#please come to my inbox

[beachvibesandoceanwaves]

If I speak Thai like Sangmin in Sangmin Dinneaw I will be more than happy.

[unreliableskeletons]

Lustink enjoyers where are you…

[ariadne-mouse]

I feel fandom would get along a lot better if there was mutual understanding that liking a character, agreeing with a character, and thinking the character is well constructed/executed are all separate (if often overlapping) positions, each with their separate tastes and subjectivities. Also: character portrayals are intended to make the audience feel things; this is separate from (if often overlapping with) analyzing/appreciating their actions and role in the story.

[sherlockggrian]

grian face study for third life's 4th anniversary

[djotime-allthetime]

Freaky Red Carpet

synopsis: your final red carpet appearance with fred for gladiator ii. (your first public appearance as a couple?)

wc: 4k+

warnings: rpf! reader is specified to be inexperienced!

a/n: same general vibes as the last one but more introspective ig, but we go into more specifics here as well as some backstory.

italics are supposed to be comments under tiktok clips of the premiere. feedback is writer's fuel!

cross posted on AO3

<<previous part

The screams and chaos of the premiere crashed over you as you stepped out of the car, a security guard’s hand reached for yours to steady you. This was it, the final big event. Even though it wasn’t over just yet, the nostalgia was creeping in, soft but persistent.

“Hey, pretty girl.” Fred’s voice pulled you out of your thoughts. He stood only a few steps ahead of you, having just arrived himself. Your gaze softened, lingering on Fred, oblivious to the cameras snapping away. “You look…” His gaze dipped once—then again—tracing your figure. A soft, unguarded smile tugged at his lips, as if he didn’t realize he was doing it. As if he was completely enraptured by you. “You’re stunning, you know that?”

The ability to speak escaped you for only a moment, the words caught in your throat. “...Fred, you can’t-”

“No, I’m serious.” He shook his head, eyebrows raised. He walked forward and placed his hands on your shoulders, holding you in place to continue studying you, as if he was in awe. “Look at you.” His eyes finally found yours again. “You’re gorgeous, y/n.”

“Thank you.” The words felt stronger than your voice. You weren’t insecure—you knew you looked good tonight. But having someone say it like that—having Fred say it like that, like he couldn’t even keep the thought to himself—it nearly brought you to tears.

A deafening roar of cameras and voices dragged you back to reality. The glow of flashing lights blurred at the corners of your vision, and distant shouts of your name cut through the haze. You straightened your posture instinctively, smoothing invisible creases in your dress. But Fred could see it. He could see that small moment you tried to keep to yourself.

“Hey, come here.” He spoke softly, less of a request and more of a warning of the oncoming embrace. He pressed his hands between your shoulders blades once you settled into him, chin hooked against his shoulder. “I’m sorry.”

You shook your head vehemently, the silky smooth finish of his suit rubbing against your neck. “You’ve got nothing to be sorry for.”

“I made you emotional.”

“You always make me emotional.” You chuckled, voice light to keep the tears at bay, unsure why they even came in the first place. “You look incredibly handsome tonight.” 

“Yeah?” He asked, his smile and excitement clear in his voice.

“Of course.” You pulled away and jerked your chin at his outfit. “We’re almost matching.”

With a quick second look at the color scheme of your outfit compared to his, Fred’s eyes lit up. “We are!”

“I think Grant and Leslie set us up.” You squinted your eyes conspiratorially. “I heard them talking about ‘all black looks’ yesterday.”

“Really?” He raised his brows at the information. “Come to think of it, Leslie refused to even entertain any of my suggestions today.” Fred laughed it off and reached down to hold you. His hands smoothly slid down your arms until they arrived at your hands, interlacing your fingers together. “Come on.” He tilted his head toward the carpet behind him. “Walk with me.”

“Down the carpet?” You gawked, frozen in place as he gently pulled you in the direction of the flashing lights.

“Yeah pretty, down the carpet.” Fred chuckled like you were joking. “It’s why we’re here, isn’t it?”

“You wanna take pictures with me? Like us- together?” You whispered to Fred, not fully paying attention to the cameras already catching every moment. As Fred’s hand tightened around yours, you realized.

You weren’t exactly hiding this—not entirely. Your blossoming relationship, that is. Keeping things personal and quiet felt right for both of you. But this—walking a red carpet together—had never been part of the plan.

