I am getting this off my chest once and we're not talking about this again. In my personal opinion it is a mediocre album by her standards. Firstly it's too long. More songs does not equal a better album. Sometimes some songs deserve to be left on the cutting floor for a reason. After a time the songs start blending together because sonically they sound very similar.
Secondly the lyrics. They're clunky in a lot of places I'm sorry. The annoying part for me is that she's capable of writing better songs!! Folklore showed that. Red showed it. I don't understand why she's backsliding like this.
Okay also this is probably not applicable for everyone but personally I do Not appreciate the way the fandom just bullied Joe Alwyn and are now coming up with all these takes about how the album is actually not about her relationship but about her experiences™️. Where was this energy 6 months back? And I'm sorry, but I can't find it in myself to be sympathetic towards a multi-millionaire who can definitely afford to go to therapy and get the help she needs while selling out stadiums on her world tour.
Lastly, the thing that disappointed me the most was that the whole album cycle was marketed as a more mature folklore but it turned out to be something that Red era Taylor would have probably written and rejected. I guess the main reason I'm so disappointed is because she is definitely capable of doing better!! She has done it before!!
Overall maybe she needs less yes men and more people to say that hey maybe this isn't the best direction to go album wise. (Don't come at me with the Braun controversy because there are two ends of being extreme and both are equally harmful).
Again. I'm not saying it's all bad. I think it could have been a wonderful album if she'd cut it down to 12-14 songs, polished up the lyrics and shaken up the production a bit. Songs like my boy only breaks his favorite toys, loml, who's afraid of little old me and I can do this with a broken heart definitely show that the potential is still there. All I'm saying is that it's definitely not her best work.
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Fuck it Friday
Tagged by @diazsdimples and @tizniz. Thank you lovelies for the tag! Everyone be sure to check out what they shared okay?!
Today I present to you some tsunami action from Rival Firefighters 🚒. I finished all of the tsunami stuff for Buck’s chapter today which I am happy about … I’m just not sure how I feel about what I wrote 😬. I found the tsunami difficult to write and I’m very nervous and slightly overwhelmed at revisiting it again in the next chapter but in Eddie’s POV. It’s definitely going to be a challenge, but I want to improve and stretch myself as a writer which means challenging myself haha.
Prev snippet from this au can be found here
“I can’t hold on!” Chris cries out before he’s losing his grip and slipping under the water.
Heart hammering in his chest Buck waits for a moment before diving into the rapids, swimming with all his might. If he timed it right he should intercept Chris.
Fuck he hopes he timed it right.
Debris clouds the water making it hard to see but not impossible, and coming straight towards him is Chris. Buck reaches out and grabs onto Chris, pulling him towards him.
I’ve got him, I’ve got him, I’ve got him.
They break through the surface, both sucking in deep lungfuls of air as they hold tightly to each other, Buck cradling the back of Chris’s head as he repeats I’ve got you over and over again, as much a comfort for himself as it is for Chris.
With Chris now in his arms, Buck begins swimming in search of safety where they can rest and wait for help, ideally somewhere out of the water.
He doesn’t have to search far, for less than a mile ahead Buck spots a fire engine, the red of the roof standing out among the ocean of blue and white surrounding them, a bright beacon of hope. Buck swims towards the engine and pushes Chris up onto the roof as quickly as he can. He begins to pull himself up, arms shaking from exertion but he doesn’t stop, keeps pulling up and up until his torso is over the edge and he’s able to crawl into the center, collapsing beside Chris.
We’re safe.
We’re alive.
We’re alive.
