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whumpofalltime · 8 months

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friends, enemies, lurkers, we've made it to the

Whump Of All Time Finals!

What's the whumpiest whump of all time? Help us decide!

Find links and propaganda under the cut. Quarterfinalist and later match-ups are untagged, so your votes and reblogs matter! Make sure you click through to the main blog to find the run-off poll to crown third place, as well!

ROTK:

(spider attack, rescue)

"The Lord of The Rings, when Frodo gets bitten by a giant spider and left for dead by Sam at the end of The Two Towers, and then when Sam finds him in The Return of the King being held prisoner and whipped by an orc."

The Young Blood Chronicles (Save Rock and Roll's music videos, Fall Out Boy):

(link)

"Everyone gets bloodied, bruised, beaten up, tortured, rescued, limbs are amputated - it's brutal. Alone Together is particularly strong."

sorry for being late, but you want YBC propaganda? then you're getting YBC propaganda. I know you're a FOB fan, but I will be writing this for the benefit of those who don't know what YBC is, for better propaganda purposes! and yeah this is gonna be LONG. sorry.

So! The Youngblood Chronicles (shortened to YBC) is a series of 11 music videos made by the band Fall Out Boy, for their album Save Rock And Roll (you know this album, it's the one with My Songs Know What You Did In The Dark on it). The whole thing is quite short, less than fifty minutes long (even shorter if you don't count the uncut version's credits!!), and every single music video has some element of whump in it. This propaganda is gonna break down each individual music vid, and at i'll also talk a little bit about the irl context the album was written in, and why even THAT can be a little bit whumpy if you're insane like me!

(note: i'm going in the original release order over the uncut order, hence why i'm starting with MSKWYDITD instead of The Phoenix)

My Songs Know What You Did In The Dark: Arguably the least whump-y out of all of them, but man, seeing all of Fall Out Boy's discography and memorabilia be burnt while people are dancing around the destruction? Man, when you know the real life stuff (the reception the band had in 2009, leading to them to take a three year hiatus)... and at the end, you see four guys bound in the back of a van!! And that van is getting burnt!! Burn everything you love and burn the... ashes.

The Phoenix: NOW here's the first of MANY whump tastes you'll get. Patrick Stump, the singer/cutie of the band, gets kidnapped, tied to a chair, has his hand CHOPPED OFF and mailed to his bandmate/best friend Pete Wentz, then gets tied down and utterly tortured by women who are laughing at his misery the entire time, getting prodded and stabbed by tools for... well, you'll see. By the end of the video, Pete and the other two members of FOB (Joe Trohman and Andy Hurley) have been kidnapped by these mysterious women too, with Pete specifically getting kidnapped by the blonde woman he was in bed with when Patrick's hand got delivered to him. If you enjoy cute boys getting tied down, covered in blood, and writhing around like worms while getting tortured... well you'll enjoy all of YBC but specifically you'll enjoy this!! I did :D! The war is won, before it's begun, release the doves, surrender love...

Young Volcanoes: Good news, FOB has been reunited! Bad news, by the women who dismembered Patrick! And now all the band members are tied to chairs, hooked up to IVs full of god knows what types of drugs, and blindfolded (all except Patrick). They are then forced to drink, snort hard drugs, and are force fed Patrick's organs! Yep, all four of them are forced to eat their lead singer's guts, and are so fucking drugged up they don't even realize what's happening (and now you know what the women were doing to him in the last mv, and you even get a nice little shot of the hack job of stitching him back up)!! Patrick hallucinates everyone having fun, but of course, at the end, all of them are knocked out because of the drugs. Americana, exotica, do you wanna feel a little beautiful baby?

Alone Together: This is the song the OG propaganda mentioned, and for good reason. All four of them are shipped off into little personalized torture rooms, and, well, tortured! Pete is able to break out and even steals the hook from the girl who was torturing him, but little does he know that'll be his own undoing... also, in general, this song has some whumpy elements, specifically the line "my heart is like a stallion/they love it more when it's broke-in"... but notice how easy it is to hear "broke-in" as "broken"! At the end of the video, Pete is at least able to find Patrick (Joe and Andy have NOT been having a good time, either!! But sadly, they aren't found by Pete, but Pete DOES find Big Sean), and is even able to attach the hook to the stump (ha!) where his hand used to be. But something is clearly wrong with Patrick now. His eyes are yellow, and as the song ends, we hold on him, sneering and twitching. This is the road to ruin - and we're started at the end...

The Mighty Fall: First off if you say this is the worst song off of SRAR I will hunt you for sport. OKAY ANYWAYS, chronologically this comes after MSKWYDITD, and yeah, the four guys are the members of FOB. Pete is able to free himself with Patrick's new hook hand, and is able to get the other three out while Pete is hacking up a lung from the fire they just barely escaped. But they're not done getting their shit rocked yet. A gang of children show up (the leader being the kid Patrick waved at right before he was kidnapped back in the Phoenix MV), and proceed to separate them and beat the living shit out of them. The leader kid who's chasing Patrick plays something on a boombox... which triggers Patrick to go yellow-eyed again (from here on out i'll call it "going Youngblood" or "Youngblood self"). It was confirmed in the commentary track that ANY music would cause him to go Youngblood. And knowing Patrick IRL fucking loves to create/compose music... yeah! Take something he loves and turn it into something that drives him insane!! I'm normal!! And also the irl parallel you could draw to his solo career doing the same thing to him (on a less uh Dramatic level but you know)!!! Ouch!!!! Big Sean is able to save Patrick, but at the cost of his own life (and a killer rap verse... HELL YEAH I'M A DICK GIRL, ADDICTED TO YOU). Oh, how the mighty fall in love...

Just One Yesterday: The last vestiges of comfort you're gonna get for a WHILE. The four are separated, getting even more beaten up, Pete vomits up a snake, Andy gets his shit rocked by a homeless guy, Joe has to use white sheets as a makeshift tourniquet bc his leg got fucked up in The Mighty Fall MV, and Patrick is picked up by a kind stranger (hi Foxes! you have a very pretty voice! PLEASE KEEP YOUR HANDS ON THE STEERING WHEEL!). And finally, finally we get a hope spot. Fall Out Boy is reunited (the part where Andy just grabs onto Patrick's arm, in disbelief they're both alive... augh!!! AUGH!!!!), and for a moment, it seems they've been delivered to a hospital... before Foxes' eyes go completely black, looking at Patrick... and turns on the radio. She's able to trigger the Youngblood. And now Patrick is gone. The other three scramble into the hospital, Patrick not far behind, determined to kill them to stop the noise in his head. If Heaven's grief brings Hell's reign, then I'd trade all my tomorrows for just one yesterday...

