#I need this hyperfixation to die

[thebibliosphere]

Being in the Pennyworth fandom will have you googling shit like "How to fortify an umbrella against acid rain" to try and give a smidge of credibility to the storyline you're plotting.

Meanwhile, the official writers are just giving interviews like, "Yeah, the mad cultists who got turned into super weapons by a drug activated by a popular song sung by Alfred Pennyworth's pop star girlfriend survived the nuclear bomb that got dropped on London, so now there are these irradiated mutant cultists cannibals roaming the streets of London who go ballistic for 70s pop ballads. What do you mean, 'how did we plan to resolve that?'"

[snailfen]

after the easter update, in relation to the new note from delilah- i keep seeing people depict delilah as being a really awful person who doesn't care about bassie/the toons when they aren't good enough for her. and while yeah obviously delilah is responsible for Something and also why did she make the holiday toons Like That. i think people should analyze her tone in the easter note a little more? because i feel like theres more to understand about delilah from this note and no one's seeing it.

while the first part is just about as distant as her other notes, i don't think she sounds very dismissive of bassi! her tone is mostly analytical until that last part, which is really important to me because her tone is a lot more considerate ("i know this is very last minute."), and definitely the most concerned-sounding we've heard her.

that last sentence could very well be taken as her pinning the blame on arthur and not actually caring somehow, but i do think she wrote this with at least a LITTLE concern for bassie in mind based on her wording. she specifically notes that bassie probably won't be able to handle the pressure of being a main entertainer in gardenview as expected of her and i think that delilah sounds genuinely worried about the outcome if they didn't try to work this out.

with bassies obvious fear of replacement, and clear dislike of cocoa (the only other toon with plushies of her in the easter map when usually only mains have plushies) i do think it isnt unreasonable to come to the conclusion that their solution to this was replacement, however!!! i don't think this decision was made without bassie in mind, in fact i don't think this "replacement" was wholly against bassie for being too dependent on others.

my personal theory is: while yes cocoa has plushes, very odd for a non-main toon, theres still quite a lot of bassie plushes that assumingly were still being sold every easter event in the easter gift-shop. also, bassie's design sort of implies bunny features. it's kinda weird to have a toon that somewhat looks like a bunny, and then make a straight up bunny after that. finally, bassie seems to try to hide her problems/doesn't accept any help or concern (her dialogue with astro, flutter, cocoa too ig but thats Different).

by making another bunny-like toon, giving her helpful and insistent tendencies that would contrast bassies tendency to make it seem like nothings wrong with her, and then selling her merch alongside bassie, i think they intended for cocoa and bassie to end up being a pair that would share bassies role as the easter main to take pressure off of bassie. bassie however doesn't seem to be able to let go of her inability to live up to whats expected of her and when cocoa was introduced, she ended up taking this to mean absolutely worst case scenario. not to mention, cocoa doesn't seem aware that shes meant to "replace" anyone, and while she could've just been kept in the dark about this, she also calls bassie her friend and just kinda... assumes bassie acts the way she does because its who she is.

that all being said gardenview is Twisteds & Lack Of Security Regulations Georg, the 1000 security violations and 100 abominations against nature outlier that should not have been counted so maybe the idea of the founders even SLIGHTLY making a responsible decision for a toons actual well-being and just accidentally messing it up instead of just trying to full on replace her is silly. i mean i wouldnt be surprised

[voidwelt]

logged on hsr with intent to listen to welt's voice lines for the 100th time but i got embarrassed and instantly logged off. you could say i'm winning at this character obsession thing. anyway i like to think about how one of his "trying to get to know the trailblazer" attempts is him trying to pretend he doesn't know how to change his profile picture. and then (in the timeline, the cosmic decor event) he basically instantly helps them set up a very fancy high end gaming PC. he's fooling nobody. the oldmansona has its limits but joking aside it's a nice detail. about how slightly-awkward he can still be. even around people he regards very highly as allies, who he enjoys traveling with. having to use a pretty weak (but clearly heavily thought about) excuse just to have a reason to bond with the newest recruit. probably overthinking his interactions with them because he wants to be a decent mentor figure in this new world. does he know he's kind of cute about it. (cube voice) it's sickening i kinda wanna kick him in the shins til he sheds tears

[anime-potato-san]

Bell is definitely a people-pleaser.

