#inbox boundaries

[mattastr0phic]

Hello is it okay if people take (small) inspirations from your 4saken designs? I really like your Chance eye headcanon thing and it gave me an idea for a drawing, i would love to use it but with your permission of course!

Hey thanks for asking, I'm cool with specifically the eye color hc with Chance being used by others, it's just the card/beard changing aspect of the design that I'm real attached to.

[mylovesstuffs]

Anon.

Are you fucking serious right now?

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

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

You are not entitled to shit.

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

You think you “need” closure?

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

None of us are getting what we want today.

Fanfiction is a gift.

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

A gift.

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

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

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

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

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

You wanted permission, so now you get the wrath.

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

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

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

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

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

Authors are suing OpenAI for ingesting copyrighted novels without permission.

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

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

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

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

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

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

Don’t give me “I respect you but—”

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

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

And another.

And another.

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

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

Entitled. You actually used the word.

Thank you for confirming what we already knew:

That you don’t see us as people.

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

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

So here's your closure:

No, you may not touch my fic.

No, you may not feed it to a bot.

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

Block me. Report me. Cry about it.

But know this:

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

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

I'll never forget this time and date.

I hope it was worth it.

Let this be your final fucking warning.

— Celeste.

[wavesoutbeingtossed]

The TTPD Deep Dive (Part ?)

It’s no secret that I have a lot of Thoughts about The Tortured Poets Department and it has lived rent-free in my head since it came out earlier this year. I’m absolutely blown away by how underneath the chaos, it’s actually an exceptionally cohesive story and is probably the closest to a concept album Taylor has ever done.

There are so many themes that have stood out to me over the last five months, and there’s one in particular that I think not only drives the entire album, but ties into previous albums to help deepen understanding of it.

This is it, my fangirl magnum opus, my months of posts consolidated into one place. This is also my disclaimer that this is just my interpretation of the album, and my summary of the story it tells, and I don’t pretend to have any special insight or authority. I’m not saying I’m correct at all, do not take any of this as fact, it’s just what it sounds like to me, and these are my silly not-so-little thoughts about it.

(Under a cut because it’s way too long and involves discussion many may not care for or be sick of.)

Come one, come all, it's happening again (I'm thinking too hard about Taylor music)

The overarching theme in TTPD to me is: Grief. If you’re looking at TTPD as a story being told (instead of just as someone’s real life), the inciting incident of TTPD is loss, and the grief from that loss is what drives the narrator’s actions and the fallout, as well as unpacks those complicated feelings and how they apply to the her life in general. By the end of the standard album, it’s also about recovering from that pain, moving on from it and learning from it.

The loss specifically is the loss of the dream of having a family (with one’s partner). One thing that is abundantly clear both on the top line and under the surface in TTPD is how Taylor (as a person and as narrator) longed not only to for marriage but specifically parenthood, and the fear and then realization of losing that chance absolutely wrecked her— which is why the next lover’s (the conman's) wooing worked so well, because it preyed on that yearning. Yet that loss also dovetails into the grief of many things: of youth, of idealism, of relationships, of ideas, even of self, which causes almost a deconstruction of a belief system to piece one’s life back together by the end.

THE CONTEXT

TTPD weaves in the topics of marriage and motherhood both explicitly and in the subtext, in various forms and scenarios. The cheating husband in “Fortnight.” The wedding ring line in “TTPD” the song. “He saw forever so he smashed it up” in “My Boy Only Breaks His Favorite Toys.” All of “So Long, London.” Running away with her wild boy in “But Daddy I Love Him,” fantasizing about weddings and joking about babies. The imaginary rings in “Fresh Out The Slammer.” The cheating husband (again) and the friends who smell like weed or “little babies” in “Florida!!!” “You and I go from one kiss to getting married,” “Talking rings and talking cradles,” and “our field of dreams engulfed in fire” in “loml.” (And arguably: “I wish I could un-recall how we almost had it all.”) “He said he’d love me all his life, but that life was too short,” in “I Can Do It With A Broken Heart.” They may not sound like much on their own, but they paint a picture about how the topics pervaded her thoughts and her writing, and in many cases express her desires, and her pain.

It’s something that goes back several albums when you pick up on context clues. You get the first hints on Reputation with “New Year’s Day,” and “you and me forevermore.” Then Lover is very forward with it: “Lover” is basically wedding vows, “Paper Rings” is very engagement-coded, “I Think He Knows” is cheeky but low-key “you better put a ring on it,” “It’s Nice To Have A Friend” has wedding/marriage imagery in the last verse. As a self-professed diaristic writer, it’s the type of stuff one presumably doesn’t put out there unless those conversations have already happened, and she was very excited about it at the time it was released.

Then the pandemic happens and folklore comes out, and while there is still happy love there (“invisible string”), there are also the first indications that something has happened to put a halt to whatever future she once dreamed of (“hoax,” “the lakes”) and that she’s trying to reassure herself and him that it can still happen even if she’s scared it might not (“peace”). Notably, as far as I can remember it’s the first time Taylor explicitly brings up the idea of family (with her partner) with “you know that I’d give you my wild, give you a child,” which stood out at the time because it’s so incredibly vulnerable, but it’s even more poignant when you really take in that the whole song is like a confession of her deepest worries, and this is her vowing to give him these things that she holds most sacred if he’ll let her. These are what she cherishes most dearly and wants to return in kind: her youth and commitment (my wild), the family she craves (a child), unconditional support (swing for the fences/sit in the trenches) and understanding/compassion (silence that only comes when two people know each other).

Evermore follows an even darker path, and suddenly the album explores relationships that end and grappling with loss. There are toxic relationships (“tolerate it”), dangerous marriages (“no body, no crime,” “ivy”), failing/broken relationships (“Coney Island,” “champagne problems,” “happiness,” “‘tis the damn season”), as well as grief (“Marjorie,” “evermore”). Even some of the happy songs have uncertainty in them: in “willow” she’s begging for him to take her lead, like she’s still trying to decipher him and ask him to commit; in “cowboy like me,” still a beautiful love song, she’s thinking, “this wasn’t supposed to work and we were supposed to bail on each other but we fell in love instead”; “evermore” is about the depths of severe depression (and more) with the love story being the one saving grace in her darkest hour. And it’s also notable that after all the “fiction” writing, shortly after this album she writes “Renegade” where she’s telling the subject: I’m ready to start the next phase of our life now, why aren’t you? Is it me you don’t want after all? It’s like there’s something telling her that this stall might not just be a stall.

