#my weird muse

[sigmasoyboy]

tbh I too yearn to adopt a full grown man who seemingly has no past, is mute (?) and has trouble understanding that some people enjoy having their personal space. Ange was so real for that.

[🛁 oc directory]

+ silly suggestive twitter meme with Ismaele under the cut & a few out of context doodles from the ig Q&A

[tofixtheshadows]

This is one of my favorite minor details in Dungeon Meshi, firstly because what in the femme fatale, but also because it's one of those little things that raises so many questions about worldbuilding.

The Occam's Razor defense attorney in me says that Ryoko Kui gave Kabru a boot knife because she wanted him to escape from his bonds here. And Kabru is a very competent swordsman, why wouldn't he have a boot knife, sure. He's already got a dagger, he can have this too.

And yet: the implications. Kabru, why do you have that? That is not remotely something that could be easily accessed or used in combat. Nobody is pulling out a pen knife from the heel of their boot during a fight with a monster. It's useless in the dungeon ... unless you're the type of person who isn't just worried about monsters.

I've mentioned this before, but I consider one of Kabru's functions in the narrative as being the character who fully brings the idea of human ecosystems into the story. There's a reason why he's always connected to large groups of people (Toshiro's party, the Canaries). He (along with Mr. Tansu, briefly) introduces the reader to the social and political forces working on the dungeon, showing us that none of this is happening in a monster-filled vacuum. His confrontation with the corpse retrievers, who very nearly kill Kabru's party permanently with their reckless murder-for-money scheme, reminds us that monsters are not the only things that prey on humans. Kabru understands the ways the dungeon causes people to put profit over human lives.

We only get hints of it in the story, but like any gold-rush-style economic boom, it's implied that there is a lot of crime and corruption surrounding the dungeon.

So yeah, it really makes me wonder why Kabru keeps a tiny knife in his boot, meant to be carried on him even in situations where he would otherwise be unarmed. Stored exactly in the place where it's easy to reach, even if, for some reason, your hands are tied behind your back.

[mueritos]

prince sidon makes a discovery about height differences....

(my link is trans here but feel free to imagine him as cis!)

patreon | itch.io

[feketeribizli]

[the-boy-who-drank-the-stars]

you know "forgive me father i have sinned" and "daddy i've been a bad boy" is kind of on the same level if you think about it

[wavesoutbeingtossed]

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.)

[radjerda]

A little late to the party, but (coincidentally) in honor of Half-Life 2's 20th anniversary, I present to you my recent attempts at figuring out how Barney's face works

[starryoak]

As someone raised by atheists and only exposed to Christianity through stuff like Veggietales, to this day I still can’t intellectually wrap my mind about a genuine belief in religion, as in actually believing any of that shit actually happened. Like. Literally all of the major events described in almost every religion is stuff that factually cannot have happened if you understand almost any science or even just the fact that nothing like that ever has any evidence it can happen now. And people just. Politely ignore that fact? Like I understand that to a lot of people religion is about community and rituals and not so much the actual texts, but like. The fact that magic isn’t real is entirely undeniable. Most everything in the holy texts of most major religions is stuff that we know from how science works doesn’t exist and can’t have happened. And that for some reason doesn’t bother people? They just. Believe in it anyway? I can’t understand that perspective. To me, something being true is actually important, and the fact that religions say that things that aren’t real exist says that they aren’t reliable sources for basing my understanding of the world on. Again, I understand that most people don’t think about that, that religion is primarily about social cohesion and tradition and rituals and not about whether it’s literally true or not. But that perspective is just incredibly alien to me. It’s just weird, that most people can apparently just. Politely ignore that science has completely invalidated nearly everything religion says is true, and still for some reason believe in it anyway.

[ksksksrahrah]

[ramblingsfromthytruly]

"wyd bro?" reconnecting with nature, being a whimsical fairy, forgetting about capitalism, sapphic yearning, daydreaming. wbu bro?

