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twobluejeans · 9 months

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HEARTBREAK ON TOUR!

charles leclerc x famous!reader

summary: in which the lavender haze has been lifted. or in which america’s it couple splits.

part 8: you’re losing me, part 7: revenge dress, series masterlist

faceclaim: madison beer

ally’s radio 📻: PART 8! taylor swift deserves jail time for creating you’re losing me. taylor swift also deserves jail time for not officially releasing it. def recommend listening to it reading the chapter! (might have to stream illegally bc mother is being stingy 🙄.)

INSTAGRAM, july 17 (midnight)

liked by paulwesley, ninadobrev, and 13,333,112 others

yourinstagram and just like that, the final chapter of Midnights, is out now. this is my most personal body of work that i'm putting out into the universe, and i'm so scared yet excited to share her with u. thank u to my team, my producer jackantonoff turned dearest friend of almost 7 years (woah!!!) we spent many noons & midnights on this album and i'm forever in debt n grateful. thank u to all my other friends who i didn't mention, yk who u are. to everyone else, thank u for your persistent patience and support. it does not go unnoticed. from my heart to yours, midnights (till dawn edition), is available on all streaming platforms. i love u. thank u 💗.

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leclerccharl ain’t that the teddy bear charles won for her at the fair forever ago??!

y/nsfeverdreamhigh leclerccharl o em gee yeah..

fernandoalonso_offical Proud of you cariño

barbie 🥹🥹💗💗

landonoriss screaming crying shaking throwing up

danielricciardo gagging choking ascending to god

authur_leclerc Love you always, Proud of you always ❤️

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TWITTER, july 17

The song’s big question: “Do I throw out everything we built or keep it?”

BY: ALLY PUBLISHED: JULY 17, 2023

Y/n L/n’s lyrical candidness is what has always made her standout as a songwriter. Whether she was writing about young love, relationships, or breakups, her songs never flinched from trying to paint a full picture, even if it was one that was hard to look at.

It’s been a while since the super star has released a breakup song, but it was only a matter of time; since the singer split with Charles Leclerc, fans have already began anticipating the inevitable breakup album. But it turns out they didn’t have to wait long. At Midnight (July 17), L/n released a second deluxe edition of her 2022 album Midnights, which included four new songs, among them the release of “You’re Losing Me,” a song fans have deciphered as ostensibly about her split with Leclerc.

via @yourinstagram on instagram

The nearly 5-minute track is a devastating relationship ender if we’ve ever heard one, as it details the hopeless and tragic dissolution of a relationship. Though L/n doesn’t include any names or details, it’s not hard to see why fans are interpreting it as being about her and Leclerc.

When Entertainment Weekly first broke the news of their split in April, sources for both parties diplomatically described the breakup as amicable, and that “it was not dramatic.” “The relationship had just run its course,” one source told ET. However, that story was debunked as L/n herself, stated Leclerc had an affair with Australian Youtuber Lola Ransdell, in one of her Eras Tour Shows. With the release of “You’re Losing Me,” L/n seems to offer a window into her perspective of how things ended while also releasing one of the most devastating songs she’s ever written.

Its lyrics don’t waste any time getting into the tragic heart of the matter. “You say, ‘I don't understand,’ and I say, ‘I know you don’t’/ We thought a cure would come through in time, now, I fear it won’t/ Remember looking at this room, we loved it ‘cause of the light/ Now I just sit in the dark and wonder if it's time,” she sings in the first verse, painting a portrait of two people who are unaligned and have seemingly grown apart in their relationship.

The pre-chorus lays out the song’s big question: “Do I throw out everything we built or keep it?” But waiting for resolution feels like something L/n doesn’t want to do anymore: “I'm getting tired, even for a phoenix/ Always rising from the ashes/ Mending all her gashes/ You might just have dealt the final blow,” she sings.

The most heart-wrenching part of the song comes in on the chorus, as she warns her other half, “Stop, you're losing me/ Stop, you’re losing me/ Stop, you’re losing me I can't find a pulse/ My heart won't start anymore/ For you/ ‘Cause you're losing me.” The lyrics mirror the song’s production which sounds like a quietly pulsing heartbeat, driving the knife’s blade of the song in even deeper.

Perhaps L/n’s biggest skill on this song is being able to convey all the heartbreak and roiling emotion without actually providing any specifics into the breakup.

“You’re Losing Me” is rife with frank, confessional lyrics, but still keeps many of the exact contours of the split obscure. There are no accusations or fingers pointed at who’s at fault. There are no mic drop moments or explosive gossip; The closest L/n gets to revealing any details is on the second verse, when she seems to suggest that the relationship hadn’t been OK for a while now.

“Every morning, I glared at you with storms in my eyes/ How can you say that you love someone you can't tell is dying?/ I sent you signals and bit my nails down to the quick/ My face was gray, but you wouldn't admit that we were sick,” she sings.

On the bridge, L/n reveals that she “wouldn’t marry me either,” perhaps offering the tiniest, sliver of hints into one of the other reasons why they ultimately fell apart: “And I wouldn't marry me either/ A pathological people pleaser/ Who only wanted you to see her/ And I'm fading, thinking/ Do something, babe, say something (say something)/ Lose something, babe, risk something (risk something)/ Choose something, babe, I got nothing (I got nothing)/ To believe, unless you’re choosing me.”

It’s the lack of details, the palpable restraint despite L/n’s clear heartbreak behind its lyrics, that makes “You’re Losing Me” perhaps the most devastating song in her catalog (yes, even more so than “All Too Well.”) Amid the grief and sadness of the song, there’s also a feeling of inevitability, of sorrow that nothing more could be done, of pointlessly waiting for action when you know nothing is coming.

In some regards, it’s one of L/n’s most mature breakup songs in her catalog, regardless of whoever it’s about. And if this is just a “from the vault” track, it makes one wonder what an albums-worth of these songs would sound like.

SEE MORE RELATED POSTS:

• Lola Ransdell Cancelled over resurfaced racism tweets

• Lola Ransdell loses brand deals over Y/n L/n drama

• Charles Leclerc finally breaks his silence over Y/n L/n Breakup

ally’s radio 📻:a filler chapter im sorry😞 but anyways, the related stories r a sneak peak of the next chapter🤫 if u asked me to tag u and i didn’t, pls send me a message or inbox me bc it might’ve gotten lost 😭 i try to stay up-to-date but sometimes i miss people so pls lmk!!!

taglist 🦢🪩: @incoherenciass@dakotali@405rry@topaz125@sassyheroneckgiant@hevburn@itsmytimetoodream@ivegotparticulartaste@crowdedimagines @asterianax @haydee5010@scenesofobx@christinabae@magical-spit@dessxoxsworld@myareadsbooks@honethatty12@hopefulinlove@diasnohibng@gentlemonsterjennie1@hummusxx@eugene-emt-roe@taestrwbrry @perjarma @cxcewg@chimchimjiminie16@glow-ish@allywthsr @millyswife @mrsmaybank13 @black-swan-blog27 @stargaryenx @lilsiz @ohthemisssery @leclerclvr @slytherinjimin3nthusiast @shessthunderstoms @cool-ultra-nerd @ncentic @playboykenz @canvashearts @tinyhrry @xeliaaaa @ifionlywould @gaviypedrisbride @callsignwindow @dhhdhsiavdhaj @chasing-liberosis @laneyspaulding19 @a-daydreamers-day @saikikusouswife @motorsp0rt @lifesuckslife @shessthunderstoms @drewsandsebastianswife @sainzluvrr @ietss

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zot3-flopped · 21 days

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Sylvia Plath did not stick her head in an oven for this! When Taylor Swift took the Grammys stage last month to claim her award for Best Pop Vocal Album for Midnights, she saw that spotlight as an opportunity to announce her 11th studio album: The Tortured Poets Department. The follow-up cut to audience members—Swift’s music industry peers, mind you—told us all that we would ever need to know, and the collective disinterest across the crowd echoed through our TVs.

