#Marlon Swift

[maiadluffy]

When Legolas is doing dragon ball fusion with Aragorn 😁

[axiejade]

our flag means death - season 2 episode 3 'the innkeeper'

hoax - taylor swift // anti-curse - boygenius // promises - marlon williams // work song - hozier // my love mine all mine - mitski // unknown / nth - hozier // true blue - boygenius // make way for love - marlon williams

[dovebuffy92]

My Top Five Fave Florence Welch Duets

https://m.youtube.com/watch?v=lvcpmLpukaw

2. https://m.youtube.com/watch?v=jSWI3tMg0Wk&pp=ygUdZmxvcmVuY2Ugd2VsY2ggZGl6emVlIHJhc2NhbCA%3D

3. https://m.youtube.com/watch?v=iu7YURHcmKI.

4. https://m.youtube.com/watch?v=HzDZCvRc6sA

5. https://www.youtube.com/watch?v=4qJ4VIAJVXU

Honorable Mention:

[theblanknight]

Lily Collins the Stalker (OC fanfic) Part XIII

The first few times pop musician Taylor Swift was driven past Marlon's house she quickly looked away and grimaced, trying not to cry. This guy and his... people were always giving her shit. Well, it was mosly his people doing it directly, she guessed. She didn't know how he organized them. He was a hacker, right?

It'd been years of this. She'd kinda taught herself not to think thoughts to herself that started with "Well if he wants my attention that badly..." At this point she'd seen him attack other celebs. He'd attacked them directly. Well, there was a part of her that thought maybe he attacked her covertly because she was different from the other celebs, but maybe he just didn't care... she didn't know.

Taylor kinda went back and forth on her theories about this guy. Now she wanted to look in the backyard. She thought maybe... maybe he had, like, a compound or tunnel or something back there. I mean, he was kinda weird. He'd do that kinda thing, right? When she finally got a good look in the back, car parked inexplicably in the yard, part of her felt relieved that he hadn't been the one attacking her online. Still... it means he hadn't been paying attention to her. Did he even know any of her songs!?

Taylor saw that the doors were open, and the lights were on in the car. She didn't wanna stay for long. What was he gonna do?! Is he in there?! She guessed that even if he wasn't, he'd come back outside to close the doors at some point soon, so she looked around as quickly as possible.

She looked at the porch. There seemed to be garbage everywhere, that's nice. She walked close enough to look in the "pool" like everyone had been saying he had. It was nothing! Are there fish somewhere in here? Part of it had water, that was for sure. There were two beat up old sheds and it was overgrown in general. That's it. Did he own the neighboring houses or anything?

Nothing! She quickly walked back to the car. She'd wanted to call him rich, like one of those rich commies. Maybe he had another house, and this was for show, she didn't know. She didn't know...

READ PART TWELVE HERE!: https://theblanknight.tumblr.com/post/786110626616492032/lily-collins-the-stalker-oc-fanfic-part-xi

[getmybuzzup]

Marlon Wayans Talks Jay-Z Brunch, Taylor Swift NFL Takeover, Scary Movie, & Kobe Bryant | Interview - Marlon Wayans dropped by the neighborhood to speak with Big Boy about Taylor Swift, Travis Kelce, his next stand up comedy special, and the Jay-Z Roc Nation brunch. The comedian discusses his latest special “God Loves Me”, explains his rise to success at a young age, and remembers quitting comedy for 20 years. He comments on Chris Rock, Dave Chappelle, Richard Pryor, Eddie Murphy, Damon Wayans, and Shawn Wayans. Plus, Marlon speaks on losing his father, creating comedy from pain, White Chicks, Scary Movie, and the unreleased film "Behind The Smile.” Watch Marlon Wayans perform live stand-up comedy at Irvine Improv on October 6, 7, and 9th. https://wp.me/p1PuJR-5EnM Please Reblog!

[kylieswift31]

Taylor Swift and the Truman show

"Well, for me, there is no difference between a private life and a public life. My life... is my life, is the Truman show."

Tied together with a smile

Taylor is currently at the peak of her career as she's now breaking her own records and reaching a level of fame only seen by the greatest such as the Beatles and Michael Jackson. Yet underneath all that success is a layer of conflict due to the discrepancies between her private and public life. With closer inspection it is clear to see that Taylor has left a trail of breadcrumbs that reveal that she has been queer since the beginning of her career. The ‘love struck and boy crazy’ version we first saw of Taylor was supposed to be a temporary step in her career during the fearless era, but through a series of unfortunate events she has spent the entirety of her career in the closet.

Now with the ending of the rerecords and eras tour in sight, Taylor has begun to reveal the cracks in the facade of her public persona so that we can see who she really is underneath. Her performance of 'delicate' on the eras tour is a visual representation of this process. Throughout the song we slowly see cracks forming in the glass, one at a time until at last there are so many cracks the entire stage shatters into a million tiny little pieces.

But what causes the cracks?

Taylor.

And it’s all inspired by the Truman show…

Daily life

In the mirror

The first time you watch the Truman show, the focus is on Truman and his journey. He lives a normal life in Seahaven with his wife Meryl, has a successful career in finance and spends his free time with his best friend Marlon. There are small cracks in the facade of his picture perfect life from the beginning, but halfway through we reach a turning point as it becomes clear that Truman is also the star of a 24 hour reality TV show that broadcasts his life to the public without his knowledge. Every move he makes is being observed by the outside. And then when you get to the end of the movie you start to realise that not everything you saw was as it seems.

Taylor has several well known Easter eggs that reference the Truman show, but with further investigation we can discover that she also relates to his story on a personal level. In the song 'mirrorball' Taylor explores the theme of wearing a mask that reflects back what the viewer wants or chooses to see. Just like an iceberg, if we stop at the surface level of what we see of Taylor’s personal life, we’ll miss the depth of what lies underneath. Many of her music videos echo Truman's story in a way that leaves her truth hiding in plain sight.

Good neighbours

Truman’s day starts with a moment of quiet reflection as he gazes at himself in the mirror before greeting his neighbours on his way to work. “Good morning! And incase I don’t see ya, good afternoon, good evening and good night!” His iconic catchphrase is repeated each day. Even though Truman’s the only person in Seahaven who isn’t a paid actor, he’s having the same scripted interactions day after day. His life is centred around acting the part, just like everyone else. The only difference is that he’s wearing a mask to hide how he really feels underneath. Truman's day is very reminiscent of the groundhog day trope to highlight how scripted and repetitive his life has become.

Taylor's life in the public is very similar to Truman's now that she can't go anywhere without being recognised. The once unfiltered teen that was vocal on myspace has become selective and restrained with what she shares online after years of having her life picked apart for all to see. The chasm between Taylor's public and private life has grown to the point where removing the pop star mask will impact her career.

Product placement

The Truman show is sustained through the revenue generated from the products advertised on the show. The first time we meet Truman's wife Meryl is when she's showing him the latest gadget she's picked up from the store on her way home from work. This feels subtle at first, but as more products are mentioned throughout the show it becomes more obvious and the advertising feels more akin to a late night shopping channel. We start to see that everything from the decor, wardrobe and food they eat is for sale. Every aspect of Truman's life has become commodified to generate revenue and to keep the show running.

All the little Easter eggs throughout Taylor's 'lover' music video seem like personalised advertisements now that we’ve seen that they advertise memorabilia on the Truman show in a similar way. However, within her career marketing is an integral facet of Taylor's career. "When you realise the rules of the game you're playing and how it will affect you, you got to look at the board and make your strategy. But at the same time, writing songs has never been a strategic element of my career. But I'm not scared to say that other things in my career, like how to market an album, are strictly strategic."

Hidden in plain sight

It's not obvious at first that Truman and Marlon have found a way to communicate with each other honestly whilst remaining undetected. Truman is often sharing his plans of going to Fiji to get away for a while. However, when he's really planning to leave Truman says "Just between you and me Marlon, I'm going away for a while." This allows the viewer to believe that it's just another wishful thought about going to Fiji, but said in a way that lets Marlon know that he is serious this time. Beer seems to be both another advertisement and a signal to indicate that he's been sent by the director. "It's all true. It's all real. Nothing here is fake. Nothing you see on the show is fake. It's merely controlled." Later on when we're shown that the director is feeding Marlon his lines, it's clear that he has always tried to be as honest as possible with Truman.

Taylor mentions wine frequently through her discography. Perhaps this is to show us that her truth has become so watered down within her lyrics that she lost sight of who she was before. Taylor has changed up pronouns and added hidden meaning to words and phrases mentioned frequently throughout her discography. Through this process she has become incredibly skilled at seamlessly adding connections to multiple muses within a song.

The first crack in the glass

Everything changed

From what we can see, Truman has known from the beginning that he's been the central character within his town to some degree. Truman appears to be fairly content with the life he had created for himself, despite the confinement he felt (he hasn't known any different). This all came to an end when Truman realises that his father is still alive. This changes everything as the first cracks in the facade of his seemingly perfect life become visible.

Intercepted

A very similar experience happens with Taylor in the 'delicate' music video. We can see that this interaction leaves Taylor more aware of those around her. "People often greatly underestimate me on how much I'll inconvenience myself to prove a point…" In her real life there are several events we could attribute to being her motive for change including the sale of her masters (ownership of her first six albums) to investors, a relationship changing or something that affected her reasons for remaining closeted.

Chance of rain

We see Truman sitting at the beach reflecting on how his father drowned when he was a child. As it starts raining he gets up to leave, only to reveal that there's just enough rain to encourage him to get up and go home. We slowly start to see how manufactured these scenarios are. Throughout Truman's week there are planned situations that are designed to test for any changes in his behaviour, like if he's still petrified of the water. These actions reveal just how much pressure they've placed on Truman to prevent him from leaving. It leaves us asking how much free will does he truly have with his choice to stay or go? At this point it feels like the choice has been made for him.

