#this is the best thing I’ve ever read

[applestorms]

ren dramatical murder is the funniest fucking character in the history of ever. he’s a dog. he’s an alter. he’s a hot guy aoba came up with in his mind. he was created to regulate his teenage angst and loneliness, and also to top him. he dies in the game which means he dies in real life. he wears shitty ass ugly fucking grey slacks with a dog collar and nothing else. he licks people. he’s shirtless. he’s a robot. in the bad ending he endlessly vores you to death. in the authors’ attempts to sidestep the obvious beastiality implications, they dive headfirst into selfcest instead. just an incredible fucking creation from every possible angle you could think of

[gunsatthaphan]

Introverted Khao being annoyed by extroverted First is my favorite enemies to besties trope dhsjdjsj 😭

[behindthesefangirleyes]

“Sometimes it’s really inconvenient that you’re a therapist. How am I supposed to be a teenage dirtbag in these conditions?”

— Scorpius Malfoy

x

[james-spooky]

biblically accurate mag 160

jonah: hello jon, apologies for the deception

jon, under his breath: this is going to ruin the tour

jonah: what tour

jon: the world tour

[the-sewerrats]

i recently read “wanting, wanning” by @horrorshowcliche and it was so amazing i had to draw this scene from it.

please go read the fic it’s literally amazing

https://archiveofourown.org/works/60911116

[heartybutch]

my lady and i 😽

[brownsugabbt]

sorry sorry. but the fact that. sansûkh. is free??? to read???? online????? HALF A MILLION WORDS of the best writing i have ever read??? characters that each have depth and MEANING? the retrograding of the hobbit movies so that the dwarves are more fleshed out?? the mix of both the movies and the books (especially for gimlis lackluster personality in the films). i’m rereading it even though i first read it maybe 4 months ago and im still in awe that someone can write something so beautiful. so spectacular. like this is the bible for depressed gay middle earth fans. and this isn’t even considering the sheer amount of RESEARCH PUT INTO THIS?? christ almighty. i need everyone to pause right the fuck now and read this fic regardless of whether you ship bagginshield/gimleaf at all or not. i promise you, you will come out of this a changed man 😭

[ferrstappen]

oh. my. god.

race for your heart | mv1

summary: you’re not meant to be there, but you can’t stay away, especially not from the racer who can’t stop winning.

pairing: illegal street racer!max x fem!reader

an: might be my fave thing i’ve ever written. thinking of making this a mini series, thoughts? i’m also not an illegal street racer and have never seen one so might not be accurate x

word count: 3.7k

warnings: illegal, police chase, speeding, mentions of drugs and dodgy men

feedback appreciated and requests open!!

…

You'd been here a few times before, not regularly, never more than twice a month, but enough times to know how everything goes. You weren't meant to be here the first time, you found it by a complete accident but you were grateful now. It filled you with both excitement and dread to be here. It was illegal and wrong, nevermind the fact someone could die.

The place was crawling with creeps and criminals everywhere, one wrong move or one wrong sentence could get you on the wrong side of some dangerous people, but you lived for the thrill. The danger of the drive, and watching the drivers do it. In brand new sports cars you could only dream of affording. You didn't really know much about the drivers, except one.

Max.

He caught your eye instantly when you'd first shown. He was stood there, head to toe in black, his arm placed carefully on his car, showing off all the right bits. He was the reason you kept coming back. He was fast, quicker than all the other drivers, and everyone knew it. He was the one people wanted to challenge, to beat, but they never seemed to.

You'd seen the bets. The money people were giving to the winner after every race. More money than you knew what to do with. You craved it, the luxury and the lifestyle, but it seemed impossible. You weren't a fast driver, and you weren't a criminal by any means yet you still found yourself drawn here every time. And drawn to the driver everyone deemed untouchable.

He was the same today: a winner. You never expected any different, no one did. All the prizes were handed to him on a gold platter. Crowds cheered for him, men patting him on the back as he got out of his car to grab a beer. He met your eye again as he sat at the bar. He was left alone now, the crowds already moving on to the next big thing to talk about. He didn't look away, and for the second time, he found himself walking over to you.

"What's a pretty girl like you doing here alone, again?" He grumbled, taking a sip of his beer. He changed his clothes after the race, now dressed in a white button-down and jeans.