“‘Course I wanna take pictures with you.” Fred answered, eyes soft but certain. “We worked super closely on this movie, y/n. I don’t think people will over analyze if we take pictures together on the carpet.” He shrugged. His words meant more than that, though. You knew he meant that you could do whatever you wanted. That you shouldn’t limit yourself in your relationship just because you wanted boundaries. Keeping it private didn’t mean keeping it a secret, like you were doing something wrong. 

“Besides, you’re my Lovie.” His voice softened, almost shy, like he wasn’t sure if you’d still claim the title in front of all these people.

Your neck grew warm at his words.

Lovie.

That was the name you and Fred called your deliberately unnamed character throughout filming. Caracalla called her ‘my love’ almost exclusively in the script. So it became your quick shorthand between each other. And soon after, the rest of the cast and crew called your character that as well. But it was different with Fred. After a while, it stopped being her name for him. It was you. You were his Lovie.

“Oh- Okay, yeah.” You nodded at Fred, accepting the idea of walking the carpet together, though still slightly apprehensive. 

“Yeah?” He asked again, just to make sure. And with another nod from you, Fred’s victorious smile lingered as his hand settled on the small of your back, sending sparks up your spine. “Gotta show off my girl,” he murmured, his hand pressing a little firmer into you. You weren’t sure if he wanted you to hear that or not, but you did. The way Fred could unravel you, seemingly without even trying, felt wildly unfair—like every tender gesture was second nature to him. 

He led you up the crimson steps, where the carpet shimmered beneath camera flashes and distant voices blurred into a roar. Your name and Fred’s were being called from every which way. Before you could stand still and face a specific group of photographers, Fred moved away from your side all of a sudden, his steps quick and fluid. 

“Fred?” you asked, instinctively glancing over your shoulder.

“One second.” His voice was low, nearly lost in the noise. When you turned, you saw Fred at your other side by your feet. He crouched smoothly to get closer to what he was after. The train of your dress. It wasn’t that long, but the small trek up the stairs had it all misshapen. With precise movements, he tugged at the fabric to position it into place. After he straightened it out sufficiently, he stood back up and stepped around his handiwork to come back at your side, arm looping around your waist to pull you back into him.

“You didn’t have to do all that.” You looked up at him through your lashes as your hands came up to rest against his chest. You adjusted his lapels in a subconscious attempt to return the favor, brushing away the imaginary lint on his chest and shoulders. Fred visibly blushed at your words, your hands on him, the way that you were looking at him, all of it. You displayed your emotions in a way that even he couldn’t dismiss. Not that he would want to. He loved it. Every moment. Being cared for so openly made his heart flutter and his ears turn red, it was exhilarating.

“I wanted to.” He reassured you, head nodding down softly, a subtle attempt at getting closer to you.

A piercing shout of your name followed by a burst of blinding light shattered the quiet moment.

The soft bubble you and Fred had built around yourselves burst, replaced by the harsh glare of cameras and the relentless hum of the crowd.

You dropped your hands from Fred’s chest, suddenly aware of how close you were.

But Fred’s hand stayed where it was, anchoring you in the thrashing waves of it all.

You turned this way and that, following the voices of photographers as they shouted out different poses they wanted to see.

“I could get used to this.” Fred spoke quietly, leaning down to whisper into your ear. 

You frowned in confusion and turned to look at him. “Which part exactly?” You asked. 

“Having the prettiest girl in the world on my arm.”

“Was this your plan tonight?” You couldn’t hide your grin no matter how hard you tried. “To kill me with compliments?”

“Not a bad way to die, no?” Fred furrowed his brows in faux seriousness, his mouth twitching in that way it did, a twinkle of mirth in his eyes.

You rolled your eyes with a giggle. “You’re a horrible man, Fred Hechinger.”

‘idk if they’re together or not and i want to be respectful but theyre literally the cutest people ever and if its true then theyre perfect for each other 🥺 truly wish them the best’

‘the mouth thing he does is actually the cutest thing ive ever seen’ ↳ ‘hottest. i think you mean hottest.’

‘look at the matching outfits!! i can’t! theyre too frickin cute!!!’ ↳ ‘its just all black lol y’all read into things too much 🙄’

‘we need a lip reader up in here 🗣️🗣️’

‘we love a man who knows the importance of the dress’

‘how does she just look better and better at each public appearance?!’

‘this is flirting one million percent’

‘either theyre together or theyre idiots, because this just might be true love’

‘we can’t assume that every interaction in hollywood means something more than it is, give them the privacy they deserve!’