Taylor recreates this rain scene in the 'lavender haze' music video. We see her sitting at the end of the bed with a rain cloud over her head while her lover is asleep. We can infer that Taylor is showing us that she identifies with how isolated Truman was feeling in this moment. Taylor has given up a lot in her personal life for the success of her career, but how much of that was her choice to do so?

Reflecting on the past

Truman goes back home and opens up a trunk full of childhood memories. He's looking at photos of his family while trying to make sense of what he saw with his father still being alive, and the implications of that. This is the beginning of Truman questioning how far those in his life have gone to keep up this lie. If his father is still alive then what else have they lied about?

In the 'cardigan' music video we can see that Taylor is reflecting on her past in a similar way, but this time through playing her piano. Both 'the tortured poets department' album and summation reveal a similar theme of reflection, but with an honest exploration of the agony that comes along with it. "Nostalgia is a mind's trick." This album is a reflection of her career, highlighting the toll it's taken on her personal life along the way.

The one that got away

Love triangles

As Truman pulls out a red cardigan from a plastic bag, we get flashbacks of his high school years. His attention is torn between Sylvia and his current wife, Meryl. During a moment alone with Sylvia they sneak away together, but she appears anxious knowing they don't have much time alone. They share a chaste kiss before Lauren gets dragged away by a man claiming to be her father. She hastily reveals that everything Truman knows about his life is a lie, that it's all done for him and that everyone is watching him. Her father claims that she is just having an episode and reassures Truman by saying that he's taking her to Fiji to receive more help. Sylvia's interaction with Truman is the catalyst for her character being removed from the show. This reveals that even in high school Truman's love interest was planned out for him, despite his attraction to Sylvia.

Taylor wistfully talks about the fictional teenage love triangle during the 'folkmore' set. She describes how James is longing for the one that got away, which seems to contain an element of truth from her past. In 'imgonnagetyouback' she talks about how she won't stop fighting until they're back together again. I tend to lean more museless, with the queer side of Taylor being the one she's fighting for most of all (and with any other muses being secondary to that). If we consider the love triangle from that perspective we can see that the muse she lost was a cherished piece of her history, but the part of herself she lost along the way is the one worth risking everything for to be able to feel whole again.

It's all in the details

Through the development of Sylvia's character we start to see the significance of the colour red. To the viewers at home it is a symbol of heartbreak and loss, and that Truman's attachment to the cardigan is based on his feelings for her. But for Truman we can assume that it is more like a symbol of hope that he might finally be free one day. Other symbols we see her wear include a red seahorse pin (their school mascot) a green bauble bracelet and the 'how's it going to end?' badge. When he reads the badge in the library he quietly admits that he's been wondering that too. This is the earliest insight we witness of Truman not being fulfilled by the life that has been scripted for him.

Many of Taylor's Easter eggs are a reference to the Truman show. These include Sylvia's rose shirt, the eras tour poster, 'karma' door, the song 'how did it end?' and many of her music videos. In the 'lover' music video there's also the bauble earrings, her lover has a seahorse patch on his jacket and the board games are Taylor Swift themed. These all seem like amusing connections until you pick up on the deeper correlations to Truman's story.

Cardigan

After Sylvia left, all Truman is left with is her red cardigan. Sylvia begs Truman to come and find her, but as the flashback ends we find out that Truman didn't follow her to Fiji at the time because his mother got really sick. Instead he settled down and married Meryl, while living with the loss of what could've been with Sylvia. After Truman finishes reminiscing about the past, he slyly reveals that the badge is still pinned onto the cardigan. This reveals that his attachment is not so much to Sylvia now, but to the idea of leaving one day so that he can be free to live his life authentically.

Taylor's song 'cardigan' is one of her most significant references to Truman's story. In the 'cardigan' and 'willow' music video we can see that it is a symbol of the memories she carries from her past and a reminder of what she's left behind along the way. The stars on the cardigan hold a similar sense of hope, just like Truman's pin. "You drew stars around my scars, but now I'm bleedin' 'cause I knew you." This imagery evokes the pain of carving into skin to emphasise the heaviness that comes with sitting with the memory of what could have been.

The bar

After Truman's flashback scene we get a glimpse of commentary from a bar as they're watching the show. This juxtaposition reveals how watching the Truman show is an ordinary occurrence during their daily lives, just like many of us tune in to watch the eras tour on a grainy live stream. The 'delicate' music video ends with Taylor walking into a very similar bar to meet up with a secret admirer, but it remains unclear which one is sitting there waiting for her.

Cracks in the facade

The one worth fighting for

Once the nostalgic moment is over we see Truman holding a photo frame of his wife Meryl. It seems like a loving gesture at first, until he turns it around and opens it up to reveal that he's been collecting a collage of facial features in an attempt to recreate a portrait of Sylvia from memory. This contrast between the memory and Truman's reality exposes how much he has sacrificed along the way by staying in Seahaven. Holding onto the cardigan, pin and picture of Sylvia is an act of defiance when everything else in his life has been decided for him.

Taylor left everything behind when she left her old label, including the ownership of her first six albums. She was not given the option of buying them back without having to commit to producing another album for each one she earned back. Unfortunately this is something many in the industry have had to endure. With hindsight we now know that Taylor was able to rerecord her past albums with added vault tracks, but at the cost of reliving her past. Taylor's back tattoo in the 'you need to calm down' music video conveys that the memory of her life's work was the only memento from her past that she was able to take with her.

Glitches

As Truman is driving to work again, his car radio starts glitching and he ends up on a channel that contains the directions everyone else is hearing in preparation for his arrival before work. From our point of view all of these mishaps are new, but there would have been flaws like this in the system a lot longer than that. But if Truman has known he was the star of the show from the beginning, what was the point of the movie? To reveal the truth to us, and the viewers at home, slowly over time. And to give us a chance to understand his point of view as we prepare for his departure.

We have seen plenty of glitches like this occurring in Taylor's performances on the eras tour, and many of these have been intentional (such as the screens glitching and swallowing bugs). This draws our attention to the cracks in her pop star facade, revealing glimpses of the person she is underneath. And just like Truman, she's giving us the opportunity to slowly adjust to the changes she plans to make in the lead up of what's to come.

Breaking down

Truman appears to be overwhelmed as he starts to reveal just how much of the town he lives in is choreographed around him. This is the start of Truman escalating his reactions to create more cracks in the facade, in the hopes that more viewers begin to see the challenges he faces living in the spotlight.

This purposeful increase in revealing more of the inner versions of themselves is exactly what Taylor is portraying during the 'delicate'' performance on the eras tour. Slowly allowing us to see them as normal people behind the larger than life character they had become in the spotlight. The way Taylor begins creating the cracks on purpose allows us to understand that what's to come is purposely being exposed.

Life's a stage

Truman attempts to enter an elevator, only to discover that it's fake. This is a big step towards seeing what's behind the magician's curtain the first time you watch the movie. When you watch it again this is the point where you start to discover how complex the set of Seahaven has become over time to keep the show running. Many elements of the town act as rest stops and exit points for the actors away from Truman's view.

Taylor pushes down the walls of the bedroom during the 'lavender haze' music video, revealing that the relationship had always been a facade to begin with. Interestingly, this is the only music video that we see begin after the clock ticks over to midnight. Just like Cinderella returns to her original state at midnight, so too does Taylor. This correlation to Cinderella's story implies that the lavender haze we see hidden beyond the walls of the bedroom is the most honest version of Taylor underneath everything else. Lavender is heavily used as a subtle reference by queer people, especially lesbians. Koi fish can be seen in all of the 'midnights' music videos except for 'karma'. They are well known for swimming against the stream, something many neurodivergent people experience feeling. Koi fish are often associated with the yin and yang symbol and together they symbolise balance, courage and perseverance, much like the song 'you're on your own kid'.

Turn up the heat

Invisible

As he seeks out his best friend Marlon for help, we learn that Truman feels concerned that he is being followed or set up for something. Marlon appears calm until Truman mentions that his father is still alive. It appears that this detail may not have been disclosed to the public. Truman demonstrates that everyone in the store is so preoccupied with fulfilling their roles that they will ignore him at all costs. This is a very unnatural reaction and wouldn't be a new discovery for Truman.

The bodyguards in the 'delicate' music video react in a similar way, just like the guards at Buckingham palace are trained to stay focused and ignore distractions. On an emotional level, this behaviour feels like no one is interested in you unless you're wearing the mask of who they expect you to be. "The actors were hitting their marks." Many neurodivergent people experience this disparity between who they are on the inside and the curated version they present for others to see. This act of reflecting back what the viewer wants to see is often done out of necessity to remain safe, but leaves the inner and truest version of oneself feeling invisible. "I want you to know I'm a mirrorball. I'll show you every version of yourself tonight." Unfortunately, you have to participate in their performance if you want to be seen, but the version you they see isn't who you truly are on the inside.

Just for you

After an evening together, Truman is left alone when Meryl offers to take his mother home. As the TV is playing in the background we hear how the presenter is incredibly specific when describing the next episode of 'show me the way to go home'. "Where we learn that you don't have to leave home to discover what the world's all about. And that no one is poor, who has friends." This is a form of subliminal messaging telling Truman that he's better off staying home, implying that there's no point trying to leave because they will prevent him every step of the way.

In the 'lavender have' music video Taylor is watching a similar weather station, but when she gets closer she pulls the screen apart to reveal that there's nothing but space and koi fish behind it. This likeness to Truman's story presents an intriguing insight into the obstacles and road blocks Taylor has faced as a queer woman throughout her career. The koi fish behind the screen also highlight Taylor's determination to challenge the status quo and how she has been working towards much needed change within the music industry.