Regardless of if it’s for Adler/The team or Perseus, Bell is desperate to please them, do to anything they ask. Anything that gets asked of them, Bell does them. Take when we confront Volkov, either we kill him like Adler ask, or we do what Park asks and capture him. And during Break on Through, though you can definitely troll him which is hilarious, and I highly suggest doing so at least once, Bell does everything Adler says to do.

Though we don't know much about what they were like with Perceus, Bell was Perceus' favorite operative, they definitely did everything he asked.

I think Bell being a people-pleaser is almost tragic in a way. They did everything to please the people they saw as above them, people they cared about, yet in the end, they didn't matter to them.

Thank God fanfiction exist because I can make Bell happy.

As I traumatize her by having her die over and over.

[waerwena]

[lemongogo]

anyways . silly thing

[fishyartist]

Ui idea tests, thrown together bc im eepy. Was planning on doing more but I spent all my days energy on the second one oops

[what-is-canon]

Just so I’m prepared for the morning:

“RIP Serena Joy, it’s been an education to say the least, there’ll never be another like you”

[sengenism]

"Senku and Gen Die: Part 1"

[nyx-xp]

ok look no matter what, i think ill always be obsessed with dl-6. i know, its kinda overused at this point, but the whole thing is so amazing

like,, miles obviously didn’t know he was innocent, but gregory didnt either. when they channeled him he said it was the bailiff (forgot his name srry) even though there was no proof, because he wanted to protect his son. and the result of a child convinced he is guilty for the death of his dad, who even after death tried to find a way to reassure him he was innocent??? just- the concept of this relationship is fascinating, and honestly has so much potential.

and then you add von karma, and the fact he was not only the murderer of the father but the adopter of the son??? just makes everything gets better (worse)

dl-6 will forever live in my head and in my heart bcs the overwhelming guilt at least two of the three must have felt!! (depends on your headcannons about manfred ofc, maybe he was slightly guilty or smth) the psychological impact and the aftermath of it? amazing. maybe its not perfectly written, nothing is, but its fascinating and makes me want to dissect all three’s brains to see the effects this would have caused.

[yukitiramisu]

Ive realized ive gained a new hyperfixation sub-genre on the legal yuri trio + the child + pop idol + fraudulent Cesi enasonas from seeing their amazing designs and even made a spreadsheet/google doc about their lore & timelines together... should i post the link to the Doc where ive compiled all their lore/timelines/facts of info ive found from their creators? 🤔

[Legal yuri trio refers to Fugi, Verd!CT and CESI (they belong to @kaumedii , @tokyodriftanthem and @yxleii respectively)

The Child belongs to @wattpadhoehoehoe

Pop idol refers to Luv by @da1konic

Fraudulent CESI belongs to @cesienthusiast ]

[wow-an-unfunny-joke]

Hear me out:

Fic where the main characters of your favorite things are somehow transported to a weird room.

It’s a plain room, white walls, wood floors, half a dozen or so chairs all sat in a circle. There’s a table with food and drinks and stuff- the doors are locked.

On the wall over the table there’s a banner that says

“Group Therapy”

[science-lings]

"A Magician never reveals her secrets!" is the rule but Trucy's family has always been completely made up of other magicians. They've taught her all she knows, cards and throwing knives and sawing people in half and how to smile no matter what. So she may call Phoenix 'daddy' pretty much immediately but when she starts really thinking about him as her family is when she starts to teach him some magic.

She can tell that he's already a bit of a performer as well, his false smiles are practiced and perfected, he appreciates some theatrics, he knows the security that comes with an act. He's her father now, so she teaches him some sleight of hand and how to throw knives so he stops coming back from work all bruised from a card game gone wrong.