‘what are they SAYINGGGG?!!?!’ ↳ ‘it definitely looks like he said ‘prettiest girl in the world’ there at the end, right?? call me crazy, but i can see his mouth moving so clearly it has to be it!’ ↳ ‘you’re definitely crazy, but also you’re definitely right’ ↳ ‘you’re right!!!! isn't that so relationship goals??’

Towards the end of the carpet, the rest of the cast were gathered to take a group photo. Paul saw the two of you approaching and his eyes lit up. 

“Took your sweet time, didn’t you?” He teased the two of you. “Been waiting all night!”

“Sorry,” you ducked your head as you confessed, smiling sheepishly. “Entirely my fault. I came late.”

“Ah, come here.” Paul laughed as he brushed it off and pulled you into a hug. “You look stunning.”

“And you’re handsome as ever.” You returned the compliment.

Paul pulled Fred into his side once you withdrew. You saw him whisper something into Fred’s ear, and Fred laughed and whispered something back, but you couldn’t quite make any of it out. 

When Fred pulled away, you shook your head at him with furrowed brows and pursed lips. A small way of asking ‘What was that about?’ Fred smiled and shook his head, ‘Don’t worry about it.’

“Alright, you two!” Paul clapped his hands, breaking the moment. “Picture time!”

“Do I look okay?” You turned to Fred, hand coming up to make sure your hair was in place. You were facing him now, your colleagues to one side of you and the expanse of the carpet on the other side. 

“You always look perfect.” He answered, eyes struggling to stay on yours. Always dipping down to your neck, your shoulders, your waist. He had to get a hold of himself, he thought. 

As you raised your arm to make sure your earrings were on properly, one of your bracelets snagged at the neckline of your dress. Nothing had happened yet, but if you moved in the wrong way, you’d have a horrible wardrobe malfunction on your hands. A soft ‘Oh!’ escaped you as you realized what was happening. Fred’s eyes darted from yours to your hand, where your eyes were fixated on something.

“What happened?” He mumbled as he quickly moved you with his hands on your elbows and simultaneously stood in front of you, making sure the scene was as difficult as possible for the cameras to capture.

“My bracelet’s stuck,” you explained, eyebrows furrowed and eyes zoned in on the tangle. 

His hands quickly covered yours, gently moving your fingers out of the way. “Here, let me.”

You rolled your eyes with a laugh. “You’re like my own personal assistant today.”

“Yeah?” He asked with a small smile, still working on your bracelet, glad that you seemed to be enjoying yourself even now.

He was a bit worried about you today, especially after he initially saw you at the entrance to the carpet. He knew the high of working on this project was coming down for you and he wanted to be there to support you through it all. 

“Mhm,” you nodded, “first the train of my dress, now this. What next? You’re gonna pull out a powder puff and take care of the shine on my forehead?”

“If this suit had big enough pockets, I’d pull out a plane and fly us out of here.”

“Where would we go?” You laughed.

“I don’t know, the Maldives? Russia? The moon?” Fred laughed with you as he pulled your hand back down, your bracelet and your dress back to their previous intact positions.

“Well, I already told you two that I want to go take pictures.” Paul’s voice broke the bubble that seemed to continuously form around the two of you. He stood next to you and placed a hand on your and Fred’s shoulders. “Hate to ruin the moment, lovebirds, but there’s only so much time before the movie starts inside.”

Paul pushed the two of you towards the spot prepared for the photos. Ahead of you was the rest of the cast, all lined up. Pedro Pascal, Connie Neilsen, Joseph Quinn, and Denzel Washington all stood together chatting and laughing. Paul went and stood next to Pedro, and Joseph made room for Fred between him and Denzel. You slid up next to Paul, feeling like it was the best fit for you between the group of people without causing another shuffle. 

Paul scanned the lineup, eyes flicking between you and Fred when his eyes narrowed slightly. “This won’t do.”

Without another word, he began casually nudging people aside, muttering something to Pedro, giving Joseph a knowing look. Slowly but deliberately, he carved out a space beside Fred.

A space for you.

“There. Much better,” he smirked, stepping back to admire his handiwork. He placed a firm hand on your shoulder and pulled you into place.

Your cheeks burned as Fred grinned and tugged you closer into his side. Joseph smiled knowingly at you and draped an arm across your shoulders.

Paul darted back to his place and in turn the cameras flashing intensified.