Where Did The Party Go: Patrick, now fully consumed by the Youngblood brainwashing, is now stalking his bandmates in a hospital. Patrick is seeing visions of the hospital as an abandoned party, Andy has to painfully disinfect the wounds he's gotten, Pete is able to call for the police, and Joe... oh, poor Joe. He barricades himself into a room, but not well enough. Patrick finds him, and kills him, slitting his throat with the hook hand, showing no remorse at all... until Andy and Pete find them. The Youngblood wears off, and Patrick looks to what he's done, and is horrified at what he's done to his friend. And, bad news for him, the police are here, ready to arrest the murderer. All Andy and Pete can do is watch as tears roll down Patrick's eyes. And for the extra IRL context, this was the first song written for the album that made Pete and Patrick realize they had to get FOB back together... so lets match that with a music video where the member who helped get the band together in the first place dies. By the hands of the kid he found. Let's fade away together, one dream at a time...

Death Valley: Joe gets... uh, a little comfort? I mean, he thinks he's getting sent to heaven but goes to hell, buuuuut I think doing drugs in rock and roll hell with Tommy Lee is actually a pretty sweet deal, better than the deal the other three got! Pete and Andy are being interrogated while Patrick is in a jail cell. We find out that the cult that kidnapped them, Silence the Noise, is lead by Pete's girlfriend from WAAAAY back in the Phoenix MV, Courtney Love. And at the end of the MV... Patrick is bailed out of jail by Silence the Noise. They have him again. And this time, they're not gonna let him walk out until he's fully under their control. 'Cause tonight it's just fire alarms and losing you...

Rat a Tat: Silence the Noise has Patrick, and they utterly brainwash him, A Clockwork Orange style, with electroshock stimulation to keep him from looking away or closing his eyes, until there is nothing left. Patrick Stump does not exist anymore. Only the Youngblood, pliant under the control of Silence the Noise, tasked to destroy what he once loved; music. Andy dies at the hands of the cult, and now Pete has to protect a briefcase, the thing that got them into this mess, and keep it away from Silence the Noise, all while his best friend hunts him down. Are you ready for another bad poem?

Miss Missing You: THE WHUMPIEST OF THE WHUMP. What if we were best friends but you've been driven insane and I know the only way to stop you is to kill you and it was my fault you got into this mess and I was the one who gave you the weapon that will be my own undoing. What if we both died at the same time. What if we died, both of us failing the mission we had before us. What if that was a reference to one of their first music videos. What if this song was originally written for Patrick's solo album but he realized it was more of a Fall Out Boy song so it was scrapped until now. What if there's a legit argument to be made that half the lyrics for this song was written by Patrick. What if we were both boys. Grips walls, yeha i'm normal. If you don't watch ANY other music vid, watch Miss Missing You. Sometimes before it gets better, the darkness gets bigger. The person that you'd take a bullet for is behind the trigger.

Save Rock And Roll: And our final track gives us a final bit of comfort. Patrick is able to overcome the Youngblood, and gets into heaven, where all of FOB is finally, finally reunited. God (aka Elton John) gives them new instruments and brings them back to earth, so they can do what they love; play music together. Which just so happens to release people from the control of Silence the Noise! But, because we can't have nice things, a cult within Silence the Noise got a hold of the briefcase, and summoned a spirit that starts to kill everyone. FOB stands together, and blasts the evil spirit, the blood coming up to the gates of heaven and covering Elton John in it. And... that's how it ends. No true resolution. Just Elton John covered in blood, as the song fades out. Oh, no! Wherever I go, go! Trouble seems to follow! I only plugged in to save rock and roll!

UH. AGAIN I APOLOGIZE FOR THE LENGTH. but i really wanted to express just how much WHUMP they manage to fit into less than fifty minutes, all backed by an amazing album colored by the three years they were apart. colored by how they grew, colored by how bad the hiatus was for Patrick specifically, colored by how Confessions of a Pariah got Pete to reach out to help him, and this album came out of it, Fall Out Boy came back out of it, and now here we are, ten years later, with the title track being performed every night for their concert, with all the band singing the final lines together, and the line you are what you love, not who loves you hitting every single night.

SORRY. LISTEN TO FALL OUT BOY. thanks for letting me rant.

#final round #tournament poll

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wavesoutbeingtossed · 4 months

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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. ❤️

#writing letters addressed to the fire #me thinking too hard about taylor lyrics #taylor swift #midnights #long post #lyrics analysis #song parallels #Gabby this one is for you friend <3 #here goes nothing #Happy Friday or something idk!#(also i know i said there are things i wouldn’t discuss on main but my dms are open lol)#this is not as structured or well plotted out as I wanted it to be #and turned out to be more stream of consciousness than legit essay #but whatever at least i got my thoughts out there and it can release some plot of land in my brain for other stuff to think over lol #If anyone ever reads this thank you! And I’m sorry?#The best compliment i ever got in school #was when we were doing an analysis of a poem in English lit in college #And i brought something up casually #and my prof went ‘I’ve been teaching this class for eight years and that’s the first time anyone’s ever brought it up like that’#’and that just blew my mind’#and i was like ‘who me?’#so that’s all you need to know about me lol #Midnights: The Great War #Bigger than the whole sky #bttws #Midnights: Paris #Midnights: high infidelity #would’ve could’ve should’ve #Midnights: dear reader #midnights: bigger than the whole sky

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davilasinfiltro · 26 days

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Badboyhalo gets advice from Reddit

Bad panics after Skeppy releases Best Friend and decides to ask for relationship advice on Reddit because he doesn’t know who else to turn to

979 words

r/relationship_advice u/throwaway132166922

My (M29) best friend (M23) made a song about me and I don’t know how to feel about it.