Just... the Wrights being a completely in-sync duo who above all, are performers, acting out the life they want others to think that they have. They have smiling iron masks that can only be seen through by each other and they're all each other has.

Phoenix didn't adopt Apollo when he figured out his parentage, no, he figured it was too late when Trucy started making him her magical assistant.

[celestial-moths]

I know that official dolls of the other 4 Lords in Black were never made for mass production, since Wiggly is the only one whose face is made of plush material, while the others' faces are made of some kind of hard modeling material, but... I hope Team SK know that I will absolutely spend another $200 to have the whole set.

[merp-blerp]

Gaylor/Kaylor and Oz: Parallels and Theories 🌼🌈❇️

CW: Light Spoilers for L. Frank Baum's Oz book series (books 1-15) and major spoilers for Return to Oz (1985). And this post is very late-stage-Kaylor-specific, so if that's not up your alley, that's chill.

There is now a Vol. 2 with new additions and info! I recommend reading this part first.

Overblown Analysis Under the Cut ↓

As a huge Oz nerd, I and many others have noticed many Oz media parallels in Taylor's music. I wanted to piece together some I've seen mentioned and some I've noticed myself. More things could pop up as time goes on, so I could imagine me editing or making a second part to this post if necessary.

Part 1: Rainbows 🌈

In the 1939 film, Dorothy's home, Kansas, is portrayed as a dreary sepia or greige color, that way the contrast to the gorgeous technicolor of the land of Oz could be even more effective on the audience. Somewhat surprisingly I guess, this sepia color is reflected in the book, with Kansas being described as "the great grey prairie" and even W. W. Denslow's original illustrations of Kansas being colored in greige; the pages don't include more color until Dorothy is swept into the cyclone on her way to Oz.

So many of Taylor's lyrics describe events turning her world from colorless to colorful or vice versa. "The rest of the world was black and white // But we were in screaming color" from "OOTW", "You showed me colors you know I can't see with anyone else" from "Illicit Affairs", "If all you want is gray for me // Then it's just white noise, and it's my choice" from "BDILH", "Like a rainbow with all of the colors" from "ME!" turning into "I'm just... in shades of greige" from "The Prophecy", etc.

For TTPD, from a gaylor perspective, the sepia and greige theme of the album is supposed to reflect that for Taylor the closet is colorless and sad. It also invokes old Hollywood and how closeting is an old-fashioned practice figuratively and literally. Closeting is a practice based on outdated mindsets and fears and it's been a practice since Hollywood as we know it today was beginning to be established. MGM Dorothy actress Judy Garland was in at least one lavender marriage and might've been queer herself, but the latter isn't as confirmed as other victims of closeting of the time like, say, her husband Vincente Minnelli. Taylor often utilizes vintage imagery in her music, romanticizing it, but the song "TTPD" (and other points in the album) calls her out for it with her lover having to remind Taylor that they are living in modern times despite being held down by old-fashioned ideals. The Wizard of Oz (1939) film is arguably the epitome of old Hollywood nostalgia, so it makes sense for Taylor to use it as a way to tell the story she wants to tell, especially if it's a queer one since Oz is very special to a lot of queer people.

For what it's worth, Ashley Park performed the film's song, "Somewhere Over the Rainbow" on The Drew Barrymore Show in what looks to be the Christian Siriano rainbow dress. Fun! Curiously, I can't find a video of this performance, I just happened to stumble upon this GIF on giphy.com and an article talking about the performance.

As an extra tidbit, in the Oz books, the rainbow is personified in the character Polychrome, the youngest daughter of the rainbow. She happens to be featured in one half of a certain famous quote from The Road to Oz. Polychrome comments, "You have some queer friends, Dorothy," to which Dorothy responds, "The queerness doesn’t matter, so long as they’re friends." This quote is theorized to be the inspiration for the phrase "friend(s) of Dorothy" in queer slang. And it's nice to have a friend like Dorothea, of course. Speaking of which...