‘paul fred and y/n seem like such good friends i could cry 😢’

‘we all know paul has tiktok and hes in the loop, this man knows exactly what hes doing to us fred x y/n shippers’

‘HIM FIXING HER DRESS LIKE THAT? TOMDAYA 2.0! THIS IS EXACTLY WHAT THE WORLD NEEDS 😩’

‘guys! a lip reader figured this one out! paul: ‘you’re smitten and you’re not being subtle about it’ and FRED SAID ‘who said i wanna be subtle?’ IS HE NOT THE CUTEST BOYFRIEND IN THE WHOLE ENTIRE WORLD?’ ↳‘paul ships it, he’s on our team’ ↳ ‘and he was telling her how good she looks at the other end of the carpet, did you see?’ ↳ ‘at one point he even says ‘you’re my love’ and i just about melted’ ↳ ‘no he said ‘lovie’! that’s what caracalla calls her in that one scene! NO SPOILERS GUYS!!!’

‘FRED THE MAN THAT YOU ARE!!!’

‘i can’t tell if i want y/n or if i want to be her’

‘paul making sure y/n is next to fred during the group photo’ ↳ ‘did you see how joseph looked at them!! everyone ships these two!’ ↳ ‘goes to show how literally everyone is rooting for these two’ ↳ ‘so true! they’re the cutest couple ive ever seen i feel like a proud mom’

‘first he fixes the train of her dress, next he helps her when her bracelet gets stuck, then what? huh? i die? is that what these two want from me?’

‘never getting over the cast making sure theyre next to each other in the group pic, theyre so loved’ ↳ ‘you mean paul specifically lol’

After a few pictures were snapped, a coordinator in charge of the media coverage told you to reshuffle. They wanted a few photos of Fred with Joseph and Denzel, and some of just the two of them. Some of Connie and Pedro, and some with Paul as well. A mixture of photos that represented their work together on screen. And of course they wanted some of you and Fred, and some with Joseph. And the last group on the list was you, Fred, and Paul.

When Paul came to join you, he placed his arm across Fred's on your lower back, both of their hands now landing on either side of your waist. “Hey,” He smiled warmly at you. “You alright?”��

You hummed in confirmation. “Thank you for that, back there.” You tilted your head to the side, knowing Paul would understand that you meant how he made sure to put you next to Fred in the group photo.

“I have no clue what you're talking about.” He smirked, eyes fixed forwards on the cameras. But his hand squeezing lightly at your waist told you otherwise. He was so perceptive when it came to you, making you feel like you were an open book. It brought you back to a day on set. A long time ago. When the concept of you and Fred was something you were too afraid to talk about out loud in fear of ruining the magic of it. Your relationship was on the precipice, the very edge of friendship before the ocean of something more.

The day, you had confided in Paul about the very thing that led him to do what he did only moments ago.

~

“You guys are cute.” He had said, catching you admiring your lock screen. It was a picture of you and Fred on a picnic blanket. Paul had taken it the day before. Everyone on set thought it was a nice idea to have lunch outside. The weather was perfect, the grass was green, and there were butterflies everywhere. You and Fred took a blanket for yourselves, to no one’s surprise. 

It was the next day that you were sitting with Paul on the set of the Colosseum and he showed you the picture he took of you. You quickly changed your phone wallpaper after he sent you the photo at your request. It wasn’t anything fancy, his film was still getting developed, though he promised you loads of pictures from that once it was done. This picture was just taken on his phone camera, but it was just as beautiful to you. He was so talented with cameras, capturing each moment beautifully you could almost hear it.

“Thanks.” You replied, avoiding his eyes. It felt strange—this fragile stage of something new unfolding under so many watchful eyes. But you knew that would be a sacrifice that you’d have to make. Especially with how slow you were going with Fred.

“Does it make you uncomfortable?” Paul asked. You hummed in response, asking for elaboration. “Us watching?”

“What do you mean?” You asked, needing further explanation. He couldn’t read your mind, could he? Was he really asking about the same thing you were thinking of? Were you that easy to read? Maybe to Paul, you were.

“I know you guys are taking it slow,” Paul said softly, like it was a secret he wasn’t supposed to know. Your eyes lifted to meet his. “Fred told me.”

“He talks to you about me?” You asked, your smile evident in the tone of your voice.

“Always.” He replied, smiling just as wide as you unknowingly were. You and Fred were some of his closest friends on set. You all had the same sense of humor and attitude towards life, it was easy to find companionship with the two of you. And he wasn’t surprised that you two found love within each other. But he worried about it at times. “He always talks about you.”