Midnights is a jumble (in a good, but in hindsight, also sad way) with the “sleepless nights” concept, but it seems pretty clear now that the themes and events and relationships she was revisiting tied into a lot of what she was feeling in her present life. I wrote the cliff notes version awhile back, but she’s questioning so much of her life that’s reflected in past events and relationships. Am I actually always the problem? How did we lose sight of each other and what we had? We only seem to work when we block out everyone and everything else. Can we ever go back to when things were good? Why are you neglecting me? I once thought I was going to lose everything but you saved me in the nick of time, can that happen again? I chased my career, but did I give up my chance at having a family in the process? Nobody knows what I really suffer from behind closed doors and I’m all alone.

And so on, which in retrospect now that we have TTPD, is very much what she was grappling with in private while writing and releasing the album. The inspiration behind the songs may have been different events and muses, but regardless of their origins they all end up feeling too familiar, like she's seen this film before (ahem). We’re seeing her view of commitment change too, or rather how she writes about it: she’s not making the outright declarations of it like on Lover, or even the implied ones on folklore, nor is she talking of the dark side of it like evermore. For the most part it’s a return to the early days of some relationships, before things got hard, or the end of them when there was nothing left, and also pushing away the discussion of it altogether by the outside world. “Sweet Nothing” is a sweet slice of life, but even at that, it’s the peace of the home in conflict with the pressure of the outside world. Now that we have “You’re Losing Me,” which was written at the same time as the rest of the album, we can probably deduce that she was going back to the start because something happened that made her doubt the future.

THE SETUP

So much of Midnights directly ties into TTPD, and I said in the post I linked that it’s like Midnights is asking the questions that TTPD answers. But there’s one song in particular on Midnights that sticks out to me as being key in the broadest sense to understanding the state of mind that led to the events of TTPD, and that’s “Bigger Than The Whole Sky,” because the way it expresses grief is reflected in the theme of mourning a life built and the dreams along with it that are never realized in TTPD. There are several instances in TTPD that are basically variations of: “every single thing to come has turned into ashes,” and that’s what makes her snap, and leaves her vulnerable to someone who promises her those things when she’s bereaved at losing them in the first place. (In other words: “the deflation of our dreaming leaving me bereft and reeling.”) The song tells a story about how that loss of hope colours one’s entire mindset, and in some ways is a bridge to TTPD to understand what such a low point feels like.

I think that that grief, and most importantly losing hope for an imagined future in its wake, is fundamental to understanding TTPD on so many levels: both the decline with one partner that kept her hanging on then led her such a dark path, and why she fell for the conman's apparent bullshitting because it offered an express pass to what she was losing with her partner. And I also feel like it plays a part into the ruminating she’s doing all over Midnights, trying to make sense of where she finds herself when she’s writing the album, which directly leads to “You’re Losing Me.” Loss permeates so many of the stories on Midnights: of lovers, of innocence, of youth, of faith, of control, of life’s work, etc. “BTTWS” is just one of the ways in which it is expressed so fully, capturing that deep depression and subsequent extinction of faith in something that once felt assured and very much wanted. (Which is also mentioned in her writing process in the “Depression” playlist on Apple Music.)

If you understand why that feeling of loss in general across so many parts of life is so important to Midnights, then it illuminates so much about the “narrative” in TTPD too. If on Midnights she’s wrestling with the seeds of grief and loss (on multiple fronts), TTPD is her reckoning with it in its full form. “So Long, London” is the song that is the most explicit about it: How much sad did you think I had in me? How much tragedy? Just how low did you think I’d go before I’d have to go be free? You swore that you loved me, but where were the clues? I died on the altar waiting for the proof. It’s the sequel to “You’re Losing Me.” It’s, the air is thick with loss and indecision, I know my pain is such an imposition, I’m getting tired even for a phoenix, all I did was bleed as I tried to be the bravest soldier, I’ve got nothing left to believe unless you’re choosing me, my heart won’t start anymore, but from the other side of the break.

This is highly speculative, but if you follow the thread about the topic and the relationship as told from Rep through TTPD, in broad strokes it goes: young love with a serious connection (Rep) -> growing up and making life plans (Lover) -> something happens that delays those plans or makes them grind to a halt (folklore) -> serious doubts arise and cause a loss of faith in their future (evermore) -> struggling with the loss of that future and trying to make sense of the problems in a last ditch attempt to save the relationship (Midnights) -> fallout from that grief after the blowup of the relationship (TTPD). Understanding that progression of events (through the music) explains not only the storytelling side of TTPD (e.g. the jump from the partner to the conman) but also how the experiences/muses blend in the music, and how the music that on the surface is about the short-term relationship is really driven by the destruction of the long-term one.

Following the music, it’s IMO implied that Taylor (the narrator) was holding out for marriage and family with her partner, for years, and it seems like it was at one point a shared dream until something happened to pump the brakes, and seemingly on her partner’s end. And extrapolating further, given how the sorrow expressed in former albums bleeds into TTPD, it sounds like a plan that had been concrete in some form before it had fallen apart, and losing something that once felt so tangible is what drives her in her grief to find any kind of respite from the pain. Which is why the situation with the conman becomes so appealing as the one with the partner splinters further and further.

(If everything you’ve once touched is sick with sadness and you don’t want to be sad anymore, what are you left to do?)

THE STORY

So (one part of) the story kind of sounds like this from the standard album: the relationship with her partner as well as his mental health slowly deteriorate and he withdraws emotionally (“London,” “Fresh Out The Slammer”) and physically (again, “London,” and “Guilty As Sin?”) and takes his resentment out on her (“London” and arguably “My Boy Only Breaks His Favorite Toys” even though I don't want to get into muse speculation here). As she sinks deeper into her own depression as a result, the weight of the failing relationship starts feeling like a cage— or a noose (“London,” “Guilty”), but coming to terms with the loss of their life together and the future they’d dreamed of was killing her (again, “London,” but also “I Can Do It With A Broken Heart”).

