisingly, shows up in a few lyrics. In BTTWS, “Everything I touch becomes sick with sadness,” sets the scene of a person so overcome with grief that it permeates everything around them; they cannot see their way out of it and feel like the fog will never lift. In Hits Different, it’s, “My sadness is contagious,” the result of a breakup where the person’s grief again touches everything and everyone around them, pushing them further in their despair and loneliness. The reason behind the grief in either case may vary, but regardless of the source, the feeling is overpowering and isolating. They may be different chapters in the story, but the devastation is hauntingly familiar. (As is a recurring theme in Midnights as a whole: there are situations and feelings that present themselves at different points in her journey and colour in the lines in different ways along the road. Like revisiting an old vice and realizing the hit isn’t quite the same as it was in the past.)

Death by a thousand cuts

She also writes about wounds on this album, which isn't surprising I suppose given that the whole conceit is that these are things that have kept her up at night over the years. WCS is perhaps the driving narrative on this never ending hurt when she sings, “The wound won't close, I keep on waiting for a sign, I regret you all the time,” suggesting that no matter what she does, the pain of this experience has permeated everything she’s done afterwards. (Not unlike the overwhelming grief in BTTWS, for instance.) Elsewhere, in High Infidelity she sings, "Lock broken, slur spoken, wound open, game token," and in Hits Different, "Make it make some sense why the wound is still bleeding.” Again I'm not suggesting they're about the same events; the line in HI is about a situation where a partner crosses a boundary, hits below the belt, picks at an insecurity (or creates a new one) and treats the relationship like it's transactional, opening the floodgates in turn. In HD, the wound seems to be more self-inflicted, where she's pushed the person away. (Over a situation real or imagined she feels she needs distance from.) But again, something has picked at her like a raw nerve, and just like in the past, she's hurting, even in a different time and place and person. Almost like the wounds of the past break open over and over again to create new scars. If one were to extrapolate further, it wouldn’t be the biggest leap to wonder if the wound open in WCS, then torn apart in HI makes the one in HD hurt even more.

(I once wrote a post about how I think as time goes on, WCS is going to turn into one of those songs that will be found to drive so much of her work, because it’s just… kind of the unsaid thesis statement of so much of her songwriting.)

Another repeated theme is that of the empty home and loneliness. In High Infidelity, she sings, "At the house lonely, good money I'd pay if you just know me, seemed like the right thing at the time," painting a picture of someone who may have everything they'd want to the outside world, but in reality feels metaphorically trapped in their home (or at least alone amidst abundance), a symbol of a relationship gone sour and a failure to build connection. She just wants someone to understand her, want her for her, but as she's written earlier in the song, she's just a pawn in the game, a trophy from the hunt. Home, in this case, is lonely, isolated, an emblem of her fears. In Dear Reader, she continues this thread, then singing, "You wouldn't take my word for it if you knew who was talking, if you knew where I was walking, to a house not a home, all alone 'cause nobody's there, where I pace in my pen and my friends found friends who care, no one sees you lose when you're playing solitaire." It's the same idea, admitting to listeners that the gilded cage she lived in kept her distanced from her loved ones and real connection, keeping her struggles close to the vest but feeling desperately lonely amidst her crowning success. She's pushed people away and it may have felt like the right thing at the time, but in the end maybe felt like she was trapped. And when you push people away, eventually they take you at your word and stop pushing back; you’re a victim of your own success at isolating yourself. What starts out of self-preservation then further perpetuates the underlying problems.

(There's another interesting link about "home" also feeling unsafe with HI's "Your picket fence is sharp as knives," which further leads into the theme of marriage/domesticity feeling dangerous, which is a whole other thing I won't get into here because it's another discussion and may derail this already gargantuan word salad.)

In a slightly similar vein, we have the metaphor of bad weather for a rocky road or unstable relationship, in High Infidelity again with, "Storm coming, good husband, bad omen, dragged my feet right down the aisle" and You’re Losing Me’s "every morning I glared at you with storms in my eyes.” They aren’t speaking of the same situation or even same kind of breakdown, but it is pretty interesting how the idea of clouds/storms/floods/etc. play such a role in Taylor’s music to signal depression, apprehension, fear, uncertainty, etc. In HI, I think the “storm” coming is the looming threat of commitment to a partner who makes the narrator uneasy (if not fearful). In this case, the idea of making a life with this person is not one that incites joy or comfort, but instead makes the narrator feel that dark times are ahead if she continues down this path. Perhaps in some way, the “storms” in YLM have made good on the threat in HI in a different way; it’s a different home, a different relationship, but the clouds have settled in regardless, and some of her fears have come to fruition in ways she did not expect. The person she once trusted no longer sees her or her struggles (or worse, doesn’t care), and the resentment and pain build with each passing day.

Coming back to heartbreak, one of the obvious "full circle" moments is the beginning of a relationship in Paris, where she says that, "I'm so in love that I might stop breathing," clearly enthralled in a new love that allows her to shut the world out and grow in private, capturing the all-encompassing nature of the relationship. This infatuation has consumed her in the most wonderful way (in contrast to the sorrow of some of the previous songs), and it feels like a life-altering (or even life-sustaining?) force that is so strong she may forget what it’s like to breathe. (Metaphorically speaking, of course.) By the end of the album, though, in You're Losing Me, that heart-stopping love has become a threat: "my heart won't start anymore for you." In the former, her racing heart is full of excitement, but by the latter, her heart has given out completely under the weight of the pain she bears. (YLM is full of death/illness imagery which I already wrote about awhile ago so I won't hear, but needless to say that song deserves its own essay for so many reasons.) She's gone from the unbridled joy of the beginnings of a relationship to the unrelenting sorrow of its end, two sides of the same coin.