“All good things, I hope.” You chuckled quietly, the smile ever growing on your face as you thought of what Fred might tell Paul in your absence. Maybe he mentioned your weird obsession with stuffed animals, or how you clung to his arm whenever the two of you went for a walk.

After a beat of silence, you remembered his question and your brows knitted in thought. “Why would it make me uncomfortable?”

Paul inhaled through his nose and looked out onto the bleachers ahead of you. “I don’t know… It’s just that- I don’t think I would be comfortable in your position, is all.”

“Why is that?” You knew how you felt about it all, but you always explained away your emotions. A bad habit, you knew. But you were genuinely curious and wanted to hear a somewhat objective opinion on this whole situation. 

“Just feels so-” He looked back at you now, studying you. Hoping, even, to see something telling in your expression at his confession. “Exposed, in a way. Raw. Like these feelings that really only one person should know about are on display to everyone around me.”

“Says the guy who had a first date on a live stream.” You retorted, the playful jab coming quick to mind.

Paul shook his head with a chuckle. “You know what I mean, dickhead.”

Your head cocked to the side as you thought of his words, truly taking them in. “I guess it does kind of make me feel strange.”

“Yeah?” Paul’s brows raised, appraising your face once more.

You nodded with a hum. “I’ve never- I mean, I’ve never really had a proper relationship. I don’t think I can even call this one a proper relationship. Not yet, anyways. And when I really think of it, it does feel a little unfair that what I always thought would be intimate and private is on display like this.”

“I’m sorry.” Paul spoke morosely.

“It’s not your fault.” You smiled softly, placing your hand on his. 

“Feels like it is sometimes.” He admitted. You shot him a questioning look. “‘Cause of the pictures.” He explained. “I just want to capture the moment. For you guys, not for anyone else. But whenever I point a camera your way, it’s like I’m pulling everyone’s attention to you with it. I feel guilty whenever you two are having a moment and everyone’s staring. You’re not doing anything wrong.”

“I think we’re asking for it a little.” You huffed out a laugh, squinting in the sun. The underlying bitterness in your voice didn’t go unnoticed by Paul. “It’s a bit dumb to try and start a relationship in an environment like this. Months on end on one set with the same group of people. It’s annoying to have everyone’s attention like that, but everyone else probably thinks we’re annoying too.”

“No, don’t say that.” Paul shook his head, his eyes sharp as he shot down your self-blame. “You don’t plan out relationships in advance, that’s not how things work. We’re not like normal people, we don’t get to clock out and go home when time’s up. We’ve moved to fuckin’ Malta, we film day and night. We eat, sleep, and breathe on this set. And if something like that does happen, where would you even hide it? You can’t! Not that well anyways… You guys are doing this well. Better than most.”

“You think?”

“Yeah, I do.” He nodded with certainty. “And I… I didn’t know this was your first relationship. I’m sorry. It’s not fair to you.” He apologized again and your heart squeezed. 

“Yeah.” Your lips pressed together in a combination of agreement and embarrassment. “But it’s okay. To answer your question, I mean. I don’t think- I don’t feel uncomfortable.”

“No?”

“No.” You shook your head. “He makes me feel safe—like I’m home. Like we’re in a bubble where nothing bad can happen.”

~

Tucked into Fred’s side, surrounded by the cameras and the noise of the final premiere, you felt that same comfort—like you were in your own bubble with him. There were still interviews, panels, and endless appearances ahead, but this moment felt like the end of something special. And you were grateful that Fred was here, anchoring you through it all.

next part>>

[heynhay]

Maybe it’s because I’m Canadian but I think kat and Leah would be into hockey (they’re constantly in the penalty box together. They’re on the same team. They got penalties for fighting each other. It’s the third time it’s happened this season.)

anon i have recently learned 13% more about hockey than i previously knew so I can finally answer this ask with an enthusiastic affirmative, yes, kleah is hockey coded

[vervielle]

Can you draw some Lars art in celebration of the Spinoff series about him that got announced?

Lars of the Stars (!!!)

