people love posting about the most absurd mountain goats lyrics so here's my favorite. Beach House off Hot Garden Stomp (1993). he rails against seals for 3/4 stanzas. he has played it live several times.
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I feel like I’m beating a dead horse when I talk about how “Better Than Revenge” is an important part of Taylor’s discography. It acts as a point that you can trace her own growth from (as well as society’s) and it’s also just an interesting artifact from the 2010s that tells what the culture was like. I don’t understand how some people can immediately push it away without realizing that it is indicative of something so much bigger than Taylor herself and look at it from a cultural perspective.
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the gap between tmbg wiki song interpretations and the band's inspirations behind writing them is always funny. bc the interpretations inevitably bring up how the song is actually about an unflinching reflection of someone's shattered psyche as they grapple with their own mind and they're very depressed and dead the whole time also, and then you read up on the song's production, and it's like, "I had a bad dream :("
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I'm gonna nerd about music and my feels for a bit but whenever I listen to this song in particular, one thing that REALLY stood out to me was at the very end of the song. Right after the high-pitched horn sound, there were bits of sounds that reminds me of how sparkles would sound like. A sound of fleeting magic in the midst of nothingness.
When this score was played in the episode, the end of the song cuts to Don's house. He was last seen playing pretend with his kids, knowing not even an ounce of the idea that his world, along others, were at the brink of destruction. If it weren't for Loki, this simple life would've never existed.
Now, hear me out. I'm very much reaching here and I'm like, 100% sure this is just my brain connecting the nonexistent dots. But, the mirror between both medias just felt really impactful for me.
Why?
Obviously, Loki's magic had given everyone a second chance. Not just his friends, or people in the TVA. Literally everyone. Even for someone insignificant like Don. The thing that saved best for the last is a mundane life everyone has, and I think it's beautiful, because you learn to perceive life on a better light knowing someone wants you to enjoy that while it lasts.
Especially for Mobius, though. It felt bleak knowing a good friend he had in a long while was taken away from him. But, he too, stepped out from his comfort zone and got to see what was his life before the TVA altered him to who he is now. He seemed uncertain of how his future is going to work now he had resigned from his position but perhaps looking back to his older footsteps would give him an idea of what's to come.
Perhaps in the end, there will be better hopes for both him and Loki. It's a fucking bleak outcome for both, and you might wonder if this what their fates were meant to be, even under the fact there are many possibilities for them to be together now. Are they really meant to be separated, despite the signs littered around the show said otherwise? That can't be it, yes?
The overall run of this song is hauntingly beautiful. Gloomy yet optimistic, it's a song that wraps the show in a light so positive yet caustic. Sure, things don't go the way you would've wanted, but the future is flux, so why not look forward for that?
I'd like to think the spark at the end is the sound of hope. And it could be anything. Hope of everyone for a better, lasting future, in the middle of darkness. Hope of TVA to run its course well in the embrace of the void. And, well...
Hope for Mobius to be able to see Loki again someday.
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I think it's fascinating how in The Bear, these are people with jobs, doing a job, as adults and professionals; not a single one of them goes on a long monologue about their feelings except for Carmy at the very end (not even with his coworkers! in his support group!) after you've basically pieced together what he's about to tell you.
everybody else just handles their shit, and addresses it slantwise if at all (eg, Tina shows off her new professionalism to Ritchie and Carmy, not Syd; Ritchie talks about Ceres and the Chicago Board of Trade rather than the way his world is passing away.) As much as I love actors getting a chance to fucking gnaw on some scenery, there's something about the obliqueness of it all that strikes me deeper.
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so I heard you wanna talk religion in ttpd! let’s talk I Can Fix Him (No Really I Can).
“they shake their heads saying ‘God help her’ when I tell ‘em he’s my man.” this isn’t the outright controlling judgment of the saboteurs in But Daddy I Love Him. nobody is trying to tell her what to do or force her to break up. this is a simple admission that the situation she’s in is difficult, that she’s chosen a hard path and needs help. and what is her response? “your good Lord doesn’t need to lift a finger, I can fix him, no really I can.” she admits salvation is needed. but Taylor is casting herself as the savior. she doesn’t need any help, any grace, any divine assistance. in fact, she doubles down: “only I can”. she and she alone has the power to reform this man, because of the love between them. it’s reminiscent of False God, except now the idol isn’t their love, it’s just her. she’s going to save him.
what’s interesting to me is we don’t know how the themes of salvation would have been recapitulated in light of the reversal at the end of the song, “whoa maybe I can’t”, because the song ends there. maybe she can’t fix him because he is ultimately unfixable, irredeemable, worthless. or maybe she can’t fix him because she’s not God. and honestly, I think the song is meant to leave us wondering. she’s waking up to reality, but is the reality his smallness of soul or her power trip?
so what is the blatant Christian language in this song for? is it telling us that Christianity is evil for implanting the idea of redemption into our minds when it doesn’t really exist? or is it a hint that trying to become our own gods, even with the best of intentions, is a pathway that leads only to death?
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