#Teach Essay Writing

[woman-respecter]

kids these days are like “i need chat gpt to write an essay that would normally take 12 hours in 2” but back in my day i did that all the time by using a little technique called “writing some absolute bullshit.” and yet i still walked away with a better essay and more critical thinking skills than i would get if i used chatgpt. write a bad essay that you started on the day it was due, but write it yourself.

[maple-leaf-feet]

Wanderers Above The Sea Of Fog

I hope you like this because I wanted this image to exist so much that I learned to paint in order to make it happen

[metanarrates]

Hello. Sorry if this a stupid question u can ignore if u want.

How can someone get better at media analysis? Besides obviously reading a lot.

Im asking this bc im in a point where im aware of my own lack of tools to analyze stories, but i don't know where to get them or how to get better in general. How did you learn to analyze media? There's any specific book, essay, author, etc that you recommend? Somewhere to start?

I'm asking you because you are genuinely the person who has the best takes on this site. Thank you for you work!

it sounds like a cop-out answer but it's always felt like a skill I acquired mostly thru reading a ton, and by paying a lot of attention in high school literature classes. because of that I can't promise that I'm necessarily equipped to be a good teacher or that i know good resources. HOWEVER! let me run some potential advice to you based on the shit i get a lot of mileage out of

first off, a lot of literary analysis is about pattern recognition! not just pattern recognition in-text, but out-of-text as well. how does this work relate to its genre? real-world history? does it have parallels between real-life situations? that kind of thing.

which is a big concept to just describe off the bat, so let me break it down further!

in literature, there is the concept of something called literary devices - they are some of the basic building blocks in how a story is delivered mechanically and via subtext. have you ever heard of a motif? that is a literary device. it's a pattern established in the text in order to further the storytelling! and here is a list of a ton of common literary devices - I'd recommend reading the article. it breaks down a lot of commonly used ones in prose and poetry and explains their usage.

personally, I don't find all the literary devices I've learned about in school to be the most useful to my analytical hobbies online. motifs, themes, and metaphors are useful and dissecting them can bring a lot to the table, but a lot of other devices are mostly like fun bonus trivia for me to notice when reading. however, memorizing those terms and trying to notice them in the things you read does have a distinct benefit - it encourages you to start noticing patterns, and to start thinking of the mechanical way a story is built. sure, thinking about how the prose is constructed might not help you understand the story much more, but it does make you start thinking about how things like prose contribute to the greater feeling of a piece, or how the formatting of a piece contributes to its overall narrative. you'll start developing this habit of picking out little things about a text, which is useful.

other forms of in-text pattern recognition can be about things like characterization! how does a character react to a certain situation? is it consistent with how they usually behave? what might that tell you about how they think? do they have tells that show when they're not being trustworthy? does their viewpoint always match what is happening on screen? what ideas do they have about how the world works? how are they influenced by other people in their lives? by social contexts that might exist? by situations that have affected them? (on that note, how do situations affect other situations?)

another one is just straight-up noticing themes in a work. is there a certain idea that keeps getting brought up? what is the work trying to say about that idea? if it's being brought up often, it's probably worth paying attention to!

that goes for any pattern, actually. if you notice something, it's worth thinking about why it might be there. try considering things like potential subtext, or what a technique might be trying to convey to a reader. even if you can't explain why every element of a text is there, you'll often gain something by trying to think about why something exists in a story.

^ sometimes the answer to that question is not always "because it's intentional" or even "because it was a good choice for the storytelling." authors frequently make choices that suck shit (I am a known complainer about choices that suck shit.) that's also worth thinking about. english classes won't encourage this line of thinking, because they're trying to get you to approach texts with intentional thought instead of writing them off. I appreciate that goal, genuinely, but I do think it hampers people's enthusiasm for analysis if they're not also being encouraged to analyze why they think something doesn't work well in a story. sometimes something sucks and it makes new students mad if they're not allowed to talk about it sucking! I'll get into that later - knowing how and why something doesn't work is also a valuable skill. being an informed and analytical hater will get you far in life.

so that's in-work literary analysis. id also recommend annotating your pages/pdfs or keeping a notebook if you want to close-read a work. keeping track of your thoughts while reading even if they're not "clever" or whatever encourages you to pay attention to a text and to draw patterns. it's very useful!

now, for out-of-work literary analysis! it's worth synthesizing something within its context. what social settings did this work come from? was it commenting on something in real life? is it responding to some aspects of history or current events? how does it relate to its genre? does it deviate from genre trends, commentate on them, or overall conform to its genre? where did the literary techniques it's using come from - does it have any big stylistic influences? is it referencing any other texts?