Enter the conman who she reconnects with at the very point where this is coming to a head (knowing that IRL she reconnected with him around the time Midnights was being worked on) , and if you read between the lines, she confides some deeply personal things to him (“Down Bad” and “hostile takes overs”/“encounters closer and closer,” “Smallest Man” and the entire sleeper cell spy imagery which is one of my favourite things and I could write a whole essay about the meaning of it, “loml” and “A con man sells a fool a get-love-quick scheme”). Then after she’s confided these secrets to him, he insinuates himself back into her life (“Guilty,” “Down Bad,” “Smallest Man”) and sells her a dream that HE can give her all these things she hopes for (again, “Down Bad,” “Smallest Man,” “loml,” song “TTPD,” “Broken Heart”).

But the thing is, he only knows these are the things she wants because she’s revealed it to him, and presumably, told him that was what she was losing by staying with her partner. And instead of the normal response of, “that is really sad that your partner is not supporting you and you deserve to be treated better,” to a friend in growing distress, it seems like it was, “well I can give you all those things!!!! Right now!!!! Trust me!!!!” And worked on her until she believed it, and jumped at the chance at a precarious time in her life. And one thing I want to underscore is: Taylor has agency in the situation always, it’s not like she’s been kidnapped and brainwashed. (In fact, she implores on songs like “But Daddy” that SHE is in charge of her own choices, good or bad.) She chose to rekindle the friendship and then relationship, and she chose to eventually leave her long term relationship for another man, and she reiterates on the album that she owns this all. But it’s also: nothing exists in a vacuum, and she makes choices based on emotions and information she has at the time, which is why it gives so much whiplash.

THE ALBUM

When you look at it as, the situation with the conman only happens because of what happened with the partner first and that the appeal of the conman and the fantasy he sells her is a direct reaction to that, it makes the “swirliness” of the music make so much more sense. And for much of it, even many of the “conman” songs on the surface are really “partner” songs underneath.

Fortnight

A suburban gothic allegory about a broken marriage with a distant husband with a wandering eye, which makes the rekindled romance with the neighbor so appealing. She’s miserable caged in her stifling house because she’s been abandoned by her spouse, so the reappearance of this past love reignites the passion that’s dead at home.

TTPD

“So tell me, who else is gonna know me?” “I chose this cyclone with you.” I’m gonna kill myself if you ever leave. Everyone knows we’re crazy. She’s laying it out there that she’s already in a dangerous state of mind, and she’s actively putting herself in more danger by pursuing the conman. “At dinner you take my ring off my middle finger and put it on the one people put wedding rings on, and that’s the closest I’ve come to my heart exploding,” spells this whole thing out so clearly: whether it’s an actual event (likely) or a metaphor for the promise he makes to her, the reason why it makes her heart explode is because it’s the thing she’s been waiting for forever with no movement, and here this person comes in and slips it on her finger in an instant like it’s nothing. (And eventually, as we’ll come to know, it is absolutely nothing to him.) You mean it could have been this easy this whole time?! (Well, no. Not until a certain other suitor makes his appearance later.) It feels like she’s finally getting everything she wanted in the blink of an eye! How lucky! How convenient! What was that about the get-love-quick scheme you say? (Unsaid: the reason why this feels so urgent is because there’s a sense that time is running out in so many aspects of her life and not just the obvious. Which reappears later on.)

Down Bad

“Did you really beam me up in a cloud of sparkling dust just to do experiments on?” sets the scene for this euphoric experience in the moment that starts to feel violating once the dust settles (which is then followed up in “Smallest Man” and the spy mission on her). The bridge spells out how he weaselled his way into her life, preyed upon (intentionally or not) her emotional state, sold her a dream and then vanished, without the benefit of hindsight yet we see later in the album.

The alien abduction metaphor is pretty brilliant, because it shows both how she was desperate to escape the place she found herself in, and how much it screwed her brain to then be left stranded when the affair was over. “[I loved your] hostile takeovers, encounters closer and closer,” is so evocative because it details how the situation came to be: his overtures under the guise of friendship blurred lines until he made her an offer that she eventually couldn’t refuse (hostile takeovers) as he infiltrated her life more and more intimately. The sad thing is that the song has parallels to how her relationship with the partner started too in earlier albums, in that they ran away to live in their own bubble (or planet) only for him to metaphorically abandon her as the years went on. (Oven, meet microwave.)

My Boy Only Breaks His Favorite Toys

Being continually emotionally broken down by a person who knows he’s hurting you but still acts the way he does. (The original voice memo version makes this even clearer and it’s rather heartbreaking.) “He saw forever so he smashed it up,” speaks to the loss of a future the person became scared of, and the original lyrics (“he saw forever so he blew it up”) somehow cut even deeper to me because it feels so much more intentional.

Also in the original version, “he was my best friend and that was the worst part,” also speaks not only to the loss of an entire partnership in the wake of this hurt, but also to the feelings of betrayal that the person you trust so deeply has the ability to hurt you in this way too, and how it’s a one-two punch of not only losing the relationship but also your closest confidant. (It’s like the sequel to “Renegade” and the missiles firing to me.) Again, there are shades of both/many situations in the song, pointing to an unfortunate pattern in some ways. The situation in “My Boy” is part of why she was so low, and why the “get love quick scheme” was so appealing later on. And it dovetails nicely into…

So Long, London

The most explicitly “partner” song that puts a coda on “You’re Losing Me,” and is Track 5 because it’s the emotional underpinning of how she got to where she was, and drives the events of the rest of the album. It spells everything out: He withdrew, she tried to fix it for both of them, eventually even that stopped working, he was oblivious to or minimized how badly she was suffering and his (in)actions couldn’t reassure her, he wouldn’t move forward on their future plans and stewed in his own struggles, she was spiralling out of control trying to hang on and ultimately felt like she was going to die if she didn’t leave.

But Daddy I Love Him

Like a direct reaction to “So Long, London” in that she breaks free from the death of one relationship and throws herself with reckless abandon to the next, fuck the haters. How dare you judge me, when the relationship you think I should have stayed in was killing me? (Dutiful daughter all the plans were laid. All you want is gray for me.) Fuck all of you, I’m going to choose whoever I want! (So what if I have a baby with HIM, huh?! I tried doing it the proper way and look where that got me so now we're back to square one) It’s again her imagining how wonderful and freeing this “wild boy” is going to be for her, and how wrong she’ll prove everyone. THIS TIME she definitely got it right. So what if she has to run away! So what if she scandalizes the whole town! They don’t know what she really wants or needs anyway! She’s the only one of her (hee-hee-hee) and she’s the only who gets to decides how this goes. (Because: she longs for control in a situation she’ll eventually realize she has little of it in, which we’ll find out is a recurring theme in her life.)

