#to torture myself i guess

[bad0mens]

Casting Shadows isn't technically on hiatus, I'm just bad at planning and trying to wrap up a lot with the feeling I'm looking for in five or so chapters to connect the story to the ending I wrote over a year ago

[hinamie]

wanted to practice some more intense angry expressions and what better excuse to further my agenda of giving megumi the emotional catharsis he deserves

[theskywaslookingback]

When I was 12 I was going to be married and have two children - Kathryne Elizabeth and David Chase.

When I was 9 my mom told me that when she was pregnant with me and took a bath, I’d roll around in her stomach like a dolphin. The thought made me sick.

When I was 17 I was in love with a boy who was a good childhood friend, and I wanted to marry him so bad I chased him away (we haven’t spoken in 13 years).

When I was 15 I kissed a boy for the first time. We dated for six weeks. I kissed him twice more, and the first time he put his tongue in my mouth I gagged.

When I was 16 I told my best friend that I didn’t understand the big deal about sex. In fact, I thought it was kind of gross. She laughed and told me to grow up.

When I was 6 I licked a boy’s desk in school because I wanted to give him cooties. I thought it was something like chicken pox.

When I was 18 I kissed a girl for the first time and thought “oh”.

When I was 14 my friend stayed the night and wanted to know if I wanted to kiss her. I told her no, because she had a boyfriend. She said it didn’t count because we were girls.

When I was 20 my stepmom told me that she thought asexuals were broken or mentally ill in some way. I stormed off to my bedroom and cried, but I didn’t know what I was crying for.

When I was 18 I had sex with two girls. After it was over I lay by myself at the edge of the bed, cold and hollow inside, and didn’t understand what I was so upset about.

When I was 11 I wanted to be a stay at home mom when I grew up.

When I was 19 I had sex with a guy for the first time. I didn’t hate it, was my first thought. My second was that I needed a shower as fast as possible.

When I was 7 I was hugged by someone and screamed because I didn’t want them to touch me. I didn’t have the words for it back then.

When I was 20 I had a panic attack before my fiancé came over to visit, because I knew we’d be alone and I knew I couldn’t tell him no.

When I was 20 I told him no and it didn’t matter.

When I was 15 I got caught looking up porn on my dad’s laptop. I got in worse trouble because it was gay porn. “You’re just upset with boys right now, you’ll grow out of it.”

When I was 5 my dad would read parts of the Bible out loud every night. He paid special attention to the parts condemning homosexuality, like he knew somehow even then.

When I was 19 I heard the word asexual for the first time, and dismissed it out of hand.

When I was 25 I cradled it to my heart like a balm.

When I was 20 I decided I was never going to have children.

When I was 19 I thought I was pregnant, and decided to kill myself if I was.

When I was 26 I said the words ‘asexual lesbian’ for the first time to myself, and crawled under the covers to hide.

When I was 28 a friend sent me a comic about aromanticism. I saw all the parts of me that were on display there and decided I wasn’t strong enough to acknowledge it just yet.

When I was 27 I told my friend that the only time I wanted to be married was when I was sick and wanted to be taken care of. The rest of the time the thought terrified me.

When I was 15 I told myself that no one would ever love me.

When I was 29 I decided that I didn’t care.

When I was 13 I thought I knew exactly what my life would be like when I was 30.

When I was 30 I was relieved to have been so wrong.

[hitorimaron]

ghost of you

[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.)

[linkedin-offficial]

random bullshit

[brainrotisseriechicken]

footsies

yeah no i regret whatever life decisions i made that lead up to me drawing clef feet,,,,,sorry,,,this drawing came to me in a dream

[catgirlsprite]

girl jump

[eel-slime-supremacy]

i made a boyfriend for my fursona

his name is Orpheus :)

[mechazushi]

Calm Before The Storm {A Kn8 short story} [Directly inspired by Ch. 117] soooooo...spoilers

Kneeling on a pillow before a low peach wood desk, settled a man. A powerful man with a powerful presence, having long hair and dressed in dark purple robes with woven black silk and kaiju armor, fitting for a high ranking kaiju killer. He continued to write, unbothered by the audience before him. Standing at attention beside the official was a soldier in full regalia, his face obscured into anonymity.

"If that is everything, then everyone is dismised." Soshiro Hoshina, leader of the Hoshina clan, commanded to the squad leaders he had summoned to his personal office.