I do not

Truman is flipping through a photo album full of photos of his family and life with Meryl. His mother stresses her desire for grandkids while she's still alive. Truman continues to look through the album after they leave. The final straw for their relationship comes when he reveals that Meryl had her fingers crossed when they got married, implying she was never fully committed from the beginning. Looking through the photo albums seems to be a weekly routine when his mother visits, so we can assume this wasn't the first time Truman's noticed this detail, the only difference is that he's pointing it out now because it's the next step in his plan to leave Seahaven.

Many of Taylor's music videos emphasise the facade she has played into of the life society expects her to maintain. This has become more evident than ever with her current relationship with Travis Kelce. They want her to fulfil the 1950's lifestyle as a happily married wife with two children, a house with a white picket fence, to stay home each day as a housewife and to serve her husband when he gets home from a long day at the office. 'The man' music video highlights the disparity between these expectations and the lifestyle men are usually celebrated for, so that we can understand that this isn't the life she wants for herself.

Undressed

After Truman attempts to confront his wife about the photo, he follows her to work in his pyjamas. She works at the hospital and claimed to be doing a leg amputation from the elevator incident, a story they made up to explain what he saw the day before. When he locates her within the hospital the actors are forced to begin the procedure to keep up appearances.

Taylor was wearing a corset with a pattern very similar to Truman's pyjamas underneath her blue dress recently while out with Travis Kelce and his friends. Everyone in the group was wearing matching pant and shirt sets, with Brittany Mahomes in actual pyjamas. This may have been a hint that Taylor's beginning to escalate the cracks in the facade of her pop star persona.

The failed escape

Predictable

Truman is sitting in his car when Meryl gets home from working at the hospital. When she gets in, he locks her in the car and attempts to leave town. "Blocked at every turn. Beautifully synchronised, don't you agree?" This is the point where he's revealing that he knows how predictable everyone around him has been, pointing out that the same three people keep going past on schedule.

Logically if Taylor knew what the roadblocks were before she left her old record label, she would have known how her opponents would retaliate after she left. "Blood's thick but nothing like a payroll." It seems likely that they were planning to sabotage her once she left, with her first album in particular. If they were predictable enough, Taylor could've had time to plan ahead to mitigate the damage done to her career. This could include holding back on releasing certain songs, which has now lead to the rumours of 'lover' vault tracks.

Just like clockwork

Truman begins to drive around the round about over and over again to highlight that he has figured out that the townspeople move around him like clockwork, but again this isn't new information to Truman. The director's attempts to prevent him from leaving are incredibly predictable and they always have been. Truman would have been able to pick up on this pattern when he was still in high school, if not earlier. "When you're young they assume you know nothing." The benefit of them being this predictable is that Truman could foresee their reactions and blindside them when they least expected it.

Taylor uses many clocks throughout her music videos as easter eggs and to draw our attention to time and dates that might be relevant in the future. One element of interest is the concept of routine and the predictability that comes with that. The arena in 'the hunger games catching fire' seems to be inspired by the Truman show as well. Katniss figured out that there are new threats in each segment that changed on the hour, ending with a lightning strike at noon and midnight. This kind of predictability allows one to plan in advance. Three years perhaps?

Planned to fail

After driving around in circles Truman claims that they're headed to Atlantic City, only to find out that the end of their street is blocked up with traffic. He concedes to going back home after all, just to announce suddenly that he has changed his mind. As Truman doubles back and attempts to leave for the second time, he discovers that the traffic jam had magically cleared up after they left. He was accurate in predicting that his plan to leave would be counteracted by some form of intervention. Truman's actions are forcing the director to reveal his hand, only to call his bluff and get further than the director expected him to. And despite her fear, Meryl is still putting on a performance for the camera here too.

It's a possibility that Taylor set up a similar scenario to unfold with the release of her 'lover' album. The contrast between the aesthetic and themes of the 'reputation' and 'lover' albums could have been done on purpose to blur the lines between the two in an attempt to mitigate the damage done from being sabotaged. Underneath the vindictive theme of 'reputation' was the romantic songs her opponents had been anticipating from the 'lover' album.

The bridge

Truman stalls at the bridge due to his fear of water but forces Meryl to drive across while his eyes are closed, willing to do whatever it takes to leave. "We're over the bridge!" he exclaims when they make it across. As Truman continues to escape, they are still faced with roadblock after roadblock. The escape plan eventually fails when the road is blocked because of a leak at the nuclear plant. They thank the officer for his help but when the officer says "you're welcome, Truman" he runs away from the car in a panic, but is quickly captured and returned home again.

Taylor draws attention to the bridges of her songs at the very beginning of the eras tour because they are the most authentic lyrics in all of her discography. She often begins a song with a very optimistic perspective, only to end with the most brutally honest observations of her experiences in hindsight. Taylor has told us that she tells lies. In 'love story' the lie is that she's singing about being in love with Romeo. When the perspective changes during the bridge, she's being honest when she describes being in love with Juliet and wanting to marry her. In 'lavender haze' we hear how stifling it's become to continue hiding her truth. "The only girl they see is a one night or a wife. I find it dizzying, they're bringin' up my history. But you aren't even listening." If we don't listen to what Taylor is saying during the bridges, we are avoiding her truth.

The turning point

What was once lost

When they return home Truman confronts Meryl, but she calls out for help and Marlon arrives with beer. Meryl leaps into his arms crying as he comforts her, but he's looking at Truman when he says "everything's going to be okay, it's all going to be fine." The next scene cuts to Truman and Marlon sitting at the end of an unfinished bridge together as Truman begins to tell Marlon what he's been through. "Maybe I'm losing my mind, but it feels like the whole world revolves around me somehow." Marlon replies by saying "The last thing that I would ever do is lie to you. I mean, think about it Truman. If everybody is in on it... I'd have to be in on it, too." The screen cuts to the director feeding him the lines but we can also see that Marlon has been as honest as he could be within his role on the show. To placate Truman and encourage him to stay, he is reunited with his father who he hasn’t seen for 22 years. Truman seems apprehensive about the reunion, but Marlon encourages him to go along with it.

In the 'willow' music video Taylor enters a glass display case and starts performing for the crowd of an old fashioned circus. As her lover approaches for the first time they reunite through the glass pane but it feels like the glass was intentional to keep them apart, despite their intentions to be together again. This imagery is echoed over and over again throughout Taylor's music videos and the eras tour. We can interpret this as a visual representation of being closeted in plain sight or as a form of protecting something that's delicate. Judging by the way they all end up shattered in the end, they seem to be foretelling what's still to come.

Test run

Truman was never really planning on leaving the first time because he had planned to fail. There are a few benefits of acting in this way. Firstly, we know that Truman had never crossed the bridge before and his attempt forced the director to play his hand by revealing what obstacles were ahead if this was his exit route. Enacting his bigger plan before seeing what was ahead would mean that he's more likely to fail if he crosses the bridge while under prepared for what is on the other side. Secondly, if everyone has assumed that he has failed, they won't see his bigger plan coming if they believe he's feeling defeated. They placated Truman by reuniting him with his father, but that backfired on them when he escaped when they least expected it.

Taylor mentions that "Every bait and switch was a work of art" in 'mastermind'. I wasn't sure if I was using this term correctly when search results were full of business examples and psychologists were linking it with the act of gaslighting, but the type of bait and switch I was intrigued by is akin to a chess move. This type of move is often referred to as the 'queen sacrifice'. By purposely leaving the queen unguarded, your opponent is lured into the trap, only to be met with a devastating counter attack. This, and the element of a trial run before the big reveal, is what lead me to consider that the 'lover' album may have been used as bait for the sale of her masters. If she alluded to coming out straight away to entice the sale that was going to happen anyway, that obstacle wouldn't get in the way of her bigger plan. (It is not my intention to imply that this theory is true, so this is just a hypothetical option in favour of the bigger picture.) If this was a prelude for a bigger plan, it still would have been extremely devastating when it did happen.

The show must go on

This is the turning point in the movie when we begin to see Truman's life from the directors point of view. "An entire human life recorded on an intricate network of hidden cameras, and broadcast live and unedited 24 hours a day, 7 days a week to an audience around the globe." We start to find out how they had to manufacture ways to keep Truman on the island. His father dying played a big part of that, but to the viewers it's just another plot twist in the show they've been watching for entertainment. They have 5,000 cameras around Seahaven now, but started off with just one before he was born and they've been watching Truman's life unfold ever since. "We accept the reality of the world with which we are presented." This is the director's response as to why Truman has never left Seahaven or found out about the show. This contradicts everything we've seen from Truman's point of view. Just because he could leave doesn't mean he could leave freely. How much harder does he have to try before the director will let him go? He goes on to explain that with Meryl's decision to leave the show, a new love interest will be introduced and he has hopes for the first on air conception to occur. It's evident that Truman leaving would derail the directors plans for the show going forward.

Taylor has described how writing a song is like sucking the snake venom out of a bite. Expressing herself creates distance between the heaviness of what she's experienced and I believe this is why she sees herself as the narrator (or director) of her discography at times. During the 'folkmore' set on the eras tour she describes herself as the narrator of the teenage love triangle. It's also common for Taylor to be more than one character at once. At the end of 'the man' music video we discover Taylor is the director, and then it's revealed that Taylor was also the male actor that had been wearing a disguise. This implies that Taylor is James in the love triangle and based on the evolution of her speech, we can infer that as the director she chose Betty in the end. This feels like a clue that we should consider that she has been showing us her version of events from different perspectives all along.

The doll house

Everything on the show is for sale, including their wardrobe, food products and dollhouse style versions of the homes they live in. These elements are jarring after seeing the level of animosity Truman was experiencing with each road block he faced. It feels like they've overstepped a boundary by consuming every detail of Truman's life.

In the 'lover' music video, we first see the lover house is within a snow globe and our first shot of Taylor is through the peephole. The couple dancing throughout the house seem to be sharing a romantic moment, but the entire experience feels voyeuristic. No rooms are off limits as we see them in the bathroom swimming inside of a fish bowl. "Can I go where you go? Can we always be this close, forever and ever?" plays at the same time. It feels like we're asking that of her. It becomes uncomfortable to realise how much we want to have access to every detail of her life.