No pressure tagging: @wildlife4life @hippolotamus @spotsandsocks @steadfastsaturnsrings @wikiangela @watchyourbuck @athenagranted @alliaskisthepossibilityoflove @malewifediaz @spagheddiediaz @lover-of-mine @ladydorian05 @loserdiaz @exhuastedpigeon @elvensorceress @eddiebabygirldiaz @evanbegins @rainbow-nerdss @rewritetheending @thewolvesof1998 @try-set-me-on-fire @theotherbuckley @princessfbi @shitouttabuck @devirnis @disasterbuckdiaz @fiona-fififi @fortheloveofbuddie @giddyupbuck @hoodie-buck @homerforsure @honestlydarkprincess @jeeyuns @puppyboybuckley @jesuisici33 @captain-hen @bekkachaos @nmcggg @monsterrae1 @missmagooglie @epicbuddieficrecs and anyone else who has something they want to share -> consider this your official tag 😉
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I wanna know ur Fontaine msq criticisms 👁️👁️👂I’m all ears
I'm not sure if you wanted me to talk about this secretly or publicly but! Here I go!
The TLDR: Fontaine MSQ aestheticised prison, poverty, child abuse, the justice system/court and didn't properly address any of it.
More:
Focalors/Furina has way too much of a sympathetic angle for a dictator who's lets people drown with her inaction.
Neuvillette feels Bad for sentencing some people to death/prison, but that's it. He's one of the most powerful people in Fontaine. If he felt like there are systemic injustices, I.E sending an abused Child to prison, he should be the first person to DO something about it, not just cry and be sad so the audience can be like aw, that's complex character writing isn't it? No it's not! And guilt doesn't absolve you!!!!!!! (These are stuff we deal with in OTCOJ read my fic now /j)
Meropide has children in it, both Sentenced there (Wriothesley) and BORN THERE (Lanoire), and this is just a quirk of the place. Not only that, Meropide accepts prisoners of all genders and crimes. There are abusers and abuse victims in one place. Do you know how bad that is? How much potential for crimes to happen in a place like that— oh wait, Meropide isn't under Fontaine's jurisdiction. If you are assaulted as an inmate it literally means nothing to the court.
Wriothesley had no qualifications when he took over. Depending on how long he lived on the streets, how old he was when he killed his parents, how old he was when he was first taken in by the orphanage, etc, the man might never have more than 4–5 years of formal education. Sigewinne probably had to teach him how to write reports. And do Meropide's spreadsheets. Edit because I forgot to elaborate on this one: This isn't a point brought up anywhere, which is bad, because when poverty and incarceration robs you of a proper education (and the rights to vote in many places too, too, by the way), it reduces your prospects for jobs, reduces many people's ability to get a home etc etc. Wriothesley was just, narratively, Given his position.
Meropide is an industrialized prison, and they portray this as a good thing. Prisoners are paid in coupons for their labour, and this is also portrayed as a good thing.
The One-Meal-A-Day reform was something Paimon gushed about being so great of a perk, that people might want to go to jail for food (could be interesting and reflective of systemic poverty if MHY had brains, but they don't, so I was just Pissed because essentially all Paimon wanted to say was "Prison isn't so bad, but still don't go to prison guys! Prison labour is really hard!"). By the way, in most real-world prisons they are obligated to feed you three meals a day. Because that's how much food a human needs. MHY went with one meal just so they can say "if you want to eat more, you have to work." And then the welfare meal is a goddamn gacha. So imagine you're a starving child who's too weak to work in the fucking robot assembly line, and you wander up for your first meal in 24 hours, only to luck in with a shit one. I'd kill myself.
They wrote Wriothesley, who's a victim of the system, into a guy who's say shit like "I'm the Duke I can do whatever I want" for a cool moment where he choke-slams an inmate (I know he was a bad guy. But also, in copaganda when cops are violent/disregarding protocols, they are always only portrayed to do that against bad guys, so what does our critical thinking tells us about this one?) They wrote Wriothesley, who was an inmate of a prison so bad, so notorious that it is the literal boogeyman of Fontaine, that has a legal (???) fighting pit, with an administrator who abuses his position to be unreasonable, to willingly stay in the place and become an Administrator who would choke-slam an inmate while saying a cool line about how he has the power to do whatever he wants. They wrote him, the guy who had to be fed on the streets by melusines, to think one-meal-a-day was a good enough reform (while he spends god-knows how much on his boat). This wasn't a victim-turns-into-abuser narrative either, they want all this to be seen as positive character growth.