He was weary of you the first time you met. You looked lost, you were, and you were not the kind of person to be here. You looked too pure and good to be surrounded by lousy criminals with more money than they knew what to do with. He wondered if you were with the police, trying to scope out the area and shut it down, but he learned quickly he was wrong.

You explained you were lost and he blindly believed you. He was worried once you figured out what you were doing that you would go to the police but he made you promise you wouldn't, and after he watched how your knees went weak after he called you a "good girl," he knew you wouldn't.

He saw you the next few times you went, looking less and less lost every time, but he never caught your eye long enough to feel confident in walking over. "Can you imagine that?" He thought to himself, "I'm treated as though I'm a fucking god around here and I still can't talk to a girl." He beat himself down over it, watching you interact with people he never wanted you to talk to, in fear they'd ruin the pure image he'd created of you in his head. So he watched from afar, giving creeps the eye long enough to scare them off. Of course, you didn't know it was him sending these men away, but sometimes you were grateful and other times you weren't. He felt bad for a moment before not caring again. "It's to keep her safe," he promised to himself every time.

You didn't reply to him immediately, instead drinking in his appearance: the way his face looked under the moonlight, the way his jaw locked when you didn't reply, and the way his shirt stretched over his muscles perfectly, letting you see everything.

"So?" he replied, smirking, watching you look him up and down more times than he could count, "are you going to answer me?"

You're eyes flew to his face again, watching as he became more confident the longer he saw you looking.

"What did you ask?" you mumbled, holding eye contact.

"I said: "What's a pretty girl like you doing here alone, again?" Think you can answer that?" he challenged, taking a step closer. He saw what he did to other girls, how he made them crumble, but nothing compared to you, and how he loved watching his effect on you.

"I- well, I just came for a beer?" you answered, sounding more unconfident the more you went on. You knew why you were here: because you liked it, but you didn't want to. It was criminal yet here you were, enjoying the thrill and the danger. And watching Max, racing or not.

"And the last time? And the time before that? You don't seem like the type of girl to go out drinking alone, especially to the type of place so dirty and illegal." He asked, teasing, stepping closer once again. His voice was growing louder even as he got closer until he was touching you and leaning down to whisper in your ear, "I think you like it, don't you?"

Your body shuddered at the closeness, your hand flying straight to his arm to keep balance. Instead, you made it worse for yourself, grabbing straight onto his muscles, and turning your face the slightest shade of red. You hoped Max wouldn't be able to see - you were too close and there wasn't much light, but you were very wrong. Crowds moved everywhere around you, but all of Max's focus was on you. It was impossible for him not to notice, he was trying to pick up on every detail that he could about you.

His head lifted back up so you could see him fully like he could see you. Your faces were barely apart, a few centimetres at best, but it still messed with your head, a million thoughts flying everywhere at once until there were none. None other than Max and what his lips would feel like pressed against yours.

You let out the slightest nod as a response to his question. You didn't want to admit you liked it but with Max so close to you it was the only reaction you could even fathom of giving. He was messing with your head and he hasn't even done anything yet.

"Are you going to answer me like a good girl or just stand there?" he says, with the cockiest attitude you'd ever seen. He knew what he did to you, and what else those two little words would do, and he loved it.

Before you got the chance to reply, you felt pressure on your back and you were pushed into Max. He grabbed you and kept you upright, but he couldn't miss the sudden uproar of the crowd and the fact they were all running in the same direction.

He gave you a once over to make sure you were alright before looking forward to try to see what was happening. People were screaming and running and he couldn't tell why. His arms wrapped around you in a protective manner, pulling you closer in an attempt to keep you safe.

So many people were shouting at him and he couldn't make out what anyone was saying. He was trying to figure it out but it seemed impossible. You were almost pushed again but the person managed to stop themselves. Max didn't care, he was almost starting to shout at them for their recklessness until he finally found out what was happening.

"Police! Run!" the man screamed at him before carrying on running himself. It was like his fight or flight mode kicked in and he wasn't going to get caught.

"My car," he said as he realised an escape plane, telling you at the same time. He found your hand and took off running, dragging you with him. He led you both to the side of the crowd so that you wouldn't get lost and led you quickly to his car.