Back to normal

Headquarters

Not only is Seahaven contained within a dome, the director and his control centre is housed within the moon structure. From the interview with the director we can ascertain that he doesn't usually reveal this much behind the scenes, but the return of Truman's father required some damage control.

The vault in the 'I can see you' music video is reminiscent of the moon shaped structure the director worked out of. The connection between these and the overall theme of the music video reminds me of the scene in 'the hunger games mockingjay' where they rescue Peeta from the capitol, only to find out he was trained to attack Katniss. This scene has an eerily similar asylum vibe like the 'fortnight' music video as well.

The mask

The next morning we go back to Truman in the bathroom again, as if he's just started another regular day. He seems cheerful as he's using a bar of soap to draw an alien outline on the mirror, while at the same time implying that he feels alienated in real life. This facade of normalcy he is presenting after his plan had failed is on purpose to lull the director into a false sense of security. If everyone thinks he has given up and believes he is resigned to staying after all, nobody would see his final escape plan coming.

Just like Taylor showed us with the visuals of the delicate performance on the eras tour, the mask is breakable. Now that we know that Taylor is the one breaking down the facade herself, it becomes harmful to refuse to see Taylor for who she really is underneath the pop star persona. And just like with Truman leaving in the end, Taylor has shown us that she's choosing herself now, regardless of the consequences. So we can either choose to join her, or sit back in defiance until she walks away.

Back to work

As Truman returns to the office it becomes more obvious where all of the cameras have been hidden in plain sight. They're everywhere, including inside his pencil sharpener. But the least obvious camera is the one Truman is wearing, his wedding ring. This came from his father, something he purposely gave to Truman as he was supposedly drowning. He never took it off because it was a reminder of what he had lost at such a young age. Truman was able to escape in the end because he took the ring off and left it behind. They had no way of tracking him if he wasn't wearing it. In hindsight we can see that Meryl's necklace also contained a camera that was used frequently.

If all of the moon and black holes references are a codeword for cameras or surveillance in the Truman show, we can consider that Taylor has used them in her music videos in a similar way. 'The man' music video begins with a similar office scene with a man who is charming and magnetic, but the wink at the camera implies that he's also putting on a performance. At the end of a work call Truman mentions that "life is fragile" after he's introduced to his new love interest. Just like Truman's comment, Taylor has used the word delicate to to describe the fine line between the brittle nature of the facade and how easily it could all fall apart, like what occurs during the 'delicate' performance.

This place is mine

After Meryl left, Truman moved down to the basement. This is the only room in the house that contained anything that was truly personal to Truman with his padlocked chest of mementos and remnants of old hobbies. But on top of all this it was also the room with the least amount of cameras, making it the perfect place to hide.

In the 'lover' music video the only space that is personal to Taylor is the attic, and it’s just like Truman's basement as both rooms are typically used for storage. If you look closely you can see a familiar trunk to the side as she's reminiscing over old pictures on a projector. On the eras tour the only real piece of the lover house is the attic seen throughout the 'folkmore' set, the rest was burnt away on screen and ever since the setlist changed it has been falling over instead. This change reveals that it was a facade all along, similar to how we begin to see behind the scenes half way through the Truman show.

The escape route

The map

Truman's desire to travel to Fiji is heavily featured as Truman's motivation for leaving Seahaven. There's evidence of this throughout the basement, including a large map of the island. Was this really his dream destination? No. Talking about going to Fiji encouraged the director to reveal his endeavours to prevent him from leaving. If Truman was constantly being challenged with his fear of the water, he was also being exposed to potential exit routes and obstacles. Truman's desires to go to Fiji was a facade to masquerade his true intentions of plotting his escape without raising suspicions.

One of Taylor's latest songs explores wanting to escape to 'Florida!' and reflects Truman's dreams of moving to Fiji. Another map Taylor has shown us in her music videos is the man wall. It's seen as a road map for her future rerecords with the end goal of coming out as queer, similar to what Elton John did at the peak of his career. Now that we can see that Truman revealed his dreams to travel as a means of testing his opponent, we can begin to understand that Taylor may have used her attempts to come out as queer in a similar way. If Taylor had expressed her intentions to come out of the closet behind the scenes, she would have been reminded of the challenges she would face if she did so. We see a small portion of this scenario play out with political discussions during the 'Miss Americana' documentary.

Behind the curtain

The director is concerned about Truman being asleep in the basement so Marlon is sent to investigate. When he arrives he finds a decoy in the bed and a tape recorder of Truman snoring. As he searches the rest of the basement, he pulls back the map to reveal what's inside the closet. This is the moment everyone discovers that Truman has escaped and that the map of Fiji was a disguise for his master plan all along.

The man wall is the most fundamental Easter egg for many Swifties, with endless theories on how to decode it. But what if the biggest Easter egg of all is actually set up as a trap to draw our attention in, so that we become so focused on it's significance that we don't notice the bigger picture? The subway wall is made up of small square tiles, with Taylor Swift themed posters and the rerecords written with spray paint over the top to mimic graffiti. But if you look even closer still, you will see that there's also a crack down the middle of the man wall map. This suggests that there's something hidden behind it, just like with Truman's map.

The tunnel

When Marlon opens the closet in the basement, we discover that Truman had dug a hole through the ceiling and this is how he escaped. Marlon climbs up the stepladder and we see his head pop out of the hole in the garden. We could assume Truman began digging this hole after Meryl left because we can see he left behind the same multi tool that she advertised in the beginning, but he was in the middle of digging in the same spot when she came home that day. All we had seen was an awkward shot of Truman from behind as he was working in the garden bed. Truman also purposely left patches of grass unmowed so he had an excuse to be frequently working on the old lawn mower in the basement, something that was quickly replaced once Meryl left.

The ending of the 'delicate' music video is what sparked this deep dive into the Truman show. I discovered that the bar Taylor enters is called the gopher, an animal famous for digging holes underground. This unexpected connection to Truman's method of escape was unbelievable after picking up on many of Taylor's hints towards a departure.

The trap door

If Truman had been digging a tunnel in the garden from the beginning, how did he get away with it? He disguised the hole by filling it with balls and rocks in just the right size that were painted to look like garden ornaments. This is echoed in the scene where Truman is telling Marlon about how he wants to go to Fiji. Marlon asks if Fiji is near Florida, so Truman demonstrates with a golf ball to show that it's practically on the other side of the world. The way Truman is describing it implies that the tunnel is hidden on both sides in a place where the cameras can't find it, and all that's left now is to plan his escape route.

Taylor’s version of Truman’s golf ball is the painted nails aligned with the 2 and 8 on the karma coffee cup, pointing to where her journey through the tunnel starts and finishes. Other ball shaped references include the pearl coloured balls floating around Ice Spice in the 'karma' music video, the golden orbs in the 'willow' music video and the tennis balls in 'the man' music video. When Taylor attempts to leave the glass case in the 'willow' music video, she finds it has been boarded up. She tries to find a way out through the glass, only to reveal that she knew that there was a trap door underneath her feet the entire time. We hear the lyrics "I come back stronger than a 90's trend" at the exact same time Taylor goes down the tunnel. And which trend is she referencing? The Truman show, of course.

Leave everything behind

Cut transmission

Once the director had realised that Truman had really escaped, he was left with no choice but to cut transmission on the live broadcast for the first time since the show began. Panic ensues for the viewers who didn't see this coming, meanwhile we see Sylvia watching from home in anticipation. Ratings for the show are at an all time high as everyone at home waits to find out what happened to Truman.

It's interesting that Taylor drew inspiration from this loading screen for the eras tour poster considering it's a reference to the moment Truman escaped. It draws a very clear parallel to his story, implying that what we're watching on the eras tour is the Taylor version of the Truman show.

Lost at sea

It's unclear how long Truman had after he escaped before the search party started. At first it seemed possible that Marlon left the car door open when he arrived for Truman to escape, but it's more likely he was just in too much of a hurry. It' seems 's likely Truman had some time to escape on his bike undetected. His fear of water meant checking the ocean would be the last place they would think to look for him, which is exactly what happened.

This moment after Taylor entered the bar in the 'delicate' music video reveals a sense of clarity just before she opens up her eyes. The ending of Taylor's story is yet to happen, but from what she's said throughout the tour, she's not planning on slowing down anytime soon.

The note

As Truman sails off we see him pull a note out of his pocket. All he took with him was the collage picture of Sylvia. This symbol of hope for his future was the only thing he took with him. "The only thing that's left is the manuscript, one last souvenir from my trip to your shores."

When Taylor left behind her life's work and started over by herself, she carried a picture of the one that mattered most with her when she left as well. If you look close enough at the man wall, you can see a polaroid shaped outline underneath the black karma letters, as if something that was once there had been taken away. Just like Truman's collage picture, this missing piece represents the secret note from the 'delicate' music video. The one piece of evidence that meant something to them, when so much of their lives were full of half truths and lies. And what's on the polaroid picture? Proof that Taylor is queer... "Like a rainbow with all of it's colours."

It's time to go

Almost drowned

Once they locate Truman as he's escaping on the boat, the director utilises his power to create a storm to derail Truman's attempt to escape. When his first attempts to force Truman to turn back fail, he orders the workers in the control room to hit the boat with the largest wave with to intentionally capsize the boat. They object to risking Truman's life, but the director goes ahead anyway. The wave overturns the boat and Truman almost drowns. As the director escalated his attempts to make Truman stay, it became clear that he would rather let Truman die than watch him leave if he refuses to stay. This highlights how unethical the director's attachment to Truman and the show had become over the years.

In the 'cardigan' music video we see Taylor clinging to her piano in the ocean, just like Truman did with his boat. This shows her determination to fight for her future despite the cost. The trap door Taylor escaped out of in the 'willow' music video is just like the exit points under the stage of the eras tour. Taylor's most iconic exit is after the surprise songs when she dives into the stage. Her character then swims against the current just like Truman did and when she reemerges again it's for the beginning of the 'lavender haze' set.