Folks from all walks of life took to social media to express a multitude of reactions. Swifties clamored to their beloved monarch’s forthcoming era, while others lambasted the terminally cringe title and artwork and ridiculed Swift for making a night recognizing musical achievements across an entire industry about herself—knowing perfectly well that it would send her fanbase into a surge that would, no doubt, overpower the excitement around the ceremony itself.

Quite a few people questioned whether or not that moment suggested that a critical—definitely not commercial—tide would turn against the world’s most-famous pop star. And, perhaps it has—but, to most, it will look like nothing more than a single ripple in Swift’s ocean of successes.

Swift remained relatively hush-hush about The Tortured Poets Department up until its release, leaving her fans, admirers and haters alike with nothing but an album title to ponder about. And it’s a bad title.

If you have never been in Swift’s corner, her taking the route of labeling her next “era” as “tortured” was likely catnip for your disinterest. If you are a fan—not necessarily a Swiftie, but even just a casual lover of her best and brightest work—you might be beside yourself about the first Swift album title longer than one word in 14 years.

In terms of popularity—certainly not always in terms of quality—no musician has been bigger this century than Swift, which makes it impossible to really buy into the “torture” of it all.

This is not to say that Swift being the most famous person in the world makes her immune to having multi-dimensional feelings of heartbreak, mental illness or what-have-you.

But, she has made the choice—as a 34-year-old adult—to take those complex, universal familiars and monetize them into a wardrobe she can wear for whatever portion of her Eras Tour setlist she opts to dedicate to the material.

Torture is fashion to Taylor Swift, and she wears her milieu dully. This album will surely get comparisons to Rupi Kaur’s poetry, either for its simplicity, empty language, commodification or all of the above.

And, sure, there are parallels there, especially in how The Tortured Poets Department, too, is going to set the art of poetry back another decade—as Swift’s naive call-to-arms of her own milky-white sorrow rings in like some quintessential “I am going to take pictures of a typewriter on my desk and have a Pinterest mood-board of Courier New font” iPhone fodder. 2013 called and it wants it capricious, suburban girl-who-is-taking-a-gap-year wig back!

Soaking our book reports in coffee or having our moms burn the edges with a kitchen lighter cannot come back into fashion; the cyclical notions of culture cannot make the space for such retreads.

There is nothing poetic about a billionaire—who, mind you, threatens legal action against a Twitter account for tracking her destructive private jet paths—telling stadiums of thousands of people every night that she sees and adores them.

Tavi Gevinson says it well in her Fan Fiction zine: “When 80,000 people are also crying, you become less special, too.” If Swift can return to one of her dozen beach houses across the world, kick up her feet and say “I’m a poet of struggle,” then who is to say that millions—maybe billions—of people with access to a notes app and a social media account won’t dream that dream, too?

Maybe that looks like a net-positive, but it’s inherently damning and destructive to take an art form that has long stood on the shoulders of resistance, of love and of opposition to power, systematic injustice and climate warfare and boil it down to the new defining era of your own 10-digit revenue empire. “My culture is not your costume,” yada, etc.

The Tortured Poets Department does begin with a shred of hope that, just maybe, Swift knows what she’s talking about—as she sneaks in a cheeky “all of this to say,” textbook transitional phrasing for poets, on opening track “Fortnight.”

But “Fortnight” unmasks itself quickly as a heady vat of pop nothingness, though it isn’t all Swift’s fault. “I was a functioning alcoholic, ‘til nobody noticed my new aesthetic,” she muses, attempting to bridge the gap between a behind-the-scenes life and on-stage performance—only for it to occur while propped up against the most dog-water, uninspired synth arrangement you could possibly imagine.

Between producer Jack Antonoff’s atrocious backing instrumental and the Y2K-era, teen dramedy echo chamber of a vocal harmony provided by out-of-place guest performer Post Malone, “Fortnight” chokes on the vomit of its own opaqueness.

“I took the miracle move-on drug, the effects were temporary,” Swift muses, and it sounds like satire. This is your songwriter of the century? Open the schools.

The Tortured Poets Department title-track features some of Swift’s worst lyricism to-date, including the irredeemable, relentlessly cringe “You smoked then ate seven bars of chocolate, we declared Charlie Puth should be a bigger artist / I scratch your head, you fall asleep like a tattooed golden retriever” lines glazed atop some synthesizers and drums that just ring in as hollow, unfascinating costuming.

Aside from the Puth nod, which I can only discern as a joke (given the fact that he is one of the 150-most streamed artists in the world and is one of the blandest pop practitioners alive—I don’t care if he can figure out the pitch of any sound you throw at him), I think Antonoff should stick to guitar-playing. Get that man away from a keyboard, I’m begging you.

Synths can be, if you use them correctly, one of the most emotional and provocative instruments in any musician’s tool-box. There’s a reason why keyboards defined the 1980s; they rebelled against the very oppressive nature existing outside of the cultural company they kept. There’s resistance in electronic music that, while they brandish an aesthetic that, to a layman’s ears, seems like technicolor hues for any infectious pop track, it’s a genre that aches to tell its own story. That is simply not the case here, and that electronica hangs Swift out to dry when she drags us through the lukewarm “I laughed in your face and said, ‘You’re not Dylan Thomas, I’m not Patti Smith’ / This ain’t the Chelsea Hotel, we’re modern idiots” lines, only to hit us with a softly sung F-bomb that sounds like a billionaire’s rendition of that one Miranda Cosgrove podcast clip.

I used to rag pretty heavily on Reputation—mostly because I thought (and still do, mostly) that it sounded like Swift had given up on making interesting, progressive pop music; that, in the wake of her (arguably) best album, 1989, it seemed like she’d lost the plot on where to go next. But as she’s put out Midnights and The Tortured Poets Department back-to-back, I find myself clamoring for the Reputation-era more than ever—at least seven years ago, Swift wrote songs like she had something to prove and even more to lose.

That was the always-obvious charm of Reputation, even despite the downsides—that she took a big swing from the echelons of her own musical immortality, that the comforts of winning every award and selling out the biggest venues in the world were no longer pillowing her aspirations. Even though that swing didn’t land, she still made it in the first place—and Swift is at her best either when she is clawing upwards (Reputation) or faced with nowhere to go but into the studio and noodle with the bare-bones of her own sensibilities (folklore).

You get something like The Tortured Poets Department when the artist making it no longer feels challenged, where she strikes out looking.

The mid-ness of The Tortured Poets Department will not be a net-loss for Swift. She will sell out arenas and get her streams until she elects to quit this business (a phrase decidedly not in her vocabulary, surely).

She will sell more merch bundles than vinyl plants have the capacity to make, and rows of variant LP copies will haunt the record aisles of Target stores just as long as Midnights has—if not longer.

Perhaps, in five or six years’ time, we will speak of this record just as we now do of Reputation. But right now, it is obvious that Swift no longer feels challenged to be good. The Tortured Poets Department is the mark of an artist now interested in seeing how much their empire can atone for the sins of mediocrity.

Can Swift win another Album of the Year Grammy simply because she released a record during the eligibility period? The Tortured Poets Department reeks of “because I can,” not “because I should.”