and if you don't know the answer to a bunch of these questions and want to know, RESEARCH IS YOUR FRIEND! look up historical events and social movements if you're reading a work from a place or time you're not familiar with. if you don't know much about a genre, look into what are considered common genre elements! see if you can find anyone talking about artistic movements, or read the texts that a work might be referencing! all of these things will give you a far more holistic view of a work.

as for your own personal reaction to & understanding of a work... so I've given the advice before that it's good to think about your own personal reactions to a story, and what you enjoy or dislike about it. while this is true that a lot of this is a baseline jumping-off point on how I personally conduct analysis, it's incomplete advice. you should not just be thinking about what you enjoy or dislike - you should also be thinking about why it works or doesn't work for you. if you've gotten a better grasp on story mechanics by practicing the types of pattern recognition i recognized above, you can start digging into how those storytelling techniques have affected you. did you enjoy this part of a story? what made it work well? what techniques built tension, or delivered well on conflict? what about if you thought it sucked? what aspects of storytelling might have failed?

sometimes the answer to this is highly subjective and personal. I'm slightly romance-averse because I am aromantic, so a lot of romance plots will simply bore me or actively annoy me. I try not to let that personal taste factor too much into serious critiques, though of course I will talk about why I find something boring and lament it wasn't done better lol. we're only human. just be aware of those personal taste quirks and factor them into analysis because it will help you be a bit more objective lol

but if it's not fully influenced by personal taste, you should get in the habit of building little theses about why a story affected you in a certain way. for example, "I felt bored and tired at this point in a plot, which may be due to poor pacing & handling of conflict." or "I felt excited at this point in the plot, because established tensions continued to get more complex and captured my interest." or "I liked this plot point because it iterated on an established theme in a way that brought interesting angles to how the story handled the theme." again, it's just a good way to think about how and why storytelling functions.

uh let's see what else. analysis is a collaborative activity! you can learn a lot from seeing how other people analyze! if you enjoy something a lot, try looking into scholarly articles on it, or youtube videos, or essays online! develop opinions also about how THOSE articles and essays etc conduct analysis, and why you might think those analyses are correct or incorrect! sometimes analyses suck shit and developing a counterargument will help you think harder about the topic in question! think about audience reactions and how those are created by the text! talk to friends! send asks to meta blogs you really like maybe sometimes

find angles of analysis that interest and excite you! if you're interested in feminist lenses on a work, or racial lenses, or philosophical lenses, look into how people conduct those sort of analyses on other works. (eg. search feminist analysis of hamlet, or something similar so you can learn how that style of analysis generally functions) and then try applying those lenses to the story you're looking at. a lot of analysts have a toolkit of lenses they tend to cycle through when approaching a new text - it might not be a bad idea to acquire a few favored lenses of your own.

also, most of my advice is literary advice, since you can broadly apply many skills you learn in literary analysis to any other form of storytelling, but if you're looking at another medium, like a game or cartoon, maybe look up some stuff about things like ludonarrative storytelling or visual storytelling! familiarizing yourself with the specific techniques common to a certain medium will only help you get better at understanding what you're seeing.

above all else, approach everything with intellectual curiosity and sincerity. even if you're sincerely curious about why something sucks, letting yourself gain information and potentially learning something new or being humbled in the process will help you grow. it's okay to not have all the answers, or to just be flat-out wrong sometimes. continuing to practice is a valuable intellectual pursuit even if it can mean feeling a tad stupid sometimes. don't be scared to ask questions. get comfortable sometimes with the fact that the answer you'll arrive at after a lot of thought and effort will be "I don't fully know." sometimes you don't know and that can be valuable in its own right!

thank you for the ask, and I hope you find this helpful!

[milkimae]

I think accepting Bruce is raising an army of child soldiers is a necessary aspect of the suspension of disbelief needed to enjoy the series where a grown man dresses as a bat and fights clowns

[kevinsdsy]

I'm genuinely so in love with Kevin like.... conceptually??? as in, I find myself thinking about him so often and so constantly but it isn't in a "i wish he was real so we can date" it's more like "i wish you were real because you're great." if that makes sense?

I'm aware he's lowkey not ideal as a friend (he IS getting better, I'm his lawyer trust.) but I just notice these things that make me love him like how he takes what's given with gratitude, his subtle shows of worry, the trust he has in Jeremy and Jean both, the reliance on Andrew. I love the way that he gained confidence in himself and now is much more comfortable with his life, the way he embraces the title of "Queen" because he knows he's better than R*ko and AUGH I love he's a history nerd, it makes sense for him to enjoy looking at the past and learning from it... even the other day i went shopping for clothes and thought about what he'd look like in them 🧍 I sound crazy as fuck uhm.

oh PLEASE anon if you’re crazy we can be crazy together because i genuinely think about kevin ALL THE TIME!! i surprisingly dont talk as much about him on this blog as i expected i would if i ever became active but TRUST i’m always thinking about him.

like that man has gone through SO MUCH and i feel like people just forget to talk about it— but after all he’s gone through he remains soft (although it’s more hidden in his actions, because his words do not showcase it)

just in general i think he’s so very lovely and i’m quite literally SO obsessed with him it’s insane. like yk how we joke about the everlasting impact kevin has on the people around him?? YEAH I FEEL THAT TOO!!