The getaway boat

Despite the director's attempts, Truman recovers from the storm and sails far enough that his boat crashes into the side of the dome wall. Truman managed to escape Seahaven after a lot of planning, but I think he had some help along the way. If Marlon was aiding Truman's escape plans, he would have been a crucial liaison behind the scenes. Throughout the interview with the director we get a glimpse of Sylvia and find out that her home is full of anti the Truman show propaganda. These include pictures of cast members that could be open to joining their side, with Marlon listed as being their best bet. It's possible the protestors worked together to smuggle Truman's father into Seahaven to encourage Truman to leave. One of the posters shows a young Truman in what appears to be a pizza themed clown costume. Pizza is mentioned a few times by the control centre workers and by the security guards of a car garage. This could be the common factor connecting the protestors helping Truman escape, as well as providing an inconspicuous meet up place to swap information that wouldn't draw attention.

Just like Truman had help, Taylor had a team working together in the 'I can see you' music video. This depicts an alternate view of Truman's escape, with a team breaking in from the outside to rescue Taylor from the vault. Many of the guest appearances in Taylor's music videos are representing the other side of Taylor, more so than any particular muse. Many of the scenes featuring Ice Spice in the 'karma' music video also mimic the ending of the Truman show.

The stairs

Truman found the stairs that lead to the door and is so close to leaving behind the only place he's known. All of this is unfolding because Truman reached a point where his own wellbeing was more important than the character he had been portraying for the audience. Sylvia warned him in the beginning that everyone was watching him. This would have confirmed any suspicions Truman already had and lead to a life of being on high alert knowing he was being monitored at all times.

Both the public and private sides of Taylor have experienced the same restrictions over time, forced to keep a large part of her life hidden from others at all times. The scene with the moon and Saturn implies that an alternative ending to Truman's story is in store for Taylor. The moon was the home of the control centre watching over Truman day and night. Capturing the moon and Saturn in the 'karma' music video suggests that both sides of Taylor have worked together to reclaim the role of director, and are now working together to rewrite their story so that they can reunite and move forward together.

Captive

Finally in a last ditch effort to persuade Truman to stay, the director talks to Truman for the first time. It's clear the director has grown attached to Truman to the point that he doesn't see Truman beyond the character he's crafted over the years, but he only sees the public persona of Truman. The director is pleading for Truman to stay, to let the show continue as it is and claims that he knows Truman better than he knows himself. "You've never had a camera in my head!" is the only thing Truman says in defence. This sentence epitomises everything Truman has experienced living in Seahaven. After all, he was wondering when it was going to end when he was still in school. If the director truly knew what was best for Truman, he would have ended the show years ago.

When Truman told the director that you can't see inside my head, we can assume Taylor is trying to say that we can't see inside her heart. During the 'Me!' music video Brendon Urie opens a heart shaped door that reveals what's inside his heart. This implies that the music video revealed what was in Taylor's heart from the beginning. "When it's like, "me-ee-ee," it's like dancers, cats, gay pride, people in country western boots. I start riding a unicorn, like just everything that makes me me." This is how she describes the music video during the 'Miss Americana' documentary. "And for a fortnight there, we were forever." I believe this is a reference to the fourteen songs on her 'debut' album. Her first and potentially most authentic album is full of songs she wrote before she became famous. And then beginning with 'fearless', Taylor actively added in male muses to her songs to camouflage her queer identity. Unfortunately this was also the beginning of the gap between her public and private life growing apart. Looking back we can see that despite the pain this caused, she never lost hope of reuniting them again.

How did it end?

The final bow

The Truman show challenges our perception of how ethical it is to have such unobstructed access to Truman’s life. We’re left questioning if our entertainment was worth the price he was paying by spending his whole life living in the spotlight. He bows for the audience watching at home and ends with one final “Good morning! And incase I don’t see ya, good afternoon, good evening and good night!” before he turns and walks through the door. The director was left with a look of disgust as he realised Truman had been preforming for the audience all along. Those who had seen the signs watched on with anticipation and those that didn’t were left feeling shocked and confused.

At the end of a theatre performance, the cast will come back on stage one last time to give their final bow of the night as the audience applauds the performance they've just witnessed. We then have to consider that Truman and Taylor's final bow was an acknowledgement of the fact that they had been putting on a performance the entire time. Just like in 'the manuscript', "looking backwards might be the only way to move forward." Going back through Taylor's history and finding the bread crumbs she left along the way will help us understand that the queer version of Taylor had always been there, we just had to know what we were looking for to be able to see it.

The door

As he steps through the door we wait in fervent anticipation to see how Truman's story ends, only to watch as the credits start rolling without an epilogue. This feels frustrating when we had been hoping to see Truman and Sylvia reunite after many years. Instead, this kind of ending is encouraging us to go back to the beginning and reconsider the story through a new lens after learning about how it ended. Each time you rewatch it you can pick up on the deeper layers of the story, seeing more evidence of Truman's discomfort from living an inauthentic life, and how much determination it required to overcome the challenges he faced along the way. Any further explanation would have diluted the magnitude of the moment Truman felt free for the first time in his life. Just being able to walk through the door in the end was the ultimate accomplishment.

The story Taylor has been showing us was never a revelation of her muses, but a slow unravelling of her experience as a famous person who has had very little privacy throughout her life. She's giving us a peak behind the curtain and allowing us to see who she really is beyond the larger than life character we've all built her up to be. And whether we like it or not, she choosing herself now above all else.

The only difference between Taylor and Truman’s story is that Taylor’s not leaving, she’s simply just stepping out of the closet.

Meet me at midnight?

After turning a pumpkin into a carriage and creating a fancy dress to wear, the fairy godmother forewarns Cinderella before she leaves for the ball.

“You must understand, my dear. On the stroke of 12, the spell will be broken, and everything will be as it was before.” 

The same is true for Taylor.

No matter how much she accomplishes in the spotlight, she is always going to be the truest version of herself underneath the layers of her pop star persona.

"Dear reader, will you still want me when I'm nothing new?"

When the clock strikes midnight, are you still going to want Taylor when you can finally see who she really is underneath?

Who she has been all along?

"A pathological people pleaser who only wanted you to see her."

A tortured poet,

Kylie x

🧡

[ceceswithnopizza]

Lights off

Lights off synopsis: Maryn Queen, "America's Princess," grapples with the suffocating pressure of her meticulously crafted public image. Aaron Pierre, a rising star in Hollywood, enjoys a more relaxed approach to fame. Their paths cross at a charity gala, and an immediate attraction sparks between them.

Warning this media contains mentions of: abuse of power, emotional manipulation and control, unnecessary mental health medicating, toxic work environment, and insecurity.

This is dark and will go over traumatic themes. each chapter will have their own warning so be sure to read those.

The pictures used were found on Pinterest.

Read time 4/5 minutes (if that)

lights off masterlist

Sitting in the back of the long limousine—a luxury I’d surely hear about later—I adjusted the snug bodice of my gown. The dress was black, its shimmering beads catching the soft light inside the car. They traced delicate patterns down to the floor-length hem, highlighting my curves without stepping over the invisible line Mabel had drawn.

The intricate beading trailed down to accentuate my pear-shaped figure, the floor-length gown paired with black Christian Louboutin So Kate pumps. No one would see the shoes, but Mable insisted they were important. My perfectly manicured French-tipped hands, adorned with immaculate jewelry, glistened under the dim car light—jewelry, I was sure, I’d also hear the cost of later.

I tried to calm my nerves, smoothing the fabric over my lap. This wasn’t my first event. I’d been doing this since I was nineteen. But no matter how many times I walked into the spotlight, I never felt completely at ease.

“Maryn, are you paying attention?” Mabel’s sharp voice cut through my thoughts. Her less-than-pleased face matching her tone, her tablet perched on her lap. “This is important. What are you supposed to do tonight?”

I didn’t look up, keeping my focus on my hands. “Be polite but not ditzy, speak when spoken to, and don’t eat anything ,” I recited quietly. Turning out for the moment imaging myself back at home in my bed. Letting Mabel go over all my expectations for the night.

“Good. Now remember, you need to introduce yourself to Marlon Beck. He’s sponsoring your next pageant, give him a thank you and you must capture his attention he moves in very fast.” She ordered no looking up at me scrolling on the electronic.

I frowned, confused. “Another pageant? I thought I was done with those.”

“That’s the problem—you think,” Mabel said, her tone clipped. “The label says you need to stay visible before your next album. Sales are everything. The Public needs to see their princess. ” I hesitated, choosing my words carefully.

“What if we used some of my songs. I feel like two album do the same thing is going to bore then and I have a real audience that wants to hear me sing like my first album.” I rushed my first album was called Waves and it was a mix between pop and r&b and the people loved it went gold within six months.

Her eyes didn’t leave the screen. “Your job is to sing what you’re given. Leave the decisions to us.”

The words stung, but I swallowed my frustration., Wave had been mine—raw and personal. But after signing with Media Records, I’d lost control. Every song, every move, was decided for me. They wanted to open me up to be the “next Taylor swift. And unfortunately for me the ink had already dried and I didn’t read the fine print until it was too late.

“Stop thinking,” Mabel said sharply, snapping me back to the present. “Ricardo, schedule an appointment with Dr. Black. Her medication isn’t working. I thought this dose would suppress your delusions.”

“My medicine is working! It is i promise,” I said quickly, my voice trembling. “Really, I am. I’m sorry.”

The car slowed, the hum of the engine replaced by the muffled chaos of shouting voices and flashing cameras.

“Maryn, you look absolutely breathtaking tonight!”

“Maryn, what about the rumors you’re seeing director Marlon Beck?”

“Maryn, what do you think about Prince Heffien proposing to you?”