Thanks for the request, Retro!! ★

close ups and line art n stuff↓↓↓

Skibidi toilet....... also uh I liked the no line art version just colour but I couldn't bring myself to figure out how to reconstruct everything so it didn't look weird and I'm tired very tired

this is no line art btw sighsss

ok see u i gtg

[snow-lavender]

The Fable SMP Fandom Survey: Pt. 3

Part 1 / Part 2 / Part 3

Thanks you all for waiting so long for these, wrangling the data took WAY more time than I expected (well over 50 hours if i had to guess), but I'm so happy that I got it done in time to post it on such a special day :)

[harrywavycurly]

Just know I love y’all but if you send me an anon message saying I can’t grieve Liam’s passing then I need you to just understand something, I’m grieving the fact one of my favorite bands will NEVER be whole again to put it simply, Zayn can always possibly come back, but Liam is gone. I’m grieving the memories and the moments in my life that One Direction got me through because they’re all going to feel different now when I look back on them. I’m grieving the fact his family and friends lost a loved one.

[mylovesstuffs]

Anon.

Are you fucking serious right now?

I saw your message and I had to take a full-ass walk around my block because I was genuinely afraid I’d punch my goddamn wall.

Let me break this down for you very clearly, so even your AI-smooth-brained moral compass can process it:

You are not entitled to shit.

Not my writing. Not the ending. Not a single fucking word I typed out with my own fucking bleeding fingers.

You think you “need” closure?

Cool. I “need” eight hours of sleep, a functioning spine, and respect from strangers online. Guess what?

None of us are getting what we want today.

Fanfiction is a gift.

Not a product, not a service, not a series finale you paid for on HBO Max.

A gift.

You don’t throw a tantrum because the gift didn’t come with a bonus epilogue and a director’s cut.

Your entire ask is a monument to entitlement. You say “if you're not going to write it, I think it's fine to use Al?”

I did NOT write it for AI. I wrote it for human readers. For emotion. For narrative voice. For soul.

AI doesn’t have that. You want a soulless machine to mock my style and feed you a bootleg version of my work?? Which is, not to say but, the equivalent of a a knock-off Louis Vuitton sold from the back of a van?

Then don’t ask me. Just go to your shameful little corner and live with the fact that you’re the kind of person who disrespects art to feed your own dopamine addiction.

You wanted permission, so now you get the wrath.

I see in your other little asks, “AI is there to make things easier.”

At whose fucking expense? The thousands of fanfic writers whose fics are being scraped, harvested, mimicked and tossed into machine-learning hell so you don’t have to wait for an update?

Do you have any idea how many of us have had our fics [both in our caratblr and other fandom spaces] show up on AI mirror sites or been plagiarized by bots? Do you know how many real authors are losing book deals, commissions, or livelihoods because of this exact entitled logic?

Let me give you a basic fucking rundown since you clearly didn’t do the homework:

AI is not ethical – Generative AI is trained off data sets that include unauthorized, uncredited, scraped work from unpaid artists, writers, poets, journalists, bloggers, fanfic writers—fuck, even therapy forums.

Authors are suing OpenAI for ingesting copyrighted novels without permission.

Fanfic is already vulnerable – We exist in a legal gray area protected only by community ethics and mutual respect. You're breaking both.

You say “I won't post it anywhere, it's just for me.”

Oh, wow, thanks. So you only want to steal quietly. Like that makes it better.

You think the damage only happens when it’s public? WRONG.

Every time you plug an artist’s work into a machine, it gets processed, stored, used for training, forever.

You have no control over where it goes or how it’s repurposed later. You are feeding the beast and killing the creators in the process.

Don’t give me “I respect you but—”

If you respected me, this message wouldn’t exist.

You get your AI-stitched ending, it doesn’t scratch the itch, and you feed it another one.

And another.

And another.

Until the entire fucking archive is turned into a graveyard of replicas and you’re the ghoulish little shit dancing on the corpses of every writer you leeched dry.

And you say “I think I’m just entitled to a bit of closure”?

Entitled. You actually used the word.

Thank you for confirming what we already knew:

That you don’t see us as people.

You see us as content machines that owe you something because you liked our work. You don’t want closure, you want control, and you will NOT get it from me.

You’re entitled to a bath, a glass of water, and the air you breathe—not my writing, not my thoughts, and definitely not a fucking auto-generated Frankenstein mockery of my style you can jerk off your emotions to.

So here's your closure:

No, you may not touch my fic.

No, you may not feed it to a bot.

No, you may not engage with my writing, my blog, my friend's blog, or my community ever again.

Block me. Report me. Cry about it.

But know this:

Every time you open an AI generator to finish a story you didn’t write, you are choosing to destroy the very creators you claim to admire.