On “I Can Fix Him (No Really I Can),” Swift tries stepping into the shoes of the country renegades who came before her—the Tammy Wynettes and Loretta Lynns of the world. But her self-aggrandizing inflation of importance, glinting through via a seismically-bland bridge, is backed by a minimal set dressing of guitar, drum machine and keys.

“Good boy, that’s right, come close,” she sings. “I’ll show you Heaven if you’ll be an angel—all mine. Trust me, I can handle me a dangerous man. No, really, I can.” On “Florida!!!,” Swift calls upon Florence + the Machine to help her sing the worst chorus of 2024: “Florida is one hell of a drug / Florida, can I use you up?”

Even Welch, who is a fantastic pop singer-songwriter in her own right, delivers a grossly watery verse: “The hurricane with my name, when it came I got drunk and I dared it to wash me away.”

Not even the typos on the Spotify promotional materials for this album could have foretold such offenses. I won’t even get into the sonics, because Antonoff just rewrites the same soulless patterns every time.

What separates The Tortured Poets Department from something like Reputation is that, on the latter, Swift made it known what was at stake and who she was making that album for—herself, in the aftermath of her greatest long-standing criticisms (“Look What You Made Me Do” triumphs exactly because of this).

On The Tortured Poets Department, there is a striking level of moral nothingness. The stakes are practically non-existent, and the album sounds like it was made by someone who believes that they had no other choice but to finish it, as if Swift fundamentally believes that her creative measures are firmly embedded in the massive monopoly her name and brand currently hold on popular music. That’s how you get meandering pop songs about hookups, wine moms, Stevie Nicks comparisons, Jehovah’s Witness suit mentions, hollowed-out, tone-deaf nods to white-collar crime in lieu of empowerment and, topically, Barbie dolls.

(Don’t even get me started on the Anthology lyrics, which feature these absolute barn-burners: “Touch me while your bros play Grand Theft Auto” and “My friends used to play a game where / We would pick a decade / We wished we could live in instead of this / I’d say the 1830s, but without all the racists / And getting married off for the highest bid.”) This album and its hackneyed grasps at relevance exist as “Did I just hear that?” personified, but in the most derogatory sense of the notion.

My Boy Only Breaks His Favorite Toys” features another low-point in Swift’s lyrical oeuvre, as she sings “I felt more when we played pretend than with all the Kens, ‘cause he took me out of my box”—perhaps a measure of her capitalizing on the Barbenheimer mania that none of us could escape, not even the musician who spent most of 2023 flying across the world from one country to another.

But you, us, the listener—we want to believe that Swift makes these records because she has the artistic will, drive and interest to continue giving us parts of her story in such ways that they exist as an archival of her life.

But the problem is that, on The Tortured Poets Department, Swift is packaging her life into a form that is easily consumable for the 17 or 18 years olds who pour over her music. Just because her Eras Tour film is on Disney+ doesn’t mean she has to strip her songwriting (which we know can be, and has been, phenomenal) down for the sake of it being digestible by a wide spectrum of ages.

And, sure, maybe that makes the work accessible. But on The Tortured Poets Department, Swift makes Zoomer jargon her bag—titling a song after one of the most popular video games in the world and conjuring flickers of “down bad” and “I can fix him”—and it feels like she’s cosplaying because the Fountain of Youth was out of order.

Now that Swift is in her 30s, it sounds like she is infantilizing her own audience more than ever before—that singing to them at a level that could force them to reckon with something more akin with adulthood would be some kind of kink in the coil or her consumeristic threshold, that writing lyrics that sound like they were penned by a 30-year-old would, somehow, deter the interests of the billions of people who adore her.

If making one, continuous coming-of-age album is what Swift has been doing for 15 years, folklore and evermore were hiccups in the timeline—existing as the most fully-formed renderings of Swift’s own insecurities and concerns. They mirrored our platitudes towards an uncertain future with sweet, stirring remarks about isolation and heartbreak and the unavoidable, hard-worn truth about getting older. On those records, her larger-than-life living seemed, for once, to truly feel as close to the ground as ours.

Now, though, Taylor Swift is at the top of the mountain. Far better artists have made far worse records than The Tortured Poets Department, but you can’t read between the lines of this project. There is nothing to decipher from a place of quality.

Sure, Swift’s fan base will pour over these lyrics for the rest of their lives—insisting they know, for certain, which song is about who. But you cannot place a bad album on the shoulders of lore and expect it to be rectified.

We are now left at a crossroads. Women can’t critique Swift because they’ll run the risk of being labeled a “gender traitor” for doing so. Men can’t critique her because they’ll be touted as “sexist.”

And, sure, Swift is probably too easy a punching bag in this case—and most of the time, I would argue she is undeserving of being a victim of such barbs. But, you cannot write about someone being a “tattooed golden retriever” and get away with it and still retain your title as the best songwriter of your generation. You just cannot.

Sisyphus should be glad he never got the boulder to the top of the mountain—because Taylor Swift is showing us that such immortality and success ain’t all it’s cracked up to be. And, when you’re standing on the peak alone, who else is there left to hit?

In a recent interview with The Standard, Courtney Love said that Swift is “not interesting as an artist,” and I think The Tortured Poets Department proves as much. She has nothing to fight for, no doubters left to drown.

So where does she turn? Well, to boredoms of celebrity thinly veiled as sorrow everyone and their mother can latch onto—because we’ve all had to “ditch the clowns, get the crown” at some point in our lives, right?

The billionaire is having an identity crisis, but there are no social media apps for her to buy up. So she sings like Lana Del Rey and writes meta-self-referential songs about looking like Stevie Nicks.

What’s hollow about The Tortured Poets Department is that the real torture is just how unlivable these songs really are. No one can resonate with “So I leap from the gallows and I levitate down your street, crash the party like a record, scratch as I scream ‘Who’s afraid of little old me?’ You should be.” And normally, that wouldn’t be an end-all-be-all for a pop record—but when your brand is built on copious levels of “I’m just like you!” as the demigod saying it to their fans does so from a multi-million-dollar production set, it’s hard to not feel nauseated by the overlording, overbearing sense of heavy-handed detritus we’re tasked with sifting through on The Tortured Poets Department.

Love’s words to Lana, her advice to “take seven years off,” should be applied to Swift. Now, that doesn’t mean that, to make a good album, you must sit on material for years and labor extensively through the sketching, shaping and recording in order for it to be transcendentally landmark. But it’s obvious now that not even Taylor Swift wants to be the head of an empire—that she, too, can’t outrun the damning fate of being plum out of ideas by hopping in her jet and skirting off to God knows where.

See you at the Grammys.

****

#this review is everything #anti taylor swift #taylor swift #travis kelce #3.6 !!!#hope Pitchfork comes for her too #jack antonoff #taylor swift reviews #the department of tortured poets

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diamondseaside · 22 days

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midnights era ily you will always be famous thank u for everything 😭

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grits-galraisedinthesouth · 10 months

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Meghan Markle Waves Goodbye To Her Rom-Com Dreams

We do? Rom-coms? I mean, yeah, it would be wonderful to have good movies again, of any genre. But with Meghan in charge, imagine the scripts she would commission. “When Harry Met Meghan, the Oppressed and Suicidal Actress.” “How to Lose a Prince in 10 Days.” “10 Things I Hate About Kate.” “The Meghan Markle Story, Starring Meghan Markle.”

That last one’s more of a tragicomedy than a rom-com, sorry. But I understand why she wants to make Julia Roberts-style romantic comedies. After all, just a few years ago, she was lurking on Hollywood Boulevard auditioning for her big break when a prince in an Aston Martin cruised by and whisked her away to his palace. She has lived a real-life Cinderella story. Only this one may not have quite the same ending.