“Are you and the prince engaged?” They rattled off.

“Do what you’re supposed to do you have two hours,” Mabel said, her gaze piercing as always. Nodding my head I crouched down ready to step out of the car. Ricardo, my bodyguard, stepped out first. Taking a deep breath, I squared my shoulders and stepped into the storm of flashing lights

I smiled and walked the red carpet, ignoring the questions that swirled around me. The NAACP Gala was one of the few events where I could breathe, at least once I got inside. No phones, no gossip, no flashing cameras—just elegance and calm.

But for now, the chaos reminded me how far I was from my own freedom.

Inside, someone was watching. Aaron Pierre’s gaze kept drifting to Maryn, no matter how hard he tried to stay focused on the conversation around him. She moved through the room with practiced grace, her smile polite, her posture poised. But he could tell she was nervous.

Her presence drew his attention again and again, like a spotlight in the crowded room.

Maryn felt it—that sensation of being watched. Her chest tightened as she lifted her head, scanning the room. Her lips curved into a faint smile, From across the room, Aaron could see the weariness hiding behind her polished exterior.

When their eyes finally met, she froze, feeling as though he could see straight through her. His green eyes were steady, curious, and strangely warm. Her gaze flicked away, though, as she spotted Marlon Beck nearby—a man Mabel would expect her to greet immediately.

With measured steps, she crossed the room. Her gown flowed behind her, the faint scent of her perfume lingering in the air. When she reached Marlon, his overpowering cologne hit her first, making her stomach churn.

“Maryn, lovely to see you,” Marlon said, opening his arms for a hug. She returned it, her smile practiced and polite, though her heart wasn’t in it. Turning to Aaron, she extended her hand. “Hi, I’m Maryn. You must be Mr. Aaron Pierre.”

Aaron was momentarily stunned. Her voice was soft but sure, and the faint scent of vanilla wrapped around him like a memory. “That’s me. It’s great to meet you,” he said, offering a warm smile. Her handshake was firm, her touch lingering in his thoughts longer than it should have.

“I hear your pageant is on track to do very well,” Marlon said, swirling the amber liquid in his glass. His eyes felt slimy on her like she was selling herself.

Maryn nodded, her voice steady. “Yes, thanks to your support.”

“Are you competing this year?” he asked, his tone casual but knowing.

“No,” she replied with a small shake of her head. “I’ll be judging this year.” Marlon raised an eyebrow, his expression unreadable. “Mabel gave me the impression you’d be competing.” He glanced away, distracted by someone else in the crowd, and walked off without another word.

Maryn sighed, relief and frustration fighting for space in her chest. She knew Mabel wouldn’t be pleased. She only had to capture his attention and yet her ran off. She felt the weight of disappointment and fear take is normal place in her chest.

“Are you all right?” Aaron’s voice was gentle, drawing her focus back to him.

She blinked, meeting his gaze. His height and presence made the room feel smaller, as though they were the only two people there.

“I’m fine. How are you handling all this attention?” she asked, her voice soft but curious.

Aaron smiled, his green eyes holding hers drinking her figure in like ice cold water on a hot day in Arizona. “I’m doing all right. And you?”

Her cheeks warmed under his steady gaze. She wanted to look away to stop the heat from creeping in her belly but she couldn’t. Taking a breath that didn’t go unnoticed. “I’m getting through it,” she said with a faint smile.

He clarified. “Your album was a huge international success. My sister must’ve played it forty times back home.”

Her lips parted in surprise, a genuine smile breaking through. “Thank you. I loved writing that album. Especially the soulful songs.”

“I especially loved All Night,” Aaron said, watching as her face lit up with delight.

“Really? I was nervous about including songs like that, but I’m glad I did,” she admitted, her voice filled with quiet pride.

They talked easily, the rest of the room fading into the background. But when Maryn checked her watch, reality rushed back. Like in some bad knockoff Disney movie she had only just met this strange handsome man and here she was spilling all of her life to him. Talking way too much, she was completely putting his well kept hands.

“I’m sorry, but my car is coming soon. I didn’t mean to take so much of your time,” she said, stepping away before he could respond.

Aaron stood there, watching as she disappeared into the crowd. Moments ago, she’d been radiant, her smile full of light. Now, she seemed to retreat, her joy replaced by something he couldn’t quite name.

𖦹

Poor Maryn… I hope you guys like it and let me know if you want to be tagged. In the updates of this story.

I don’t have set up update days yet, I don’t want to out to much pressure on myself and quit so yeah we’re just going with the flow.

Liking, commenting and reblogs are all welcomed here and please let me know what you think. Critiques to just don’t be rude.

[whumping-in-the-dark]

Drabble #1- Mistake

Instead of using the usual whumper and whumpee placeholders for characters, I decided to give them names to try and connect with them more. I doubt it'll turn into a coherent story since atm I don't plan to connect all the drabbles but let's see how it goes. Also, I don't feel brave or knowledgeable enough atm to write noncon but hope to get there sometime in the near future. So any tips are welcome!

CW: sadistic whumper, pet whump, dissociation, suicidal thoughts, electrocution, implied noncon

*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*

Theo lay huddled in the corner of the basement, clutching the thin sheets close to himself.

Marlon tsked. "What have I told you, boy? When I come downstairs, I want you on your knees, ready to accept my gifts for you."

Theo curled further into himself, eyes screwed shut. "Please..."

"Please, what?" Marlon huffed out. He'd kick Theo straight in the ribs- except that might just kill the pathetic thing. He hadn't been all that harsh with him either and yet he had come apart in a matter of weeks.

"I wanna go home... let me- let me go..." And of course, he was a whiner. "Please please pleeaasee-" His voice broke off with a quiet sob. Marlon hated whiners.

"Yeah? You're the little bitch who approached me; begged me to take you in. You said you would pay me back in any fucking way." It was true. They both knew it. "And now you have the audacity to be ungrateful?"

Theo pressed his palms into his eyes, shaking his head. "No- no, sir. I didn't know that's what you meant. I made a mistake. I was wrong. Please, no-"

Marlon took in a deep breath. He had to control his anger unless he wanted to kill his favorite pet. Crouching down, he reached over to stroke his hair. Theo flinched.

Marlon growled. Enough. He grabbed his pet's matted hair, wrenching his head up and forcing their eyes to meet. "It's too late for that now, darling." Without warning, he shoved the previously hidden tazer deep into his ribs, turning it on high. A sick grin spread across his face as he twisted it in, relishing in the way his pet screamed and thrashed around.

Theo scratched his throat raw as he cried out from the flashing pain. He knew it was bad for him to resist his master but he couldn't help but try everything in his power to escape his iron grasp. When Marlon finally let him fall back to the hard ground, he was left whining for breath- for any scrap of mercy from his master. There was none to be found.

In one swift move, Marlon had zipped off his pants and-

-when Theo finally returned to true consciousness he was left trembling on the floor, the sheets tainted red.

[society-hannah]

Mit Hilfe des Se Discord Channels habe ich eine Liste erstellt, welche top lieblingartists, die se Charaktere hätten, also hier ist es ‼️ (Es ist nur eine Meinung, also nimmt es nicht zu ernst)

Julia ist definitiv ein swiftie. Außerdem hört sie billie eilish und girl in red.

Tahmina hört so Die Ärzte, Red hot chilli peppers und die Spice Girls.

Simon hört definitiv diesen mainstream rap. Er mag kanye West, drake und kendrick. Der beef zwischen drake und kendrick ist für ihn das krasseste, was jemals passiert ist.

Definitiv Beyoncé, Madonna und Adele!

Noah hört Orville Peck, Hozier und Bring me the Horizon.

Seit den letzten Tagen läuft "espresso" von Sabrina carpenter bei nesrin in dauerschleife. Außerdem hört sie Aurora und Avril Lavigne. Manchmal schleicht sich auch ayesha erotica ein, aber nur manchmal!

Was soll ich sagen, mikka liebt die Songs, die minecraft im Spiel drinne hat.

Irgendwo muss Maxi ja ihre Wut auslassen und wo sonst, wenn nicht zu korn oder linkin Park? Wenn sie ausnahmsweise mal gut gelaunt ist, hört sie Lena Meyer-Landrut.

Nura, Nina Chuba, Juju und Sxtn.

Marlon's Musikgeschmack ist sehr vielfältig! Mal hört er joji, mal hört er falco, aber Taylor swift geht bei ihm immer. (Er liebt folklore)

Leon liebt Lady gaga, conan gray und panic at the disco.

Karl hört so diese typische Radio Musik wie Mark foster, Nico santos und Álvaro Soler.

Es wurde von seinen Schauspieler höchstpersönlich confirmed, dass Joshua viele Musik nicht mag, dafür aber Podcast und Hörbücher! Ich sehe ihn aber trotztem bei David Bowie, Marina and the Diamonds und Imagine Dragons.

Joel hört sehr oft "Lotusblume", da dass der lieblingssong seiner Oma ist. Außerdem kann ich ihn mir sehr gut bei Kate Bush vorstellen.

Elly ist nicht sehr originell. Taylor Swift, Ayliva und Harry Styles sind jedenfalls auf jeden ihrer playlists zufinden.

Chiara hört gerne, genauso wie nesrin, Aurora. Außerdem hört sie Anime Intros und Kyary Pamyu Pamyu.

Ava hört gerne, wer hätte es gedacht, Girl in red. Eine weitere Sache, die sie mit Julia teilt! Dazu kommen noch Louis Tomlinson und Luna.

Annika is just a girl ‼️ Sie hört Taylor swift, Olivia rodrigo und lana del rey.

Julia hat colin zu einen swiftie gemacht, er würde das aber niemals zugeben! Was er zugibt, ist, dass er hozier und Stephen Sanchez hört.

[luminouslotuses]

q!quackity and volcanic anger (“you’re never gonna see fred again.”)