[wavesoutbeingtossed]

Screaming from the crypt (or how the past haunts the present on Midnights)

I know it's been discussed so much since Midnights came out but just.

I love how there is such a clear narrative throughout the album (and perhaps especially on the 3am/Vault tracks). About questioning and regret and choices and coming to terms with all of it. It is one long story about how we're all a mosaic of the choices we make, each one taking something from us and leaving something else in its place.

(And now a disclaimer: I'm looking at this mostly through a narrator/subject lens, and trying not to dive too deeply into real-life events or speculation except for in a general sense. For this purpose I like to look at the body of work as art, like literature, because I find it makes it easier to see the common threads in the different songs and cohesion in the narrative.)

In looking at the 3am+ tracks in particular, it's fascinating how some turns of phrases or themes repeat themselves in different songs, in different contexts. (I'm only focusing on the non-standard tracks because there are too many songs and I'd be here all day but I bet I could do a part two lol.) I know many people have pointed out the parallels throughout her discography already and I’m not saying anything groundbreaking by writing this, but I love how these parallels run through in the same album, because it makes it seem like it's one long story, or at least, one long rumination on many different stories that are coalescing into a single narrative.

Battle (let’s go)

For instance, the one that jumped out at me when I started writing this post the other week was, "Tore your banners down, took the battle underground," in The Great War and "If clarity's in death, then why won't this die? Years of tearing down our banners, you and I," in Would've, Could've Should've. It's a story about staying stuck in the same cycle of reliving trauma and coping mechanisms and bad habits over and over again and fantasizing about how taking the “antagonist” out and gaining the upper hand for good would bring closure (WCS), but the truth is that nothing ever will. All that cycle does, though, is repeat itself in other situations, and in this case pushes someone away the narrator cares for (TGW). The difference is that the imagined battle in WCS is a two-way street in her mind (that is ultimately unwinnable because it was never a fair fight), but in TGW it's one-sided -- she's the one fighting dirty, taking shots, the way she'd been doing in her imagination (or nightmares) all these years. But the person in front of her isn't fighting back the way the person in her mind in WCS would, because their intentions are honourable instead of exploitative.

And that's paralleled in another pair of lyrics from the two songs, "And maybe it's the past talking, screaming from the crypt, telling me to punish you for things you never did," (in TGW) and "The tomb won't close, I fight with you in my sleep," (in WCS). In both cases, the funeral imagery makes it seem like this past event should be dead and buried in WCS, but it keeps rising from the dead, haunting her no matter what she does and in TGW, another (or perhaps the same?) tomb that won't close keeps unleashing new ways to hurt her and in turn the new person in her life. In other words, the trauma from the past continues to bleed into the present.

(Again from a literary point of view, I'm not saying the events of the two songs are linked IRL, but they're fascinating textual parallels on the album as a string of chapters, which is why Dear Reader is so compelling, but that's a whole other essay.)

To keep the battle motif going, there’s yet another parallel, this time between TGW’s "[You were a] soldier down on that icy ground, looked up at me with honor and truth," and You’re Losing Me’s "All I did was bleed as I tried to be the bravest soldier, fighting in only your army.” In the former, the subject is laying down his armour in the war she’s projecting onto him, waving the white flag, and she realizes that she’s about to destroy something if she doesn’t put her sword down too. By the time we get to YLM, the roles are almost reversed; at the very least they’re supposed to be on the same team, but in this case she’s doing all the heavy lifting, fighting for their relationship in contrast to his apathy killing it. It’s also pretty interesting (if not outright intentional) that one of the 3am+ editions of the albums starts with The Great War, where they find themselves in conflict (even if it’s in her head) that ends in a truce, and ends with You’re Losing Me signalling the end of the relationship, evidence that the resolution in the first song wasn’t an ending but merely a ceasefire before the last battle.

Putting the rest under a cut because this is waaaaay too long now ⤵️

(There’s also another metaphor there in The Great War with its battle imagery: World War I, aka The Great War, was supposed to be the war to end all wars, because loss on its scale was never seen before and when it ended, most thought never again would the world embroil itself in such battle, the horrors and implications were so devastating. Two decades later, the world found itself in WWII, with an even larger scope and more horrific consequences, the intervening time between the two a period of festering conflicts and resentment leading to some of the worst acts the world would see. Bringing real life into it for a second, there’s something a little poetic, though sad, about The Great War the song being about a fight that could have ended the relationship that they ultimately resolved and was meant to be evidence of the strength of their love, but so too did it end up being a period of détente, the greater battle coming for them years later. But that is not the point of this post.)

