#taylor swift plots

[gcldcnhour]

taylor swift - the tortured poets department as plots pt 1

fortnight

the two met by accident, but the draw between them was too much to deny. and now it's a whirlwind affair. that was until muse b decides that they can't be unfaithful to their partner and ends things with muse a. now muse a cannot get them out of their head, and finds themselves finding ways back into muse b's life. and muse b can't keep turning muse a away.

fresh out the slammer

troubled teens turned young adults, muse a and b were always bad news together. that was until muse a finds themselves tossed in jail, taking the fall for muse b in the process. muse b promises to wait for muse a. but ten years is a long time. once released muse a finds their way back to muse b, only to discover that muse b is a completely person - married, uppity, nothing like the person they had once fallen for. could they coax muse b back to their old ways? can muse a step it up and win back their love?

florida!!!

for whatever reason, maybe a crime or forbidden love or need for a new start, muse a convinced muse b to runaway with them. they find themselves in a small town in florida, taking on new identities and attempting to start over. but the past always has a way of catching up doesn't it?

i look in people's windows

muse a and b met one summer, a brief fling. but muse a can't stop thinking about them, muse b plagues their thoughts. they know the two are meant to be together, that their stories aren't over yet. and so muse a continues to make muse b care, but continually fails. that is until muse a is about to give up...and muse b is there again. who knows what happens next?

the manuscript

two artists (actors, writers, painters etc) have been together for years, both struggling to make it big. they finally work on a project together - but as soon as they finish it their relationship dissolves. they promised each other they would only publish their project together so it takes a backseat. that is until a few years later, muse b is desperate for new material, and finds their old project with muse a. now they publish it (a book, movie etc) and are launched into fame. everything seems great until muse a shows up again, hurt and angry and demanding that muse b share.

[yuviur]

Summer vacation, 4am.

Tons of easter eggs in this one! Click the image to find them (and for better quality ofc)

Close ups and process shots under the cut, description in alt text

[stillgotscars]

why are people trying to pin the results of the election on taylor when she publicly endorsed kamala and encouraged people to vote? please take a look at the margins. frankly, there’s nothing else that she could have said or done that would’ve altered the outcome. i get that a lot of people are feeling angry and hopeless and despondent right now, but your outrage is entirely misdirected.

[wolfstarjunkie]

been thinking about a modern day au where jegulus have to work on a college project together and james goes back to regulus’ apartment to work and hes baffled by all the glitter and bright colors and vintage collectibles and record and cds everywhere because regulus always seemed so dark and serious, and honestly miserable and boring and realizes that he really didn’t know regulus at all

[mispelled]

Sanders sides au idea before I get slaughtered by today's dndads episode

[fantaorange]

practicing lining drawings without hating it and also sort of practicing expressions

[likethexan]

As a Orpheus/Eurydice lover I am not really vibing with retellings or iterations of them where Eurydice hates Orpheus’ music and his optimism. I don’t really understand the appeal of making Eurydice more interesting by making her hate the one guy who she loves in the myths.

[psychidelias]

Taylor Swift is very environmentally destructive for someone who was literally in the Lorax movie 💀

[paladinsbrainrot]

just realized that we’re going to see byler at 8 and 18 in the same season This Is Fine I Am Not Freaking Out

[romance-rambles]

au - hogwarts+same age!cael | what if she's written mine on my upper thigh

A sixth year at Hogwarts, Cael and his classmates have just recently been exposed to the qualities of Amortentia, the potion of deep obsession. Somehow, it helps him win a kiss from his crush.

1.9k, alternate universe - hogwarts (ft. young cael), fluff + getting together, slight jealousy, reader is mc, series: none

THOSE WALKING INTO THE SLYTHERIN'S common room have long since grown accustomed to the sight of you sprawled across the carpet, with a hefty textbook protecting your pretty face from the light that shoddily illuminates the area. They spare you no more than a glance before they disperse, readily seeking refuge in the comforts of their dorm room.

Certainly, despite wearing a Gryffindor's robe, most would consider you an honorary Slytherin. And no one in the history of Hogwarts has ever transferred houses, but that has not stopped some from their cohort from attempting to make you the first to do so.

Cael has, on occasion, been one of them.