[enigmaticvariation]

btw no matter what I'm interested in currently or posting about abed nadir is always at the forefront of my mind he is my favorite character in the entire universe he is so special and important to me and if I think about him too long it makes me want to cry

[supernovasolace]

So I have extremely vivid dreams sometimes, and last night I had a dream about a new TTRPG that had released. It was a blatant ripoff of DnD called "Dames and Daddies."

In this game, all of the liches from OG DnD lore had somehow come back to life and turned into hot young wizards again. Sure, they lost their lichdom and immortality, but surprisingly, most of them were chill about it?? The game was mainly a dating sim, and players would roleplay while trying to seduce all the magical dames and daddies. The most powerful daddy was said to be the hardest to win over, and he was clearly annoyed by the constant stream of under-leveled adventurers that kept showing up trying to impress him.

If the party failed to make him fall in love, he would get fed up with romance and devote himself to achieving lichdom again, eventually succeeding and becoming the BBEG. And since the players had to spend most of the game roleplaying and going on dates, they had basically no combat abilities. So the only way the party could defeat the BBEG was by convincing enough of their paramours to fight him on their behalf. Since he was the only magic user in existence to become a lich twice, BBEG became incomprehensibly powerful. So the party's success in the final battle was completely dependent on the size and combined strength of the wizard harem they managed to amass over the campaign.

I'm still remembering more bits and pieces of this buckwild shit. I'm not sure what prompted this absolute fever dream, but I guess thanks for the entertainment, brain. ¯\_(ツ)_/¯

[antique-lamplight]

is there a name for media that does this. please i think about it so much

[silkjade]

my favorite view in the game ♡

[bronzeageyuri]

its so funny that I've had a crush on Flavio (and other characters similar in personality to him) since I was a kid. Like what does it all mean

[mappingthesky]

planymphia wives honeymoon cutesy fluffy and overwhelmingly emotional drabble pleaseee

take my hand (take my whole life, too)

or: it’s their first week of being married - jane can’t stop referring to nymphia as ‘my wife’, nymphia can’t stop crying, and no one has ever been more in love in all of time.

Jane wakes up when Nymphia rolls over and flings a heavy arm across her torso in sleep.

Jane’s eyes flutter. Sunlight threatens to spill in from the other side of the heavy hotel room curtains all too soon. She’s only half conscious, and her eyes are still a little blurry with last night’s wine, and she’s content to drift back off to sleep, lulled by the gentle brush of Nymphia’s fingertips down her sternum, but then-

A little gasp, a sharp intake of breath. “Oh my god.”

“Mmwhat?” Nymphia mumbles, her eyes still closed as Jane grabs for her hand. Again, when her wrist is nearly pulled from the rest of her arm. “What?”

“Nymphia,” Jane whispers, but it’s thin, because she’s smiling. Nymphia can barely make it out through the dim light of the room and the sleep that clouds her vision, but she knows it just the same. She would recognize that smile by the sound of Jane’s words spoken through it, by the feeling of her soft gaze upon her. She would know it anywhere - even in the dark.

“We got married.”

Nymphia’s eyes blink open and look over at Jane. She’s on her back, holding Nymphia’s hand up to the light. She turns it over carefully, fingertips against her open palm, thumb tracing over the silver band on Nymphia’s ring finger. A diamond glitters in the dark.

“I know,” Nymphia grumbles, still half-asleep, still unwilling to be awoken for anything at all. “Spent eight months planning it, ’member?”

It was longer than that. It was the culmination of years of dreaming and months of planning, of Nymphia ironing out every last detail, Jane somehow even more stressed than she was, because she’d wanted it all to be perfect. For her.

(“You have a say, too,” Nymphia had reminded her on more than one occasion. “This day is about the both of us.”

“I know, baby,” Jane said, that spot between her brows that creases when she thinks too hard momentarily relaxing as she kisses Nymphia’s cheek. “But it’s really about you. Everything is about you.”)

Jane pulls Nymphia’s hand closer, studies it for a long while. Nymphia’s eyes are just closing again when Jane presses a kiss to her ring finger, then to her palm, more kisses up the inside of her wrist, the length of her arm, up her shoulder. Nymphia whines.