If one thing had been different

Another major theme in these editions is pondering the "what ifs?" of life, but I think it takes on even more significance in the broader context of the album in the lyrics of "I'm never gonna meet what could've been, would've been, should've been you," in Bigger than the Whole Sky and the repetition of would've/could've in Would've, Could've, Should've (I would've looked away at the first glance, I would've stayed on my knees, I would've gone along with the righteous, I could've gone on as I was, would've could've should've if I'd only played it safe, etc.) In both songs, the narrator is mourning an alternate course their life could have taken* and questioning what they could have done differently, in the aftermath of trauma and loss, and the regret that comes with that loss, and with the loss of agency in the situation because ultimately it was never in their hands. In an album full of questions, wondering about the path not taken, or the forks in the road that have led to a different version of your life, it's digging deeper into the contrast of choice vs. fate, action vs. reaction, dwelling on the past vs. moving on. When you're supposed to let go of the past, what do you do when it is holding your future hostage?

(*I know there are different interpretations/speculation about BTTWS which I am not getting into on main. I'm just saying that whatever the song is about, it's grieving something that never came to be. The literal origin of the song is less important to the album than the sense of loss it portrays. Whatever the inspiration is, it's crafted to tell part of the story of Midnights of ruminating over how, to borrow from her previous work, if one thing had been different, would everything be different?)

(Also I was today years old when I realized that the words are inverted in the two songs. Apparently I've been hearing BTTWS wrong this whole time.)

There's also an interesting tangent in the role of faith in both songs: in WCS, the events of the story cause her to lose her faith (e.g. "All I used to do was pray," "you're a crisis of my faith,") and question all the things she felt had been unquestionable until that point in her life (e.g. "I could have gone along with the righteous"), whereas in BTTWS, she questions whether that very lack of faith is to blame for the loss in that song ("did some force take you because I didn't pray? [...] It's not meant to be, so I'll say words I don't believe"). It's like pinpointing the moment her life changed and upended her beliefs (WCS), but as a result then leaving her unmoored in times of crisis because ultimately there's no explanation or comfort to be taken from what she used to hold true before that (BTTWS). The words she once relied upon to guide her have long since lost their meaning, but in times of trouble it leaves her wondering if that faith she once held then lost could have prevented this pain.

(Shoutout to WCS for being Catholic guilt personified lol.)

To keep on with the vaguely faith-y notions, an obvious parallel is the line in Would’ve Could’ve Should’ve about, “I damn sure never would've danced with the devil at nineteen,” and, "When you aim at the devil, make sure you don't miss," in Dear Reader. All of WCS is about her fighting with an antagonist who haunts her, with whom she wholly regrets ever becoming involved. DR could be seen as a reflection on that fall from grace, warning the audience that if you choose to go after the person (or thing) haunting you, make sure you do so clearheaded enough to be decisive. Again, these “devils” may not be related in real life: the IRL devil in DR could be speaking about her naysayers, or Kim*ye, or Scott & Scooter B, etc., meaning not to cross your enemies until you know you can win. But taking real life out of it and looking at it textually, I am intrigued by the link between WCS and DR, so that’s what I’m going with here. And perhaps that’s even the point in a wider sense; there will be multiple “devils” in your life, or threats to your well-being. If you’re going to commit to taking them down — whether it’s an actual person, or the demons inside you that refuse to let you go — make sure you have the right ammo so that they can no longer hurt you. (Of course, one lesson from these experiences is that sometimes you can’t win, and you have to live with the fallout.)

(Sidebar: I know that “dancing with the devil” is a turn of phrase that means being led into temptation and engaging in risky behaviour, as opposed to describing the actual person. Given the religious metaphors in the song, that could very well be/is the intention, particularly when it’s preceded by, “I would have stayed on my knees” as in she would have continued to follow her faith — in whatever sense that means — had she never met this person, which could also be a more eloquent way of saying she would have continued to be live her life in a way that was righteous (even naive) and seen the world in black and white. Either way, it’s a force she wholly rejects. Like I said, multiple devils, same fight.)

Regret comes up too: in WCS, she says, "I regret you all the time," obviously directed at the person who manipulated her and led to her perceived downfall, citing him as the one impulse she wished she'd never followed, because it won't leave her no matter how hard she’s tried. In High Infidelity, she tells the person to, "put on your records and regret me," and on the surface, it’s like she’s turning the tables, painting herself as the one now causing the regret in someone else, the one inflicting the pain this time. Yet the verse preceding it and the lines following it in the chorus depict a partner who is also emotionally manipulative and vindictive like in WCS (“you said I was freeloading, I didn’t know you were keeping count,” “put on your headphones and burn my city,”). It’s not so much that she’s intentionally harming the person (the way the person in WCS does to her), but rather that the venom in the subject’s feelings towards her seeps through; she’s imagining the way he’s going to feel about her when she leaves, hating her just for by being who she is. (There could be another tangent about how in both songs she’s there to be a “token” in a game for both of the men, who play her for their own purposes.) The regret is dripping with disdain. It’s as though she’s picturing how the person is going to hate her for doing what she’s thinking of doing the way she hates the person who first hurt her.