You should be ashamed, but you won’t be. Because parasites don’t feel guilt, they just suck and suck and suck until there’s nothing left.

I'll never forget this time and date.

I hope it was worth it.

Let this be your final fucking warning.

— Celeste.

[metrixnos]

I just wanna see a drawing of a huge techno before smol tommy. Tommy is like: schmol angry bebe.

Example:

Tommy: he asked for no pickles!

Techno is just huge, he's behind tommy, menacingly with a burger that has pickles in his hands

Bedrock bros

[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.)

[helicopterrrfunny]

❤️‍🩹

(Blushless versions just becuz)

[mackwin]

willmack tarot reading 🔮

disclaimer: this is all in good fun! this is by no means meant to serve as absolute truth. please take this with a grain of salt and keep this in our rpf community, etc etc.

how does macklin feel about will?

first off i want to say that mack has A LOT TO SAY about will. i had like 4 cards jump out of the deck during this question lol

oh god does mack think will is the best thing since sliced bread…..he’s the bees knees, the apple of his eye, his knight in shining armor (literally..pulled so many knight cards for this), etc.

will provides a sense of structure and control for mack. he sees will as a leader (his leader…) and feels will helps him in many different ways. he sees will as practical, reliable, focused and disciplined — all which mack very much admires. he feels will protects him and he’s thankful for this. alexa play daddy’s home by usher

mack thinks will is brave, energetic and a free-spirit. he loves will’s positive and easy-going attitude and how he lets difficult things or problems easily roll off his back. he finds these traits VERY admirable and attractive.

will helps him view the world and his own perspective differently and this inspires him. will’s enthusiasm and energy is contagious to him and it is easy for him to mirror.

with all of that said above, mack thinks will is soooo charming it makes me SICK. will makes mack giddy ASF. he makes him feel excited, passionate and extremely flirtatious. he finds him very attractive (closing my eyes and sighing loudly)

mack feels a sense of “this is how it should be” when he’s with will. like he is realizing what it means to be genuinely comfortable and this is what love should feel like. will is a safe place for him and he thinks they make a great team. he loves their easy domesticity.

mack feels that will heals him — will is comfort in itself to mack. he has a sense of childlike joy when he’s with will, and he feels sentimental and almost nostalgic for the memories he’s made with him (and will continue to make).

on a sadder note, mack does feel a bit burdened by his feelings for will based on outside circumstances. he feels there is a weight of responsibility that comes with his feelings.*

in summary: mack loves that sexy charming emotionally regulated man and he wants that cookie so effing bad 24/7

how does will feel about macklin?

oh man does will’s pieces lover boy ass really come through on this…

mack gives will hope…he finds him healing. he makes will feel like a whole new person. he thinks mack is a star in every sense, and he finds strength in him.

i fr cannot emphasize enough how incredibly lucky will feels to have mack by his side. he feels very hopeful for their future in all aspects.

both mack and will have been hurt by something in the past but they heal each other. together, they rekindle their hopes for the future. many tender feelings here 🥺

will feels his relationship with mack went from 0 to 1000 LOL. he’s a bit surprised by how fast everything has changed/grown.

will is incredibly protective of mack as a person, as well as his own feelings towards mack. he would fight a mf ASAP for mack, even when it is not fully warranted.

will sees mack as reliable, efficient, hardworking, and committed. he admires how hard mack has worked consistently to get where he is now and achieve his goals.

will feels mack is generous, caring, nurturing and a homebody (💀). mack is comforting and welcoming to him, and he appreciates how mack accepts him for who he is completely. he revels in the domesticity of their relationship and thinks mack is so sweet. 🥹 he has a deep affection and unwavering support for mack.

i sound like a broken record but really will is the #1 willmack stan. he LOVES loves his relationship with mack…..he is very much attracted to him and thinks their unity is wonderfully harmonious. he loves their open communication, and feels their connection is special, fulfilling and mutually beneficial.

will believes mack is very loyal to him (which he loves) but also thinks he’s stubborn lmao. he feels steady and secure in their relationship as there is plenty of mutual respect.

in summary: mr william smith certified lover boy….he is literally like omg i love US we are soooo compatible 😍😍 mack his feral chaotic sweetie pie fr fr

some other notes on their relationship:

- there is already-married-esque like bickering between them. mack always wants to be right (LOL) but will finds it easy to placate him (side eye……..)