Police were everywhere, especially near the cars. They were parked on the road but out of the way of the runners. Many of them were unregistered or stolen, and others held bags upon bags of drugs. Police were stood by his car, trying to look inside the windows for anything immediately suspicious. They were covering the drivers side and he knew he would have to be fast.

"When I jump across to the drivers side, get into the passenger seat and shut the door," he called back to you. You processed the information, barely, and nodded, but Max was already focused on using his free hand to find his keys.

He got them, twisting them around, and unlocking the car just as he was about to reach it. The police were looking in the backseat, but were too slow to process the flashing orange lights and the doors at the opposite side opening.

Max leaped in and switched sides like a machine, doing it with so much ease it seemed impossible. He grabbed the driver's side door, holding it close as officers tried to open it.

"Get in," he screamed, watching as you paused for a moment. You made eye contact with an officer whilst quickly overthinking your whole life up until this moment. How did this happen?

You couldn't think much longer and you got inside, shutting the door shut with a slam. You let out a sigh of relief much too quickly as your breath hitched with the speed the car had just started.

Max locked the doors and took off in a flash. The car sped up in an instant, going to speeds you never dreamed of. Max was absorbed into the roads, dodging people and officers as he tried to escape.

Your hand gripped the seats until your knuckles were white; this was not a situation you ever wanted to be in. Max noticed, taking his eyes off of the road every few seconds to double-check you were okay.

"I do this every day and I've never got hurt," his eyes flicked back to your face after trying to reassure you, which was obviously failing.

"You won't get into trouble with the police either." he tried again. After looking at you again, he realised how badly he was failing. He didn't know what to do. He was fine in situations like these and had never had to comfort anyone. Every solution was running through his mind, not only to get out of here safe and alive but to make sure you knew that.

"Hold my hand," he ordered softly, holding out his hand for you to grab.

"Don't you need to focus on driving?" you questioned, worried. He laughed and lifted his other hand off of the wheel too. When he saw your face he immediately put it back on but kept the other outstretched for you to grab.

You looked at it for a second before grabbing it, interlacing your fingers together, and bringing your hands to rest on top of your thighs. His thumb immediately started traveling back and forth along the back of your hand as you decided to focus on that rather than the road in front of you.

"I promise you I will keep you safe. Nothing bad will happen," he spoke gently. He smiled at you, not that you were looking, but he thought that it might lift the mood anyway. "Trust me," he added, in the softest tone he thought he'd ever spoken with. He shook his head - he was going soft for a girl he's only ever spoken to twice.

You nodded gently, genuinely trusting him for a moment. That all faded when you started hearing sirens in the distance, getting closer and closer.

Max looked through the wing mirrors before speeding up the car even more. You subconsciously squeezed his hand more, gripping it like a vice.

"Okay, pretty girl, I'm going to need my hand back but it's only to keep you safe. I promise I'm going to keep you safe." You didn't believe him but you tried anyway.

You let go of his hand reluctantly, going back to squeezing the seats. You let out a shaky breath and tried to see what was going on behind you. You were on a motorway, going much higher than the speed limit. You could see three police cars in your view, all trying to catch you up.

Max hit the pedal again, speeding up impossibly faster. His eyes were on the road, occasionally on the police behind him and occasionally on you. If he had it his way, they'd be always on you, but he promised to keep you safe and was doing his damn best to keep it.

"We're going faster than their cars can physically go. We'll lose them in no time." He did another once over of you, taking in how petrified you looked once again. "Sitting so tense is going to make you more tense. I don't want you to worry yourself sick."

"Sorry," you mumbled, taking a quick look in the mirrors to see the police much further in the distance than you thought they would be.

"Don't apologise, pretty girl." he spoke, moving the car to the first lane.

He went round a sharp turn, almost heading onto a junction exit but only just missing it. He sped up again, heading around the next corner with flying speed.

"The police will think we just turned off, we'll turn off at the next one." You just nodded, going along with everything. You barely knew the man yet you were on a literal police chase with him.

He slowed the car down to a normal speed, placing his hand back into yours, "see, we're okay."

"We're okay," you repeated, trying to reassure yourself. His thumb was back to tracing lines on the back of your hand and it was helping you more than you'd like to admit.

It wasn't long until you turned off, traveling at a normal speed down some city suburb roads. You headed into an area you'd never seen, full of some of the biggest houses you imagined the city had to offer. You didn't even know where you were going yet you trusted Max blindly.