It comes back to her slowly as Jane coaxes her from her sleep, the only one she’d ever allow. Their night. It was everything they ever could have asked for, more than that. Their friends lining the aisle, swearing that they knew this day would come, arguing over who had really called it first. Jane, who had sworn she wouldn’t cry, who had warned Nymphia not to be worried if she didn’t, dissolving into tears the moment Nymphia emerged in all white. Nymphia, unsurprisingly to everyone, openly sobbing for half of the night, dabbing a tissue underneath her damp eyes at the dinner table. They’d had two glasses of champagne each, and nothing else.  They’d promised, because they wanted to remember this: the toasts, the dancing, each other, every moment.

Nymphia is beaming by the time Jane kisses her shoulder blade, eliciting a hum.

“Was it everything you wanted?” Jane murmurs, brushing a dark strand of hair back to kiss Nymphia’s ear.

A smile splits through Nymphia’s sleep, eyes still closed as she nuzzles deeper into the pillow, deeper into Jane. “It was perfect.”

Jane kisses Nymphia’s cheek. “What was your favorite part?”

“Mmm,” Nymphia hums, because how could she ever pick just one shining moment to stand out among the rest? How could she even begin to split the single most incandescent day of her life into segments? 

“The part where we went home,” Nymphia says, and Jane is pulling her closer. “The part where we went to bed and you let me sleep in.”

“Can’t let you sleep in,” Jane says, chin coming to rest on the crown of Nymphia’s head where it comes to press against her chest. “Too in love with you.”

They’re both quiet for a moment, basking in the warmth of last night as it rolls over to this morning.

“Wanna know my favorite part?” Jane asks, and Nymphia can feel the soft reverberation of her voice through her skin. “The part where we wake up and I get to say that you’re my wife.”

Nymphia can’t help but laugh at the sentiment. “This part?” she says, finally tilting her head up to look at Jane. She’s never gotten used to this - Jane looking at her every day like she’s still shiny and new. She doesn’t think she ever will. 

“Yeah. This part,” Jane beams, one hand coming to cradle Nymphia’s cheek as she smiles. “You’re my wife.”

“This part’s pretty good,” Nymphia stares into Jane, belly burning with butterflies, a love bigger and brighter than she ever thought was possible. “Say it again.”

Jane grins and brings her lips to Nymphia’s, kisses her with a lifetime of devotion. She pulls away, and there’s forever in her eyes. 

“You’re my wife,” Jane smiles. “And I’m yours.”

-

Jane doesn’t travel well.

She puts her packing off until the last possible minute and grumbles all the way to the airport. Nymphia can’t be upset though, because Jane ‘my wife’s’ Nymphia at every possible opportunity - she does it to the disgruntled employee who checks their bags, and the TSA agent who checks their passports, and the barista who makes their coffees while they’re killing time at their terminal. Nymphia rolls her eyes every time, but she’s smiling too, and can’t stop examining the sparkle on her left hand ring finger. 

Jane goes so anxious on the plane that Nymphia has to hold her hand through the takeoff. She doesn’t let go until thirty minutes into the flight, when Jane is finally distracted enough to drop her shoulders and stop thinking about the miniscule possibility that they go plummeting to the ground.

Eventually, they settle in. It’s a long flight, nearly twenty hours, and they shelled out on first class for the occasion. Nymphia’s got the window seat (partly because Jane knows she likes to look out the window, and partly because she can’t stomach seeing the ocean several thousand feet beneath them), and Jane wastes no time getting comfortable. 

(“It’s for my wife,” Jane tells the stewardess when she requests an extra blanket. “She runs cold.” 

Nymphia stares up from her book just long enough to swat Jane’s arm, muttering “that’s not even true.”

“I know,” Jane shrugs. “Just wanted to see what playing the wife card could get me.”

“Careful,” Nymphia warns. “You’re gonna wear it out.”

“What, calling you my wife?” Jane grins. “Baby, that’s never gonna get old.”)