I don’t even know why I’m doing this. I’m so paranoid about anyone finding out who I am but I frequent this subreddit a lot and can't find anyone who is in the same situation as me. I also don’t know who I can even talk to about this since we have a lot of mutual friends. If this gets too much traction I’m deleting it quickly, here goes nothing >_<

Here’s the context, me and my friend have known each other online for a while and have been friends for around 4 years (my friends poke fun that we have our ‘anniversary’ memorized but I digress.) We’ve half heartedly been making plans to meetup for the past few years. What can I say? I don’t like leaving the house and never really had the urge to meet any of my online friends. I’d argue that you could have a meaningful relationship with someone and never meet them irl. Anyways, I never took these conversations too seriously. I would always say I’m not ready yet, it’s too close to the holidays, who’s going to take care of my dog? The one time we did have concrete plans I was sick with covid and I had a long recovery. And we just never followed up with a reschedule.

I never knew how much this affected my friend until he wrote this sort of… rap and produced it with one of our mutual friends. He insults me, saying I have a massive ego, I’m a psycho, it’s my fault I made him ‘feel blue,’ and immediately backtracks and compliments me. There’s another lyric that says I’m pushing him away and if I’m hiding something? This part I have to quote verbatim because it’s the part I understand the least,

“I can’t really say my true intentions

It’s all just miscommunication

Please don’t take it the wrong way

I love you dude and I hope we’re okay”

And that’s how it ends. Meanwhile, I had no clue my friend was having this type of conflicting feelings about me. Or how much us meeting up meant to him. Yeah maybe we’d go from talking every day to messaging each other only semi frequently but that’s just the evolution of a friendship right? We were both getting busier as our respective careers became more time-consuming but that’s nobody’s fault, is it? I know I should apologize to him for never taking his requests for us to meetup too seriously but I think there’s something else under the surface.

Does he want to confess to me? I keep going back to that lyric, “I can’t really say my true intentions.” He’s pretty much ripped his heart out on this song but there’s /one/ thing he can’t say to me? Does it have to do with him wanting to preserve our friendship, that it’ll be strained in some way if he confesses? I don’t know what gives him that impression, a lot of our friends are lgbt+. Heck, a lot of them make jokes that we like each other already. Anyways, there shouldn’t be anything deterring him from confessing if that’s what he is trying to do. Or not trying to do.

Any advice is appreciated. I still haven’t said anything to him directly since he made that song.

u/amycat1203

Whatever you two have going on is gayer than any gay person I know irl

-> Reply u/throwaway132166922

If I had a nickel for every time I heard that -_-

u/justadudelmao

This is too outrageous to be fake, so I’m trying to take this seriously. It sounds like y’all have some shit to talk out in person. If the next message you send him isn’t a confirmation for a plane ticket you’re the problem

-> Reply u/throwaway132166922

If I travel to him it won’t be by plane, I have a phobia. But you’re right :/ I need to make it up to him soon if this is how he feels about us not meeting up

u/matchmakingismypassion

Maybe he has reason to believe you wouldn’t want him to confess to you. How do you react to the jokes your friends make about you together? Do you even reciprocate any possible romantic feelings to him?

->Reply u/throwaway132166922

It’s complicated, early on in our friendship he’d flirt with me as a troll and I’d always politely turn him down. I’ve known about him for so long, even before he was 18. I wasn’t comfortable indulging in this kind of joke. So even if he was 19 when he made these comments, he felt too young for me. He grew out of it and eventually we were inseparable as best friends, to the point that our mutual friends would tease us. Both of us would casually deny anything to our friends but honestly, I wouldn’t mind dating him if he made the first move. But you understand why I can’t make the first move, right?

->Reply u/matchmakingismypassion

To me it sounds like he shouldn’t make the first move either if all he’s ever heard from you is rejection. Especially if you can’t even make the effort to meetup, something he obviously wants from you. He made the song as a plea to start an open dialogue, and that starts with you bud.

u/skephalofan141414

EVERYONE. THIS STORY IS FAKE. This is some guy pretending to be Badboyhalo about the song Skeppy made called “Best Friend” on youtube. You’re a weirdo trying to karma farm off of a story that isn’t yours to tell

->Reply u/thisteaishotaf

Who??? Link please???

->Reply u/skephalofan141414

https://youtu.be/skDch34PtEM?si=Usxbm6LXisq9xWCD

->Reply u/thisteaishotaf

Why the fuck would his friend post this on a minecraft channel LMAO

#skephalo #skephalo fic #I wrote this a while ago I’m surprised it took me this long to post lol #badboyhalo #skeppy

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sacredhyacinth · 5 months

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Doing my job and analyzing the old animatic((what am I doing with my life))

So this animatic is interesting bc we sort of get to guess the context, and considering what we know of the old character and their personalities, makes some interesting scenarios.

Rachel was known as the Red Rose, and was (iirc) a child psychologist. I’m going to guess the location and say this was on the school rooftop, likely Organa high, which is where Rachel worked(and where Loretta went to school).

(Uh tw suicide implication…) Implied by the song and context, Rachel wanted to well… of course Loretta found her and saved her life.

I’m not actually super surprised by this, bc irl psychologists often deal with mental health problems themselves, and also have to deal with helping other kids.

Tldr: this animatic and it’s most likely context is well…. To be expected.

this is super fun I love this— Old Red Rose had a lot of built up stuff going on, and suppressed her emotions and feelings ALOT

People who were around in the 2020-early 2021 era would know Red Rose employed Lori and the gang in the early versions as assassins, and though I’m too embarrassed to link the Wattpad story, it was very silly and interesting how Lori and Rachel’s dynamic worked

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subparcarrion · 2 months

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CW//TW: kinda vent, discussion of tics and tic attacks (and some of the aftermath for me), discussion of high stress and anxiety situations, cussing/cursing, discussion of physical pain, discussion of pills.

(ACTUAL POST UNDER CUT.)

So... yeah,,,

Tic attacks, gonna have to go with ☆☆☆☆☆/★★★★★ (0/5). Especially at close to four in the morning at a sleepover.

Not really sure why I'm deciding to put it out on the internet, but I guess I wanna talk about it or smth. And with March break and my crippling social anxiety the closest I've come to talking about it irl is a quick "that was kinda traumatic ngl" to a close friend over text.

In retrospect it makes sense, it's the most stressed I've been in a while now paired with a lot of just having to be constantly "on" and feeling scared to say no.

For context I did a pseudo babysitting job for a family friend from around mid afternoon to nearly midnight. I then decided to go a sleepover with my friends late since they had been kind enough to move the date so I could attend. (Probably not the best idea for the future who has a bad anxiety disorder and probably a lot of other stuff, but when have I ever said no.)