Fresh Out The Slammer

Also spells out what happened with the partner in the first verse and the pre-choruses, which is what makes the conman so appealing as the imagined jailbreak. The bitter loneliness vs. the sultry passion she builds up in her head as she awaits her release from prison is key to understanding the two sides of the story in the album. There’s this whole outlaw imagery (which is also carried through in “I Can Fix Him”), but it’s contrasted in the end with her and her reunited lover sitting on park swings like children with “imaginary rings” — because “Ain't no way I'm gonna screw up now that I know what's at stake.” What’s at stake is lasting love and the promises that come with it (marriage/family) that are precious and time-sensitive. The imaginary rings are both a nod to the youthful dreams of her and her new/old lover, but also has a double meaning to me because those promises aren’t built on anything together; they're made up, intangible. (They’re no more concrete than the plans that went up in smoke with the partner.) Like with most of the conman situation, it’s all a fantasy in her head that has yet to happen, and as we find out later in the album, reality ends up leaving much to be desired.

Florida!!!

Broadly speaking, it’s running away from your problems and wanting to disappear from your life. (But again: the life she’s disappearing from is the cheating husband she may or may not be feeding to the swamp-- another miserable marriage.) What kind of flies under the radar though is the “I don’t want to exist,” line, which points to her dire state of mind that led her to fleeing to that metaphorical timeshare down in Destin. In many ways about cheating death.

Guilty As Sin

Yes it’s the “masturbation song,” but again the nuance is that she’s left to pleasure herself because her partner has abandoned her emotionally and even physically, i.e. “my boredom’s bone deep.” To be blunt: they aren’t even intimate anymore, so she starts fantasizing about the guy she used to have chemistry with who’s reentered her life and is making moves on her. And realizing that she’s now finding release in another man (albeit imaginary) breaks her even as it reinvigorates her because she finally understands that the relationship she’s in is effectively dead. (“Am I allowed to cry?”)

Who’s Afraid of Little Old Me

This isn’t about relationships, but about society and its reaction to them in a general sense. But again, she’s left to stew in all this anger and hurt as she’s been abandoned at home, then abandoned by public opinion, and the public attack on her is part of the origin as well as the end of that story. The trauma inflicted upon her detailed in the song is the reason why she felt trapped in the first place, which led to the decisions she’s made and habits she’s leaned on ever since.

I Can Fix Him (No Really I Can)

This is one of the few songs that is the most completely conman-coded, and shows when the delusion finally breaks at the end of the song. She spends the whole song being like, “no really, I alone can make him better! You’ll see! I know he’s gross, but he’s mine! It’ll be fine I swear! You don’t know anything! Uuuuuum hmm wait actually what the fuck—“

Loml

Oof. THE song. Again the surface reading is about the “conman” who comes in and sells her the lie, but the pain is because all the dreams she writes about are HER dreams and implied that they were the dreams she built with her partner that the conman sold back to her. I could do a deeper dive on this but most of the song is applicable to both relationships, which not only shows the “swirliness” of her writing, but also how they both ultimately did the same thing to her in different shades.

The bridge and the last chorus are kind of fundamental to understanding it all, and her ending it with “you’re the loss of my life” is about, among other things, how falling for this trap blew up the life she built and dreamed of for good. (I could talk about this one forever.) “You shit-talked me under the table, talking rings and talking cradles” to “Our field of dreams engulfed in fire” is a hell of a line and progression, and again, indicative of what the real driving force behind the whole album is. The shit-talking is because he took her dreams (of marriage and children) and hyped it back up to her tenfold whether in a moment of his own delusion or for more nefarious reasons — much like how the man prior kept promising these things but never followed through, which left her vulnerable to someone who appeared to offer them enthusiastically. The field of dreams isn’t just the one with the conman, it’s the one with the longterm relationship she’d built the dream with in the first place, because the conman’s actions are part of the reason the LTR went up in smoke. (Not the reason for the rift, but the consequence of the final break.) And THAT is why it’s the loss of her life, so completely.

When she says “I wish I could un-recall how we almost had it all,” IMO it’s not just the fake future that the conman lures her into, but also (and perhaps mainly) the once-real one she had with her partner and the loss of which that made her susceptible to falling for the con in the first place. There’s honestly so much between the lines in this song that covers every theme and speaks to the grief of seeing the life she imagined slip away, slowly by the first man then annihilated by the second.

I Can Do It With a Broken Heart

The juxtaposition of “He said he’d love me all his life, but that life was too short” and “He said he’d love me for all time, but that time was quite short” sums it up to me (and parallels “loml”), because they are two different situations, but they cut her just the same. In the first, “that life” IMO was the life they’d built with the dreams that went along with it and it was too short because he never followed through, and in the second, the “time” was quite short because it was the frenzy of the whirlwind romance that fizzled as quickly as it began. The life that was too short led to the time that was quite short.

The Smallest Man Who Ever Lived

This is definitely THE conman song. The rage, the shame, the violation, it’s all in there. But the key to it is the bridge and the espionage imagery woven through it. A honeypot scheme is when spies target a mark and seduce them to gain their trust and their privileged information for their homeland. So her likening him to a sleeper cell spy who set her up just to mine her deepest secrets and use them against her is a heavy, loaded statement. And implied: that valuable information she unknowingly held were her longings of marriage and family (the aforementioned shit-talking about rings and cradles she never got to have), and more importantly, those dreams preceded him reentering her life and then beginning his mission on her.

The insinuation then is: she confesses these are her deepest wishes which are now seemingly unattainable in her current situation (e.g. with her partner) -> he convinces her HE will give them to her and make the dreams she pines for come true -> she falls for him and blows up her life to make it happen -> he gets what he wants (thrill of the chase/sex/the idea of her/whatever his intent was) -> he abandons her when he gets what he wants, or rather it isn’t what he wants or can handle -> she’s left a) all alone b) with dreams unfulfilled c) with no answers d) feeling used at having her most sacred wishes used against her.

Again, the song is unquestionably about the way the conman absolutely destroyed her, but he was able to do that because there was this thing she wanted more than anything, that was dying in her previous relationship, that he was able to prey upon to seduce her, then discarded her and her dreams as soon as it was inconvenient for him while absolutely hollowing her inside out. (And again: the devastating thing is that this also applies to other relationships she’s written about, in different ways.)