He parked in front of a huge residence, with all sorts of fancy cars parked in front. You imagined multiple massive families could live there with tonnes of spare space due to the sheer size of the front alone. It was truly extraordinanry.

"Where are we?" You questioned. Max had turned off the car and leaned back in his seat. His hand never left yours, and his thumb never stopped brushing back and forth.

"My home," he spoke, watching your face convey more emotions than he thought was possible. Your mind was racing a mile a minute: what did he want from you? was he kidnapping you? did he want something in return for saving you? You didn't like the thought of what was happening at all but Max read you easily.

"I can drive you back home if you'd prefer. Or take you somewhere, get you a hotel, anything," he spoke sincerely. He fully believed anything you'd want him to do, he would do for you, and he would go to the ends of the world to do it.

"I don't think I can be alone right now." You said, training your eyes onto yours and Max's hand.

"I can take you to a friend's? I can stay with you? I can take you somewhere crowded? Whatever you want me to do, I will do." He said, promising himself he would do whatever you wanted.

It was stupid - so stupid - the way Max had made you feel safe and the fact you wanted to stay by him. Not one thing led to the conclusion that he was a good man yet you still wanted to stay.

"My house is probably over an hour away." You knew Max could drive fast, you knew he could get you there much quicker but you didn't want to leave him. You looked out the window, at his house.

Max saw the way you looked at it, longingly yet worriedly. He didn't want to push you to make a decision, he wanted you to say it himself. He gave you hand a few reassuring squeezes, urging you to say what you felt.

"I want to stay with you," you whispered. You still stared at his house in horror and amusement. Max could see you in the reflection and could feel the worry radiating off you - he wanted nothing more than to make you feel safe.

"Let's go to a hotel." he said, your head immediately flicking back to look at his, "We can get different rooms if you'd like, but if you'd feel more comfortable there, we can go. It's no problem at all."

"Yes please," you nodded, grateful for Max's thinking. The more he was talking, the more comfortable and safe you felt around him. Past you would probably be calling yourself stupid in every way you knew how, but you felt like it'd be okay this time.

He drove off carefully, sticking to all the speed limits, something he rarely did when he was alone. He took you to a nearby hotel, only a ten-minute drive away. It was a lovely-looking hotel, something you'd never check yourself into though when you could just get the classic cheap ones that always worked fine.

"You okay?" Max asked carefully as you peered outside.

"This looks expensive, Max."

God, he loved when you said his name. You hadn't said it a lot but he felt like he could get addicted every time.

He chuckled in amusement, "I've got more money than I could use if I tried, it's on me."

You nodded and opened the car door, unfortunately dropping Max's hand in the process. Not for long though, as Max whipped around the side of the car to grab it again after muttering a small, "let me open it for you next time," to you.

He ordered two separate rooms but made sure they were next to each other and handed you both keys to your room and the spare keys to his, making you promise to let yourself in of you needed anything.

You felt yourself drawn to him, becoming disappointed as he left you to your own room, longing for more. You led in bed, in the same clothes you'd been wearing all day, wanting nothing more than to just be with him again.

You also couldn't stop thinking about the night that passed and how it could've ended much differently. You were reckless and a complete disaster of a person but you didn't think you would change it if you could.

So you left. You got all your belongings and you knocked on Max's room. He opened the door rather quickly, with a sudden look of confusion on his face when he realised it was you.

His hair was messy and stuck up in every direction but he still looked flawless. He had no shirt or pants on, just boxers, and you couldn't help but admire his whole body.

"Are you okay? Just let yourself in next time. What happened?" he asked frantically, worry laced all over his voice.

"Can I stay with you?" You asked nervously, refusing to look at his face.

"Of course, pretty girl," he replied with no hesitation, he would do anything to have you nearby. He stepped aside and welcomed you in, taking everything out of your hands and placing it on a table.

"You take the bed. I can either join you, take the sofa out here or take the chair in the bed room. And here," he said, picking up the shirt he'd changed into after racing, "take this, you can't be comfortable sleeping in that."

You took the shirt with a "thank you," and got changed in the bedroom. The shirt was long enough that you couldn't see anything if you tried, and it was incredibly comfy.