Petty Woman: Meghan Markle Waves Goodbye To Her Rom-Com Dreams

BY: PEACHY KEENAN JULY 03, 2023

The latest chapter in the Meghan character arc is about the content she and hapless Harry are trying to pitch to their paymasters in Beverly Hills.

Not all fairy tales have happy endings, and for Princess Meghan the clock just chimed midnight and the spell has been broken. The coach is turning back into a pumpkin as we speak.

As a longtime Royal Family watcher, I admit to feeling shameless glee as I read the recent stories of Meghan and Harry striking out in Hollywood. It’s always fun to watch dire low-stakes predictions come true. Like many of you, I was appalled at the disrespect Meghan showed to her in-laws. Instead of respecting the Queen, Meghan, incredibly, seemed to be trying to compete with the Queen. She thought she was playing a game of “Survivor,” but she was the only one on the island who didn’t know how to make a fire.

A Long Way Down for the Duchess

For those not keeping track, Meghan and her nitwit ginger sidekick have been dropped by Spotify, reportedly losing half of the $50 million promised. She got $25 million for a measly 12 hours of a middling podcast featuring the richest and most famous women in the world complaining about how hard their lives are. Netflix is reportedly about to cut their $100 million deal short. They finished milking them dry of low-hanging tabloid family gossip, and just found out they have no Act 2.

Nothing is working out the way she dreamed it would. Meghan’s imagined billionaire lifestyle is turning into a mirage. Why? Because for some hilarious reason, the creative bigwigs in Hollywood believed Meghan when she promised that her and Harry would be able to provide oodles of monetizable entertainment content.

I mean, yes, I am quite entertained by the spectacle, but schadenfreude is tough to monetize.

Meghan In Her Flop Era

Meghan’s predicament tells you everything about the people who run Hollywood. Imagine thinking that these two “f*cking grifters,” in the words of the Spotify exec who had to say no to Harry’s harebrained podcast ideas, would be a rich source of high-quality entertainment!

I can’t help wondering how a D-list golddigger convinced these studio heads that her and the ginger mouth breather would somehow provide $150 million worth of streaming content. It turns out that they’re only good at providing piles of steaming content, if you know what I mean.

I suppose it’s true, as movie producer Jackie Trehorn tells the Dude in “The Big Lebowski,” standards have fallen in entertainment. Since the Sussexes first ditched their careers as legit royalty and started groping for ephemeral Hollywood royalty, my fellow Meghan hobbyists and I have enjoyed a goldmine of unintentional comedy. She’s the Benny Hill of pampered Montecito trophy wives, always running downhill chased by imaginary paparazzi.

She’s been a source of delight since the early days when she was using a Sharpie to write inspirational messages on bananas to street prostitutes in England. “You are brave.” “You are loved.” Then the cringe-worthy trek through the thousand micro-aggressions she endured at the hands of her sister-in-law Catherine. Did she not realize everyone saw it for what it was: pure jealousy?

But now we come to the era of Meghan Markle, entertainment content creator. The latest chapter in the Meghan character arc is about the content she and hapless Harry are trying to pitch to their paymasters in Beverly Hills. It was clear that her long slide back into C-list obscurity had begun when I read an incredible tidbit in the trades earlier this year. Meghan was talking about her new content ideas she was working on for her “media production company.” See, it’s already funny!

Meghan gushed to a Variety reporter: “For scripted, we want to think about how we can evolve from that same space and do something fun! It doesn’t always have to be so serious. Like a good rom-com. Don’t we miss them? I miss them so much. I’ve probably watched ‘When Harry Met Sally’ a million times. And all the Julia Roberts rom-coms. We need to see those again.”

As Jeremy Zimmer, the CEO of United Talent Agency, one of the largest Hollywood talent agencies dished during Cannes to every reporter within earshot: “It turns out that Meghan Markle wasn’t a great audio talent, or necessarily has some kind of talent. And you know, just because you’re famous doesn’t mean you’re good at something.”

Ouch. I wonder if Jeremy Zimmer has seen the latest desperate pitch Meghan made to Netflix; a girlboss rom-com called “Bad Manners” starring … Miss Havisham. The show is “a prequel to Charles Dickens’s 1861 novel Great Expectations which will focus on the character Miss Havisham… [the show] aims to shine a feminist light on the spinster, showing her as a ‘strong woman living in a patriarchal society.’”

Who says comedy is dead? Sign me up for this one!

The article ends with the ominous “it is unclear whether the show will get a green light from Netflix.”

Meghan is learning, finally, the hardest lesson of all: real royalty may be hereditary, but Hollywood royalty has to be earned. Popularity matters. Likeability, in the end, is the only currency that matters if you wear no crown.

Peachy Keenan is a senior contributor to The Federalist and a contributing editor and regular essayist for The American Mind, a publication of The Claremont Institute. She is the author of "Domestic Extremist: A Practical Guide to Winning the Culture War" (coming June 6 from Regnery). She also writes at peachykeenan.substack.com, and you can always find her on Twitter.

#megxit #the fall of sussex #hollyweird said no #Sparry #worldwide privacy tour #south park

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thepalmofyourfreezinghand · 1 year

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The thing I love the most about The Eras Tour is that she could’ve just as easily - without changing the set list - marketed it as a normal tour for the albums she was yet to perform live (Lover, folkmore and Midnights). Because, besides those four sets (during which she goes a bit deeper), all the other sets are made up exclusively of her biggest singles + Enchanted and Don’t Blame Me, which trended on TikTok. And so, if she had made a “normal” tour for the last four albums, the formula she would’ve followed is the one we ended up with: play more stuff for the last album(s), and save a few spots for the singles/most well known songs from the past albums. It’s what she’s always done since the Speak Now tour.

But, while the songs she chose follow the classical formula (she’s not out there playing Holy Ground or All You Had To Do Was Stay every night), she divided the concert into sets so that every single song can have its moment to shine in the context of its era.

And so we really CELEBRATE Love Story during the Fearless set, just like we celebrate LWYMMD during the reputation set. It’s not about “well, now she needs to take a break from her new stuff and perform her most famous singles from the past because that’s what she’s supposed to do”, but it’s more “we’re back in 2009 and we’re in the Fearless era and we’re gonna sing this song so loud because we love it, not because we have to”.

I have so many thoughts about this but it’s just amazing how she shaped the tour up to really give love and space to her past songs, not just as songs she’s supposed to sing but as songs she wants to sing

#taylor swift #the eras tour

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moononmyfloor · 1 year

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A Compilation of Chinese Period drama OSTs that are inspired by Classical Poetry- Part 3

Part 1, Part 2

More in Confirmed List

8. The Long River

"Life Passes Like a Dream (浮生若梦)" (Ending theme) by Li Bai, performed by Wang Zhenhua

youtube

9. Oh My General (2017)

Yang Lin [杨蔺] - Pride of the Fishermen [渔家傲] by Fan Zhongyan

I couldn't find a way to share an mp3, but you can find it here and listen from there.

10. Dream of the Red Chambers (1987)

Source

Sadly I couldn't find any other songs he composed based on the original poems for the drama, except the one below. If you know more, please do share! 🥺 🙏

Burial of Flowers

youtube

A famous cover by Tong Liya

I highly recommend listening to this chilling cover done for the kiddie drama version of Red Chambers as well.