They’re curled up together, alternating between books and movies and laughing at odd little happenings around them. Jane scoffs at shitty jokes on the screen, and Nymphia leans over to read her passages from her book, and Jane hums like she’s listening, but really she’s just admiring Nymphia in her comfy clothes, dark hair pulled back, glasses sliding down the bridge of her nose. She likes her the best like this.

At the end of her movie, Jane glances over at Nymphia. “Are you excited?”

She thinks she knows what the answer will be, but she’s asking anyway, because she wants it to be perfect - their honeymoon, their first trip together as a married couple, their first foray into the rest of their lives together. They’d debated on a destination for weeks on end. They’d considered a roadtrip across America (too pedestrian - they’ll save that one for another summer), or a week in Vegas where they’d get married again in some cheap chapel (too cliche - they’ll save it for their vow renewals). They’d debated on whether or not to book a room in the most luxurious resort they could find in Thailand, but had settled on a cozy beachside bungalow instead. Jane thought Nymphia would like that the best, knew she would too, because she’d be happy if Nymphia was.

It’s funny how someone can change you so completely and entirely, how they can bring out the best part of you that was waiting to be discovered. Before Nymphia, Jane had always put herself first, even at the expense of others. She was content like that, and then she met Nymphia, and the center of her universe shifted outside of herself. For the first time it wasn’t a chore to care for someone else, and Jane was better because of it. 

“For the honeymoon?” Nymphia asks, folding her book in her lap. She looks down at Jane all nestled in her blankets, hoodie pulled over her blonde hair, and can’t help but smile. 

Nymphia had always been a hopeless romantic, all too eager to hand her heart over to the wrong person. She was a tender thing then, bruising easily in careless hands, burning through her own wells of hope faster than she could replenish them, and after the almost-great-loves of her young adulthood, she felt like she’d been cored. Having her heart handed back to her so unrequitedly time after time, she’d thought she’d been selfish to want a love as big as her own, to expect anyone to be able to return what she gave to them. She’d stopped dreaming of it altogether, and then she’d met Jane. Jane, who reveres her like the Earth reveres the Sun, who worships the ground that she walks on, who straightened out every desire Nymphia had crumpled up inside of herself and gave her more than she could ever dare ask for. 

Now, Nymphia knows she can be selfish. She looks over at Jane and thinks that she wants this for all time - all of Jane, all to herself. 

“Yeah, baby. I’m so excited.” Nymphia reaches over to take Jane’s hand. “Jus’ wanna spend time with you.”

“Good,” Jane smiles, “me too.” She tilts her head up, puckers her lips in a silent request for a kiss, and Nymphia obliges.

-

The plane starts its descent several long hours after they’ve woken up, and Nymphia is grabbing Jane’s hand before she even has to ask, because she knows she hates this part the most. Jane sucks air through her teeth as the last bit of turbulence rocks the plane, and Nymphia rubs her thumb in soothing circles over the back of her hand. As soon as they hit the tarmac, Jane snaps back into place, blocking the whole aisle just to get Nymphia’s carry-on out of the overhead compartment.

“Sorry,” Jane says over her shoulder to a disgruntled passenger. “My wife. She’s pregnant.”

“Jane,” Nymphia hisses through her teeth. “You of all people should know I’m not pregnant.”

“Not yet,” Jane kisses her shoulder before they maneuver down the aisle. “But when I’m through with you…”

Nymphia scoffs, smiling into the air, because she knows it’s impossible, but if anyone’s love could defy the laws of science, it would be theirs.

-

Despite their sleep on the plane, Jane and Nymphia are so impossibly jetlagged, and the car ride to the bungalow is a delirious haze. Determined to push through the rest of the day, they tumble out of their room and onto the tree-lined streets, perusing the local offerings and getting dinner while they speak to each other in exhausted, two-word sentences that wouldn’t make sense to anyone else. It’s all they need.

And then they’re out under the sky, wandering in this beautiful place with blue-green water that laps in whispering waves over the sandy beach, and Nymphia has never looked so beautiful to Jane as she does under the moonlight. 