Neatly, he folds the corner of the page, his gaze lingering briefly on the ingredients for Amortentia—the potion that had spurred most of his classmates into a frenzy. Every year, when the sixth years soon approached this particular subject, the result was the same.

Though ingesting the potion is quite dangerous, what most have a tendency to seek out is, instead, one of its unique characteristics. The scent reflects that which the person smelling it finds most attractive, and for a class consisting of mostly seventeen year olds, the prospect of being the lucky few who could find themselves a partner in this way is exciting.

That, or watching a relationship crash and burn, when the scents inevitably do not match.

Cael, for one, has no interest in the drama. Yet, for all his aloofness, even he isn't above such curiosity. The day the Potions Professor quizzed the class on the characteristics of potions they'd need to know for their NEWTs, you simply said:

"It smells nice."

Try as he might, he can't shake the image of your flushed cheeks and the pleased smile tugging at your lips. He was certain his own cheeks did not fare much better in that moment. It was a matter confirmed by your teasing, another unsubtle push to force him to confess first.

In yet another moment of pettiness, he responded in kind, leaving the both of them at a stalemate once again.

When did their habit begin? When had they come to notice the ways in which they could not live without the other person? When had they decided, quietly, that they would not be the first to take the fall?

There are times when Cael wonders if it would be worth it to lose. Then, you make his heart race faster than it has any right to on a Tuesday afternoon with only a smug grin—and he realizes, no, it would not be worth the lifetime of teasing.

Putting his Potions textbook atop the coffee table, he glances at his study partner for this evening—and for every evening after.

From the moment the two of you were introduced—by your mother, no less—you seemed to have decided he was the greatest setback you would ever face. So, he too had returned the favor. But had either of those second years ever considered a different nuance to the word "adversary"?

Cael nudges your shoulder gently with his foot. "I think that's enough of a break."

You roll over with a groan. The textbook in your hands slams shut, narrowly missing the chance to trap the tip of your nose in. Already, he's bribed you with food. With a trip into the nearby town, a denial of something more couched into his words. With a bet designed to stoke your competitive spirit, and more.

Nothing has stuck.

As his lips purse and a sigh threatens to escape from his lips, a thought strikes the young prefect. He bends over, one hand pushing up his bangs before the back of his hand gauges his temperature. The other repeats the same gesture on you.

"You're not sick," he says, the blandness of his tone masking his relief.

You hum. "No, just lazy."

In the absence of something to hold, your fingers take to doodling patterns on the stiff carpet. Each stroke disappears into the dark green surface and leaves nothing behind. Dimly lit as the carpet beneath is, Cael can still make out your words—written in cursive, the looping letters reconstructing your previous response.

With his hands clasped in front of him, he watches more of your doodles disappear into the green. NEWTs. Amortentia. The shape of a heart. The beginning of a phrase, starting with a cursive I. Its seamless stroke twists into an ever running spiral, up until you slice it cleanly through the middle.

"Move over," he soon finds himself saying.

Your hand stills. Then, as soon as you process his words, you erase your already blank canvas before pulling your hands closer to yourself. Cael settles down beside you, drawing his knees to his chest.

The edge of the coffee table sits dangerously close to his forehead. He pushes it away, back to its original position, before he moved it closer for his convenience. His other hand comes to rest on the ground.

Your fingers find a new canvas in it. As he curls his hand into a fist, the space afforded to you by the back of his hand shrinks. But it does not deter you from resuming your doodles.

A star. A flower. A bundle of leaves.

"Not going to study?" you ask absent-mindedly.

Cael snorts, combing through his hair with his free hand. "Hard to study when my partner is slacking off."

You ignore his words entirely. Years of hearing his snark has granted you a layer of immunity to it—on what amounts to a good day for him, he can tear it down with ease, leaving you to huff and puff your way through conversations. Today is not one of those days.

"Guess what I'm writing," you say instead.

An L follows an E, which follows an A, which follows a C. He's written the name enough times over the years to recognize the strokes blindfolded.

"My name."

The next is one that's haunted him over the years.

It's on the corners of his notebooks' pages. It sits interchangeably with his own, between the first and second places, whenever their grades are posted. In the forest when he visits their pet dragon, it's the name that slips out of his mouth with a sigh—whether Beanie is well-behaved or not.