11. Romance of the Three Kingdoms (1994)

滚滚长江东逝水 Gǔngǔn Chángjiāng Dōngshì Shuǐ (The Billowing Yangtze River Flows East) by Ming Dynasty poet Yang Shen, performed by Yang Hongji

短歌行 Duǎngē Xíng (A Short Song) by Cao Cao; performed by Yang Hongji

Extra: Rendition of the same scene in Three Kingdoms (2010) with Eng translation and in Advisors Alliance (2017)

youtube

子夜四时歌 Zǐyè Sìshí Gē (The Midnight Song) Lyrics adapted from a Southern Dynasties era poem; performed in a Wu accent. Played during Liu Bei and Sun Shangxiang's wedding scene in episode 43. Source

A translated fanvid

youtube

七步诗 Qībù Shī (The Seven Steps Poem) by Cao Zhi; performed by Liu Huan

(Aka the Bean Poem. Here's a nice comparison of the same scene in different dramas by another Tumblr user!)

youtube

丈夫歌 Zhàngfū Gē (A Song for Men) by Luo Guanzhong; performed by Lü Jianhong

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There are more but this is all I was able to find :(

12. The Advisors Alliance (2017)

In the same spirit (their version of Duan Ge Xing is already shared above),

十五从军征 At Fifteen I Joined the Army on Expedition by unknown Han dynasty poet, performed by Jin Yushan (金语衫) (not sure, Wikipedia says Jin Yubin) Here's a cartoon version as well.

The thumbnail of the vid is incorrect for some reason btw. It's from AA not 3K.

youtube

怨歌行Yuan Ge Xing (Song of Regret) by Ban Jieyu, performed by Yeung Tung & Lu Moyi

13. My Fair Princess (1998)

youtube

14. Shaolin Wendao (2016)

Not a poem, but the ost is made out of the Mahayana Buddhist Sutra Da Bei Zhou/Great Compassion Mantra/Nilakantha Dharani.

This was one of the first songs I have listened on YouTube, even before I started watching Cdramas etc. It has always brought me great sense of calm and peace. Only recently, more than like 5 years later I finally found out where it is from.

Da Bei Zhou (大悲咒) by Jing Shan Yuan (敬善媛)

The scene from drama

Full ost:

youtube

15. Journey to the West (2011)

Similarly, the opening ost was taken from the mantra of the Mahayana Buddhist scripture Heart Sutra.

Xin Jing (心经) performed by Yang Xiaolin

youtube

My other posts

#Youtube #My goodness I am so tired #classical Chinese poetry #drama osts #Cdrama #Chinese drama #gufeng #guofeng #The Long River #romance of the three kingdoms #oh my general #dream of the red chamber #my fair princess #shaolin wendao #journey to the west #three kingdoms #the advisors alliance #poetry

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snoopysfriendwoodstock · 10 months

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we are the exact same re rankings. 1989 was her ONLY good pop album and i will die on this hill. everything after 1989 has been a sad attempt to recreate that magic. and even then? 1989 is not better than red or folklore. rep, Lover and midnights are tragedies. how do you think people (fans and gen pop) would perceive her if she didnt have folklore+evermore? i wonder if eras tour would be the success that it is if not for folkmore...

i LOVE this question thank u for asking… personally i think midnights/lover/rep have some higher highs than 1989 but 1989 is more consistently great. her other pop albums have some really sweet moments that i think are lacking from 1989 (yail and clean are the exceptions to this but otherwise while 1989 has some pure pop perfection, it doesn’t have the same emotional appeal to me that her earlier albums do. it’s very much created for radio, which i think is why it’s soooo successful!) i think lover was the clear proof that if folkmore had not come out, she would’ve just sort of tapered off. i think 1989 would have always been her peak. she would’ve kept making music but i don’t think she would’ve found MORE success, it definitely wouldn’t be anything like today. however, midnights seems to have made her even MORE famous than i ever thought was possible. folkmore introduced her and endeared her to a new audience, a more mature adult one imo, but midnights cemented that superstardom even tho in my opinion it’s pretty bad lmao. but people love it! it’s hard bc in my opinion, folkmore was a peak that showed how fucking incredible she is as an artist and how incredibly good she is at capturing a cultural moment and putting broad emotions into the perfect words, but midnights sort of specified who her audience is? it’s old swifties obviously but it’s also this new rabid breed of stans that were created on twitter in the last few years that seemingly don’t even like her that much but like the label of BEING a swiftie? if that makes sense? idk, my opinion gets in the way of all this bc folkmore to ME made it clear she still has what i desire from her in an artist and i’ll be here forever but midnights seemed to cement her to the public as a star? idk!

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joesalw · 6 months

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hey, I saw your take on the break up and thought this was a safe place to say what I think might have happened. I wanted to know what you think. She adresses joe's struggle with mental ilness in many songs, right? but till the end of folkmore era, it was always in a supportive way. and then we got Renegade and you're losing me. I think she tried to support and understand him for years, but she eventually became tired and wanted more than he could offer. I think she might have wanted to get married to feel emotionally secured, but also because of the media pressure, like she also wanted to prove a point, and joe wasn't in a rush to cause of the struggles and the fact that that would forever tie him to a life he might not have idealized for himself, because of the massive fame. I hated how antonoff apparently dissed him in "everybody's an art bro lately talking shit abt your famous baby". like, if it was really bout joe, that was such a shitty thing to do. I can't imagine that the only person in her circle that'd sign the ceasefire petition is the villain. I got this impression that he's really a guy with a integrity that makes her feel small when she talks shit with her friends. I got the impression that she's very tied to fame and being the next biggest thing, the best in the industry, and her friends are all so much like that that a guy like joe could be completely misunderstood and accused of being pretentious. I think she tried to be like him because she admired it, but eventually felt rejected or not valued enough, and it grew a lot of resentment, which made her go back to the old ways, with all the friends that are so much more like her, as soon as she saw the new hype folkmore and midnights gave her. i think folklore was already a resigned TS, thinking the young promising years in pop were past her and wanting to improve in quality, before thinking she could still be "bejewleed". I think it came all at once to her, and I wouldn't doubt that the joe she described in you're losing me could be someone already seeing all that and not wanting to be there, but also not wanting to be the bad guy and break up with her, which is not nice, but I still can understand him much more tbh. I think I can see her wanting to change an be like him, only to not be able too and feel resentful, more than I can picture her trying to change him. What do you think?

What you wanted to say to justify her emotions is valid but it doesn’t give her the rights to publicly shame him and throw him under the bus either

I think that she's a horrible person because she knows that joe suffers from anxiety and mental health issues better than anyone and still went on to bring a hate trend upon him because he simply denied to marry her. She made her friends publicly unfollow him because she wanted to give her cult a green flag for bullying him. Also imagine making your partner's mental health all about you and writing songs for that, she really has a main character syndrome, she has to make everything about herself. I think Joe took the right decision by not marrying her. And after seeing how she dealt/is dealing with the whole situation, I'm sure he is letting out a sigh in relief.

#anti taylor swift #joe alwyn

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pacinosgf · 1 month

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many old guard stars have succesfully made the transition into the digital era, but barbara ann robinson is not of them: no social media team or presence whatsoever, though is known that she keeps a tight staff running anything related to her work. since she started dating a (younger) girl a few years ago, she has made some appearances on the internet: besides showing up on her girlfriend's account from time to time, barbara now has an instagram account from herself, where she posts videos playing bass and piano from time to time with the help of her beloved girlfriend. still, no one imagined she would show up in 2022 to talk about her only dig at a solo career for spotify, celebrating the 40th anniversary of the cult classic contemplations and ramblings.

barbara ann: it's been 40 years since contemplations. that's more than half of my life. ( barbara chucks lightly to the camera, dressed in one of her famous flowy dresses and wearing her cowboy boots. ) so many things have happened since then. i've had girlfriends. i've broken up and reconciled with my husband. i've written some songs, we will get back to this. i've done some few shows. i turn 75 this year. it's been an eventful, mostly good, life. above everything, it's my life, and i think it's already obvious how much i like to ramble. i have always thought a bit too much for my own good, but it's important to contemplate from time to time, to remember where you came from and check where you are now. that's what i needed to do when i released contemplations. that was my remembering-and-checking moment.

barbara ann: so, the first song is core. i had just come back from what you could call a nervous breakdown. i was desperately trying to get back on my feet, all i had to talk about was this solid emptiness inside of me. when i realized i wanted to do this record, and i wanted the theme to be, you know, my contemplations, i knew i wanted it to go from low to high. i start the record by saying that i know i ruined it all, that i couldn't face myself and that, well, if you are here you know it- that breaking up with brooke wellington messed me up. but there i was now, ready to accept the punch and move on with my life. the only thing that could truly make me feel better was reconciling with her, and that was not going to happen, so. i had to go on.