She’s running up the beach, shrieking as the water splashes at her feet, or when Jane chases her up the shore and catches her, spinning her around and pressing crazed kisses against her hairline. Nymphia is laughing, and then her cheeks are wet with tears, and Jane is wiping underneath her eyes.

“Hey,” Jane says, pushing Nymphia’s hair behind her ears, a careful concern crossing her face. “Why tears?”

“I’m just so happy,” Nymphia blubbers, smiling through the silver-wet stars in her eyes, because it’s all been such a beautiful blur, and it hasn’t hit her until right now that this is the rest of her life. “I can’t believe we get to do this forever.”

“God, you’re unbelievable, you know that?” Jane smiles. “Here I was thinking you stepped on a sea urchin. Or you got stung by a jellyfish. And I’d have to pee on your leg or something. Wouldn’t that be a great start to our honeymoon?”

“Shut up,” Nymphia sobs. “You’re ruining the moment!”

“M’sorry, my love,” Jane coos, wiping another tear from Nymphia’s face. “You’re the most sentimental girl alive, you know I can’t keep up with that.”

Nymphia just laughs, because yes, she’s endlessly sentimental, but, secretly, so is Jane. She still remembers the first time she’d opened a card from Jane and was met with pages filled almost entirely with ink, letters squished together to make room for as many as possible, words winding around whatever tacky quote was stamped in the middle. Jane had a way with words, despite whatever she’d tell you otherwise, and never ceased to amaze Nymphia with the sincerity she seemed to save just for her. 

(It crosses Nymphia’s mind then what her favorite part of the wedding really was - when Jane had recited her vows from memory in front of all their family and friends, had taken those impossibly beautiful things that were usually relinquished to their most intimate moments and had loved Nymphia enough to profess it in front of everyone. Not that they didn’t know already. You can’t hide a love as enormous as this one.)

“You keep up just fine,” Nymphia says softly, resting her cheek against Jane’s hand. She swears Jane’s eyes go misty just before she kisses her right there on the sand, beneath the stars, beneath the universe that brought them together.

-

Nymphia smiles when Jane crawls into bed. She’s in a gray crewneck that’s cut across her shoulders, and she’s propped up against fluffy pillows, and Jane is pushing the book out of her hands.

“Dinner was perfect,” Jane kisses her cheek before slipping into bed beside Nymphia. “But is it bad that I just wanted to get back to the room?”

“It’s terrible,” Nymphia turns over, slotting her back against Jane’s chest. “Is this the part where we get old and boring?”

“Yes,” Jane envelops Nymphia in her hold, fits against her in the way they’re going to for the rest of their lives, slides a hand down the length of her torso and up the inside of her thigh. 

“Not even gonna call you a whore or anything,” Jane kisses her ear. One hand cups Nymphia’s breast, the other dips between her legs. “Just gonna fuck you good and tell you how much I love you.”

“So boring,” Nymphia sighs, already melting away.

“So boring.”

(It’s not boring at all.)

-

Now that it’s hit Nymphia, she can’t stop crying every time the sheer enormity of it washes over her.

She’s always been emotional, but sometimes there’s a delay. Her life moves so fast, always swept up in the current of whatever dream she’s chasing, and sometimes it isn’t until she has a second to slow down that she realizes just how special every fleeting moment has been.

It’s been a whole week of being married, of wandering through villages and long hikes up mountain sides and afternoons spent sunning on the shore, of dawns and dinners and keeping a distance from the rest of the world as they know it. Now, Nymphia is sitting in a hammock at the edge of the beach, and she’s looking out over the water, and she’s basking in the overwhelming perfection of this moment. It’s something out of a dream, the sort of thing she’d long thought would be impossible for her to experience, and she can’t help but want to slow it all down, to draw out every precious moment long enough to memorize them, to make them last forever.

She’s sniffling just a bit when Jane finally finds her. She slides into place beside her, knees tucked into her chest, and stares quietly at the last of the sun as it sets over the ocean.

“Beautiful,” Jane murmurs, and it’s about the sunset, but it’s about Nymphia too. She presses a soft kiss to Nymphia’s shoulder.