Part 2: Dorothy and Ozma 🌪️🌺

Dorothy Gale needs no introduction, but I will give Princess/Queen Ozma one since she's a more niche character. Ozma is the rightful ruler of Oz. The "Wizard", Oscar Diggs, was not meant to rule over Oz. He went to great lengths to usurp the throne from Ozma's father, Pastoria, and hide Ozma away as a baby, dumping her on a witch named Mombi, who enslaves her and disguises her as a boy named Tip so she and others won't know her identity. She learns the truth about who she is and takes back her throne in book 2, The Marvelous Land of Oz (This backstory is why Ozma is a trans icon, along with a sapphic one). Ozma and Dorothy meet each other in book 3, Ozma of Oz, and are inseparable from there on. A common queer interpretation of Oz sees Kansas as like the closet and Oz as being out and free. A part of why the queer interpretations of Oz work particularly well in the books is because in The Emerald City of Oz, Dorothy and her Kansas family move to Oz permanently when Kansas stops being liveable for them. So Dorothy becomes the second ruler of Oz and Ozma's "constant companion" at Ozma's "proposal", as L. Frank Baum describes it. Dorothy is the only person allowed in Ozma's bedroom unannounced, which is cutely domestic. Baum's story and John R. Neil's illustrations of the two often depict them as being very close, holding hands, and kissing. It's not really knowable if Baum intended for it to be seen this way, but many modern Oz book fans see them as a couple.

Naturally, there's the theory that Taylor's song "Dorothea" is about Karlie, as well as the fact that Karlie dressed up as Dorothy for Halloween 2023 and did a partly-Oz-inspired photoshoot in 2010, among other Oz-themed things. Also, after the first book, Baum had a falling out with Denslow and appointed a new illustrator, John R. Neil; Neil's design of Dorothy sports a blonde bob, which reminds me of the "Karlie Kut" a bit, even if that's coincidental. Since the Karlie as Dorothy theory is pretty well established, I want to forward a theory about Taylor taking on the role of Ozma.

For starters, Taylor wears a gingham green dress in her music video for "Karma (ft. Ice Spice)" as she skips and sweeps down a yellow brick road in red shoes, looped braids, and lemon beret. This outfit is a bit perplexing, as while it seems very Dorothy-inspired, it actively makes itself just different enough from how Dorothy is illustrated in the first Oz book and seen in pop culture. It could be suggested that this is for copyright reasons since 1939 Dorothy is not in the public domain yet and using that likeness would require making a payment. However, thanks to the book specifically describing/illustrating Dorothy as wearing blue and white gingham and pigtail braids, these features can still be used, as all of Baum's Oz novels are in the public domain. Oddly, the only potentially copyright-able aspect of Dorothy's costume is the one that Taylor kept, the ruby slippers exclusive to MGM's '39 film, since in the book Dorothy's shoes are silver. So why were all these unnecessary changes here?

My main theory is that Taylor is subtly invoking Ozma in a way that would still be recognizably Oz-ian, as I don't think most people would catch on to the Oz reference if Taylor dressed as a more accurate-looking Ozma. Hence why the gingham and red shoes are present even though Ozma is never described as wearing anything like that. Ozma is often depicted in long flowing white or green dresses. And while Ozma's hair is usually free in Neil's illustrations, her hair is sometimes tied into a bun, and Taylor's looped braids seem to be in the same family as a bun (I don't know how else to say that, I hope you get what I mean...). The lemon beret is hard to explain. As far as I know/can recall, lemons have never played a major role in any Oz media, so my guess is that the hat is meant to match the yellow brick road or maybe slightly invoke the fighting trees from the film and book. Since Taylor's outfit is similar but not the same as Dorothy's, it could be interpreted as Taylor dressing as someone adjacent to Dorothy, or a friend of Dorothy's, and Ozma would definitely fit that title. Ozma is also a fairy, so this also lines up with my Taylor is the beast to Karlie's beauty theory, since a fairy is a creature. And as the small, coincidental cherry on top, Ozma was originally described as blonde like Taylor in the story's text, despite the fact that Neil always drew her as a brunette. Dorothy's appearance outside of her clothes is rarely if ever given, that way anyone could see themselves in Dorothy, her design not mattering too greatly. The only clue to her physical looks is in the illustrations, but the consistency changes over the Oz series when it comes to Dorothy's design, so again it doesn't matter. Kind of like how, whether a song has male pronouns or not, it’s always describing Karlie, the "design" of the muse not mattering. And it actually does make some sense for Ozma to have the ruby slippers, even though she never had them in the books, but more on that in the next part. If Karlie is Dorothy, Taylor is Ozma.