( pictures from the robinsons personal archives are shown on the screen, with home videos of barbara in her home studio and newspaper cutouts about barbara at the time of her mental breakdown and the end of midnight mayhems. )

barbara ann: the second is don't tell me, the first one of many i wrote about brooke. you know, during my breakdown, i wasn't in the country, i was travelling. this is one of the first songs i wrote once i felt like myself again, probably at some european beach, while my husband pretended not to look what i was writing. it's me, finally letting some of this terrible pain crawl out of my body. if you don't know anything about the relationship me and brooke had, you'd think, by the lyrics, it was easier and ended better than it actually did. i still have this journal entry.

barbara ann: this is where the fun starts, and the point where the rock fans who bought the record finally shut up about all my folk and country. success would be a perfect country song, but i wanted a contrast between the desperate lyrics and the dancing sound. i like to think some kids danced over my lyrics complaining about how terrible were the shifts as a nurse and how nobody but me believed that i could make it as a singer. it's a personal favorite out of the tracklist.

barbara ann: here we come with success' sister, failure. thank god i became more subtle with time. also a rock song, now i admit that though i was in the top of the world at some point, i certainly didn't feel like it. i wasted that time worrying and once it was over i lost everything i loved. i had wasted all my years of hard work. when i listen to this one, i feel this sorrow all over again. it was not easy for me to admit that i had failed, that we had lost the war. but once again, the rythm distracts you from all that. failure is also an answer to brooke's playing your song, but i am only admitting this now.

barbara ann: annie is my childhood nickname and the fifth song of the record. it's the longest one. my parents were odd and shy people just like i am, and though they mainly expressed their love through giving me a bed to sleep and food to eat, they were very loving. as a girl, me having to get married and leave home destroyed them. if it weren't the fact that i had to get married so i could study and leave my town, i would have stayed with them forever. it took me long to get used to the idea that my family would now be my husband's family and my only connection with the family i was born would now be my memories. i loved them. after my first tour with the band, i came back home all excited to share that happiness with them. they weren't so pleased.

( three pictures of young barbara show up on the screen. barbara as a baby on her father's truck, barbara studying as a well-behaved teenage girl and barbara smiling for the camera on the day of her wedding, just a few moments before becoming mrs. robinson. )

barbara ann: the contemplations wouldn't be complete if i didn't come back to my childhood. i talk about running with the chickens all over our farm, about dreading my aunt's piano lessons, about being a young girl waiting for her lover to show up. about being a grown woman who had lived so much since then and wondering how that girl became this. i talk about how me and jim have been solid as a rock since the moment i agreed to be with him. i talk about how i never actually thought me and brooke would ever be over. i talk a lot. nowadays only jim calls me annie, since it's the person that has been the longest with me, and that's what i like about our relationship. he has seen and been through all the barbaras that i have been.

barbara ann: i go back to talking about brooke with crazy on you. it's quite a sensual song. our relationship wasn't all about sex, but it was a big deal for both of us. brooke was, is, a free spirit, and it took me long to follow her steps and stop being so repressed. i think she would still call me repressed. but here i reminisce our nights on tour, when everything was so intense and hot and there was nothing we wanted to do more than to go crazy on each other. i try to sing like she does, i reference her song ash. i really did not want to be subtle.

barbara ann: bait and love bites are sensual too, but in a different way. i acknowledge the complexities of our relationship, how one day we would be making love promises to each other and then the next day we'd say we were just messing around, and then the next we would break up. and repeat it all the next day. but it didn't matter, because we always came back to each other. even after all those years, if she called me, i'd drop anything to answer. i'm her bait. for love bites. and all.

barbara ann: we get to moving on, where i finally collect myself and stop crying over brooke. it was hard, but i did. there is a point where you learn how to live with the pain and the simple things that suddenly seemed so hard to do become simple again. i'd never get over her, but for my own sake, i had to pretend i could. and so i did.

barbara ann: it's a stroke of luck having myself again, i saw a girl in the street wearing this shirt once. stroke is my favorite song out of the released ones. it's me, being able to trust myself again, being able to live with myself again. i have the belief that you don't have to love yourself, but you can't make your own life harder than it needs to be. you have to at least be neutral about yourself, and i liked having myself on my side.

barbara ann: the last one is call her. it obviously doesn't match the rest of the record, but i needed to add it, so entranced i was by amèlie bergstein's charm, whom i met at one of those boring hollywood parties. she flirted with me and said i should make a new record, i promptly told her i had a few song written down. it's also the only song out of the album that became a hit, the song to her, the song about her. i know for a fact she loves it.

barbara ann: this is the official tracklist, the one i released way back in 1982. many songs were left out, and those, along some others that i have written over the years, will be released in contemplations and ramblings' special reissue for its 40th anniversary. i told you i had lived so much since then. ( barbara chuckles, and the camera lowers down to show the record cover she holds, a modern version of the contemplations one, with older barbara and her characteristic melancholic look staring at the camera. )

( once again pictures from the robinsons person archive show up on the screen, pictures taken since 1982. you can see barbara with her stepchildren, barbara and some of the girlfriends she had since then, barbara and jim at their ranch. )

barbara ann: we start the new batch with bw. somehow someone leaked it and now there are dozens of audios of the song around the internet. i recorded it so it could be on contemplations, but i thought it was too heavy for the record. i still think it's quite heavy. it's another song that i wrote during my exile, and you can see by all the traces of sorrow and bitterness in the lyrics. it's bw for brooke wellington. i couldn't find a better name for it, but the lyrics made up for the lack of a creative name. i've never been more honest in a song. this kind of love i wrote about back then, which is the love we had, is not one you get over. i lost myself when i lost her, and i got myself back by accepting that i could not get her back, but daydreaming about it should be enough.

barbara ann: on a brighter note, we have maybe love. it's about my husband. i've never written many songs about him, which i know upsets him and it's a flaw of mine. i was always very protective of our relationship, because i soon realized people understood brooke and dash's arrangement better than ours. brooke and dash were different people. they would scream and get their feelings out and they didn't care about anything as long as they were having fun. but me and jim worried, i felt bad because i loved someone else, he felt bad because he could never compare, we would suck it up until we finally exploded. but i also haven't written many songs about him because me and jim were real. solid. we existed in both of the worlds we lived. we were in the same band, but we also would go back home and do the groceries and i'd say that he had to fix the sink and he'd say i had burned the eggs again. the day-to-day mattered me. meanwhile, i had to resort to writing songs to talk about my relationship with brooke.

barbara ann: anyway, maybe love goes back to our early days, as boyfriend and girlfriend, as newlyweds. i remember the anxiety i felt about finally becoming a woman, going from girl to wife in a night. i didn't love jim from the start, but i wanted to, and as we progressed, as i felt it was safe to trust him... well, after so many years, we are still together, you see.