And then, the final kicker is, they gloss over his entire abuse. You can only read about these shit in his profile, which most people don't because they don't Have Him or doesn't care to unlock it/read it online, and they jammed his entire backstory into a flaccid info-dump at the end of his character story quest. This man isn't Allowed to feel abused and neglected and show any reaction to it within the narrative of Fontaine itself, because if they actually Gave Weight to what happened to him, they'd have to confront THE FUCKING JUSTICE SYSTEM they had NO PLANS on criticising. I don't think they ever explicitly said the fucking Crime-Theatre nonsense was Bad either.
I could go on, but this is already so long. But yeah, I hope this gave you an idea.
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There was a donut shop I used to pass on my walk to school senior year. I remember those pastel mornings well; the soft clouds of steam rising gently from outside vents, the way the world stood quiet, only interrupted by occasional puttering of an old pickup turning into the parking lot. It was in an old plaza, with flat, squat buildings and slightly garish, brightly colored signage. Every so often, if the breeze blew right, you could smell the faint aroma of coffee wafting your way. If you walked past early enough, sometimes you'd catch the glow of twinkle lights adorning the fence, still on from the night before and not yet washed out by sunlight. It was softer, somehow, a gentler, simpler place than the tall corporate-sleek tech companies, all silver and chrome, that came before. A kinder, more subdued plane of existence a few hundred feet down the road cloaked in goldenhour magic.
I once promised myself I'd stop by sometime, walk to school with a maple-glazed pastry in hand or curl up in the outdoor seating area and watch the sunrise. The shop opened early enough, after all. But I never did keep that promise. I regret it now.
It might just be the heartsick for yesteryear part of me, wedged somewhere beneath my ribcage like a particularly uncooperative splinter. But there's something pinprick painful about those unfulfilled promises. Not just about a warm donut, but penciled lists in childish handwriting with big dreams, so full of heart, leaving no room for much else. the complete and utter conviction in a happy ending. now I swirl bittersweet. Kids have the kind of faith that could take them to the stars should they only wish to glance a meteor. I know my younger self would lend me grace and sweet forgiveness that I can no longer afford, but I refuse to make a habit of accepting the priceless for free.
I'm not where I wanted to be. I didn't dream of dinner conversations under a veneer of disappointment and gray days, or pray to spend my days desperately clutching at mediocrity, of blending into wallpaper and counting down days torn between relief and dread.
It's easy to twist words into a new genre, a new form, cut sentences at the root and move them somewhere better. It's much harder to replant ampersand ambitions. I can't explain how things warped until they splintered. There's no clearcut reason for the way things are opposed to how they should've been. I don't want to look back and gloss over the regret, but averting my eyes is the least painful option, because it hurts, the twin desires to patch up youthful hopes and grind them to dust beneath my heel.
I don't know how this one ends. There's no moral, no central thesis I can cling to. I should've woven some kind of unifying theme, embedded details like a trail of breadcrumbs to an inevitable conclusion instead of throwing darts in the direction of a last page. The ending is still vague and uncertain. The story's not over yet.
Maybe I'll close with a zoomed in shot of a plane ticket, then a morning treat, some lesson in how it's never too late. The credits will roll into a lovely dawn sky, the focus will drag across a half-full coffee cup and evoke some sense of closure and peace. Onwards and upwards, it gets better. Maybe the shop's closed now, and the story ends with a solitary figure walking away, head heavy. the scene closes and you exit with a sour aftertaste and a wasted journey. I'm not cruel enough to spread regret like poisoned dandelion seeds in spring but sometimes it bleeds into the syllables. Maybe it fades off. I never visit, never wonder, slam the door shut and pretend today is day one and everything that came before never existed. Nostalgia sucks, but every open wound eventually scars over and flattens if you leave it be. Perhaps this one will too.
It's still too early to tell.
Some seven-year old part of me promises it will be alright. My seventeen year-old shade looks on with distrustful desperation.
(I hope I do right by her.)
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