EL ASESINATO twitch stream (all dialogue and screenshots) // concrete by lovejoy // black leopard, red wolf by marlon james // hate myself by dodie // dancing lava made by graham matthew collier // hate myself by dodie // silence kills by jade andrea // mad woman by taylor swift // the volcano of anger by gayatri krishnamurthy and suchitra vijay

[tgyverse]

Para fomentar la realización de tramas y facilitar el desarrollo de personajes, estaremos realizando la segunda parte de una dinámica para crear nuevas conexiones y tramas entre personajes. Ésta se encuentra dirigida a cualquier personaje presente en el verse. A continuación nos extenderemos en los detalles respectivos.

― 𝐄𝐍 𝐆𝐄𝐍𝐄𝐑𝐀𝐋.

Para esta dinámica estaremos formando parejas al azar. Cada pareja recibirá una oración/prompt de la cual partirán para abrir un thread.

Si alguna pareja ya posee alguna relación o trama entre sí, por favor comuníquenlo en la brevedad posible al Main. Deseamos que se realice entre personajes que tienen poca o nula comunicación entre sí.

Las oraciones/prompts se escogieron al azar mediante el Spotify de nuestra admin principal, Moony, y se adaptaron para la dinámica.

Pueden modificar la oración escogida y utilizar alguna de la canción de la cual proviene. Así mismo, si les es muy complicado originar una conversación alrededor de la misma, pueden pedir otra canción sin problema.

Queda en ustedes cómo se relacionarán los personajes en el thread, así mismo quien inicia con la frase de la oración. Les pedimos que busquen situaciones que puedan alargar los threads y se consiga que los personajes interactuen durante el mismo.

Existen dos tríos dado que la cantidad de personajes en el verse no es par. En ésta situación, deben interactuar entre los tres personajes.

Si algún personaje llegase a faltar en la dinámica, por favor avísenos de inmediato.

Cualquier duda nos encontramos a un mensaje de distancia, ¡diviértanse!

― 𝐋𝐈𝐒𝐓𝐀𝐃𝐎 𝐃𝐄 𝐏𝐀𝐑𝐄𝐉𝐀𝐒.

Aether y Miriam : "You feel no pain, that's okay. I got plenty left, stored up in my chest." Fool of me de Say Lou Lou, Nick Murphy y Chet Faker.

Alecto y Amelia : "I know you'll understand." Keep an eye on me de Frida Sundemo.

Glenda e Isolde : "She smelled of daisies." Big jet plane de Angus and Julia Stone.

Amycus y Xenophilius : "Roll up to the party, roll up, roll up." Sticker de NCT 127.

Arthur y Lenore : "Keep a light on those you love. They will be there when you die." The weight of the world de Editors.

Baptiste y Phoebe : "Spend all the evenings you can with the people who raised you 'cause all the times they will change." Stoned at the nail salon de Lorde.

Barty y Agatha : "I think I've seen this film before and I didn't like the ending." Exile de Taylor Swift con Bon Iver.

Bellatrix y Stubby : "And for this gift I feel blessed." Smells like teen spirit de Nirvana.

Bertie y Danny : "I would like to leave this city, this old town don't smell too pretty." Half the world away de Aurora.

Bertram y Ted : "They're playing a decent song at last." I'll have to dance with Cassie de God Help The Girl.

Betty y Sturgis : "The way he makes me feel that love isn't real." Cupid de Fifty Fifty con Sabrina Carpenter.

Dane y Rita : "But what about your quiet treason?" Fortnight de Taylor Swift con Post Malone.

Daisy y Lily : "But I am learning to let go of everything I tried to hold." Roman Candles de Death Cab for Cutie.

Darcy y Fabian : "Don't blame me, love made me crazy." Don't Blame me de Taylor Swift.

Dorcas y Gladys : "Forgetting is easier." She went quietly de Charlie Winston.

Edric y Alyssa : "Everything I do, it just comes undone." The hardest part de Coldplay.

Ellie y Jason : "And I'm tired of being all alone." Your call de Secondhand Serenade.

Emma y Olivia : "If you like to do the things you know that we shouldn't do." Perfect de One Direction.

Frank y Jane : "Memories sure have a deadly trigger." Out of the dark de Dia Frampton.

Gideon y Bertha : "I broke my toes 'cause when I'm sad I get as clumsy as a stupid clown." For Marlon de Soko.

Grant y Andromeda : "You don't have to say nothing." Adore you de Harry Styles.

Gwenog y Pandora : "I'm so happy that I'm alive." Higher Power de Coldplay.

Hestia y Victoria : "I have to leave somehow." Scar de Lucy Rose.

Ivan y Remus : "I was good at feeling nothing." Halley's Comet de Billie Eilish.

Jacob y Nicholas : "Really believe you can beat me?" The Girls de Blackpink.

James y Greta : "We're all built for something." Lost in the wild de Walk the moon.

Jonathan y Amos : "And that's how it works, that's how you get the girl." How you get the girl de Taylor Swift.

Lorcan, Finnick y Doris : "Who'd you rather be? The Beatles or The Rolling Stones?" Gimme sympathy de Metric.

Ludo y Alastor : "Were you right? Was I wrong?" Chemicals React de Aly & AJ.

Mary y Augustus : "So let me see you do your thang." 90's Love de NCT U.

Maximilian y Aurora : "Well this side of, mortality is scaring, me, to death." Soldier On de The Temper Trap.

Melissa y Wendy : "These days I'm restless, work days are endless." Message in a bottle de Taylor Swift.

Michael y Charity : "This time turning white and senses dying." Into the fire de Thirteen Senses.

Mina y Katherine : "How do I trust, how do I trust again?" Dancing with your ghost de Sasha Alex Sloan.

Minerva y Andrea : "I know that no one survives." Displaced de Azure Ray.

Molly y Rabastan : "This is the part, you've got to say all that you're feeling." Runaway with me de Carly Rae Jepsen.

Ollie y Severus : "We're all gonna die." Fourth of July de Sufjan Stevens.

Peter y Dawn : "But I'm sorry, look, I'm busy, I ain't trying to offend." Rodeo de Wayv.

Rosalind y Lucinda : "There are those who think that I'm strange." Anchor de Mindy Gledhill.

Scarlett y Emmeline : "Turn off my mind, I beg you. It's buzzing like the Devil's bow." Claude's Girl de Marika Hackman.

Zoe y Sirius : "Just like yesterday I told you I would stay." Two Weeks de Grizzly Bear.

Dedalus y Alfie : "I tend to cancel all the plans." Solar Power de Lorde.

Adora y Sorcha : "Are you gonna watch me pick up the pieces?" From me, the moon de Lav.

Keira y Maria : "We'll take it slow." The 7th Sense de NCT U.

Lorenzo, Yvette y Jihae : "I could be your friend." Waking up slow de Gabrielle Aplin.

[yellowsugarwords]

Hello! May I request a Ericson group x reader, not any of the younger kids, with a partner who doesn't know how to give like affection? Like it's something they're not used to, maybe jumping when touched or feeling bad bc they can't give them the affection the character deserves

But one day, reader is sorta tired and works up the courage to actually sit with their partner, and just sorta put their head in their lap ig and fall asleep all happy v they finally did it? Thank you! Love your writing!

okay these are long so I've decided ima break them into two. I'll update this post once part 2 is live!

part 2 can be found here!

part 1: the first paragraph!

Marlon: Marlon wandered up to Y/N, sitting and taking count of how much firewood the school had left. “Hey,” he said sweetly, setting a hand on their shoulder. The hairs on their back stood up and they jumped forward, flipping around in a slight panic. Marlon froze, lifting his hands innocently. “What’s up?” He noticed their shoulders slowly fall in shame, embarrassed at their reaction. Understanding, Marlon gave them an understanding smile and slowly drew closer, setting both hands on their shoulders. “I didn’t mean to startle you. I’ll give you a heads up beforehand next time, okay?” Y/N melted at how understanding and patient he was with them.

Louis: Louis always smiled the instant they saw Y/N, and that evening, they were standing by the garden, tending to some of their favourite plants. They had always loved to do that. Louis started by smiling giddy as he set a hand on their shoulder. “Hey y--” Before he could finish Y/N yelped, stumbled back a pace with their hands on their chest. Finally recognizing that it was Louis, they sighed and lowered their head, hands resting on their knees. “Oh my God, that was embarrassing.” Louis knew about their past, but it didn’t change much about how horrified they were feeling. Louis wandered closer, kneeling on the ground and looking at up Y/N. “I’m sorry, I’m really bad at remembering.” Before Y/N could hush him, he pressed a finger to their lips. “I’m sorry. I came in quietly and didn’t mean to scare you.” In one swift motion, he stood, lifting them up by taking one of their hands. “What can I help you with to make it up to you?” Y/N hesitated, then smiled.

Violet: Casually, as if not thinking twice, Violet reached for Y/N’s hand. She wasn’t even looking as they wandered to Ericson’s front doors, ready to turn in for the night. Y/N jumped back a step, met with a stunned expression from their partner. Violet nervously stuffed her hands in her pockets. “Sorry,” she said softly. Y/N lifted their hands in front of their face, as if pleading. “Oh! Oh, I’m so sorry.” Y/N said, realising what had happened. “I wasn’t expecting that.” Violet was confused, but slowly softened. Right, they had never been in a space like this: a loving, safe one where they could be themselves. Where they could be shown affection and can offer it in return. Violet gave a soft small and held her hand out, allowing them to take the initiative. “From now on, I’ll do this, okay?” Y/N could feel their cheeks flush at her compassion.