An alternate, more flimsy idea is that Taylor is dressed as Dorothy in her green dress returning to the Wizard with the wicked witch's broom as proof that she melted her. However, this doesn't quite work for me personally, as in the film, Dorothy never got a green dress from the Emerald City. And while book Dorothy did get a "green" dress, she never had to bring the witch's broom to the Wizard and her dress wasn't actually green but white; it only appeared green in the Emerald City due to the green spectacles everyone was tricked into wearing by the shamming Wizard. And of course, book Dorothy's slippers weren't red like Taylor's, but silver. Maybe I'm being too particular, but to me, the details of the two titular versions of Oz make this idea weak.

Another idea is that Taylor is dressed as an amalgamation of Dorothy and the witch, which is definitely an interesting thought. In the 1st book, both Dorothy and the witch have no magic of their own and need to obtain magical items, like the silver shoes or the golden cap. But the difference is that the witch uses her power to do evil while Dorothy doesn't know the power she has, even by the time the shoes get her to Kansas again, as they presumably could do way more than that. The idea of Taylor combining the two is interesting, but again the red shoes put me off.

I think the Ozma theory works the best (and I think it's the cutest).

The story of Ozma being unrightfully taken from her throne and hidden away from everyone and herself reminds me of many stories told through Taylor's music. Lyrics like "I (I) don't (don't) like your kingdom keys (keys) // They (they) once belonged to me (me) // You (you) asked me for a place to sleep // Locked me out and threw a feast (what?)" from "LWYMMD" and trapped imagery in MVs like "Willow" feel somewhat reminiscent of that story.

Taylor isn't any kind of genderqueer as far as anyone publicly knows for sure, but Taylor definitely seems to have no problem with aligning herself with masculinity and taking on male roles. Take things like the wonderland photoshoot (Lordy! 🤭), Taylor semi-confirming she's Folklore's JaMEs, "The Man", "Peter", and maybe etc. Ozma being a girl but forced to present as a guy for years could be seen as similar to Taylor having to paint some of her songs about women as being from a male perspective, or some songs never being officially said to be from a male perspective being assumed to be so anyway, like "Question...?"

One more small parallel between Taylor and Ozma: Ozma is often pictured as wearing two poppies, one on each side of her head, seemingly in her hair or connected to her crown. Reminds me of "Say a solemn prayer, place a poppy in my hair" from "The Great War".

Part 3: Return to Oz 👠

Return to Oz (1985) is an unofficial sequel to The Wizard of Oz (1939) made by Disney. It takes the stories of The Marvelous Land of Oz and Ozma of Oz and combines them into an original story. At least in America, this is the only feature-length film to feature Ozma and attempt to vaguely adapt the novels more closely. (Context for RTO photos in the image descriptions, which is the case for every image and GIF on this post because why the hell not)

Return to Oz adds a setting that wasn't featured in any of the Oz books: a mental hospital. Aunt Em and Uncle Henry, concerned that Dorothy isn't sleeping and won't stop insisting Oz is real, send Dorothy to a mental hospital in an attempt to get her help (not out of malice). As we know, TTPD features the theme of asylums prevalently. The treatment chosen to help Dorothy is electroshock therapy, similar to Taylor receiving electroshock therapy in the MV for "Fortnight". In "Down Bad", Taylor says, "They'll say I'm nuts if I talk about the existence of you", just like how Em and Henry thought Dorothy needed psychiatric help when she talked about Oz being real.