While the rest had bowed graciously and filed out in-sync, one had decidedly stayed behind against orders. Konomi Okonogi, an lower ranked advisor to the clan had stood unshaken before the forth son of the Hoshinas. She was waiting quietly for him to acknowledge her on his own. A small moment passed, filled with the quiet swishing and slicing of a stiff brush gliding over paper. The soldier, noticing that the advisor hadn't left had also noticed his commander refusing to acknowledge the wayward interloper. The soldier let out a muffled cough as a cover for him to disguise a nudge to his higher officer with his foot. Being jarred from his concentration on official paperwork, Soshiro finally decided to address the nosy advisor in the room.

"Is there something to be left said, Miss Okonogi? As you can see, everyone else had left."

"Yes, there is." The locally stationed advisor stated, "It's about your continued decision to employ someone with... lackluster talents as your personal guard. Your family remains ever concern about such choices."

"And they will continue to worry as they are prone to do so as blood relatives." Hoshina finally looked up from his work and looked at the advisor fully, "They may question it all they like, but it will not change the fact that I have made it." He looked back down dismissively to begin again on his paperwork.

"Since the fourth son of a somewhat prominent family is not in that high of demand, my guard's skills are sufficient enough for his task which, need I remind you, is escorting me across town to my family's manor and back. Nothing more." He resumed the meditative writing as a way of making his point clear and matter resolved.

Okonogi sniffed stiffly as she took the transgression silently. She bowed nonetheless and shuffled herself out the office door. After closing it behind her, the soldier let out a low sigh of relief. Hoshina chuckled to himself, somehow finding all of it funny.

"Ya know, for a group of people ya hardly see, they sure like to press on personal matters." The soldier finally spoke when he felt the sudden tension leave his shoulders.

"They're not pressing the matter, she is." Soshiro sighed as he started the process of cleaning up his brush, "She's being paid to question any decision I make that doesn't sound like any my family would make themselves." Hanging the brush on a rack and shuffling some items on his desk around for cleanliness sake, the commander eventually lifted himself from his kneeling position and let out a long and low groan as he stretched, satisfied.

"Come along, darling. After leading training and all of that paperwork, I feel a deep need for a cleansing." Soshiro said as he slid his hands into his oversized sleeves.

"I've told you not to call me that." The soldier's warning was muffled through the clay face mask he wore.

"Oh please, we're the only people on his side of the manor now. And in a few minutes, I get to call you whatever I want." Hoshina retaliated with a hint of joy undercutting the mocking statement.

The two of them filed out of the small office, the commander in front and his loyal body guard never far behind. It was well past sunset and the sky made it clear it was reaching late dusk. The last rays of sunlight filtered through the paper doors that lined the long hallway to the natural hot spring located on premises. Once they entered the outdoor bath and had closed the door, making sure it couldn't be opened easily, only then did the energy in the air begin to waver. It changed from official and stale, to feeling charged, almost teetering on playful or mischievous.

Soshiro found a lit candle on a nearby stool and followed his guard as they walked the stone path that lined the edge of the spring. Kafka did his part of unhooking metal lanterns that hung from tall wooden post high in the air and brought them down to chest level for Soshiro to light them. After making certain that any night breeze wouldn't extinguish the little flame easily, did Kafka hang the lantern back up and move on. They made a full lap around the spring and walked back to the front of the bath. Soshiro tugged on one end of a strip of leather that held back most of the glossy locks that draped from his regal head and sighed as its weight shifted.

"Well, are you going to help me or not?" The commander tittered playfully as he stoked his hair over his shoulder. He watched his soldier tug at the strings holding his face mask in place. A hand came up to rub away the thin sheen of sweat that had built up under it as the other placed the mask on a table.

"One of these days' we're gonna get caught because of your impatience" The soldier said as he made himself see clearly again.

Dropping the mask revealed the man underneath to be Kafka Hibino, once a lowly foot soldier in the Monkey squad, now currently having the coveted position of being Soshiro Hoshina's personal escort and body guard. A position he wasn't aiming for, but with how his relationship with the fourth son of the Hoshina's was going, it wasn't one he minded terribly. While it was blatant favoritism that earned him the position, it was clear to the both of them that it could never be trusted to anyone else. He began to walk over to where Soshiro was waiting patiently to have help removing the heavy Kaiju-leather plates that make up a hunter's armor.

"If you keep talking about it, eventually you'll make it so. I almost wonder if you want it to happen." Soshiro sang with a honeyed tone.

"It will happen if you don't fix the problem of not being able to keep your hands to yourself." Kafka stated as he began to mess with the ties holding the pauldrons to his shoulders. He smirked as he chuckled in his mind, thinking about all the times he had to stop his commander from launching himself across tables at people, from starting duels in the street, or making sure he didn't get caught with his hand snaking their way onto his body guard's... person.