Sadness, unsurprisingly, shows up in a few lyrics. In BTTWS, “Everything I touch becomes sick with sadness,” sets the scene of a person so overcome with grief that it permeates everything around them; they cannot see their way out of it and feel like the fog will never lift. In Hits Different, it’s, “My sadness is contagious,” the result of a breakup where the person’s grief again touches everything and everyone around them, pushing them further in their despair and loneliness. The reason behind the grief in either case may vary, but regardless of the source, the feeling is overpowering and isolating. They may be different chapters in the story, but the devastation is hauntingly familiar. (As is a recurring theme in Midnights as a whole: there are situations and feelings that present themselves at different points in her journey and colour in the lines in different ways along the road. Like revisiting an old vice and realizing the hit isn’t quite the same as it was in the past.)

Death by a thousand cuts

She also writes about wounds on this album, which isn't surprising I suppose given that the whole conceit is that these are things that have kept her up at night over the years. WCS is perhaps the driving narrative on this never ending hurt when she sings, “The wound won't close, I keep on waiting for a sign, I regret you all the time,” suggesting that no matter what she does, the pain of this experience has permeated everything she’s done afterwards. (Not unlike the overwhelming grief in BTTWS, for instance.) Elsewhere, in High Infidelity she sings, "Lock broken, slur spoken, wound open, game token," and in Hits Different, "Make it make some sense why the wound is still bleeding.” Again I'm not suggesting they're about the same events; the line in HI is about a situation where a partner crosses a boundary, hits below the belt, picks at an insecurity (or creates a new one) and treats the relationship like it's transactional, opening the floodgates in turn. In HD, the wound seems to be more self-inflicted, where she's pushed the person away. (Over a situation real or imagined she feels she needs distance from.) But again, something has picked at her like a raw nerve, and just like in the past, she's hurting, even in a different time and place and person. Almost like the wounds of the past break open over and over again to create new scars. If one were to extrapolate further, it wouldn’t be the biggest leap to wonder if the wound open in WCS, then torn apart in HI makes the one in HD hurt even more.

(I once wrote a post about how I think as time goes on, WCS is going to turn into one of those songs that will be found to drive so much of her work, because it’s just… kind of the unsaid thesis statement of so much of her songwriting.)

Another repeated theme is that of the empty home and loneliness. In High Infidelity, she sings, "At the house lonely, good money I'd pay if you just know me, seemed like the right thing at the time," painting a picture of someone who may have everything they'd want to the outside world, but in reality feels metaphorically trapped in their home (or at least alone amidst abundance), a symbol of a relationship gone sour and a failure to build connection. She just wants someone to understand her, want her for her, but as she's written earlier in the song, she's just a pawn in the game, a trophy from the hunt. Home, in this case, is lonely, isolated, an emblem of her fears. In Dear Reader, she continues this thread, then singing, "You wouldn't take my word for it if you knew who was talking, if you knew where I was walking, to a house not a home, all alone 'cause nobody's there, where I pace in my pen and my friends found friends who care, no one sees you lose when you're playing solitaire." It's the same idea, admitting to listeners that the gilded cage she lived in kept her distanced from her loved ones and real connection, keeping her struggles close to the vest but feeling desperately lonely amidst her crowning success. She's pushed people away and it may have felt like the right thing at the time, but in the end maybe felt like she was trapped. And when you push people away, eventually they take you at your word and stop pushing back; you’re a victim of your own success at isolating yourself. What starts out of self-preservation then further perpetuates the underlying problems.

(There's another interesting link about "home" also feeling unsafe with HI's "Your picket fence is sharp as knives," which further leads into the theme of marriage/domesticity feeling dangerous, which is a whole other thing I won't get into here because it's another discussion and may derail this already gargantuan word salad.)

In a slightly similar vein, we have the metaphor of bad weather for a rocky road or unstable relationship, in High Infidelity again with, "Storm coming, good husband, bad omen, dragged my feet right down the aisle" and You’re Losing Me’s "every morning I glared at you with storms in my eyes.” They aren’t speaking of the same situation or even same kind of breakdown, but it is pretty interesting how the idea of clouds/storms/floods/etc. play such a role in Taylor’s music to signal depression, apprehension, fear, uncertainty, etc. In HI, I think the “storm” coming is the looming threat of commitment to a partner who makes the narrator uneasy (if not fearful). In this case, the idea of making a life with this person is not one that incites joy or comfort, but instead makes the narrator feel that dark times are ahead if she continues down this path. Perhaps in some way, the “storms” in YLM have made good on the threat in HI in a different way; it’s a different home, a different relationship, but the clouds have settled in regardless, and some of her fears have come to fruition in ways she did not expect. The person she once trusted no longer sees her or her struggles (or worse, doesn’t care), and the resentment and pain build with each passing day.