The Alchemy

Not about either the partner or the conman directly, but it (loosely) touches on her finding herself after the whole oven-to-microwave experience and opening herself up to life and love again. #GoodForHer

Clara Bow

This isn’t about the romantic relationships on the surface, but it is about how damaging the entertainment industry and public life are on women, and how women are only valued for their beauty as commodities until they can be discarded and destroyed in the process. Which I think plays into the circumstances that led her to make the decisions that she did years ago, and why she makes the ones she does now. (But also, being valued for physical traits and appeal for the male gaze brings us to…)

The Manuscript

The “original sin” that kicks off all of this. Again, at first light this isn’t about the partner or the conman, but the person it is about is the reason why she has made all the decisions she has ever since in relationships (and that’s Mr. Plaid Shirt Days from “All Too Well”). The realization that her first serious adult relationship is what cemented these patterns, and this view of herself and her worthiness in relationships, is profoundly sad. An older man who valued her for being so mature for her age and implying that the mature activities ahem associated with that were the performance benchmarks in her ability to carry a relationship, only to leave her, was earth shattering. She placed her faith in this person, but then the way he treated her changed her view of love and of herself.

She took his innuendo about “pushing strollers” as a sign of potential commitment, whereas he ultimately meant it as foreplay, and she was too young and naive to know the difference. So not only did she learn from that that this man (and men) didn’t view commitment and family the way she did and that it was something to be toyed with, but she also learned that her value to them among other things was sex. Imagine being an idealistic 20 year old and your boyfriend ten years your senior tells you, “if the sex is anywhere near as good as our dates have been, we’re going to be making babies before you know it,” (e.g. this is relationship is serious) and then he dumps you: does that imply that the sex was not in fact that good? (E.g. that you’re not worthy after all?)

No, obviously from this side of life, it’s because he was a commitment-phobic playboy, even if he did love her, but she couldn’t have known that at 20 and instead internalized that shame. But, it did send her on a path of how she approached sex and love and relationships for over a decade afterwards. And her coming to the realization that that first act of (perhaps unintentional) manipulation is what informed her actions thereafter helped her break the pattern. Her worth to men is not just sex, she has value and her hopes and dreams have value, she doesn’t have to change into a different person to please anyone, because if that is what they want, they won’t ever want her anyway.

It’s been described here on Tumblr by people more eloquent and astute than I as a song that encapsulates the album as this: one did it slow (partner), one did it fast (conman), and one did it first (first love)— and that is haunting. After years of men minimizing her dreams and desires, if not outright using them against her, she’s finally at the point where she can let it all go and move on for good. (There’s a whole other tangent about consent and shame and manipulation, but that’s an entirely different kind of discussion. But it is so devastatingly contrasted with “you said if we had been closer in age maybe it would have been fine, and that made me want to die.”)

THE SUMMATION

This is just my interpretation of it, but in going through the standard album, it feels pretty clear how cohesive the album is about a story of love and loss and grief, then reckoning with what caused it all in the first place that set a person on this path. It’s a formative experience at a young age that was traumatic and led to certain coping mechanisms and a shaping of one’s self-perception, as well as the reaction to external pressures that try to dictate behaviours and influence how one feels one deserves out of love which makes it harder to know when one absolutely deserves more and better. And leaves one struggling to cope with loss when there isn’t anything else to hold onto. Then in light of one’s life blowing up, learning to find oneself in the aftermath all over again.

On another tangent that is somewhat related to the theme of loss, the way she writes about the two main muses on the standard album also ties into how the situations converged to create absolute carnage on her emotional and mental well-being. With one situation, she’s talking about a concrete life that crumbles under the weight of their struggles; with the other, the entire thing is a fantasy that she builds up in her head, and when it comes to fruition it falls far, far short.

If you look at the “microwave” (conman) relationship, you realize that almost everything she writes about it happens before it actually becomes reality, and it’s mostly her imagining how great it’ll be, but with few exceptions, when she writes about what actually occurred, it doesn’t even come close to living up to her expectations. “Fortnight” is an imagined future where she escapes to Florida and his touch finally starts her stalled engine (ahem). “TTPD” is perhaps the most positive retelling of their time together, but even that implies he was better off stoned and when he sobered up he succumbed to his demons all over again, and more importantly she conveys how she also is in extreme distress, barely concealed by the veneer of being infatuated with him. (E.g. saying to that she’ll kill herself if he ever leaves her — the implication is that she is absolutely serious about it when she “felt seen.”) And that the warning bells are going off in her head, but she feels like this person is the only one she can be with (because they’re equally fucked up and the chaos he brings into her life makes her feel alive when she felt so close to death).

“Down Bad” is the most explicit about being in love, but she’s also left completely confused and disoriented by him disappearing, wondering if any of it was real and the seeds of violation creep into her consciousness (“did you really beam me up in a cloud of sparkling dust just to do experiments on?” “Waking up in blood.”). “But Daddy” is her imagining she can tell everyone to fuck off for telling her what to do with her life. “Fresh Out The Slammer” is her fantasizing about this man while feeling trapped in her relationship — but never in the song is she actually reunited with him; she’s using him as the projection of all the things she’ll make right after being wronged by her partner. “Guilty As Sin?” Is very obviously about her fantasizing about sleeping with him, but again it’s such a minefield for her because it hasn’t happened yet; they’ve only just reconnected. “I Can Fix Him” is the only song other than “TTPD” that shows them actually together, and it’s the one where she keeps saying, essentially, “I know he’s gross but I can rehabilitate him into an upstanding person, trust me,” until the mic drop at the end of the song where it finally hits her that no, she can’t, because this is who he is, not the person she’s built him up to be.

“Loml” is when it all comes crashing down, and the song emphasizes everything he did and told her, e.g. that she’s the love of his life, but she doesn’t return the sentiment in the song about their time together. Because now that it’s past tense, she knows it wasn’t actually love. (And says as much in the album epilogue poem.) “Broken Heart” is her reeling in the aftermath, but again, it’s “he said,” not “I loved.” And then there’s “The Smallest Man,” where she eviscerates him: he also pursued an idea of her but didn’t care much for the real her in front of him (who else is gonna know me?), he love bombed her only to hurt her (crushing her dreams), he was constantly stoned (and not just in the funny munchies kind of way), and he wasn’t even a good lover (despite the fantasy she’d created before). That last point is especially striking because she spent albums singing about the importance of and pleasure in (sexual) intimacy in the relationship with her partner (sometimes to both their own detriment) and how it was at times the only way they could connect, but in this case, the idea she hyped up and acted on in her head about this lover never panned out in practice. She spells it out in the epilogue: it wasn’t a love affair, it was a mutual manic phase.