When Dorothy stays over at the hospital for treatment, a character named Nurse Wilson (Kansas doppelganger of Mombi) escorts her to her room; Nurse Wilson wears a black dress very similar in style to Taylor's black dress from "Fortnight".

When the power goes out and the electroshock therapy isn't given a chance to begin, a fellow patient revealed later to be Ozma helps Dorothy escape the asylum by freeing her from the bed she's strapped to and bolting with her. Ozma and Dorothy slip into a river while running away, in which Ozma finds an abandoned chicken coop for Dorothy to ride through said river to Oz, Dorothy fearing Ozma drowned during the process until the end of the film. This is similar to Taylor and Post Malone's character escaping the asylum after Post cuts the power in "Fortnight". Ozma unstrapping Dorothy from her bed is similar to the nurse who unchains Taylor from the bed in "Fortnight", theorized to be played by Karlie herself. And Ozma finding the coop for Dorothy to ride away on is reminiscent of Taylor clinging to her piano in "Cardigan". Clinging to something when in rough water is common imagery, so it could definitely be coincidental, but I thought I'd mention it.

In this film, Ozma is trapped in a mirror by the witch Mombi, reminiscent of Taylor depicting herself as trapped behind glass closets in numerous MVs. After Dorothy saves Oz, she is the one to free Ozma from her glass prison by touching her hand and guiding her out of the glass, similar to Post and Taylor in the last scene in the "Fortnight" MV. Ozma in the mirror behaves like Dorothy's reflection, which reminds me of Taylor having Post's tattoos when she wipes her face in the mirror as if to say she's a reflection of his character.

Dorothy gives Ozma the ruby slippers before leaving Oz (Disney paid for the right to use them). That could help to explain why Taylor wears the ruby slippers that Ozma never had in the books if she's truly dressed as Ozma. And notably, when dressing up as Dorothy for Halloween, Karlie wore a full Dorothy costume, except for the ruby/silver slippers, arguably the most important part. As if Karlie was in "Kansas" and gave Taylor her shoes.

Dorothy chooses to return home in the end, but Ozma gifts her a way for them to communicate: through her mirror. This way Ozma can watch over her and when Dorothy wants to return to Oz, Ozma will make it happen. I've mentioned the parallels with the glass closets, but this also reminds me of "A tiny screen's the only place I see you now" from "Dorothea". In the book and '39 film, Dorothy uses her shoes to get back to Kansas, but in RTO, they are presumably going to be used to get Dorothy back to Oz when the time is right. So maybe after Taylor potentially comes out she will use Karlie's ruby slippers to sweep into the rescue and save Karlie from Kansas/the closet and back to Oz/freedom with her. Outside of RTO, it could also work the other way, with Taylor using the shoes to go home, especially with all the lyrics Taylor's had about returning home to/with her lover. Kansas doesn't represent anything bad in the original story, so it's possible that Kansas isn't a debilitating cage/closet, just home where you feel safe with the ones you love. Ozma also encourages Dorothy to keep their communication secret. Dorothy wants Aunt Em and Uncle Henry to know of Ozma, as she calls for Em to come and look as soon as she summons Ozma. But Ozma seems to see it as best kept quiet, no exact reason given to the audience from what I can tell, but it's understood by Dorothy and Ozma themselves. Pretty similar to Kar and Tay maintaining their closet for reasons we gaylors don't fully get to know, at least not yet.

(I didn't know where to put this little factoid, but in this film, the only times Ozma really smiles is at Dorothy. It's not important, just a bit cute and sad.)

And as a bonus for you Spade riddle fans out there, when Dorothy meets Ozma in the hospital, Ozma gifts Dorothy a pumpkin because "it's Halloween soon". The pumpkin is a Kansas doppelganger to an Oz character called Jack Pumpkinhead, who calls both Ozma and Dorothy "Mom" because Dorothy saved him from Mombi and Ozma built him and brought him to life. A bit reminiscent of Karlie and Taylor having Levi and Elijah if you ask me. I'm admittedly not a huge riddles person because it goes a bit over my talents, but I think they're intriguing and I'm curious if the riddles and Oz/RTO together would mean anything.