You poked your head out of the bedroom to see Max half asleep with his head in his hands. You gently called his name, his head jolting suddenly towards you.

"Will you stay with me?" you asked, a lot more confidently than before, but still a little shaky.

Max got up with a nod and headed inside the bedroom. He watched you get comfortable in bed and snuggled into the side you hadn't chosen.

You immediately moved towards him, throwing a leg over his, and your head on top of his chest. His arms moved instinctively around you, pulling you impossibly closer. He was so tired but wasn't going to waste an opportunity of staring at you a little longer.

"Sorry the night didn't turn out how you planned," he mumbled, wanting so badly to kiss your forehead but didn't want to overstep boundaries, "and sorry for scaring you."

"It's okay Max," you whispered, turning your head to kiss his chest ever so delicately. He decided to kiss your head in retaliation, smiling all the way through it.

"Tell me if you want to go again and I'll be there," he chuckled against your head, "goodnight, pretty girl."

"Goodnight, Max."

…

this might be my favourite thing i’ve ever written so reblogs and feedback would be really appreciated !! :) also thinking of making this a mini series, thoughts?

[cosmicvaca]

I finished Dungeon Meshi…

[labyrinthhofmymind]

the ‘normalise naming your kid after something you love’ trend on tiktok but it’s me naming my kid every single character and relationship and scene in tcoptp, especially the one where remus and sirius try and come out to lily and james, and also every single time remus and regulus have to teach the kids how to play instruments, and also remus calling marlene cherry, and also tomny at the train station with remus and his friends, and also tomny threatening sirius, and also remus and sirius hiding out at remus’ place in the summer, and also james asking remus and sirius what it’s like to kiss a bloke, and also regulus having a crush on james and kissing him, and also their last day of school together, and also remus mooning majority of his classmates, and also every single time remus and sirius kiss, and also all the pranks the marauders come up with at school, and also the time regulus ran away from home and spent time with sirius and remus, and also time remus and sirius went on a holiday together, and also lily telling everyone at school that remus is engaged to some french girl, and also everyone wanting to bang remus cause he is indeed the gryffindor casanova with a slutty waist, and also remus just in general being a chaotic and hilarious mess and and and and and

[erulasse23]

The Scouring of the Shire

My single biggest disappointment with the PJ movies is that this chapter, which is arguably the most important to understanding the whole trilogy, was completely cut out. You cannot understand a book without contrasting the beginning and the end, and leaving this out of the end changes the whole meaning and tone. The Scouring of the Shire lets us see exactly where our four main characters end up and how their journey changed them.

Merry and Pippin come back as Lords, accepted and revered and praised. They look big and impressive. They are in command, confident, and easily take charge in a crisis situation. Pippin is still not even of age if I’m not mistaken, but people trust him. They are brave and skilled.

Sam is admired and respected as well. He has gained confidence and he speaks out particularly against the hobbits who have joined Saruman, whether out of fear or greed. He is granted his greatest wish, which is to look after his Gaffer, and Rosie, and Rosie’s family. He is very much a protector, and not necessarily a leader, but he’s far from a lowly gardener.

Frodo, Frodo! Frodo is quiet, grieved, merciful, and wise. He is the undisputed leader of the four, and they listen to him. He refuses to carry a sword, or participate in any violence. He lets both Saruman and Wormtongue go, which makes the rest of the hobbits very angry. I love this quote:

Saruman rose to his feet, and stared at Frodo. There was a strange look in his eyes of mingled wander and respect and hatred. “You have grown, halfling,” he said. “Yes, you have grown very much. You are wise, and cruel. You have robbed my revenge of sweetness, and now I must go hence in bitterness in debt to your mercy. I hate it and you! 

I believe that Frodo has grown in this way, uniquely to the others, because he gave in to the Ring in the end. It was after months of torment and in starvation and exhaustion, in the dark heart of Mordor, but he gave in. And I think that gives him this beautiful gift of empathy for all who have been touched by evil, even those who were seemingly willingly and gladly corrupted.

It is not strength that overcomes darkness, but light. Frodo will not let anger or vengeance darken his heart or those of his fellow hobbits. Tolkien told a story about the cost of war, and the way we all must fight against the darkness in our hearts just as much as we fight against the darkness Out There in the world.