"…Yours." He leans back comfortably, eyes closed as he waits for his next trial. The next one is a drawing, in two parts. You've only finished your haphazardly-drawn strawberry when he asks, "Hungry?"

Humming, you sit up. "Not yet."

Sitting shoulder to shoulder like this, he can discern the faint, sweet scent of your shampoo from the smell of fresh paint that has a tendency to follow you wherever you go. Those were two of the scents that the Amortentia potion had adopted for his sake.

The third took the form of a freshly-baked vanilla cake, overlapping with a lavender-scented candle. A memory from two years prior, the first year neither of them returned home—to your home—for the holidays.

Cael could've gone away on his own. Your mother would've been happy to have at least one of them at home. But it was his own choice to stay.

For Beanie, he said out loud.

For you, he said, in the quiet of his mind, where his childish secrets resided.

He opens his eyes, craning his neck ever so slightly to watch you. You're gazing into the distance with a blank look in your pretty eyes. At some point in the silence, you had copied most parts of his sitting position—the difference lays in where your hands rest. They clasp tightly in front of your drawn-up legs, as if to keep them in place.

"I give up," you whisper, turning your head to look at him.

"That's been the state of affairs for a while," the young prefect says wryly.

In your eyes, he counts a multitude of shades of purple. Hidden among them, he realizes too late, is a vulnerable sort of honesty he's only seen once before. Annoyance replaces it briefly. You sigh and tuck the loose strands of your hair behind your ear.

"I'm not talking about studying."

Cael stares blankly in response. He's no better off when you close the distance between them and pull back just as quickly. What lingers on his lips is the taste of your lip balm—and when he wipes the sticky residue away, a pinky nude stains his thumb.

By now, a few of the Slytherins who had escaped to their dorm rooms earlier have started taking space up in the common room. Most hover at the edges, finding their seats on the sofas that line the walls. It is usually only Ambrum, from his fellow housemates, who sits in as their third wheel, but he has errands to run today.

Your lips twitch into a faint smile, oddly smug for having become the loser in their little war.

"You win," you say, but he thinks the flush creeping up his cheeks might tell a different story.

extra: a few hours ago - the reason why you confessed

FRESHLY-MADE STRAWBERRY TOAST, THE scent of broomstick handles, and lavender—those were the three aromas that the Amortentia potion presented you with in class. As it turns out, Natalie, one of the many admirers that Cael somehow has garnered over the years, happened to land two of the three herself.

You learn this while hiding in the bathroom stall, waiting for her and her friends to leave so you can too.

On an ordinary day, you wouldn't be so cowardly. But when her conversation with her friends begins with what is essentially a declaration of war, you think it might be just a little awkward to walk past her on your way out.

This is the story of why you decide to give in, a secret that stays with you until a random late night years later, when it slips out in the middle of a play argument.

"I can't believe you're going to confess," one of her friends repeats for the nth time. Frankly, you can't blame her. You'd be doing the same thing in her position. "Doesn't he have a thing with that Gryffindor girl?"

Your ears perk up at the mention of yourself. For the past few years, most of Cael's admirers have left him alone for that very reason. You have a claim, however implicit—one that rivals the kind a girlfriend might have.

For the reason that you will, one day, be his girlfriend, just as soon as he gives in and asks you out.

"It isn't official, though." Natalie digs through her pockets for something. From the crack in the stall, you realize it's lipgloss. "I've never seen them kiss or go on a date."

"Still…" Her other friend says, in a hushed tone. "What if he turns you down?"

"What if he doesn't?"

It isn't until Natalie speaks up again that you realize how fervently you hoped the question would deter her. Realistically, you have nothing to fear. Even so, the messy emotion known as jealousy burns away at your rationality, leaving you to gnaw at your lip in silence.

"Well, good luck then." This time, it's the first friend who comments. She seems to adjust her hair before clasping her hands together. "We should get going. Lunch should be almost over."

They leave just as loudly as they came, the conversation easily shifting to the hows of Natalie's plan. You sit there in the bathroom stall, for longer than you should. Your knuckles turn pale; your long nails dig into the palms of your hand.

You wonder—if the only thing spurring her to confess is that the two of you haven't officially defined your relationship, then would doing so lead her to change her mind?