In contrast, there’s a lot more tangible action in the “oven” (partner) parts of the album, showing how hard she tried to make the relationship work in real life instead of just in her head. All of “So Long, London” is her detailing how she tried to break through to him and support him, even when he rejected it and pushed her away, thinking she could carry them both until they ultimately sank, but she did it because she “loved this place for so long.” (The place? Not just the city, but the home and perhaps most importantly, him.) In “Slammer” she stayed with him even as things disintegrated for “one hour of sunshine.” (E.g. holding onto the rarer good times even as they were fewer and further between, hoping things would eventually turn around.) And like in “London,” she held on despite people in her life pleading with her that it was hurting her. (Which is also echoed in “Slammer.”) In “Guilty” her boredom is “bone deep” because the passion that once drove their relationship (and papered over their problems) has finally gone out too, so there’s nothing left to hold onto, leading to her fantasizing about the new suitor, which makes her realize her relationship has passed the point of no return. “Loml” is about the conman on the surface, but the undercurrent of all the things she says about him is that he was co-opting the dreams that she was clinging onto for dear life in the previous relationship, which is why the con is so painful; the field of dreams he sets ablaze isn’t just the fake painting he sold to her, but the original artifact (her life with her partner) too.

All the physical and emotional labour she puts into the relationship with her partner ends up reflected in the fantasizing she does in the one with the conman, which is why it is so confusing in the moment and so lethal when he leaves her without any answers. She wants to get married and start a family with her partner which keeps getting stalled; the conman mock-proposes which makes her think he’s immediately serious (“TTPD,” “loml”). She feels caged by having to hide with her partner and shrink herself; the conman promises he’ll stand by her side publicly and let her shine (“Smallest Man”). She sinks into a deep depression in her loneliness as the relationship with her partner careens off a cliff; the conman convinces her they’re meant for each other in a them-against-the-world way (“Down Bad”). The intimacy (in all senses of the word) in her relationship with her partner fizzles; the conman stokes the fire by sending her secret messages and reigniting passion (“Guilty”). She spent years trying to help her partner to no avail; the conman makes her think she has the power to reform him (“loml”). She feels misunderstood by her partner; the conman acts like he’s the (only) one who truly gets her (“TTPD,” “loml”).

In short: there’s nothing that the conman does or says that isn’t a direct response to what her partner did first, and it’s even worse because the conman knew how much her partner’s actions hurt her and he used that privileged information to paint a picture of what he could give her, but in doing so in some ways aimed at her heart with even deadlier accuracy. (I’ve likened it to him borrowing someone else’s life for his own joyride, until he crashes the rental car and flees the scene.) It’s why in the aftermath, the difference in emotions are so different: she feels nothing but rage and violation towards the conman for getting in her head and using her, whereas her feelings towards her partner are more complicated. There’s anger (at her lost youth and being taken for granted), but there’s also sorrow (at their lost life and future), disappointment (that he never could step up the way he’d promised or she’d needed), even compassion (towards his struggles) and a tiny measure of appreciation (for the good times they did share).

When you look at the bigger picture, the story the album paints is just so painfully normal. You have two people (Taylor and her partner) who once loved each other deeply, and despite warning signs early on telling them they have fundamentally different needs and ways of living their lives they fight like hell to make it work (the epilogue) until those warning signs become grenades that destroy their home (“My Boy,” “London,” “Slammer,” arguably “loml”). Having already been through at least one rough patch/break/breakup that she felt almost destroyed her (harkening back to Midnights on “You’re Losing Me,” “The Great War” and “Hits Different”), the final and fatal downward spiral of the relationship (“YLM,” “London”) and the grief over losing that future sends her into a tailspin, just at the time where a flame from the past (the conman) reenters her life and tells her all the things she’s been longing to hear and feel (“TTPD,” “Down Bad,” “Guilty,” “loml”) and, crucially, missing from the relationship that was once her entire life.

So in her panic, she falls prey to the (empty) promises of the past lover (“loml,” “Smallest Man”) and decides he’s actually what will save her from the free fall, because the alternative (that she will end up in a situation she doesn’t think she can survive) is too painful to bear. When she finally acts on these circumstances (leaves her partner/runs to the conman), she snaps, acting on pure emotion and adrenaline (“But Daddy”), but before she knows it, the new lover abandons her, and she’s left to reckon with the fallout of the episode and process everything that has happened (“Down Bad,” “loml”) — with the conman, with her partner, with the choices made in her adult life personally and professionally which leads her back to the moment she feels set her down that road at the start.

The TL;DR of this unintentionally long essay is that the reason the conman affair was so serious was precisely because it was meant to fulfill the promise of what was her life with her partner. To me, a large part of the story is that she projected that life onto the conman (or he projected her life back to her for his own purposes) because she wasn’t ready to deal with that massive grief and the life raft he offered felt like the only alternative to an even darker end. Whether the conman actually believed what he told her, or he went along with it or encouraged it because it served his purpose, we’ll never know, just like we’ll never know the finer details of what went on (nor should we). But no matter what, the album is just an extreme deep dive into all the ways grief can consume us, and whether it’s a long, drawn-out death or a sudden, inexplicable one, it can turn a person’s life into such a trainwreck that they act in ways unfathomable to even them, let alone the people around them. It can also unleash repressed trauma and mental illness that can crater your sense of self. And when those situations are compounded? It makes for a nearly impossible type of breakdown to unpack. (Which is why you might need a 31 song album to process it.)

[bloomzone]

If you're Islamophobic, stay the f#ck away from me. I don’t give a single sh!t about your so-called 'opinion.' I’ve already blocked 10 people and I’ll keep going so respect is the bare minimum if you can’t do that don’t come near me . You’ll never belong in my circle with that mindset

and thank you !

bloom

@bloomzone

[fatliberation]

One exhausting thing about being fat is the endless understanding and forgiveness you have to have to maintain any personal relationships. I overhear my mother saying how disgusted she is by fat Autistics. I’m a fat autistic. I can’t say anything about how deeply hurtful this is without being sensitive. My friend says only fat people will die of covid, so it’s not such a big deal. So I don’t deserve to live? Or the classic:“Ew I’m getting fat”. If you start a fight each time someone around you implies you don’t deserve life or your body is vile, you’ll spend your whole existence arguing.