“I don’t want it to end,” Nymphia sighs, unwilling to look away from the heaven that’s in front of her. They still have another day of this, one more perfect day at the edge of reality, and then they’ll be packing their things, leaving the quiet paradise of their bungalow and flying home. Back to work, back to their crazy, stupid friends, back to the never-ending rush and whirr of the city.

It’s not just that Nymphia doesn’t want the honeymoon to end. She doesn’t want this to end: her and Jane, so head-spinningly in love that nothing else matters, so finely attuned to one another, so freshly devoted to making it last. Nymphia wants so desperately to do it right, for their love to outlive that of either of their parents, for them to see all of their promises through for years to come. The possibility that they can’t pull it off is mind-numbingly terrifying, but the possibility that they can…

It’s an impossible promise to make to one another, and yet they’ve already done it. 

Nymphia sighs, mind swirling, and Jane somehow knows exactly what she means when she says, “what do we do now?”

Jane goes quiet for a moment, staring out over everything she’s ever wanted, and does her best to be brave for Nymphia.

“We sit out here until we’re too tired to keep our eyes open, and then I’ll take you to bed,” Jane says softly. “And then we have one more beautiful day, okay?”

“Okay,” Nymphia says, chewing on her cheek, still unable to look away from the landscape should it all disappear on her. “And then what?”

“And then we go home,” Jane looks over at Nymphia. “We go back to our house. And I’ll take you to work every morning, and then I’ll come home and be pissed about something, probably, and you’ll roll your eyes and tell me to shut up and I will, because I love you and, y’know, I generally think you’re right about everything. And we’ll have our stupid friends over and show them a billion pictures from our trip and kick them out so we can watch Project Runway and fuck. How does that sound?”

Nymphia giggles, and when she finally tears her gaze away from the beach, she realizes there’s another heaven right beside her, one that she gets to take home. And home, their home, the one with the fat cat and the mismatched furniture and their pictures all over the wall, that's another heaven too. Suddenly, the trip being over doesn’t seem like such a bad thing. Nymphia is almost looking forward to it.

“Are you scared?” Jane ventures softly, searching Nymphia’s face carefully. “It’s okay if you are.”

“Only a little,” Nymphia mumbles, voice wavering, eyes watering. 

“I’m a little scared too. We’ll take it one day at a time, okay?” Jane continues, looking a little smaller all of a sudden, pushing through every worry that threatens to override her strong front. “I know we’ll have bad days too, Nymph. I know I’m gonna fuck up and not listen enough and piss you off sometimes, but I love you to fucking pieces. I’m gonna give you the best I’ve got, I promise you.”

Nymphia takes Jane’s hand, and there are silent tears streaming down her face, because it’s only been a week and she already loves Jane more than she did on the day that she married her. It’s enough love to override everything that threatens to pierce through their perfect bubble, enough to fuel the years to come, enough to roll over into the next life and the one after that.

“And if you get sick of me,” Jane teases, squeezing Nymphia’s hand. “Y’know. Just say the word.”

“Shut up. I’ll never get sick of you,” Nymphia cries, throwing her arms around Jane’s shoulders. Jane laughs into her neck, pulls her closer into a bone-crushing embrace. This is the best part - Nymphia married her best friend. It’s enough just to hold her, just to be beside her. All those other parts, the sex and the sweet nothings and the swearing each other to forever, they’re just the luxuries of being in love with her. 

“You promise?” Jane says into Nymphia’s hair. She knows what the answer will be. She just wants to hear it anyway.

“I promise,” Nymphia whispers. “I love you.”

“I love you,” Jane says. “With all my heart.”

(They go home two mornings later, back to the city and their couch and their cat, and they aren’t scared anymore, because the warm glow of one another lasts much longer than fleeting sunsets over foreign shores. They wake up together, kiss goodbye on the way to work, hang their wedding photos on the wall and muse over the best day of their lives for years to come. They have lots of good days, and a few bad ones, too. They fight, and then they talk, and they never go to bed angry, just put each other back together in the way that only they can. And then they wake up and love each other more in spite of it.

The honeymoon was great, but here’s the best part: they make it last.)