barbara ann: i sang this one in a midnight mayhems' concert once and it almost made it into the contemplations' setlist, but it's finally out. renegade is, obviously, about brooke, straight out of the midnight mayhems momentum. as i sang it and attentively watched her face so i could see what she was thinking, she held her head high and went on drinking her beer, left the stage a few times, didn't say much besides alright, enough with the moping. she had this thing about saying that she never needed anybody or anything, that nothing could ever affect her. we fought a lot about this. i wanted to be there for her, she wanted me to go easy and leave her alone. the drugs and the chaos gave her an escape from this life, while i wanted to pull her out of that. i couldn't accept to watch her destroying herself. sometimes i though she did it on purpose, kept fucking herself up so i would get tired of her or whatever. i couldn't understand her, she couldn't understand me. after i finished the song, just me, rambling alone on the mic and playing a made in the moment melody for five minutes, i remember dash said something like you are fucked up, barbara on his mic. as always, we aired the dirty laundry on stage. the only thing we did without a crowd, besides sex, was breaking up.

barbara ann: his song is about the years me and jim spent apart. i wanted to free him from our relationship, so i said he was free to go, to meet someone nice and have a normal relationship as he dserved. i wanted him to do it. but he felt i was getting rid of him, so he got back at me. if you are here, you know what happened, i don't wanna talk about it, but the song is i what i felt during those years. i thought we'd never reconcile. i still haven't forgiven him for what he did. but then again, he will never forgive me for falling in love with someone else. we will have to keep on living this way.

barbara ann: if it's been 40 years since contemplations, it's been a bit longer since the moment i told brooke i was leaving. we have done a few band reunions, we never had a proper relationship, but my love for her is still as strong as it was then. every girlfriend of mine has had to deal with her shadow, and i don't plan to get rid of it. this love keeps me grounded, as much i have suffered over it, as much as it is hopeless. as you age, you start to appreciate even the bad things that happened to you. i will always ache over the fact that we didn't work out, but at the same time it's such a beautiful feeling! i wouldn't trade it for anything. our love was fleeting and intense in a way that doesn't seem real. sometimes i wonder if she ever loved me too or if i simply want to believe she did. but what is the good in thinking so much? love is something to feel.

barbara ann: and i do feel. i never buried brooke's ashes, you see. i kept the memories as my allies in life, close to me so i could dip into them whenever reality felt too much. ashes is a song i wrote for contemplations, but it never made into the final cut. i think i only recorded half of it back then. jim asked me to not release it, and though he gave me no reason, i felt obliged to comply. he had never felt anything so strong about my work to the point he couldn't simply ignore it. but we have accepted our problems since then, enough that i'm releasing it now.

barbara ann: the same way i accept mine and brooke's relationship in ashes, i accept mine and jim's relationship in yosemite. we did good things for each other, we did bad things for each other, through affairs and children and breakdowns, we are the person each other wants to be with every day, and so we will, until we die.

barbara ann: we finish with years, baby sister to annie and stroke. it's me, talking to myself, once again thinking about everything that happened in my life and who i am in this world. ever since i was a child and even after i decided to retreat from living in the spotlight, people have been trying to tell me who i am, who i must be, and their words were once my sense of self. this is the past. the best thing aging gives you is that you realize that nothing really matters in this world, but that you must engage with life anyway. before we even know it, it's over, but we once lived.

@gllianowens

#ok essas são as musicas oficiais!#até que eu fale o contrário #o bebê é a stevie tar #nao um aleatorio #barbara ann.

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metaphoricalcolours · 7 months

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after midnights' first anniversary... make way for red's 11th! hard to believe it's been that long already, and for some reason, the media loves acting like she started breaking records with midnights when red was pretty huge. biased example: her so-called record breaking era isn't represented on the radio here, i'm not joking, i never hear anti-hero or karma, but back in 2012/2013, you couldn't escape i knew you were trouble and we are never ever getting back together. she was always on the radio, i distinctly remember seeing red in 2012 (next to 1d's live while we're young cd, ahh. what an era.) so let's not act like she wasn't already a world famous artist a decade ago...

but anyway. this is an appreciation/birthday post for red, using the original deluxe cover, obviously, cuz it wouldn't make much sense to celebrate it with a cover we got less than 2 years ago. the multi-photoshoot encapsulates the 2012 fashion pretty well, i would say. she looks stunning here and i love the sort of fairy aesthetic she has going on, but then again, there's really nothing she can't pull off.

the tracklist is skipless (i do have one least favourite tho. the last time...), there's even songs that deserve even more hype in my opinion (ahem, stay stay stay, starlight...), and what a heartbreaking album. i'd say it was her saddest until folklore. don't you love how she tears you apart repeatedly - she's just so good at it - before ending the album on a hopeful note, though? oh, begin again. you will always be a special one.

#happy birthday red. even though you've killed me a bunch of times.#taylor swift #red

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escapadeist · 1 year

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heres some questions! what (and WHY) are your fav red tv songs? DID U see those clue compilation videos that say speak now is next? do u think SOFT ts era will come back? lastly are you BLOCKing the tumblr bots or just ignoring them (unlike ME)

So this is just a regular update ask. It's one of those.

1. My favourites on Red TV are -

Forever Winter - the theme of suicide and someone being so close to their breaking point, and u not knowing what to do other than love them when they can't love themselves, it just spoke to me. I have been difficult to love, still am *cool gal finger guns* so ik how it must be on the receiving end of it. Also, reminded me of this other very famous song called How To Save A Life by The Fray

Better Man - Have always loved it, heard it back when it was sung by Little Big Town, then heard the Bluebird cafe version where Taylor sang it live for the first time (fuck Scott Borschetta for ruining that video with his "commentary") and then ofcourse this Red Tv version just blew me away. Again, the idea of leaving because something got so beyond toxic, for your own sake, is something i relate to, all too well.. Plus, u should really watch the Little Big Town mv, it has got some pleasing visuals.

and ofcourse All Too Well 10 Min version (yay for the grammy win!)... What do i say about this song that's already not been said? I loved the choice of actors for the short film, Sadie is such a sweetheart and Dylan was and still is very mmm... I think this being her intro to proper directing will eventually lead us to some even more beautiful adventures. She has always been a storyteller, right from Speak Now World Tour cinematics, to Fearless' Love Story to 1989's Wildest Dreams. I just love how she can single-handedly create this entire universe of a myriad of niche storylines that are like a secret between her and her fans. All Too Well was my fav ever since i first heard it, albeit that was quite late.. but oh well... I guess time wouldn't fly and I stood there just paralysed by it.

2. Which clue compilation vids? I just saw the hints and easter eggs related to all the mvs of Midnights. Lavender Haze has some clues as well, and so did Bejeweled.

3. By Soft TS era if u mean her Folklore Evermore style, I certainly hope so. I loved those styles. Although i highly doubt it. She's prepping for the gianormous Eras tour right now, so i highly doubt any other styles will be seen. Although she's staying true to Midnights era, if her Grammy's dress is any indication. (Hey, isn't it cool the dress icon 👗 is the same colour as her outfit?)

4. Ignored the first few. Noticed that post-blocking, they have now reduced in number. Although i believe they can read this so egffhhjikrsssfgg... (IYKWIM ;)) n i knew you wouldn't block em. I think you're the one spawning them, aren't u? They are your mini-Satans, admit it!