I empathize with this so much, anon. My family (and some friends) are SO deeply invested in diet culture and fatphobia. I have a parent who is a lobbyist for the pharmaceutical company that sells ozempic and wegovy, and no amount of education or asking for human empathy will change their mind or make them treat me better. It's a hard reality to accept that you can't change everyone's minds. and it is so, so tiring and emotionally exhausting to have to advocate for your existence 24/7. I get burned out doing it too often. The thing is, you don't have to offer endless forgiveness. I'm currently working with my therapist on what to do about this, and the unfortunate solution is to set harsh boundaries (yes, even if they will never understand it or think I am too sensitive, or crazy... it is VERY uncomfortable but I am working on being okay with being misunderstood!) and distance myself from people who refuse to respect said boundaries. Next time my parent berates my food choices, tells me I'm going to die young, or compares me to an anti-vaxxer for not losing weight, I'm removing myself from their presence and tell them these types of comments are driving me away. If they want me in their life, they'll learn to respect me. It hurts, and it's so fucking hard when it's immediate family.

As for non-familial relationships, I've curated my social circle to (mostly) friends who are fat positive and it's one of the best things I could have done for my wellbeing. If I meet a potential friend who starts spitting some fatphobic bull, I avoid hanging out with them from the get-go. I've met most of my fat positive friends in social groups made for fat people, check out facebook groups to see if there's any fat community in your area!

Tbh I have always had this idea of carrying around little pamphlets or cards that are like fat liberation 101 for strangers, I would keep them in my pocket to hand out to someone who says something fatphobic to me so I can avoid confrontation (and exhaustion)... if I made those would you guys want them? 👀

[bananafire11]

Hi tumblr,

I'm tired and I've been considering making a masterpost with boundaries n shit, but this will have to do for rn,

It's come to my attention over the span of posting my Wretched au that some people haven't read my bio. I am a MINOR. I'm saying this because I've gotten comments under my posts or in the reblogs that make me uncomfortable, if not a little pissed off that people are saying innapropriate crap about my au.

Please, please do not sexualize my wretched au. Or any other au of mine for that matter. I create them for fun, not for fetishes. And to clear this up, i'm in no way judging you for liking what you like, but for fucks sake keep it to yourself and off my blog.

Thank you.

[meganegatari]

ellie community be normal for two seconds challenge!!! wtf is wrong with you people...both in content presented and just like general views...??? what happened to getting along, giggling about our headcanons, sharing sweet fics of our girl...ffs..get it together please before you chase off everyone who wants to have just a good old time.

[yourlocalxiaosimp]

Due to recent events, I feel like now would be a good time to set a few boundaries.

General boundaries

- no asks for money/go fund me asks. I’m tight on money and they make me uncomfortable

- Requesting drawings of ocs is fine

- I will not draw any irl people, but you can request a persona (a you-adjacent character)

- Please don’t send any chain asks. They feel a bit pressuring

- No assholery (homophobia, transphobia, aphobia, racism, sexism, etc.) will be tolerated. You will be blocked.

^this does not include making fun of assholes cuz that’s funny

- Asks about my ocs are very welcome, and in fact encouraged

- venting is a-okay, sometimes you just gotta tell someone :)

- this isn’t exactly a boundary, but please bear with me if it takes a while for me to understand what you’re asking me

- NO NSFW! Swearing and fictional blood is fine but besides that GET OUTTA HERE

Apparently I need to add a direct message section to this

-everything mentioned above

-I would prefer it if we’d have interacted at least a bit before you direct message me

-I don’t mean to like an asshole, but please don’t ask me for help with extreme issues. I’m barely an adult; I cannot help you.

-^this doesn’t mean you can’t ask me for advice. Do know that I’m not the most skilled in advice giving

Uhm. New section! IF I HAVE NEVER TALKED TO YOU DON’T TAG ME IN SHIT. IT’S CONFUSING, SLIGHTLY WEIRD, AND MAKES ME VERY UNCOMFORTABLE. (at least interact with one of my posts first)

This post will be added onto as I figure what I am and am not comfortable with.

[renmackree]

What's the polite way to say "Get the fuck away from me with your Ai Writing, I'd rather stick a fork in my leg than 'beta' it for you."

Asking for a friend.

[tacticalprincess]

i see that ur half black (?) can i request race play with konig?

no you cannot!

[carnage-cathedral]

also genuinely if you feel you must name yourself after a crime maybe use a different spelling. or just a regular name that is similar. for example on the specific name you were talking about: archer. arden. arlo. so many beautiful normal names in the world to choose from that all sound better.

another great point. there are plenty of options. and even if you do insist on using the name of the crime, don't go into a victim's inbox and argue with them about their boundaries about it

[solacefish]

Are you willing to write a yandere Sebastian or does that go against your boundaries?

I can write yandere stuff! I don't mind obsession and things along those lines - a few of my drafts have things along those lines regardless.

[animation-is-my-jam]

Controversial (ig), but I still think it's okay to bash people for getting upset they can't be publicly inappropriate with the characters for a kids' show or write weird shit. Do you want to end up like that Sofia the first meme? Idc if the characters in the show are adults, the internet is already hostile to young fans of anything, and even in places that are supposed to be friendly with their demographic interest, they have to deal with seeing anything weird. I am just too traumatized from the psychological damage the mlp fandom did? Yes; but it's a good lesson to know, so anyone else who was like me doesn't have to be dismissed at for feeling uncomfortable. Heck, still today, I'm uncomfortable with that stuff in fandoms from kids' shows.

(Of course, with other media or shows that are clearly for older audiences, I don't care. Do what you want on that front it's like pretty fine i won't judge.)

But yeah, I've just been feeling like that because of a weirdo in my ask box. And I'm like, oh yeah, I keep forgetting freaks exist.