— happy birthday to my very awesome birthday twin, @xcerizex!

[llumimoon]

making an AU based off a show based off a doll line means I go WAY TOO HARD on trying to figure out the fits.

here are the designs for the Ever After High AU !!! :D the story this time around is like. WAY too complicated to explain in one post but like the super duper summarized version is this:

For generations the citizens of Ever After have been following the tradition of signing a magical contract in the Storybook of Legends promising to relive their parents' fairytales to keep the stories alive. But there's a bit of an uproar when the newest Evil Queen in ages refuses to follow her destiny and things start to get a little complicated as the students at Ever After High realize that maybe not everything has been played by the book in the past. When Normal breaks a magic mirror he REALLY wasn't supposed to find, his life and story are thrown into chaos. Add in some wildcard Wonderlandians and now nothing's going according to the script. Is a happily ever after really possible?

The AU doesn't follow the show to an exact T, we mostly borrowed some elements and the initial Raven and Apple conflict so there's quite a lot of surprises in store :3c

(EAH AU made by @rindomness, @kaseyskat, and I!! <3 :])

Edit: more designs

image description under the cut

[ID: Four Images of dndads season 2 characters in an Ever After High AU, the first two images being design pages and the last two being doodle pages.

Image 1: A character line up of three designs, from left to right Scary Marlowe, Normal Oak, and Hermie Unworthy. They are each labeled with the fairytale characters they represent, from left to right Evil Queen, Snow White, and Mad Hatter. Hermie has a speech bubble that says "Hello ~ Audience! (yes you looking here)". On the far left Scary stands with her left hand on her hip and her right hand resting palm up with swirlfs of magenta and purple magic coming up from it. She has a serious look on her face and is wearing black mascara and purple eyeshadow. Her hair is various shades of purple to pink and is put up in a side ponytail with a spiky silver hair accessory along with a silver chain around her forehead. She is wearing a black cape with a magenta underside and a sleeveless ankle length dress and long fishnet gloves. The dress has a fishnet neckline and a purple jewel with silver wings on her chest that connects to the hood of her cape. There are chains that connect on he bottom of the jewl to loop around her back. She is wearing a black corset with silver lacing and the bottom of the corset is embellished with silver feathers and a stylized silver crow head. The skirt has a slit down the right leg that is connected with a silver chain and has a dark purple mesh layer on the top half of it. She is wearing black leggings underneath and platform ankle boots that are also decorated with mesh, chains, and lace. She has spiky silver bracelets and fingerless gloves on the back of her hand that connect to a silver ring with a purple gem on her middle finger. To her right stands Normal who is at shoulder length height to Scary and stands up to Hermie's eyes on his left. Normal stands with his right hand up holding a red apple and his left hand playfully posed out by his side. He is smiling cheerfully with an open mouth and has one green and one brown eye. He is wearinf a small tilted red and gold heart shaped crown with a teal bow on the bottom. He has short curly brown hair. He is wearing a white high collared shirt with long sleeves, lace details, and puffy teal shoulders. He has a short red cape attached to a big red bow with gold trip on his chest and a gold apple brooch in the center. He has a brown belt with a gold buckle and gold chains connected to the belt loops. He has puffy teal shorts with three red slits on each side and a white lace trim. He has sheer white tights with white vertical strips and red and white boots with gold detailing and a brown heel. To his left stands Hermie who has his right hand holding a teacup filled with tea at his stomach and his right hand is up to wave at the viewer. He is smirking and has teal hair with various turquoise and pink highlights. He is wearing a purple and magenta striped hat wirh a teal polkadot bow. He also is wearing teal glasses with a circle and square frame with purple and pink lenses and a rose gold glasses chain. He has a striped teal vest that has a long coat tail with pink and purple detailing on the underside. He has a rose gold pocket watch in his vest pocket and a purple and magenta bow on his chest. The collared shirt underneath is a light striped pink and lavender with puffy sleeves that turn into big circle sleeves with a lace trim. He has pink and purple gloves with a magenta ribbon around his wrists. His skirt is mid thigh length and has three layers, the top layer is magenta and has teal and purple polkadots, the second layer is vertically striped with pink and lavender, and the bottom layer is lavender lace, and the whole skirt has rose gold detailing. He has thigh high horizontally striped socks with lace trim and teal, pink, and purple heel boots with purple bows and laces.