The job itself was pretty stressful but the kid and her mom's are super nice and did their best to accommodate me, so that was really nice. (They also paid me really well when I would have honestly done if for free so I'm not gonna complain. Anything bad was kinda just unavoidable considering it was me who was doing the job.)

Im also not really gonna bitch about the sleepover too much, my friends are lovely, the timing just made things rough.

Since I was arriving so late we hung out for like an hour and then went to bed (at least tried to go to bed), a lot of tha time was just kinda spent getting ready for bed though. There's nothing wrong with that, I just ended up feeling a little like I had missed out on the best part of stuff. (Again, no one else's fault.)

Everyone else fell asleep pretty quick, however I was not tired at all. It wasn't unexpected though, going from one high stress situation to another doesn't really let you let your guard down. Let alone feel properly sleepy.

So I just kinda did some stuff on my phone for thirty minutes to see if I would get tired and then decided to finally turn in for the night still very much all to aware of everything.

At this point it's probably important to mention that everyone in my froend group has at least a passing interest in a game called "The Stanley Parable". And if you didn't know you can go into an elevator in that game, and it kinda just plays this goofy elevator music in loup until you leave.

It is thus tradition in my friend group to play the elevator music while we fall asleep at any and all sleepovers where it is possible and everyone is chill with it.

The elevator is kinda some basic lyricless pop-ish kinda techno song where you can occasionally, if you listen closely enough hear the narrator hum along with the tune. The song itself is a certified banger, but I was stressed as fuck and hyperaware of everything. It was safe to say it was driving me crazy, especially the humming part.

I didn't really have any means to turn it off though and I would feel bad doing it. After all, I had agreed to it any it would be distruptful to try since it was super late and the room was pretty packed. To move around too much would probably wake someone up. (Wow, foreshadowing or smth.)

I never really got to sleep and it was around late three in the morning, nearly four when shit really started to hit the fan.

(Another bout of context before I continue: so I've had what I'm just calling tics at this point for about a year now, maybe a bit longer. At least that's when they started getting really noticeable and causing real problems for me. Personally for me it's mostly motor ticks that get much worse in stressful situations. Stressful situations being an iffy description that could cover pretty much anything on acount of the anxiety disorder. Albeit over time it has developed into mostly motor ticks with occasional verbal ones.

I can have periods where they are happening very few times a day and then ones where they are happening several times a minute, either way they never really go away. I had been doing pretty good tick wise before this whole ordeal, now it's definitely leaning towards the worse, more disruptive and painful side.)

It started off with a ciuple of my usual motor tics, getting more and more aggressive very quickly. For the most part these would consist of things like my shoulders jumping up and hitting the vase of my head and neck or my hands doing weird shit.

By the time the verbal tics started the motor tics were so aggressive and frequent they were getting pretty painful. This would be the same time I would start making small squeaks as a verbal tick.

It became pretty clear after that this wasn't stopping any time soon so I sat up and used my pillow to cover my mouth in hopes to muffle the noise so I wouldn't wake anyone.

This was the point where something changed and my tics got the worst they'd ever been. It went from squeaks to small screams and loud grunts. And I was just sitting there in pain scared out of my mind for nearly and hour before the noise finally woke up my friends. Cuz despite all my effort a pillow can't hide constant screaming for very long.

When my friends woke up they were reasonably concerned, they knew I had tics that could occasionally get kinda bad but this was the worst it had been, and I could barely explain through the ticks that it had been going on for about an hour. There was definitely no way I was calming them down, and in all fairness I was freaking out too and they handled the whole shitshow remarkably well.

They probably spent twenty minutes or more trying to calm me down or help, but nothing was working, in fact it might have been getting worse. One of my friends also tried Google-ing it, but Google pretty much said drug him or ignore them were feasible options for yours truly, the little bitch boy.

My friend eventually got their mom and I regained enough control to pack my shit and got driven home. I downed as much sleeping and pain meds as I was allowed to take and continued ticking until I passed out.

Idk,,, not a particularly entertaining story, ig I just wanted to get it out somewhere.

As for me right now, it's been two days and I can't go five minutes without some sort of tic at most.

However, I'm feeling somewhat better, even if my neck hurts like shit.

I suppose that's all, thanks for listening to me bitch and moan tumblr. <33 /p

-carrion_

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atamascolily · 6 months

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youtube

[CW: Extreme puppet violence, including stabbing, decapitation, and blood.]

This scene from Bewitching Melody of the West lives rent-free inside my brain and encapsulates everything I love about Thunderbolt Fantasy in a nutshell (high praise indeed considering Lin Xue Ya is not even in this movie!). Not only is it an incredible example of bard vs. bard musical combat, it's also a great action sequence set to a kick-ass song, as well as a profound character moment. And while know this would be terrible for any instrument IRL, I have a special fondness for any fight where a magical guqin is used for bashing damage.

For additional context, Mu Tian Ming, the woman challenging our red-headed hero Lang Wu Yao (aka T.M. Revolution's puppet-sona) is the one person in his life thus far who was ever unequivocally kind to him, and the song she picked for their duel to the death is the one that Lang's mother taught him when he was a child--a song she knows Lang will be able to play in perfect harmony with her. Talk about a power move!

(I'm pretty sure I shipped them before this, but there's no question this scene is what cemented it, because hot damn.)

It's too bad a cleaned-up track of this duet was never released, because the solo version, while still epic, is just not the same.

youtube

Bewitching Melody of the West is what sold me on Lang as a character--I thought he was interesting in S2, but he was so blunt and brusque it was hard for me to like him. Learning his backstory explained a lot about why he's Like That and made me much more sympathetic. It also doesn't hurt that I like his outfit and design in this movie better than his original costume (although the fact that he gets a magical girl transformation had me in stitches).

As for Mu Tian Ming, she is awesome, and I will be forever pissed off at what happened to her in S3. I know exactly why Urobuchi did it, and why he did it the way he did it, but sidelining one of the only female characters solely for manpain is infuriating and I resent it like hell. It's probably too much to hope that later seasons will provide a fix-it, but I live in hope.