"I haven't ever heard you complain about it before." His commander said with mock admonishment. He held onto the discarded pauldrons as Kafka began to work on the belts holding the chest piece in place. "Maybe it just means we're both rotten to the core." Hoshina continued to tease as he leaned back closer to Kafka's chest.

"It's not hard to be influenced by you when you make yourself so inviting." Kafka hummed as he leaned in closer to Soshiro's ear, "I just consider myself lucky that I'm the only one my commander had decided to make himself a completely vulnerable fool in front of." He whispered as his hands traveled southward, past the belt that held up the lower portion of armor and unexpectedly squeezed his partner's upper thigh.

Soshiro jabbed him with his elbow in retaliation, causing the two of them to giggle and make Kafka lose his grip on the belt. He finished with his task and helped remove the chest plate afterward. Once he gathered all the removed armor and set them on the table, did he offer himself up to his commander for the same courtesy. Kafka let him pull at the strings holding his helmet in place, the both of them knowing full well that he could do it himself. They knew as well that Soshiro liked the opportunity to hold his lover's face in his hands.

After taking off the helmet, Kafka took it out of Soshiro's hands so his could be free to caress his. A face marked with long healed scars and patchy scruff, it was a face he found only his commander seemed to truly love. Fingertips traced the edges of its rough details while eyes drank in its softer ones. The small maze of wrinkles that lined his lips and brow, those gem-like blue-green eyes that could melt snow capped mountains or freeze them solid, and that warmth of a good soul that seemed to seep from every piece of contact his lover's hands could make on his face. These details were expressed to him, time and time again, but he never believed them until he heard it straight from his commander's honest lips.

One hand removed itself from the helmet it was holding so it could trap Hoshina's and bring it closer to his lips, allowing a moment where Kafka could drink in the other's essence as well. Savoring the cool skin on his and smelling the ink and leather oil sunk deep into Soshiro's natural perfume, permanently etching his presence onto the ridges of Kafka's mind. He sniffed and sighed and kissed it lightly before he let it go. Kafka liked to watch intently as those same hands roamed his body, giving him the same care and attention to his armor that he gave to his commander. It wasn't long before he was stripped of his armor as well. He took it from Soshiro as laid it to rest next to the other pile on the table.

Hoshina began to busy himself with removing the cloth robes that remained, not giving them any loving courtesy like the armor was given. They were quickly shed onto the stones before Soshiro stepped foot into the searing warmth of the spring water. Dunking his head in, he resurfaced swiftly and smoothed away some errant strands of hair from his vision. He began to tug on the last of the leather strip that held the rest of his hair back as he watched Kafka from the borders of the spring. As it all fell down heavily, Soshiro busied his hands with sweeping it behind his shoulders while he continued to rudely gawk at his partner undressing.

He had seen that man naked more times than he had seen himself, and he never tired from the view. Strong muscle wrapped and coiled around the soldier's arms while his torso held a softer image. Hoshina knew better than to doubt that rounded appearance, having seen and certainly felt what that upper body was capable of. His tongue darted out and swiped across his lips in reaction to seeing the top shirt being removed fully and folded onto the table. He moved closer to the rounded stone skirting of the small pool and saddled up to the edge in quiet anticipation. As Kafka's hands reached to waist of his pants, they stilled as he developed the familiar sensation of being watched.

"Do you really have to stare at me every time I undress?" Kafka called back, not bothering to turn around to confirm his suspicions.

"Do you have to act like a bashful maiden every time I do?" Soshiro teased as he stayed rooted to his spot.

Hoshina found himself biting his lip as Kafka just sighed and removed the rest of his clothing. He moved out of the way as Kafka strode over and began to act as if he was about to enter the pool, only to sweep the discarded robes off the floor and smirked coyly at Soshiro as he walked away with them

"I don't know why it bothers you so much. It's not like I haven't had you under me or anything." Soshiro teased back as he watched Kafka continue to put away the discarded attire.

"You start up that kind of attitude this early and I'm leaving." Kafka grumbled as his cheeks flushed bright red.

"If you're not in the mood, just say so." His commander pouted as he turned away from him in slacking scorn.

"Only because I'd like a chance to actually relax first." Kafka said with easy-going indignance. He returned to the pool holding the jade comb they used whenever they came to the spring together. Soshiro scoffed, but shifted himself into position anyway as his partner carefully splashed his way in.

"It would work that way as well. Hell's, I'd like to think that you would end up more relaxed by the time I was done." he joked as he leaned back into Kafka's awaiting lap, propping himself up between his knees.