There's debate on whether Post's character is supposed to represent Taylor working with herself to get free or Karlie. I think it could be either or even both in a convoluted way. I like both theories. If "Fortnight" is based on RTO, the roles of Ozma and Dorthy seem switched, with Dorothy rescuing Ozma from the asylum. However, the tattoo mirror scene suggests that Taylor is mirroring Post's character, or playing him, and if that's Karlie, maybe the MV could be seen as Taylor playing Karlie in a sense since they're "twins" whose pasts are "parallel lines", while Post is either playing Taylor or Karlie; they are one and the same. The MV is really interesting to ponder in general.

Part 4: Miscellaneous Oz Connections ❇️

Lightning round (filled with tons of reaches)! ⚡️

In the "ME!" MV, Taylor and Brandon running up to the green building with a rainbow beam on it whilst in green marching band outfits looks similar to Dorothy and her friends running toward the Emerald City in the '39 film.

The all-pink soldiers in the marching band scene of "ME!" remind me of Glinda's all-female red army in the books.

In "loml", Taylor sings "The coward claimed he was a lion", a reference to the cowardly lion.

The men in the "ME!" MV falling from the sky with umbrellas reminds me of Dorothy and her cousin Zeb falling through the sky with an umbrella down to Oz in Dorothy and the Wizard in Oz.

Taylor might've been in a Wizard of Oz play at her school in 2006. The linked post doesn't give too much evidence admittedly, but I think it's worth saying that the play at least happened at her school.

I wasn't sure where to put this mini-analysis, but I think it's interesting that Taylor associates Dianna Agron with Wonderland and Karlie with Oz and the differences that could suggest. Alice and Dorothy go through similar adventures, but the two go about them very differently. Dorothy adapts to Oz very quickly and loves it there, enough for it to be her second home. Meanwhile, Alice certainly doesn't enjoy Wonderland as much as Dorothy loves Oz, itching to get out and stay out. Dorothy is very active in her role, making friends and changing Oz forever, while Alice passively goes through the motions and lets things happen before escaping to the next thing. It seems like Baum wrote the Oz books to give children lessons on friendship, feminism, and more, while Lewis Carroll wrote the Alice books with the exact purpose of saying nothing and giving birth to the genre of "nonsense writing". And Wonderland is definitely a dream in the original two novels while Oz is a very real place in the books. I know the associations seemingly have to do with the muses’ actual taste in fairytales, but I wonder how the differences speak to the story Taylor’s spun in her music about them. Assuming both Oz and Wonderland are freedom to some degree, does Wonderland being temporary speak to Taylor and Dianna as a couple, while Taylor and Karlie are still ongoing IMO, just like the Oz book series to this day (Canonical Oz books are still being written by different authors. There’s 40+ of them)? Is there something in the fact that Alice’s Adventures in Wonderland is an English fairytale and The Wonderful Wizard of Oz is considered the first American fairytale, and Karlie convinced Taylor to stay in America and live in New York rather than London where Dianna was? Do Alice and Dorothy’s different reactions to their discovered worlds speak to how both Karlie and Dianna feel about closeting vs being out or maybe how they feel toward Taylor in some way? I genuinely have no clue, but it's some interesting food for thought. (This isn't Dianna, Swiftgron, or Alice's Adventures in Wonderland slander btw, I don't know enough about Swiftgron besides the basics to do that.)

In Conclusion 🌼

I have no way of knowing if Taylor has even read the Oz books, seen Return to Oz, and knows all this information, but I think it's fun that these connections are there. If there are more connections you thought of or ones that you think I missed, let me know!

Thanks for reading!

[yoshdookie]

Very skibidi

This is what they do when ekko isn’t around