Image 2: A character lineup of two designs, zoomed in so that the lower legs are cut off. Link is on the left labeled Prince Charming while Taylor is on the right labeled Queen of Hearts. Taylor has a mischievous smile on his face and his fist in the air as he shouts "Off with their heads!" while Link has one hand up to stifle a laugh and a fond expression and the other hand rests on the hilt of his sword on his belt. Link is dressed in white and gold princely attire that matches Normal's color scheme and a similar but longer red cape and a teal belt sash. He has gold shoulder tassels and a simple golden crown. Taylor has red streaks in his hair and two heart shaped space buns. He also has a golden crown with red heart shaped gems on them, a heart card earring, and a red collar with a heart lock charm. His dress has a high white neck collar that goes around the back of his head and connects to a short jacket with puffy red and black striped sleeves and a white lace trim and golden heart lapel pins connected by a chain. The dress has a sweetheart neckline and is split down to his waist in a V shape in order to mimics the appearance of a white heart on his top. The dress then flares out into a big poofy skirt that has frills at the bottom and has big red and black stripes on it. A sheer top skirt has a white and gold checkered diamond pattern on it. He also has white and red striped tights and black mary janes with a red heel and a golden heart clasp. He's also holding a golden staff with a red heart jewl at the top.

Image 3: A dark grey doodle page on a light grey background. Normal is standing with an exasperated expression on his face and is squatting with his arms out shouting "Am I the only one who cares about following our destinies!?". In the bottom left corner Link os holding Taylor in a princess carry, the both of them grinning with their eyes closed. An arrow is pointing at Link that is labeled 'was supposed to be Norm's prince'. Scary is in the bottom right turned toward Normal with her tongue sticking out and her middle finger up. Her bangs obscure her face. Hermie is in the top right looking at the viewer with his hand cupped toward his face saying "Don't worry, he'll figure it out" with a knowing smile. His eyes are obscured by his glasses.

Image 4: A dark grey doodle page on a light grey background with a sequence of events that go from left to right down the page. Normal is looking desperately up at Scary and clutching an injured arm while Scary looks concernedly down at Normal with her hands hovering. Behind her stands Hermie who's in a intense thinking pose with a hand on his chin. Scary says "Norm what-" and is interrupted by Normal saying "I need your help. I didn't know where else to go." Hermie has a thought bubble above his head that says "Is this im the script?" The next section has Hermie snapping with his eyes closed saying "I'll make it a comedy then, that'll fix it." The next section shows a loud bang on the door behind Normal who looks surprised and the section after has someone outside the door say "Oh thank GOD," while Normal sighs in relief. The last section has Scary with a frustrated look on her face and her hands up with magic energy coming up saying in all caps "Ok what the fuck is going on." /end ID]

[koszmarnybudyn]

A wip because i dont have time to finish it today and i will probablly be busy tommorow.

[sanpape]

episode 35: Apollo four Teens is the best s2 dndads episode I've listened to so far like.

the teens get married as a legal loophole to get a banishment spell to work

Nicholas Foster Close being an ordained universal life church minister despite also being a demon

scary going insane from the doodler and reverting back to being a preppy soccer teen

hero forcing normal to set her up with Taylor AND Link, rapidly osilating between her crush on either.

the bit where the characters get sent back into space everytime they anull the marriage, only allowing them to pop back to earth when they recognise in their heart that the marriage is real and true

Anthony fucking up by accidentally having hermie anull the marriage and getting him sent to space

the teens petitioning red bull to send them space suits by doing stunts they hope will go viral

the anulled marriage bit coming BACK when link uses it to get sent to space for his red bull stunt petition

Taylor ALMOST having a really poignant moment with his dad, both of them floating in the vaccum of space with Taylor having to push his dad further away to save him.

normal anticlimacticly banishing nick to hell, immediately removing the danger and stakes and saying "he has two weeks he'll figure it out 🤷🏼‍♀️"

[ladyohdeath]

would anyone liked to be spammed with memes?

[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. ❤️

[atlasdoe]

"Who's afraid of little old me is about Regulus!!!!"

Have y'all ever heard of Peter Pettigrew????