"You're incorrigible." Kafka sighed as he shook his head.

He spent the passing time slowly raking the comb through the long silken strands of Soshiro's hair, taking care to brush slowly and chip away at any knots going from bottom to top. After making sure it was free of tangles, did he take more of their time combing through it all in long passes, just to savor the feeling. Soshiro reveled in the attention, never not once hating the feeling of being attended to like this. Sure, he had servants help him dress in the morning and even do his hair, but none of it felt the same as when it was done by someone he loved. Every few passes of the comb, he would feel short nails caress and scritch as his scalp, removing an itch that he didn't realize was even there. On windless nights, Soshiro could hear a deep, reverberating hum from the depths of Kafka's chest, usually a marching chant or a drinking hymn. The repeated, loving motions, the all-encompassing blanket of warmth, paired with the harmony of the wind and leaves matching the water and waves lapping at the stone beat for beat. Hoshina would willingly go penny-less and destitute, sick and infirm, if it meant he got to keep these moments forever.

Deep in the cavern of his blissfully silent mind, it took a while for Soshiro to notice that Kafka had stopped brushing and took up plaiting the infinite length. To be honest, he wasn't a fan of it. Leaving in the braid too long usually bent it into weak crimps and he could already hear the judging murmurs of his servants who had to deal with it in the morning. He was aware that Kafka was just the type of person who always felt the need to keep his hands busy. A trait that benefited him when it came to squad relations. Rarely was there ever an idle task when Kafka was released from his body guard duties. It was just how he spent his time relaxing, but did Kafka really have to take it out on his hair?

"You're doing it again." Soshiro muttered lazily, not bothering to stop his lover.

"I know." Kafka responded simply, the smile unmistakable in his soft voice.

"You know everyone hates it when you do that." The commander sighed. He heard a puffy chuckle before Kafka responded.

"Do you know why I do it anyway?" he said as he held his hand out for the leather hair tie.

"Mmm... Humor me." Soshiro softly moaned and he began to feel those gentle hands move again.

"Because no one knows it's me." He whispered, "Because it makes your hair do a fun little dance for me as I follow you around. It's something I do to you that lets me remember that I'm yours." He finished curling the long braid around itself into a snug bun and cinched it up with the leather cord

"And you're mine." Kafka tacked on tenderly, along with a quick peck to an unsuspecting commander's forehead.

"Well then... I guess I can't bring myself to hate it as well." Soshiro declared as he lifted himself to a higher sitting position.

"Especially after hearing something so sweet." He scooted himself more fully into Kafka's lap and wrapped his arm around his shoulder.

Their lips touched and moved languidly against each other. No need to rush or to stop was felt when they started, and there wouldn't be for the rest of all their night together. Such was the case when two lovers fell into a wanting dance. Kafka softly sighed as his partner's hand tugged at the hairs of his nape and soothingly massaged the back of his neck. Soshiro beamed as he felt his soldier's sharp teeth and pointed canines pull teasingly at his lower lip, causing a breathy giggle. Hibino broke away from the dance first, deciding to slowly lavish a trail of wet kissed down the taut plains of Hoshina's neck. He tasted the sulfur of the water and the salt of the sweat as he savored the journey to the hard edges of his bath-mate's bare shoulder.

It was there that Kafka decided to stop his conquest and inhale his lover's scent once again. Breathing deep and slow, he made his mind expand and bask in all that he could feel, all he could sense. His arms unconsciously tightened around Soshiro's waist as a wisp of melancholy seeped into his heart. His nose nuzzling its way back up the path he made on the neck felt very much different from the moments they were making before. Hoshina dug deep into his will to separate their chests from each other so he could look his love in the eyes. He felt his smile carry a hint of the melancholy that had seemed to enter Kafka's heart as well as invaded the sanctity of his expressive face. A hand traveled from Kafka's broad chest to tease the corner of his lips into a happier expression.

"Your mind is very loud again. It's practically coming out of your eyes." Soshiro huffed quietly as he continued to watch the other's face shift through different shades of the same emotion.

"It's just... this... the world... something's been feeling off lately. Like this isn't going to last forever." Kafka's voice rumbled with the weight that he had been feeling on his shoulders.

"You're manifesting again." Soshiro called back, thinking a joke would help lighten the mood.

"It doesn't feel like that. More so like a... premonition. A gut feeling that's arrived and hasn't left." Kafka brought his face closer, rubbing his nose against Soshiro's and sought comfort and warmth in their closeness, "I keep waking up in the morning, thinking that it's going to be the last time I get to see you. It scares me."