[hawkepockets]

i’ve been really trying for days and days to wrap my head around the entitled & dismissive attitude many people have toward online artists and i just don’t get it. like it tends to come down to “what’s stopping me from copying the design of your adoptable without paying/making a fursuit of your closed species/reposting your work without credit/feeding your work into an algorithm that reproduces it/getting your drawing tattooed without asking you/using your oc in my tabletop game/(insert whatever minor thing they’ve been asked not to do by an artist)? you have no enforceable ownership over an image/idea.”

and often it’s paired with the totally contradictory assumption that artists CAN punish rude people and art thieves by leveraging copyright law or cancel culture.

when the reality is of course NOTHING is stopping you from doing any of those things, in most cases the opportunity loss for the artist is not a large sum of money, and there is NO recourse for an artist whose flimsy, maybe silly requests were ignored. the worst that can happen to you is being made to feel bad for being rude—and that’s only a risk if you talk abt your rudeness online.

like. i truly don’t get it at all, what’s being said. i don’t think buying an adoptable from a small artist, for example, is “petit bourgeois behavior” or “basically nft trading” or anything to do with corporate IP protections. i think it is a nice thing to do thanking the artist for their time, effort, and imagination when they made a design you like and want to use. if skipping that step and just copying their work makes you feel a twinge of guilt, or god forbid nets you some sharp comments on social media… idk what to tell you. no one can force u to be generous and respectful. but your little display of inconsideration is not occasion for you to write a thinkpiece abt how no!! it’s the GUILT that is wrong! it’s the very CONCEPT of netiquette that is counterrevolutionary and bougie and wrong!! ��

aw.. but you don’t LIKE being chastised. you don’t LIKE to feel bad. everyone should be PREVENTED from chastising you and making you feel bad!! you should be free to treat people however you like and they should be restrained from reacting!!

….right?? isn’t that it?

besides which it’s so senseless to characterize artists as an enemy class when truly 🐀 anyone can draw.

u guys cant reblog this. but i have no pseudolegal avenues to stop you from copy and pasting it onto a rebloggable post and

[bright-and-burning]

Different anon here. I feel like you should try to take that ask in good faith. If they didn't like you/your content they would have unfollowed and moved on without reaching out. It reads like they were trying for disarming/jokey familiarity (which imo doesn't ever work on anon) but their fundamental ask - can you tag personal posts - isn't wildly unreasonable. Don't feel obligated to reply to this, I get you probably don't want to bog down the blog with this stuff. Just 2 cents from another internet stranger.

calling me and my thoughts excruciating goes way beyond jokey familiarity. and sucks every ounce of motivation out of me to make “content.” writing fic is deeply personal. it’s my blog; it’s not a dedicated f1 sideblog. this is the only one i have. there were many many many ways to phrase that that wouldn’t have made me seriously consider deleting my blog; they chose that one instead.

[dumplingsjinson]

Let me just uh, set some hard fucking boundaries with some of you people in regards to MY relationship.

Do not keep questioning my choices on MY relationship.

First of all, you're not in this relationship. Let me mess up and find out, if worse comes to worst. Let me fuck around and find out. I'm not going to blame you for not warning me, don't worry. Seriously. So stop questioning me.

Don't keep asking me, "Why don't you label things with him? I think it's bullshit that there are no labels. What's the POINT of this relationship if you're not labelled as such and such? You're just wasting your time. Stop that. It's weird. This doesn't seem right to me. Why call it exclusive if there's no labels?"

Let me fucking date how I want, damn. Let me be in a goddamn relationship how I want, without me needing to explain myself to you. You, who I don't even know. You, who's not even a mere acquaintance of mine. Even my friends aren't questioning me, so who are YOU to question me when you know virtually NOTHING about our relationship?

Why are YOU, as someone who doesn't know the full fucking picture, trying to enforce your rigid little rules onto ME? If you like labels and only commit strictly with someone once those labels are established, good for you! Do you!

But don't go on the internet, read the stuff someone shares (which doesn't paint the whole picture, mind you, because I'm not sharing my whole goddamn life biography on here) and then go running into their inbox and yell at them for their choices, or because their choices differs from yours. Don't do that because you don't KNOW them. Don't act like you know everything from the small details you've read. Yes, I share things on here, but only things I'm comfortable sharing. Surface level shit, basically.

What you think is normal isn't always someone else's normal. Please remember that.

The way some of you act in my inbox... It's embarrassing at best and disgustingly rude and kind of intrusive and also insulting at worst. And because you've got the anon feature on, you think you can just say anything. (That's a whole other rant I've been wanting to get off my chest. I've got a few drafts I've never posted that are from months ago lmfao).

Now, to tone down the aggressiveness for a fraction of as second, I get you care about me and it's probably coming from a good place, but I am TWENTY. THREE.

Let me remind you.

TWENTY THREE.

Not three.

Not thirteen.

TWENTY. FUCKING. THREE.

I can make my own decisions. I am a legal adult, probably moreso than some of you out here coming into my inbox and full on trying to start an interrogation with me like I did something wrong for wanting to do things MY way for MY relationship.

And SLIGHTING me for my choices is where I'm setting the hard boundary at.

DO NOT, and I repeat:

DO NOT...

...under any circumstances, come into my inbox and act like I'm a dumb fucking bitch. (I am a dumb fucking bitch, but I'm also a self aware dumb fucking bitch. There's a difference.)

I know what I'm doing, I know the consequences, I know what I'm in for. I'm not fucking stupid and naive. I'm not a 13 year old about to start her first relationship with her high school crush.

So stop treating me like a donkey, and stop questioning my choices. Remember, as harsh as this sounds, some of you need to hear this and REALISE this: You've got no place in my life to do that. Absolutely fucking none.

Learn to read the room and learn that there are lines that shouldn't be crossed.

OH, I need to add this here. Before some of you come into my inbox and ask me WHY I'm sharing shit if I'm not open to opinions on my choices... There's a difference between opinions and civil discussions, and crossing someone's boundaries and questioning their choices because you think YOUR way of doing things is the right way to do things.

Just because I share some stuff on here doesn't mean that warrants you an automatic pass to shit on my choices. Fuck that bullshit, because that's just shitty behaviour and you need to look inwards and realise you're doing a lot more harm than good by being a piece of shit to someone you essentially do not know.

Remember, if you won't say this shit to someone in real life while looking them in the eyes, then don't fucking say it on anon in some stranger's inbox. That's a dick move, and you're a prick if you do that. Fix yourself, for the sake of humanity.

That is all.