Coming back to heartbreak, one of the obvious "full circle" moments is the beginning of a relationship in Paris, where she says that, "I'm so in love that I might stop breathing," clearly enthralled in a new love that allows her to shut the world out and grow in private, capturing the all-encompassing nature of the relationship. This infatuation has consumed her in the most wonderful way (in contrast to the sorrow of some of the previous songs), and it feels like a life-altering (or even life-sustaining?) force that is so strong she may forget what it’s like to breathe. (Metaphorically speaking, of course.) By the end of the album, though, in You're Losing Me, that heart-stopping love has become a threat: "my heart won't start anymore for you." In the former, her racing heart is full of excitement, but by the latter, her heart has given out completely under the weight of the pain she bears. (YLM is full of death/illness imagery which I already wrote about awhile ago so I won't hear, but needless to say that song deserves its own essay for so many reasons.) She's gone from the unbridled joy of the beginnings of a relationship to the unrelenting sorrow of its end, two sides of the same coin.

Love as death appears elsewhere in the music too, for instance, in High Infidelity’s, “You know there's many different ways that you can kill the one you love, the slowest way is never loving them enough" and You’re Losing Me’s “How can you say that you love someone you can't tell is dying? […] My face was gray, but you wouldn't admit that we were sick.” Though not completely analogous situations, they both tell the tale of one partner’s apathy (or at least denial) destroying the other. In the former, the partner’s actions (or inaction) are more insidious, if not sinister; in the latter, the lack of momentum (or admission of a problem) is passive. In both cases, the end result is the narrator’s demise; it’s a drawn out affair that chips away at her morale and her health and her sense of self. (Breaking my own rule about bringing in alleged actual events into the discussion, but the idea that the relationship in High Infidelity, which was obviously fraught with unease and even fear, ended in a similarly excruciatingly slow and hurtful death by a thousand cuts as the relationship in You’re Losing Me almost did at that time must have been so painful. It almost feels like YLM is wondering why what used to be a source of light in her life was mirroring a situation that caused her such pain in the past.)

From the same little breaks in your soul

I said early on that part of what is so compelling about Midnights is that it feels like an album about ruminating — on choices, on events, on people — and the two final “bonus” tracks of the album depict that as well. In Hits Different, she sings that, “they say if it’s right, you know,” an ode to the confusion of a breakup and struggling with the aftermath of calling it quits. It’s a line that has always intrigued me, because the typical use of the phrase is in the sense of, “you’ll know when you meet the one,” but here it seems to have a double meaning, a reassurance perhaps from the friends (who later on tell her that "love is a lie") that she’ll know if she’s made the right decision in calling it off, but could also be her wondering if the relationship is right, she’ll know, and want to reconcile. In the final bonus track, You’re Losing Me, she sings, “now I just sit in the dark and wonder if it’s time,” this time leaving no doubt about the dilemma she faces, though it’s no less fraught. She’s wondering, perhaps for the last time, if now is finally the moment to end the relationship for good. They say that if it’s right she’ll know, and now she’s wondering if that feeling inside her (that once told her her partner was the one, which is why it hit differently), is telling her that it’s time to go for good. Wait Alexa play “It’s Time To Go.” These are not only the things that keep her up at night, but the things that play over in her mind like a film reel in her waking hours.

Midnights as a whole is a deeply personal album, as is most of Taylor's work, but the 3am+ edition tracks seem to dig even deeper to a lot of the issues raised on the standard album. Almost like the standard tracks are the things she wonders about on sleepless nights, but the bonus tracks are the things that haunt her in the aftermath. The regret, anger, sadness, grief, relief, even joy— they’re the price she pays for the memories she keeps reliving. Midnights might be the most cohesive narrative of all her albums, and really does feel like we’re watching someone work through her journal over time, stopping short of outright naming those giant fears and intrusive thoughts (except for when she does) but making them plain as day when you connect the songs together, and perhaps never more clearly than in the expanded album. It’s incredible how the songs stand on their own to relay a specific moment in time, but that they are also self-referential to each other (whether thematically or overtly) to weave a larger web over the entire work. We’re so lucky as fans to have these stories and to keep peeling back these layers as time passes. (And my literature-analysis-loving ass loves her even more for it.)