#thunderbolt fantasy #wuxia fantasy puppet epic #lang wu yao #mu tian ming #Youtube

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quotidian-oblivion · 6 months

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✨Out of context lines shitpost Pt. 8✨

Part 7

Quo: This is it... our last day of childcare course. And... *sighs* I'm getting choked up. I met @mispeltnostalgia and got to know her well through this course and she's been the best irl fanfic buddy and older brother despite being a year younger than me ever.

Nog: These out of context things have made me so happy and its fun to look back and remember the funny shit that we have said and done this year. this deffo won't be the last though. Quo and I will forever be saying and doing stupid shit. Quo is the best little sister ever and while I'll miss our fridays together she cant get rid of me. I know too many of her fanfics and she's beta-ing my works.

Quo: You beta-ed a couple of mine too!

We'll still be posting the out of context lines, but there are going to be longer gaps since we're not gonna meet on Fridays anymore :( There's still our weekly study sessions that we dubbed TEAS on Wednesday!

Tim: *holding a ball of wool to Jason’s face as a pretend mic* What do you say about the Curse you just found out you have Jason: *clears throat* I hope it kills me. ~ Jason: What do you have to say about your Curse? Tim: …I’ve had it since I was fucking born. ~ Barbara: So I bought a pack of quick oats because I love oats. And then I bought another pack of overnight oats because it had yoghurt, and now I’m just realizing that I really am just a horse. Little Shit Young!Jason: THAT’S WHAT I’VE BEEN SAYING. ~ Damian: I’ve been able to find a knife, I’ve been able to find a fork, but I can’t find a spoon. Jon: You have all the stabby objects in your bag Damian: I also have a fuckton of crochet hooks and— a pocket watch?? *pulls out pocket watch* Where the fuck is my spoon. ~ Steph: So I was getting pumped up for this song but then I just hear this tiny Alvin and the chipmunks voice say “Party Rock” and it just dashed my hopes. Listen to this *Plays Party Rock Anthem”. Damian: … Steph: Like, imagine getting pumped up for one of your childhood songs then you just suddenly hear “party rock” in this high-pitched voice and I felt like killing myself. Damian: … Steph: And hear me out— Damian: I don’t think i want to hear you out anymore. Steph: *Continues to play Bad Romance covered by the Alvin and the Chipmunks” ~ Tim: *Watching a video of Bruce* Bart: Wait, your dad sounds American. Bart: And he speaks kind of like you too! Tim: Yeah, I wonder why my American dad who raised me sounds and has the same speech patterns as me. Hmm, good question. Bart: I just wasn’t expecting it. I forgot that American dads were a thing. ~ Steph: i am granting you the honor of waffle ~ Barbara: *looking for a place to put popcorn. Places the popcorn against Dick’s lap* Dick: hell yeah crotch popcorn! Omg crotchcorn! Barbara: Please don't. ~ Bruce: You have to be very careful out there. These racist attacks are getting worse. Dick: Don't worry, Pops. I'm with a white person, I'll be fine. Barbara: *chokes on her drink with laughter* ~ Tim: *mixes soda water, energy drink and trace amounts of tea together in a tumbler* For funsies. *chugs it* ~ Jason: *falls to the floor, crumbles and silently screams in a public library* Barbara: Stop it, you’re embarrassing yourself Jason: I’m a drama kid, I can do whatever I want ~ Steph: *singing* I am not a quitter Tim: *singing with her* Pocket full of glitter Steph: Yarn balls, I’m a knitter! Steph and Tim: *singing together* I’m the whole package, baby! Tim: I haven’t met you Steph: But if you’re staaable Tim and Steph: Then here’s my number! And call me Mabel! ~ Alfred: *grabs Bruce by the shoulders and shakes* BE PRODUCTIVE! ~ Steph: IS THAT A PURPLE BALLOON??? Steph: *walks over, picks it up, and carries it like a baby* *whispers* I’m pregnant ~ Damian, high on pain meds: *giggling while he draws Tim falling off a roof* whee whee, hee hee, I’m so funny. Hee hee hee. He’s falling off a building.

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marnz · 17 days

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since i'm one of those people who watched tsn in 2023 (i was 12 when tsn was broadcasted) so it gave me this weird mixed feeling whenever i read markwardo fanfic because knowing how bad these people actually are irl and not some uwu precious baby but i can't blame fanfic writers in 2010-2011 for thinking zuckerberg and saverin were cool because during that time facebook was indeed cool and the internet was younger at that time too, the fic are good i admit but sometimes i need a moment to rethink why am i reading irl capitalists fanfic, it's so hard to distinguish between tsn and irl material most of the time too and not to mention tsn was just a story written based on irl saverin pov of fb and he was also an asshole. The only fun time to enjoy tsn was probably 2010-2011 because fb was cool, the cast was close and now even the cast of this film probably don't even contact each other anymore despite being so closed in 2010, sorry for rambling i just think it's amazing that people who enjoy tsn in 2010 still post about it in 2024!

well anon. Like I said. You had to be there. Look I love context and you said you were 12 in 2010 so here is some context: yes the internet was younger and yes fb/meta had not destroyed democracy yet but I also think there was more of a sense of hope related to technology, as opposed to dread. A lot of tech and social mainstays had not happened yet, politics were drastically different, Chris Hughes (cofounder of fb & communications guy) helped Obama get elected, people didn’t think global warming was real, society was MUCH more conservative and homophobic, etc., and the internet was the place to be.

when you say the internet was younger I’m interpreting this to mean that FB had not come into its final form yet, which is true, but also it & the internet was such a radically different experience. It felt limitless. You weren’t corralled in as much. You could go anywhere, you could find anything, you could make your own websites very easily, you were not assaulted by pop ups and apps were not mainstream because Apple didn’t launch the App Store until 2008. It was so easy to learn how to code. The operating systems between Apple and Android were SO distinct. Twitter launched in 2008/2009 but wasn’t quite so relevant until idk 2014? Fandom had just migrated from LJ to Tumblr but Tumblr was also hotter with the aesthetic girlies and porn blogs. “The algorithm” didn’t run the world. Yesterday I tried to find an article by searching for it and both Google and DuckDuckGo completely disregarded my request and did not turn up anything relevant. I can assure you that would not have happened in 2011. So there was SUCH a sense of optimism because the internet felt like a social good instead of an obligation that is increasingly privatized, surveilled, constrained, and decayed.