[vegantoadsoup]

guys i just want you to know that i read project hail mary and i haven’t stopped thinking about it for a week

[ominouspuff]

Fanart for this magnificent fic

[rustyelias]

ABSKJSJSKS OMG I AM CRYING THIS IS WORDED JUST PERFECTLY!

I love him so much he is so sillay! He really did girlboss to close to the sun 😔

Season 3 Elias is so goddamn fucking funny to me I forgot what a rollercoaster he was during my first listen.

Like the s2 finale has Jurgen Leitner giving Jon the whole "monsters are real speech" and Jon's like "I need a cigarette. NO ONE get brutal pipe murdered while I'm gone" and Jurgen fails step 1 because Elias walks in and grabs Jon's point-and-click-adventure pipe he'd been carrying around and Brutal Pipe Murders. Which, of course, Jon walks back in on and is prime suspect #1 due to literally every single feature trait and word he's said in the entirety of s2.

So naturally s3 starts with Jon on the lam and Officer Tonner like "I'm gonna arrest him for brutal pipe murder" and I'M like "Shit. I hate this. Elias is going to SO easily pin it on Jon and get away with it."

EXCEPT Elias walks in and is like "hello Ms. Officer no Jon Archivist did not kill that man, also I won't tell you anything else, also this is what you sound like" while reciting all her childhood trauma and all her illegal activity that will get HER sent to jail for brutal murder of the non-pipe variety and now I'm like "....huh." He's also like "Jon didn't do it but you can kill him if you want maybe :)" Elias your alibi????

And then we come BACK with Jon storming Elias's office with his two lesbian bodyguards as back up and he's like "I'm gonna use my powers to make you confess to pipe murder!" At which point Elias is like "It doesn't work on me. But I'm having fun so Martin go get everyone I need to tell you all how I committed pipe murder." and Martin does and Elias is like "Yes I pipe murdered. I also killed Gertrude. I love murder. You will not be compensated extra for this time. Get back to work." And they... DO... just go back to work. Because work is haunted. One of the lesbian police officers works here now, too. This just happened. "Also living dolls from Russia are about to Apocalypse the world, Jon go stop it," Elias says, while also saying "no I'm not gonna tell you how to stop it."

Okay???? Mr. Elias man??? And you're like "maybe he's a ruthless tactician? Maybe he's brutal but it's all in the interest of stopping the doll apocalypse??? He wants to save the earth???" Except THAT'S not even true it's actually more like he's trying to get the Russian dolls kicked out of line at Disney World so HE gets to meet Mickey Mouse first by which I mean, start his OWN Apocalypse, because if the dolls do it first well then what's the point of apocalypsing a planet that's become someone else's sloppy seconds.

Anyway Elias's master strategy here is to bring the human equivalent of a drowned cat to the gun fight and just sit back and watch Jon fall down every set of stairs he finds while Elias goes "This is good. This will work." His name isn't even fucking Elias.

[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. ❤️

[loverboy-lover]

crimson rivers you will always be famous, I don’t know how anyone could read this fic and not be forever changed so here’s some (not well put together) thoughts:

- the most beautiful and in-depth exploration of trauma, grief, love, what it means to be human and have humanity that i have ever read

- i will never read a more heart wrenching sibling relationship in my life because the tears i wept watching every change in sirius and regulus’s relationship oh my god

- remus lupin i love you in every story every lifetime every world, you deserve everything

- also sirius and james and regulus you also do and i also love you i just needed to give remus his own shoutout

- i know obviously the moon thing is in many (every? i’m gonna say almost every) fic but UGH!!!!! sirius saying “moon of mine” “my moon” and just adoring him and calling him radiant in this specifically just really pulls at my heartstrings i’m literally weeping

- this is by far the best ending i’ve ever read in actually any written work and i have read MANY things in my day. I always want a little bit more of characters just living and being happy and the progression here of them learning to navigate life post-war, to being somewhat better, to adding new things into their lives and finding happiness everywhere, to being fully happy and flourishing was just perfectly beautifully done and i was crying very happy and fulfilled tears because it’s what they deserve

- zar’s work is just. so so good. there’s not even enough words to describe how grateful i am to have read this because genuinely it felt like i took a journey and i am better for it

anyways now i don’t know what to do with myself im just gonna stew and rot a little bit thinking about when i will be emotionally stable enough to reread this <3