This is obviously by no means an exhaustive list, and I know there are more parallels and probably even stronger links (particularly when you add the standard version into the mix), but these were the ones that particularly struck me and I’m just glad I’ve had a chance to sit with this and think it through. ❤️

[kate0305-blog2]

Commissions Open

Need someone to write that story you’re imagining? What about that essay that you put off? You’ve come to the right place!

How much? Good question:

short stories (less than 1000 words) $5

one shot (between 1000-3000 words) $8

long ass book (talking chapters here) $whatcha willing to pay?

essays (middle school to college level) $10-50

I do have a masters degree so expect quality…. And I'm an English teacher so you’ll get that A!

Off Limit Topics:

Disgusting things with minors (DON’T EVEN ASK)

Disgusting things with animals (unless it’s hybrids or A/B/O)

Not listed? Then it should be all good!

For examples, check out my Wattpad (OT7oramI)

Cash App payments accepted: $KatieViles

[sylvesterelle]

for no reason at all thinking about the AP US History course in high school with very low enrollment because the teacher notoriously assigned at least one short essay (~750 words) every day

and how the six of us who stayed learned to scribble our essays on the bus and between classes and over lunch and become absolute masters of on-the-fly bullshit, which itself is a precursor to on-the-fly mastery

and by the time we finished we'd each written over 200 individual essays varying from utterly atrocious to surprisingly rigorous (i still consider a paper on medical deaths from ether in the civil war as one of my best and I have a fucking doctorate now). most importantly, we learned to thoroughly detach ourselves from any hangups about quality because of sheer *quantity*

which, by the by, was a larger lesson on the value of muscle memory and on trusting your own instincts. vomit out enough essays over time, and you'll have no choice but to internalize structure and externalize the patterns of thought and insight unique to you, which is how you become not just a competent but a compelling writer

so use chatgpt if you must but what a shame, what a sadness it seems to never get over the fear of your own words. depriving the world of thoughts only you could have and sentences only you could write (even if they're bad. especially if they're bad. that's composting the soil, baby!!)

[cocomuffy]

"I asked ChatGPT-" Why not just Google it? And not read the Gemini AI summary at the top but just... actually Google it. Just like... learn the information that you want to know instead of having to have the robot put it all in a neat little wrapper for you like you're a helpless child.

Like seriously every time someone tells me they ChatGPT-ed something it just makes me think of how we have all the information we could ever want at our fingertips to read and absorb and think about at all times, but they have to have the robot chew it up for them and vomit it out. Sometimes it isn't even right. What if you just Googled whatever you need to know, click on a link to go and read an article or something, and maybe you'll learn even more than you bargained for! But no, you want the AI to waste a gallon of water trying to compute whatever you said and then regurgitate whatever you would find through a simple search anyway.

[local-space-gay]

I had an epiphany

[sadquickchristmassnowman]

do you guys ever think about how, when troy started messing with abed in 1x05, and they have that interaction like

“because I’m barack obama’s nephew”

“why are you telling me all this now?”

“I didn’t know if I could trust you. but now it’s time to tell you everything”

abed probably finally felt like he was really connecting with troy? like he was finally making a real friend? I mean troy was trusting him with his deepest secrets. to then find out that troy was just messing with him, and that those moments of percieved true friendship were just lies for entertainmemt… ouch.

and then him trying to adapt to troy’s view of friendship throughout the episode and him just being painfully wrong and going too over the top.

plus, troy’s position that “friends mess with each other” must originate from his high school experience. I’m sure he himself got messed with a lot as a kid/teenager. so, he learned to tell when people are lying for fun to him, and he learned how to do it to others. there’s a lot more to be said about that but again. Ouch!!!

I mean, of course it all ends well, with troy realizing that friendships don’t have to be built on surface-level pranks, and abed realizing that troy had been a real friend all along… and just them both realizing that they do genuinely care about each other, and that they’re each different from any other friend or acquaintance they’d ever had before. but yeah.

and this is all literally episode FIVE. stop it

[thisismynarrative]

"So that the revolution does not completely rot I leave you with a message I am old And your utopia is for future generations There are so many children who will be born With a little broken wing And I want them to fly, comrade I want your revolution To drop them a piece of red heaven So that they fly." - Pedro Lemebel from A Last Supper of Queer Apostles

[bonestrouslingbones]

also i hate to admit it and i swear i DO understand the importance of them but fellas i fear i may be steadily morphing into a humanities hater

[mysteriouslybluepirate]

I just need a piece of media that combines:

The humor and feeling of community we got from S1 of OFMD

The storytelling, world, and humanity behind Disco Elysium

Izzy Hands just for fun

You know?