Which is why TSN got made and why there was an interest. It was a source of profound social change. But anyway. FB/Meta has ruined lives and it and all other social media apps that elevate divisive opinions to prompt as much engagement as possible (have you heard of the awful Isabel Fall twitter scandal? I recommend this article) are awful! And yet there’s an expectation of being online because a lot of communities now organize online, a lot of services require being online, etc., fandom has become less centralized/less unified, which is its own post.

Out of curiosity, what led you to watch the film? I do find it fascinating that there’s been a resurgence of TSN fandom. If this article had not been written I would not be posting about it but there’s still a lot of fic being written and fanvids being made to Taylor Swift songs. But it’s fandom devoid of all this context. So it is very strange, because you know what FB and all these people in it will become. I think I would have the exact cognitive dissonance you described if I watched it for the first time last year and tried to read fic. It is SO deeply fictionalized, so much of it is radically untrue, but you as the reader carry the truth in your mind. Which is why I cannot and do not engage with these days. And why I hold TSN in my mind curtained off. I spoke with many ppl from the original fandom yesterday and trust me, no one wants this.

I think, realistically, whatever movie Sorkin wants to make will probably be very good. It’s probably a good story to tell & explore. But I won’t be watching it. I lived that shit

#answered #anonymous #tsn #sorry for this very long answer I just think that you need to understand that 2011 and 2024 are basically night & day #also like for all of my critiques I met some of my best friends in TSN fandom #and I wrote so much fic and I met a lot of people that way as well! mostly thru glowing au & homo fuge #yes the cast is no longer close from what I’ve observed.#armie hammer is a rich evil nightmare. Justin Timberlake was once the prince of pop but now is either loathed or unremarkable #Jesse Eisenberg’s career choices are their own post #Andrew Garfield is my Taylor swift.

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eviltiddyproductions · 5 months

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on most days of my life I absolutely hate and will complain to anyone who listens about dramas releasing weekly (because I am an impatient monster) except the day my show releases!

it’s my demon fridays besties !!!

love the fact that it’s a Friday Saturday release schedule so that I can cry a bit more for my Sunday sadness moments

the intro cut from yoojung’s eye to song kang is so beautiful actually

LMAOOO I forgot how during the weekly release pattern you sometimes lose the rhythm of the show for a second because Do Dohee going with the tv tropes classic ‘everyone I love is dead’ 😔😞😭 made me just bust out laughing 😭

and you’ll die because of me too! 😔

‘i don’t care’ 👿🤷‍♂️

two gorgeous people kissing

the droplets suspended in the air looks so beautiful

aww they look adorable! wet little puppies 😭

medical undressing but with actual dressing time 🩹

oh they’re making out again, that’s actually pretty realist for kdrama standards 😂

most of them go designated kiss over, back to talking; here they’re actually making out again, like normal people do

song kang has a heart warming smile

lmfaoooo we went from fun time to eerily creepy clock room

we’re back in their room and i adore them !!!

my man went from ‘humans suck! losers!!! boooo 🍅🍅🍅 to they’re not that bad actually, love is kinda cool and i sorta get them and while we’re at it can i get a couples set dinner with my wife?!’

and let me just couple bike with my wife as well!

i will always be a sucker for anyone who’s down for cheesy things! #mypeople

wait woah my sister was going that in heels !!!

this fuckass quality…. giphy you will crumble !!!

they’re actually truly having the world’s most loveliest date. just having fun and taking walks and admiring the breeze !

same sister, if I saw someone that beautiful irl I’d also thank them 😭 [context : guwon says thankyou to the barista for his couple coffee set and she’s like no thank you 😻]

him saying do dohee always takes me out

they’re so cute y’all, they’re slow dancing

i’d be kinda surprised if there’s no criminal from the eldest son’s family like they rank a little higher on the possible murderer scale for me than everyone else. seems misleading rn because all shows tend to do this but y’all need to be in checked 😭

my short term memory is memorying because I was wondering why he was following her into her office and then remembered he’s her bodyguard 💀

I mean she didn’t have to give up everything but if it makes her happy!

two gorgeous people in one frame!

y’all are not subtle at allll with the wrist thing at all 😭 how many times has the seokhoon seen it already?

I adore the wolf gang lmaooo

lmaoooo they’re so dramatic, I love them!

the beautiful theatre dancer has a point and doesn’t have a point at the same time 😭 jin gayeong you’re beautiful, go live your life !!!

my sister said one shot while all she poured miss shin was foam 😭

miss shin I <3 u

doo hee the nut job 💀

lmaooo did he rush to her because he was happy to be called husband lmao, my man looks shook seeing them drunk 😂

he said my wife is embarrassing let me take her home and then she called him a blinding sun and he just glowed (he’s just like me fr)

all of the happiness and love he was uncomfortably bottling up inside in denial is coming out right now and I love it.

she could ask him for a toothbrush and he’d give her a loving smile and do it

cuties

poor boggy I omg 😭

your honour, this demon is whipped !!! 😭💞

the bag on his neck lol

it has taken me over an hour atp to finish this episode lmao maybe I could’ve written this later

miss shin is a mood

my wolf gang is back

the dad’s just laughing after choking someone ? 😭 this family…

it’s always fun to watch the murderers be hunted 🤷‍♂️

oh he killed his mom too, he was my first guess but the son was a strong case too

this cartoon villain ass laugh

my married lovebirds have a pretty strong knit game like his cardigan rn and hers during the sprinkler kiss scene

slay you found the bug

the wife seems normalish compared to her son and husband

damn did they vanish because of the card thing

woah

him knocking at the cardboard door 😭

did they fumble the continuity or something changed when they were walking at the bar because our homeless mystery queen’s teeth are back to normal rn

is she god

need that snapping finger power so bad like I also want a galaxy in my room thankyou

butterflies just follow song kang in tv shows

the second male lead kinda needs to let it go, bae it’s not that serious

why would the theatre girlie just tell that to him flat out 😭

honeymoon period over

#my demon #kdrama #okay stakes #episode 9 #we’re up !!!

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brb-on-a-quest · 30 days

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What's one of your favorite childhood memories?