Mitch: Mitch smiled as he sat beside Y/N, watching the sunset on a warming spring evening. He lifted one of his hands, reaching to tuck a strand of hair behind their ear, when they jolted away. Their eyes met, both of them shocked, Mitch’s hand frozen in place. Slowly, as though disappointed, he set his hand in his lap. “Sorry, didn’t mean to scare you.” Y/N blinked, guilt sudden washing over them. “Oh, no no no,” they said quickly, scrambling, anxiously taking his single hand between both of theirs. “It’s not you, I was just--” Mitch shook his hand, a gentle smile creeping onto his face. “I get it.” He said gently. “I’ve been there too. I understand.” It was so simple and straightforward, but so sweet and genuine. So raw. Y/N smiled, scooting closer to him once more, content as could be.

Aasim: Aasim smiled as he drew closer to Y/N. “Morning, Y/N.” He said, sliding up beside them and slipping his hand into theirs. Y/N jumped, but their fingers remained locked. Aasim tightened his grip instinctively as they jumped, but frowned. “Hey,” he started softly, more of concern than offence. Y/N sighed and closed their eyes, shoulder sagging. They hated it when they did that. “I’m so sorry, I--” Aasim was already shaking his head, a small smile stricken across his face. “Don’t apologize. I understand.” He gently lifted their hand to his lips and kissed it. “I’ll always understand.” Y/M was stunned, but oh so lucky, to have someone like him.

Ruby: Ruby wandered toward Y/N - their back facing her - and pressed her lips to the back of their head. Y/N yelped, jumping, their fork crashing onto the table. Eyes wide with panic, Y/N flipped around to see Ruby, standing back, hands to her chest. “I’m so--” Y/N cut Ruby off immediately. “No no, oh my God ugh,” Y/N sighed, crashing their head embarrassingly into their hands. “I’m the one who should be sorry. Thai is si stupid.” Ruby knelt down in front of them slowly and gently, setting a hand on their knee. “Hey,” she hushed. “It’s not stupid, and don’t be sorry.” She gently pressed on their hin, lifting their gaze to meet hers. She placed a kiss on their forehead and smiled. “Now, are you okay if I join you for breakfast?”

Omar: Omar smiled, sliding up beside Y/N in the kitchen and tenderly squeezing their arm. Y/N yelped before he could say a word, Y/N sliding out of his grasp. “Oh, Omar,” Y/N tried to play off their embarrassment with a chuckle. Omar gave a sad smile, from the get knowing what was going on. “I’m sorry, I forgot. I know we’ve talked about this.” He drew forward and offered them a hand, meekly smiling. “I’ll ask from now on. I’m sorry for scaring you.” Y/N smiled, cheeks warm to match Omar’s. “You’re so kind,” Y/N said softly, thankful for such an understanding partner, sliding her hand into his.

Brody: Brody was smiling at Y/N, sitting at the front steps into Ericson. They promised they would take watch while Marlon took a break to grab himself food and water. Brody beamed, reaching her hand to settle on top of Y/N’s, but the moment her fingers brushed the back of theirs, Y/N jumped. Brody jumped as well, startled, clutching her hand to her chest nervously. “S-Sorry?” It came out like a question, but she intended it as a genuine statement. Y/N finally realized what she was attempting to do. Their expression fell. “Oh God, I’m sorry.” They said softly. How embarrassing. “I-I’m just not used to this.” “This?” Brody asked, suddenly concerned. “This. Us.” Y/N tried to gesture to the two of them, hoping they were making sense. They didn’t know how to describe it. Slowly, it dawned on Brody, and her eyes sweetly met Y/N’s. “Oh,” she hushed. Hesitantly, she set her hands down on her lap. “From now on, I’ll leave it up to you.” She smiled shyly but sweetly, hoping they understood. “Would that make you more comfortable?” Brody was always so thoughtful and sweet.

𝘵𝘩𝘢𝘯𝘬 𝘺𝘰𝘶 𝘴𝘮 𝘧𝘰𝘳 𝘳𝘦𝘢𝘥𝘪𝘯𝘨 💌☕️♡

[debaxchery]

FEMME

angelica navarro. early 20's. cis female & she/her. jenna ortega.

bambi cauldwell. mid 20's. cis female & she/her. ella purnell.

cecelia mendoza. early 20's. cis female & she/her. olivia rodrigo.

cynthia rodriguez. early 20's. cis female & she/her. maia reficco.

daisy gordon. mid 20's. cis female & she/her. kristine froseth.

danica rodgers. mid 40's. cis female & she/her. jessica chastain.

dorthea wilcox. mid 30's. cis female & she/her. elizabeth olsen.

dove alsbright. late 20's. cis female & she/her. florence pugh.

gwendolyn marsh. mid 20's. cis female & she/her. sydney sweeney.

kensington carr. mid 20's. cis female & she/her. sabrina carpenter.

kimberly carr. mid 20's. cis female & she/her. sabrina carpenter.

lourdes snyder. mid 30's. cis female & she/her. taylor swift.

lorraine day. early 40's. cis female & she/her. anne hathaway.

maría josé alvarez. early 20's. cis female & she/her. rachel zegler.

marni hathaway. mid 20's. cis female & she/her. madelyn cline.

ximena martinez. early 30's. cis female & she/her. melissa barrera.

HOMME

austen bowers. mid 30's. cis male & he/him. jonathan bailely.

bastian valdes. late 40's. cis male & he/him. pedro pascal.

beckham ford. late 20's. cis male & he/him. nicholas galitzine (blonde).

benjamin ford. late 20's. cis male & he/him. nicholas galitzine (brunette).

desmond murray. late 20's. cis male & he/him. paul mescal.

domingo ramos. mid 40's. cis male & he/him. oscar isaac.

guillermo rivera. early 30's. cis male & he/him. taylor zakhar perez.

jude stevenson. late 20's. cis male & he/him. tom blyth.

marlon white. mid 30's. cis male & he/him. glen powell.

sinclair banks. early 40's. cis male & he/him. ben barnes.

sullivan reid. mid 20's. cis male & he/him. jacob elordi.

troye powers. mid 20's. cis male & he/him. mason gooding.

wilder parsons. early 20's. cis male & he/him. rudy pankow.

RESERVED

abraham benowitz. mid 30's. cis male & he/him. aaron taylor-johnson.

alaric davenport. early 30's. cis male & he/him. leo suter.

elif demicri. late 20's. cis female & she/her. hande erçel.

griffin wheeler. late 20's. cis male & he/him. dylan o'brien (blonde).

henry fox. mid 20's. cis male & he/him. nicholas galitzine.

malika bashir. mid 20's. cis female & she/her. alisha boe.

willa crawford. late 20's. cis female & she/her. phoebe dynevor.

[julianblackthornspancakes]

Who was Clara Bow?

“All the time the flapper is laughin’ and dancin’, there’s a feelin’ of tragedy underneath. She’s unhappy and disillusioned, and that’s what people sense. That’s what makes her different.”

Clara Bow was Hollywood’s first and forever “It” girl. Literally — her career was solidified when she starred in a silent film called It (1927), which followed a girl who had an unnameable quality that everyone was looking for.

She experienced more trauma before the age of twenty than most people endure in a lifetime.

“Even now I can’t trust life. Too many awful things happened to me as a kid.”

Her father was abusive and her mother was schizophrenic, a quality which she passed on to her daughter. In Hollywood, people had a hard time handling Clara’s genuine warmth and outgoing personality. She was known for her expressive brown eyes and her unmistakeable Brooklyn accent.

When the entertainment industry transitioned from silent films to “talkies,” Clara was made to feel incredibly self-conscious about her accent. After making a few successful talkies, most notably Call Her Savage (1932), Clara took her money and her marriage and disappeared.

Because mental health care was so abysmal during her lifetime, Clara Bow’s schizophrenia went undiagnosed and untreated for most of her life. Her relationships with her husband and children were strained because nobody knew how to help her manage and regulate symptoms that would be very treatable today.

Though her career in Hollywood came to a close, Clara remained a fan of actors and actresses like Marilyn Monroe and Marlon Brando. She maintained a private existence following her departure from the spotlight, but her mark on the world was permanent.

To all my fellow Swifties: I highly recommend checking out Clara Bow: Runnin’ Wild by David Stenn. His handling and presentation of the “It” girl will solidify her place in your heart and likely make listening to Taylor Swift’s upcoming track all the more moving. I barely scratched the surface here.

You could say she had a “marvelous time ruining everything” 😉

[theflavorofmyautismisspicy]

I have a bunch of songs i associate with dwk characters …. here's an incomplete list. It's very sad indie heavy i am sorry lol

Markus: Super Rich Kids - Frank Ocean (kind of self-explanatory) (could also fit Deniz)

Theumer: Brazil - Declan McKenna (a song about greed ruining the soccer industry, felt fitting)

Marlon: Big Wheel - Samia ("I'm really gonna blow with all that empathetic shit, understand the thing you did and every reason you did it") / Funeral - Phoebe Bridgers (something about not taking your own sadness seriously because others have it worse seems very him)

Leon: Anti Hero - Taylor Swift (the self loathing + fear of betrayal …. that is our boy)

Leon + Marlon: Romulus - Sufjan Stevens (i imagine their relationship to their mother is somewhat similar)

Vanessa: all american bitch - Olivia Rodrigo (female rage!)

Willi: The Boxer - Simon & Garfunkel / Knocking On Heaven's Door - Bob Dylan (sad old songs about failed dreams …)

Jojo: Be Nice To Me - The Front Bottoms (mental illness. not much else to say.) / The Best Day - Taylor Swift (he loves his mommy!)

Deniz: Garden Song - Phoebe Bridgers (the "I have everything I wanted" …)

Raban: Loser - Beck (loser anthem but in a cool way) / I'm Still Here - John Rzeznik (wanting to be a proper man etc etc)

the bunch as a whole: $20 - boygenius

Thank you for the list, the songs fit so well !!

Also no need to apologize, sad indie song listeners make the world go round

[natikoko]

marlon travveling by plane? marlon themed plane?

I think for marlon’s 23rd birthday pearl surprises her with her very own private jet that’s called the marlon express and it produces so much co2 emission it rivals taylor swift