- mack feels bored, stagnant and apathetic without will. there is a repressed, simmering passive form of jealousy from mack’s side. however, these two notes alluded by the cards suggested these are time-specific feelings. (is will with other people rn? he’s already feeling the off-season woes? lol)

- mack thinks will has a big dick? 💀 Please why are yall telling me this….

- both mack and will feel they are “old friends”. i’m not entirely sure what this means and the context of this in the cards is vague…old friends as in someone they’ve just been aware of for years? or are they feeling uwu whimsical romance and think they’re soulmates?

- will thinks mack is a bit immature, lazy and unmotivated but not in a career sense. cards seemed to note this is more on a domestic basis (re: mack being a homebody lol)

- they are very physically affectionate

why does mack feel burdened by his feelings for will?

his dad :/ …..good ol’ Sheriff Rick at the scene of the crime. essentially, his dad is worried mack’s feelings for will may hinder his career and distract him from everything he’s worked hard for.

however, i would like to note that these feelings are not so deep/harrowing. mack feels will gives him strength and that they both have confidence in their partnership.

final notes:

during this reading and based on all cards pulled, i feel this is a relatively newly established relationship, but has been steady for sometime. their relationship is full of respect and tenderness, and is much softer than what is seen on the surface 🥲

i hope you enjoyed reading!!! please feel free to share your thoughts and/or request more questions for the deck! 💕

[backjustforberena]

RHAENYS, RHAENYRA & HELAENA + the death of a son.

[syltheanti]

Oh STFU, mind your business 🙄

I sent those asks on that bitch Toadstool's end because she is a rabid anti that of course hasn't shut the fuck up about Addiction Verse!

It was pretty hilarious to watch her get mad that I called her a cumrag since she really acts like one...

Tf is weird about me stating she is an addiction???

She sure has no life, when she shoulda worry more about real people!

Grass is a plant with narrow leaves growing from the base. A common kind of grass is used to cover the ground in a lawn and other places. Grass gets water from the roots in the ground. Grass is usually pigmented with the colour ‘green’. Grasses are monocotyledon, herbaceous plants.

The grasses include the "grass", of the family Poaceae (also called Gramineae). Also sometimes it is used to include the sedges (Cyperaceae) and the rushes (Juncaceae). These three families are not closely related but belong to different clades in the order Poales. They are similar adaptations to a common life-style.

The true grasses include cereals, bamboo and the grasses of lawns (turf) and grassland. Uses for graminoids include food (as grain, sprouted grain, shoots or rhizomes), drink (beer, whisky), pasture for livestock, thatching thatch, paper, fuel, clothing, insulation, construction, sports turf, basket weaving and many others.

Many grasses are short, but some grasses, like bamboo can grow very tall. Plants from the grass family can grow in many places, even if they are very cold or very dry. Several other plants that look similar but are not members of the grass family are also sometimes called grass; these include rushes, reeds, papyrus, and water chestnut.

Grasses are an important food for many animals, like deer, buffalo, cattle, mice, grasshoppers, caterpillars, and many other grazers. Unlike other plants, grasses grow from the bottom, so when animals eat grass they usually do not destroy the part that grows. Without grass, dirt can wash away into rivers (erosion). Graminoids include some of the most versatile plant life-forms. They became widespread toward the end of the Cretaceous. Fossilized dinosaur dung (coprolites) have been found containing grass phytoliths (silica stones inside grass leaves).[Grasses have adapted to conditions in lush rain forests, dry deserts, cold mountains and even intertidal habitats, and are now the most widespread plant type. Grass is a valuable source of food and energy for many animals.Lawn grass is often planted on sports fields and in the area around a building. Sometimes chemicals and water is used to help lawns to grow.

People have used grasses for a long time. People eat parts of grasses. Corn, wheat, barley, oats, rice and millet are cereals, common grains whose seeds are used for food and to make alcohol such as beer.

Sugar comes from sugar cane, which is also a plant in the grass family. People have grown grasses as food for farm animals for about 4,000 years. People use bamboo to build houses, fences, furniture and other things. Grass plants can also be used as fuel, to cover roofs, and to weave baskets. n English, the word "grass" appears in several phrases. For example:

"The grass is always greener on the other side" means "people are never happy with what they have and want something else." "Don't let the grass grow under your feet" means "Do something". "A snake in the grass" is about a person that will not be honest and will trick others. Grass is sometimes used as a slang term for cannabis (also called pot, weed, or marijuana)