Hello, friend, good to see you, even if you do hide in the shadows. Hope you are well. <3

Let me tell you about a time I fell in love with storytelling all over again. I grew up on stories; I loved having my dad read to me when I was little (we read Narnia books, the Hobbit, the Lord of the Rings, Robin Hood, etc. I loved *all* of it). I loved the stories of found families and tight friendships like it was my bread and butter because I hadn't made any friends I could get closed to bc family moved around a lot (a decision I don't resent my family for now, but despised as a kid), and I wasn't really *that* close to my family either due to probably a variety of factors, not excluding mental health issues. I won't delve for the sake of length, you get the point. I was a sad and lonely child and my closest friends were imaginary. Anyway back to more concrete events:

We had just moved from Florida to Virginia, which is about 1000 miles away and over 13 hour drive (for context), and we had just started a new co-op (think like homeschool school, but it only met like once a week, it was one of the ways we'd start building up a new social circle or something). And one of the classes I took in was something music (more likely theater? related but that might have a different semester) and the first week of this co-op I remember they gave us a bingo card with a bunch of famous movie soundtracks and they told us we were going to identify the movie based on the song alone.

I got 2/20 or something bc I hadn't even heard of most of these movies bc i just hadn't been exposed to it. It was things like Batman, Teenage Mutant Ninja Turtles, maybe spongebob- pop culture stuff that I just hadn't seen. So everyone else was getting excited and I was feeling more and more out of the loop and alone.

I swear this turns happy at the end, bear with me, anon. They play the final music track and I don't recognize it at all but it fills me with such great joy and a call for a new adventure that I hadn't even realized music could do that before (we didn't listen to a lot of our own music growing up, it was mainly whatever my parents found appropriate or what my dad liked).

It was How To Train Your Dragon. Test Drive. John Powell. And then like the musical scores, they showed the scene it was from. A boy and his dragon racing, flying through the air. And I fell in love With the characters arcs per se, but I could tell there was a deep lore there and a story of friendship that I craved so much. It was also right up my alley with stories my Dad had read me so there was also that. But like the music was fantastic, I really liked the visuals at the time (i usually hate most 3D animation films, HTTYD is the exception), and I craved the story behind it.

I saved up money from Birthday and Christmas and ended up buying it. And I watched it. And I fell in love even harder. Cause, in some sense, I related to hiccup too much. I was a creative person, like he was, I had very little friends like he did at the beginning, we had similar senses of humor at some points, and he was fascinated with knowing and learning things. And he had a big dragon friend and i again craved that friendship deeply. So he added to the crew of imaginary friends and I went on many imaginary adventures with Hiccup and Toothless and told myself so many stories that I wish I could remember now for writing inspo.

I ended up moving from Virginia to middle of nowhere Midwest US (not saying where in case the Fey Find Out), and I did end up meeting my IRL Toothless. A little bit scary on the outside at firsts, but with an actual heart of a silly, goofy, dragon. (brb, im getting emotional just thinking about it. It'd be about 7 years now? Coming up? I may be bad at math. I feel old and happy and content.)

So yeh, in short it was a very much right place, right time kind of story and film. I still watch it a lot whenever I need a comfort film that's not as long as LOTR or something. I love the soundtrack and all of the things about it. Sorry, this was probably way longer than it should've been but IDK how to describe my love for this story without giving you some context.

#brb-backstory #brb-life #brb-asks

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kuiperror · 3 months

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TELL ME ABOUT THE CHIPMUNKS LORE. pretty please.

1st thank you for indulging me (even tho i asked lol) 2nd.maybe dont open this unless you want to get blasted with useless information + unimportant yet dearly held opinions + offtopic addendums + true sincerity. i tried to hold back guys im sorry. hold onto your hats im getting fucking crazy in here

firstly ill summarize and say that my "version" of the story of aatc [1] is basically just an idealized version of the "lore" the 1960s version gave us (i say "lore" in quotations bc there was. none lol).

now a lot of my ideas concerning the "lore" of story are interconnected to my opinions about the actual application of aatc media in real life . for instance, the story is set, vaguely, around the late 1950s - early to mid 1960s, like the irl "run" of the original chipmunks records. i personally believe that, as a real media franchise, aatc really has no reason to exist within our modern world with the technology we have today [2] so aatc as a fictional story is affected similarly. along with that, when the story is played out in the context of 1960s america it creates a richer thematical experience as the themes are compounded and expanded on. [3] a lot of the themes that i consider Essencial to the story deal with acceptance of differences and familial love and questioning of ones own humanity and sense of belonging, both within oneself and within the family unit and within larger society, and conservative 1960s suburban america is just a rlly good backdrop to place all of that. so basically i believe in the Contextuality of 1960s aatc and i love to allude to those contexts within the story.

another thing about my version is that i allow it to be inconsistent both with itself or with real life, just cuz it doesn't really have to be. for instance, this story has a floating timeline and i consider the chipmunk's ages to range from 8 - 10 years old— theodore is 8, alvin is 9, simon is 10. (simon is the oldest in the 1960s era idc who says what, i will die on this hill) however at the same time i think it would make the most sense for them to come from the same litter, which would make them all the same age. so i consider the chipmunks to be different ages while also considering they were born at the same time. i do have an in-world resolution for this discrepancy [4] but you get what im saying: my version of events is a little fictional story for me and me only so inconsistencies like that can be brushed over . mainly so i don't think too deeply about the logistics of things (cuz i tend to do that to avoid any possible criticism cuz i am Afraid of flaw) . like i'll catch myself being like "but how does the development of a real 8yo match theodore's behavior? 🤨" and i have to tell myself "bro.. this is a fictional cartoon world ur literally talking about a talking chipmunk its Not That Serious it doesn't have to be that realistic dude" so i just say its my own little play place and i get to do what i want :)

my version of the backstory of the chipmunks is not really all there in terms of external and internal consistency, but it mostly resembles the 1980s series' backstory where dave finds the chipmunks on his doorstep. (see [4] for entire story) i think that the months after dave took them in were honestly a p dark period for the family. i don't imagine dave had good support system and i think the mental struggle of suddenly caring for 3 incredibly strange children all the while fearing societal reactions to them (which restricted him from getting the help he needed) [5] definitely aged him. ithink hes like, early 30s when the chipmunks arrive, late 30s when the timeline "starts floating"... not as young as most (?) fans/iterations interpret him to be. i think that, before "the chipmunk song" was created, dave had raised the chipmunks for like.. 3-5ish years. what i'm saying is that dave definitely took in the chipmunks out of the kindness of his own heart and not cuz he wanted to capitalize on their singing prowess (aHEM looking at a certain movie 🤨)

also, i like to accentuate the animal-ness of the boys by taking real world information about chipmunks and applying it to them :) in general its a little bit of a pet peeve of mine when ppl just completely disregard the animal part of funny animal characters... esp with alvin and the chipmunks bc thats like. Their Whole Thing . they are chipmunks ? why do you just ignore that 😭

now i have talked a LOT about angsty stuff but i do want to make it clear that legit all this stuff is the subtext and background for interactions shown within the 1960s chipmunk media. the chipmunks are still happy kids who have fun and goof around and piss off david !! its just that they have fears and their own Issues like any real person.