"I would rather be stabbed through the heart before I let things stay that way between us." His lover affirmed solidly as he brought both of his hands to cage Kafka's face, "This isn't coming from what Miss Okonogi said earlier about my family, is it?"

"I wish its origins were that simple. I've had this feeling for a while now." Kafka's gaze softened even more as he basked in their continued embrace.

"If that feeling gets worse, I want you to remind yourself of one thing." Soshiro spoke softly, treating each word like a fragile feather.

"And what's that?" Kafka whispered back, a flicker of hope sparkling in the shape of his lips twitching into a smile.

"No matter what comes, no matter what happens, may it be something trivial, or the ending of the world, I will be yours." Soshiro placed a gentle kiss on the bridge of Kafka's nose as he continued to promise, "And I will find you no matter where, no matter when, and tell you that, over and over again. In as many different ways as needed until you never feel like this again."

They continued to indulge in each other's comforting presence until their tired minds couldn't take being awake anymore. Even as Kafka felt his mind be overtaken with the inescapable need for sleep, his mind echoed his partner's sentiment over and over again. He knew those words were true, and knew better than to doubt a promise from his commander and lover, but it affected little to the growing fear that leeched onto the fibers of his emotions. One thing he said did seep in however. He knew, really and truly knew, that they would find each other. Again and again.

No matter what.

[giantkillerjack]

PENIS PENIS PENIS PENIS PENIS

PUSSY.

BIG FLAPPY WET JESUS PUSSY.

JESUS' SOPPING WET PUSS-PUSS

[Edited months after posting to discourage catholics from replying to this post after finding that both the nice and much funnier not-nice responses to this were equally bad for my mental health. I didn't wanna delete it bc I was quite proud of some of my responses and it helps to have a visual reminder of why I left an abusive organization. Also, this means that any catholic who has reblogged this in an attempt to convert me, has now reblogged a post that, if clicked, links back to this. Use MY post for propaganda, will you!]

Thinking about how it was never made clear to me in Catholic school exactly WHY Jesus died for our sins. I just remembered that I was literally never clear on who the dying helped??

I've heard theories as an adult, but basically what I'm saying is pointless martyrdom seems a little pointless, and also with enough propaganda the big logical gaps in a belief system get really hard to see. Especially if questioning anything is blasphemy.

I would have gotten in so much trouble for insisting the teacher explain how Jesus helped us by being tortured to death by Romans even when God could have prevented it! God sent his only Son, they would have said! Be grateful, they'd say! Be guilty! Stop asking why he did that!!!

[wereadtoliveathousandlives]

“I’m Anthony bloody Lockwood”

[hinamie]

for @cherryys who (rightfully!) hcs lategame megumi as having a bunch of scars befitting his status as resident punching bag

[faunandfloraas]

i love being friends with girls and then they get a boyfriend and then he becomes the center of her entire existence and all she talks about and all she focuses on and i sit there and i smile and i nod and i feel myself becoming genuinely evil

[shiftedvoid]

Took this one the other night and felt cute 🥰

[procrastinationaccount]

Miranda Beach (Gideon's perspective)

"Alone in the balcony My two left feet on the mezzanine A tear in my chest when I least expect it Ignored so naturally Yet so unaware accidentally Right? That's alright, yeah

Oh, you're wasting all of my evening With eyes just like a television Oh, baby you make it look easy What's going on in her head?

Oh, no She's got me feeling undone And she knows it, yeah"

Hallelujah (Gideon's)

"There was a time you let me know What's really going on below But now you never show it to me, do you? And I remember when I moved in you And the holy dove was moving too And every breath we drew was Hallelujah"

Origin of Love (Gideon's)

"The last time I saw you we had just split in two You were looking at me, I was looking at you You had a way so familiar I could not recognize 'Cause you had blood on your face And I had blood in my eyes But I could swear by your expression That the pain down in your soul was the same As the one down in mine That's the pain That cuts a straight line down through the heart We call it love We wrapped our arms around each other Tried to shove ourselves back together We were making love, making love"

Shrike (Both tbh)

"I was housed by your warmth Thus transformed By you're grounded and giving And darkening scorn Remember me, love When I'm reborn As a shrike to your sharp And glorious thorn"

Nailed (Harrow's)

"He died for me He died for no one else He died for no one And he'd see and complain Oh the sweet and the sigh, to pain

And your heart is left out naked and exposed I wish that you had left more to the eye And I can't find the words to say I love you And why and why and why and why and why"