[nnnn99999]

Finally getting to my thoughts on the heart killers episode 1 and honestly it was better than I expected. Maybe it's because I didn't have many expectations to begin with. As long as I have my beloved joongdunk on my screen together I am a happy woman. But this episode was so fun and interesting and I am so excited for what's to come. I have so much I want to talk about so I think I'm going to make separate posts about each of them. Yes I am writing 10 different essays at the same time just like I did with bbs and that is a good thing. It means I am excited about the show itself and not just the actors. It was more than an hour long episode (I love that it was so long) and I enjoyed every moment of it.

I love the pacing of this episode too. It's not rushed at all, yet it's jam packed and doesn't waste time on unnecessary things. Except the burger mukbangs by First. Why was there an asmr burger mukbang not once but twice in this episode? I mean I don't mind but the question remains. This was the one thing that totally threw me off guard. Again I am not upset about it at all but I can't stop thinking why this decision was made? Is it because everyone in that production team loves watching First eat? Actually, that is quite a reasonable speculation. Yes I dedicated an entire paragraph to First's mukbangs because I really can't stop thinking about it.

I am so so glad my beloved joongdunk got the opportunity to be part of a production like this. This is so different from their previous projects and I can already see that they got the chance to explore as actors in ways they couldn't before. And I love that for them. My joongdunk heart is happy and content.

Also have to mention I love firstkhao in this too. I may focus more on joongdunk because I am a hardcore joongdunk simp but I really do appreciate all the other people involved in this project as well. Everyone put a lot of love and effort into this show and I appreciate that.

I don't know how this series will turn out in the future. But I already know I am going to love it. It has everything I enjoy- a fun story, interesting characters and character dynamics, fun lighting choices that contribute to the storytelling, music that sets the tone of the scenes, my favorite kind of pacing, good actors, good production and most importantly my beloved joongdunk. Thank you so much Jojo for bringing this show to life. I am eagerly anticipating what's to come and I am having a blast along the way.

The fact that we are going to get most of the scenes from the trailer and the bts photos in the first 2 episodes already is so exciting to me as well. This means we have no idea what will happen after ep 3. And that is so fun and exciting. I love that they did that. It makes me anticipate what's to come even more. Jojo, I love you, I really do. This show of yours is right up my alley.

Fun fact about me that nobody asked for: I have not seen 10 things I hate about you. Which is actually pretty weird because I have seen most romcoms from that time period, some even less popular than this one. I don't know why or how I missed it. I also refuse to read Shakespeare for very petty reasons. So yeah, I really have no idea what to expect from thk. But that makes it extra fun for me.

[th3-c0ll3ct3r]

Twitter: Wilbur didn't do anything! There's no proof!

Wilbur in his apology:

"this persons feelings are completely vaild"

"These actions caused alot of pain to my ex-girlfriend"

"I have come to realise how much my past behaviour hurt this person"

(Realise Google definition: become fully AWARE of (something) as a fact; understand CLEARLY)

"I understood from our numerous conversation [...] consensual" followed by "while I may have perceived our interactions differently, I recognise that has processed and expressed feeling of hurt"

His "I understood" turns to a very uncertain "I may have perceived" - the additional "may have" making him seem not very confident in what he's saying.

He's confident in the things that make him look better but not confident when it comes to the overall overview of the situation because he saw it different.

He recognised that he had done something bad. This is from his apology himself!

But The Looky why are you taking apart quotes?

Wilbur Soot, on multiple occasions, has stated that he is an English Major (he literally wrote most the dsmp scripts), so why would an English major international use this type of wording.

Because when you take it apart, it makes him seem more confident in himself and pushes that he's not confident in her 'allegations'

His lack of confidence and acknowledgment is a divisive move by Wilbur to capitalise on his vulnerable fans and audience to make them believe in him more. The MEDIA and NEWS do this all the time.

It creates a "if he doesn't know what he's talking about then he didn't do it vibe" or a plain display ignorance, to make him look better.

And he made an apology UNPROMPTED, like when shelby said her ex she didn't say Wilbur.

It could have been an ex before or after him, if it wasn't him then he wouldn't need to apologise and could've been like "Hey that's not me!"

He didn't. He said it was him by making a response. Why apologise for something you didn't do?

You could argue that Shelby was a "terrible partner" or "used him for his clout" but on what basis?

If she was a terrible partner that's make a pair, and there is a bunch of evidence that support the fact that Wilbur behaves the way BOTH HE AND SHE HAVE STATED.

And if she was "using him for clout" then he could have been like, "Hey I don't like you. I don't want to stream with you anymore"

But then he joined Origins Smp and Shelby was there, they were both ghost, he goes out of his way to interact with her.

Your gonna act like if Wilbur told Tommy he was uncomfortable with Shelby being there, Tommy would have said no? Really?

And in the some Wilbur / shelby streams Wilbur was at her house.

Wilbur would have been better of saying his apology was AI generated and to have written a new one with he excuse, "he was in a rush"