so yeah! thats my chipmunk lore!! ^^ i have a whole document about my version so im definitely. fucking insane about the chipmunks. if any other aatc fans are reading this please be nice to me 😦 i feel as though i am very much a weirdo in my sandbox all alone soo dont h8 me plz :)

and just to send it off with some silly lore here are some random headcanons for each character that i have taken straight from my lore document ^^

alvin: would 100% be a leash kid . just sayin (as a former leash kid myself)

alvin: takes after david musically— when he writes his own music and makes up little songs to himself it sounds very similar to the songs dave writes. alvin doesn't recognize this but dave definitely does :,)

alvin: insecure about his height and constantly reassures himself that he will have a growth spurt when hes older

simon: loves loves LOVEs non-conventional and instrumental music! especially those set in different modes

simon: astronaut kid he loves space and wants to b an astronaut . born at just the right time B)

simon: knows better than to follow along with alvin's troublemaking + rebelliousness, occasionally tries to push back, but often is just like. fuck it we ball and goes along with it, especially if its fun ^^

theodore: LOVES the technical aspect of music + the recording process . he will tell you all about the science behind how vinyl records work unprompted.

theodore: doesnt like to sing solos as much as his brothers do bc of past childhood asthma at age 3 and also because he can not stop himself from giggling when hes singing hes just so happy :)! (THIS ONE IS CANON 💥💥💥 SOURCE: UP ON THE HOUSETOP CHRISTMAS W THE CHIPMUNKS VOL 1 ‼️)

theodore: although he is the most naive of the bunch, he is not dumb . hes just a little kid who likes being silly !

dave: before taking the chipmunks in in his early 30s he was the world's most regular guy . wrote hits for other people, continues to do that occasionally into the boys's careers

dave: literally has a song for everything . he will do everything to a beat .

dave: embroiders and cross-stitches to regulate his anger + knows how to sew really well since he has 2 make all of the boys' clothes. (CANON ⁉️😍) also it was his decision to color-code and embroider their initials onto everything they wear lmfao

FOOTNOTES (color coded for your convenience!)

[1] - in this post i refer to the media franchise as "aatc" (alvin and the chipmunks) and refer to the actual trio of characters as "the chipmunks" to avoid confusion. i just want it to be said that i personally dont like to call the media franchise "alvin & the chipmunks" on account of the whole "uuu if alvins a chipmunk why is it called alvin & the chipmunks" joke, i personally prefer to call the franchise just "the chipmunks" as it is shorter and includes the 1960s era as for most of it the franchise went by several different iterations (if we lived in a perfect world the franchise would still be called "david seville and the chipmunks" . just saying)

[2] - back in the early 60s, combining pitch-shifted vocals and character-acting was an innovative technique that took real time, effort, knowledge and skill to achieve. but nowadays not only is the concept no longer fresh but literally anyone can create their own "chipmunk" vocals in a matter of minutes. the story & characters (also nostalgia) are really the only thing keeping the aatc franchise going, esp since that's what more modern iterations of aatc focus on rather than the actual music.

[3] - in the media outside of their albums (the alvin show & the dell comics, specifically) there is always an underlying theme of comparison between david and the boys and the 1960s concept of a nuclear american family. its not exactly an "Intentional" theme, it more or less comes with the (irl) time-period the original aatc media was created in. the seville household is, inherently, a subversion of the ideal of the "perfect family" that households were compared against and strived to be, even at the expense of their own comfort, ideals, safety, etc. this subversion can be played into for drama and angst in a richer, more plausible way than it would be if the story were set in a more modern time period, u know? but yeah i believe that, as a fictional story, aatc shouldn't be divorced from the context of the attitudes and values of what mainstream society thought a family should be in the 1960s.

[4] - essentially in my version of events, dave was given no information about the boys and he basically made up their ages. when david found them in his backyard, they were oversized chipmunks as large as your average cat. they all sort of acted like young human children, but they were a lot more... chipmunk than child. they could only babble— but the sounds were recognizable as human speech. dave was obviously freaked out and resolved to keep an eye on them whenever they were in his backyard. he really only resolved to take them in due to the fact that he could literally see them change throughout a single week. how i imagine the chipmunks' biology is that they are a mixture of human and chipmunk (not literally, mind you, more as a physiological, figurative thing) so they have the intelligence and development of a human while still doing certain things like undertaking hibernation, wanting to forage and stockpile and burrow, things like that. however their growth rate is incredibly fucked up, going from the actual size of a newborn baby chipmunk to the size of a human toddler within like, a year. with this rapid growth also comes more human-like intelligence. once they were actually living in his house, dave knew there was something human about them with these creatures so he couldn't just let them return to the wild, especially since they were becoming more and more dependent on him and more and more human-like as days passed... i definitely think there was a moment of pure clarity for dave where he realized like. wow, that's a child. these things are children. and they are relying on me to provide for them. they are absolutely attached to me by now. and i think i might actually be attached to them too. and thats when he decided to name them and truly care for them like any other human child. overtime the chipmunks slowed their growth rate and matched their developing rate with the same as an average human. the chipmunks don't remember much of their early childhood and nothing can really be disputed so davids word of what happened is gospel. And yeah thats their backstory basically. if you want more on dave's view point on the chipmunks and their fucked up growth process, you can read this post here :)

[5] - he overcame this, of course. he did not want the boys to think that he was ashamed of them. public school was a different story, however, and the boys were more-or-less in a state of homeschooling before the release of "the chipmunk song." knowing that most of their peers would actually look up to them rather than down upon them extremely reassured him.

#Dont look at me.#this is literally the most vulnerable i think i have ever been in my life.#please be kind i am obviously mentally ill 😭😭#um im not tagging this one guys. sorry #i am VERY afraid.#i will be tagging personal however. because this is literally the most personal i could ever get.#personal

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