Love as death appears elsewhere in the music too, for instance, in High Infidelity’s, “You know there's many different ways that you can kill the one you love, the slowest way is never loving them enough" and You’re Losing Me’s “How can you say that you love someone you can't tell is dying? […] My face was gray, but you wouldn't admit that we were sick.” Though not completely analogous situations, they both tell the tale of one partner’s apathy (or at least denial) destroying the other. In the former, the partner’s actions (or inaction) are more insidious, if not sinister; in the latter, the lack of momentum (or admission of a problem) is passive. In both cases, the end result is the narrator’s demise; it’s a drawn out affair that chips away at her morale and her health and her sense of self. (Breaking my own rule about bringing in alleged actual events into the discussion, but the idea that the relationship in High Infidelity, which was obviously fraught with unease and even fear, ended in a similarly excruciatingly slow and hurtful death by a thousand cuts as the relationship in You’re Losing Me almost did at that time must have been so painful. It almost feels like YLM is wondering why what used to be a source of light in her life was mirroring a situation that caused her such pain in the past.)

From the same little breaks in your soul

I said early on that part of what is so compelling about Midnights is that it feels like an album about ruminating — on choices, on events, on people — and the two final “bonus” tracks of the album depict that as well. In Hits Different, she sings that, “they say if it’s right, you know,” an ode to the confusion of a breakup and struggling with the aftermath of calling it quits. It’s a line that has always intrigued me, because the typical use of the phrase is in the sense of, “you’ll know when you meet the one,” but here it seems to have a double meaning, a reassurance perhaps from the friends (who later on tell her that "love is a lie") that she’ll know if she’s made the right decision in calling it off, but could also be her wondering if the relationship is right, she’ll know, and want to reconcile. In the final bonus track, You’re Losing Me, she sings, “now I just sit in the dark and wonder if it’s time,” this time leaving no doubt about the dilemma she faces, though it’s no less fraught. She’s wondering, perhaps for the last time, if now is finally the moment to end the relationship for good. They say that if it’s right she’ll know, and now she’s wondering if that feeling inside her (that once told her her partner was the one, which is why it hit differently), is telling her that it’s time to go for good. Wait Alexa play “It’s Time To Go.” These are not only the things that keep her up at night, but the things that play over in her mind like a film reel in her waking hours.

Midnights as a whole is a deeply personal album, as is most of Taylor's work, but the 3am+ edition tracks seem to dig even deeper to a lot of the issues raised on the standard album. Almost like the standard tracks are the things she wonders about on sleepless nights, but the bonus tracks are the things that haunt her in the aftermath. The regret, anger, sadness, grief, relief, even joy— they’re the price she pays for the memories she keeps reliving. Midnights might be the most cohesive narrative of all her albums, and really does feel like we’re watching someone work through her journal over time, stopping short of outright naming those giant fears and intrusive thoughts (except for when she does) but making them plain as day when you connect the songs together, and perhaps never more clearly than in the expanded album. It’s incredible how the songs stand on their own to relay a specific moment in time, but that they are also self-referential to each other (whether thematically or overtly) to weave a larger web over the entire work. We’re so lucky as fans to have these stories and to keep peeling back these layers as time passes. (And my literature-analysis-loving ass loves her even more for it.)

This is obviously by no means an exhaustive list, and I know there are more parallels and probably even stronger links (particularly when you add the standard version into the mix), but these were the ones that particularly struck me and I’m just glad I’ve had a chance to sit with this and think it through. ❤️

[isagrimorie]

You know…. for all of Neelix is the moral officer, and post-Kes he really did try. And I do actually like him if I forget a lot of the things in the earlier seasons.

But honestly, I think the heart of Voyager was Tuvok.

It’s not obvious because he’s very Vulcan about it but he is everyone’s closest friend.

Tuvok is Janeway’s oldest and closest friend, Neelix and Tuvok are friends and when he’s unguarded Tuvok has a fondness for Neelix. He is close to Seven of Nine, and he tries his best to be mentor to Kes even though he knows its not his wheelhouse. He even tries to be a counselor to B’Elenna even though he knows he isn’t trained for it.

Who else was gonna step up, really? Chakotay’s idea of mental health is the spiritual thing which Voyager tried to do less because they uncovered their subject matter expert was a scam artist. Also Chakotay’s other go-to is to subject B’Elenna to some tough love even though she wasn’t ready for it. It only worked because B’Elenna made it work.

He played Kal Toh with Harry and tolerated Harry’s impromptu musical concerts on the Bridge during Night.

About the only one he wasn’t close to was Chakotay because for the most part Tuvok was playing the “I’m her bestfriend.” rivalry thing with Chakotay. Eventually, they did come to respect and work together especially when Janeway seems to run headlong into another death wish scenario.

Tuvok was even great helping Sam Wildman during the time they were all trapped in a shuttlecraft.

And… Tom. In terms of working relationships Tuvok is Ron Swanson and Tom Paris is Tom Haverford. Or they’re the two guys from Mythbusters. They work well enough but they are not really close nor best friends. (I think this is mostly because Paris keeps encouraging him to get together with other women when he is very very clear how he is committed and loved his own wife. And I love Paris, but c’mon, dude, stop doing that. Wingman Chakotay, instead).

Anyway, tldr, Tuvok is the beating heart of Voyager. He is the one with meaningful friendships with most of the main cast.