#asks #anon asks #fun anons

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cornelia-street-cardigan · 1 year

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Midnights mayhem era you will always be famous

#a great era #I miss it #taylor swift #midnights

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lesbaurinkos · 9 months

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1, 3, 10 and 12 :)

1. Who is your favorite character?

CHERYLKINS EASILY genuinely there is never going to be another character like her ever again and i don't know what i'll do without her. god i support every ounce of womens wrongs. shes so campy shes so insane shes so tragic i could not ask for more. also archie.... im so dearly, deeply fond of him. he means the world to me. all hes been through and how fundamentally Good he is in the face of it all will always make my heart break..... oh archiekins...

3. Which season is your favorite, and which plot of that season do you like most?

im a HUGE s3 fan i just LOVE the vibes of g&g i love how u can see that it's where the show fully found its footing in embracing its campiness... i love how much it's about the cycles and the narrative i looove the midnight club episode. my fave plots have GOT to be a) the prison break because GOD jughead narrating it as reality and the g&g game become one and the same is soooo fun and b) well. im a simple gal. i <3 u jarchie running away together. i also think the finale is absolutely delightful.... the quest through the woods.... it's just so FUN

10. Which episode is your favorite? Why?

omg i have so many favorites. first of all 2x07 you will always be famous... jarchie east village monologue gets me forever of course. but beyond that i think it's one of the most beautifully shot episodes. the scene with jughead and the trucker in the diner has such a well-put-together slightly-surreal set (chairs turned at odd angles, compounding the emptiness by making the place wholly inhospitable) with such a good blend of unsettling fluorescent lighting in the corner jughead's at but with warm homey lighting from a lamp out of place by the door- a reassurance that archie's on the way, yknow? god plus archie and that bloody deer..... REALLY good set design and lighting and symbolism that episode. SO much fun. midnight club is another favorite because i LOVE cycles i love how firmly they establish history is repeating itself and i love the costumes. REALLY really fun. and for camp factor a) heathers episode and b) the pincushion man (chicles wedding/jughead alien abduction TWO) are two that i love to show to people to give them a taste of classic riverdale campiness. not the BEST eps of the show or anything but ones i think display the beloved madness really well! and without a doubt archie the musical. archie the musical came into my life and made it more beautiful than ever before. i love you archie the musical. ALSO FOLK HEROES... AND THE LIBRARY BOOKS EPISODE.... AND THE JUGHEAD PARADOX WHICH I GENUINELY THINK IS A CINEMATIC MASTERPIECE...... IVE GOT A LOT OF FAVORITES

12. If you read fanfiction, recommend a fic you love.

i cannot go a day without recommending my buddy isaac's incredible fic olbers' paradox. absolutely beautifully written and utterly heartwrenching i reread it frequently <3 im a sucker for repression and jarchie running away together era what can i say

#ty for the ask im sorry for rambling so long i just have SO many riverthoughts forever and ever. i LOVE YOU RIVERDALEEEE #americanphysco #riverdale #ask

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thisselflovecamebacktome · 1 year

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Ok so i'll give my opnion on some things and you tell me how you feel:

1) i think selling tickets for the tour behind the stage, it's pure greed. If u want more people in the show, make a stage in the middle of the stadium 360⁰

2) Im so tired of swifities saying 'wow taylor works SO MUCH" cause like she gets paid enough for those hours, i'm sure we (not famous people) work the same if not more hours a week and like i dont have a million. I actually think she is one the few celebs that are worth million dollars and work that amount

3) Midnights sounds so boring to me. The sounds are so..... empty (very much Jack style). I listen to the album, just dont LOVE it, yk?

Plus: i find a lot of the lyrics cringe. Some exemples-

- vigilant shit (the whole thing)

- i'm mastermind and now you're mine cause i'm a mastermind

- paris (the whole thing)

- sweet like justice, karma is a queen

- sexy baby

Anyway i"m taylor fan, just some things are weird to me

Welcome to my thoughts (3am edition) because I cannot sleep lmao.

Tickets: I think selling tickets behind the stage is fine so long as it's marked as such. Like so long as the customer knows what they're getting and can make a fully consenting choice, I think it's fine, especially in a venue where there's screens that can be watched because more people in those seats would be watching the screens a lot during the show anyway. Where it gets shady is in cases like what Ticketmaster did for Eras where some of the seats weren't marked as being behind the stage/obscured until after the purchase. In saying that, most "obscure" views actually aren't in my experience. Like a few years ago I had "obscured" tickets for Bruno Mars and it was just a side view and arguably one of the best views I've had of a stage lmao.

Taylor's Work Hours: I both agree and disagree with this. In general celebs get paid too much so I agree with that part. Likewise, I've always found the idea that she's "so brave" for continuing on with tour atm to be weird because like all of us do that in our day to day lives with our jobs and other commitments (unless we physically can't for whatever reason). In saying that, every job is more difficult in some ways and less in others. Tbh this debate reminds me of the fact my mother always thinks my jobs aren't "real" because my brother is a blue collar worker and when I've worked I've been a pink/white collar worker and while yes, his job (bartender) is more physical than mine (admin positions) will most likely ever be, my last job (receptionist at a psychological medical centre during a pandemic) was far more emotionally draining because I spent 7 - 12 hours a day listening and responding to trauma non stop. Like as someone who has done both blue and pink/white collar jobs, I can honestly say that on the most part, blue was less exhausting and a lot of my friends (both who have done both and who saw me do both) agree. And in many ways Taylor deals with both of these. Like to promote her album she kinda has to bare her soul constantly, especially because she's built her brand off of being relatable. And then with tour she's gotta be fitter than I ever will be and maintain that lmao. There's also a lot of work that celebs (and especially ones like Taylor that manages most of her career, only allowing a small team to help with certain stuff) do that we don't see. Like even if she's not working on TS11/the rerecordings atm (which I'd wager she is working on both), Taylor is not only working 9 hours a week at the moment. She's likely working as many hours as a regular person. Obviously she has the benefit of flexibility that most of us don't both in terms of hours and not having to work at all if she so chose, but yeah I'd argue that even if there was some way to prove that she doesn't work as hard, it would still be a closer call than most people think.

Midnights: So there's two parts to this. In general I agree that Midnights is not my favourite work from her, especially sonically and especially the standard edition (which is what Jack primarily worked on with the 3am songs being a mix of him and Aaron with some others). Like it reminds me of 1989 in that way. However, I don't think any of it is cringey. To be honest, I'm going to assume that you are younger than Taylor and I because in my experience the cringey vs not seems to be a gen z (people born 1996 - now) vs millennial or older (born 1995 or before) thing. Vigilante Shit is peak millennial tbh and while I cannot go into it (for legal reasons) as someone going through a situation where that song resonates, it hit from the first listen lmao. The line from Mastermind you used just sounds like something a villain would say and given she made it clear that that's the vibe she was going for (at least sonically) with the chorus, I think it fits really well. Tbh I don't understand why people find Paris cringey at all. Like it's just a cute love song, no different than Sweet Nothing or Call It What You Want. Same with that Karma line. Like she's just saying that Karma will decree the ruling that it sees fit and its word is final/there's no escaping it which is the theme of the song as a whole but especially the bridge. So the sexy baby line is not cringey but clunky to me. Like it's trying to say so much at once, and again, uses millennial references that went over a lot of people's head at first (even ones like me because I never watched 30 Rock lmao). Like I just don't think there was ever going to be a way to say all that which flowed well in my honest opinion.

But ultimately it's fine that you find stuff weird as a fan. I couldn't tell you anyone in a fandom space that doesn't find at least something weird about that particular fandom.

#taylor swift #i do have more thoughts on midnights in general because i listened to it in full for the first time since the split today #but i'm not coherent enough to explain the changes i felt atm tbh so i'll circle back to it another time

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