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talesfromthecrypts · 4 months

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We're going to get you. We're going to get you. Not another peep. Time to go to sleep.

The Evil Dead (1981) dir. Sam Raimi

#the evil dead #filmedit #horroredit #userscary #usergiles #rainbowedit #mygifs #i was like 'oh my god i don't remember if i've done rainbow og evil dead'#and i've realized maybe i should have kept a list

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scyllas-revenge · 1 year

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Leap of Faith

aka an Only One Bed headcanon with no context whatsoever

because this popped into my head and I wanted to be able to write and finish something for once god damn it. @the-girl-with-the-algebra-book this is for you 🥰

Legolas/Human Reader (gender-neutral)

Word count: 663

Rating: G

Read on AO3

New!! There’s a part 2 here!

Legolas is instantly flustered at the sight of the single bed, his eyes darting between you and the pillows and back again. Despite himself, he’s half-contemplating diving out the window to freedom—but at the look on your face, he forces himself to take a shuddering breath.

You’re more than happy to share the bed, you reassure him: there’s plenty of room, and you’re a heavy sleeper, so he won’t disturb you. But he rejects the offer smoothly. Elves do not sleep like mortals, of course, and he need not lie down to find his rest as you do.

For the first time, he regrets it.

Legolas is a gentleman: he turns away quickly as you slip out of your traveling clothes and boots and slide under the covers, but the rustling of your garments and slide of fabric against your skin is so loud in the silence of the little bedroom, so intimate, that his heartbeat lurches in his chest. By the time he risks a glance back at you, you’re buried in blankets and pillows, looking more at peace than he’s ever seen you.

And now there is nothing to do but wait for dawn.

He pours water over the coals in the fireplace as your breathing evens out in sleep. He paces quietly. He sighs. Time slips by, and his eyes dart to you more and more often.

He’s curious. That’s what he tells himself, anyway. Legolas has so rarely been around mortals, and the way they sleep is fascinating. You’re deeply, wholeheartedly asleep—no wide-open staring eyes, no mind still active and wandering, elf-like.

He’s curious. Your chest rises and falls under the blankets, your breaths even, calm. In through the nose, with the slightest snore, then out through the mouth in a warm puff. He finds himself stepping closer to the bed, transfixed.

He’s curious. That’s all. His elven eyes can make out the darting of your pupils beneath their lids, the slight parting of your lips. He leans closer, unconsciously. Perhaps you’re dreaming—and he hopes, with a sudden jolt, that you’re dreaming of him. And as though in answer, your lashes flutter restlessly, a single word escaping your parted lips: “Legolas.”

Oh, fine. He’s far more than just curious.

Legolas is perched on the bed beside you before he is aware of it, his heart in his throat. Perhaps it meant nothing—very likely it meant nothing, for rarely was there sense to be found in mortal dreams. He should move away, and stop staring longingly at your sleeping form. You would hardly appreciate it if you knew.

Or would you? You had invited him to share the bed with you, after all.

Thoroughly defeated, Legolas slips under the covers to join you. Even in sleep, you’re enough to overpower him. And even in sleep, you turn toward him, clutching at his torso and pressing yourself close. His breath hitches.

Your hands clutch tight to his tunic as you nuzzle into his side, and Legolas curls against you, your legs tangling together. A shudder runs through his body.

He breathes in and out as evenly as he can, in imitation of you, and closes his eyes against the pillows, just as you did. Perhaps he can sleep as you do, just this once, so he can survive this overwhelming closeness. Keep his eyes shut tight and his mind closed off from the world, so he can outlast it.

It frightens him for a moment—the uncertainty of his tight-shut eyes, the lack of awareness of the wider world. How odd this mortal sleep is. It feels like a leap of faith. But your breath is warm and even against his neck, your hair soft as it splays against the exposed skin of his neck and collarbone, and his heartbeat slows, sleep—true sleep—stealing over him at last.

This leap is an easy one to take, for he has faith in you utterly.

#legolas #lotr fanfic #legolas x reader #only one bed #oh god i've written in the present tense for real this time #what have i done #this started out as bullet points BULLET POINTS at least i've polished it a bit more than that

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likeadevils · 7 months

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1989 Timeline

This is a very long post that puts all the songs on 1989 in order of Taylor creating them. I’ve also included a few other songs she worked on while writing 1989 and quotes from Taylor and her collaborators talking about her process

Of all the albums in Taylor's discography, I think this is the one that improves the most when you listen to it in order. All of those things Taylor was talking about in the promo for this album-- how this is an album of her coming into her own, figuring out her values, learning to stand on her own two feet-- it all clicks into place. Listening to it in order has made me cry on more than one occasion, and it's also the thing that made me start this whole crazy process of figuring out the dates she wrote each song.

If you don't want to read the whole post, check out this playlist of the album in order or this playlist of her entire discography.

I’ve also added this color coded scale of how sure I am of the date:

Confirmed: There is some type of official source for the date

Inferring: Nobody has officially said “This is when we wrote it,” but all available evidence points to that date

Speculation: This date is based on guesswork and is highly likely to change, or, all that is known is the general season.

Unknown: All that is known is the year (from the US Copyright Offices)

Without further ado...

Oct 6, 2012: Taylor seems to have been in a studio in London (Note: I have no idea where this photo comes from and I can not find a place that specifies if this is a music studio or radio interview.)

This Love: Oct 17, 2012 (Confirmed)

October 19, 2012: Taylor mentions wanting to work with Imogen Heap, prompting Imogen to get in touch with Taylor

Time Interview: Who’d be your dream collaboration, especially now that you’re taking more musical risks? Let me think. Imogen Heap! She’s amazing. Taylor: Someone asked me in an interview "Who would you like to work with?" and I said Imogen Heap. I get an email to my management, sent like "Imogen just saw that Taylor just said an interview that she would like to work together" She said "Why don't you come out to my studio." Imogen: I got a phone call [in 2014] saying Taylor Swift was in London, she'd love to work with me and the only date she could do (between 4 sold out 02 arenas!) was the day after we got back, Sunday. It was both unexpected and not at the same time as I'd heard Taylor was a fan a while back via this Time magazine piece but somehow didn't think it would actually happen.

Fall 2012: Taylor possibly writes a song with Harry Styles and Jacknife Lee (her producer for The Last Time)

“It was out of my field of expertise and interest, but I was intrigued and my girls were thrilled. Taylor was nice and very professional. She knew what she wanted and there was no fucking about. She was seeing Harry Styles at the time, so he came to Topanga on her recommendation. She wrote a few songs with him, and it was the same thing – quick. But this time it was more directed by the management and label. They were after something specific. I wanted more acoustic and gentle, almost Americana, and they wanted bombast. They got what they wanted, and that was the extent of my foray into teen-pop territory. It was fun.”

All You Had to Do Was Stay: Jan 10, 2013 (Confirmed)

Taylor is photographed outside Conway, and then tweets "Back in the studio. Uh oh..." Later, Taylor confirmed that she was recording All You Had To Do Was Stay. Taylor: I had a dream that my ex showed up at my door, knocked at my door, and I opened it up, and I was about ready to launch into the perfect thing to say [...], Instead, all that would come out of my mouth was that high-pitched chorus of people singing, 'Stay!'...and then you go to say something else, and it's just like 'Stay! Stay! Stay!' And I woke up, I was like 'Oh, that was mortifying. But that's kind of a cool vocal part.'

January 11, 2013: Taylor is photographed outside Conway again

How You Get The Girl: Jan 15, 2013 (Confirmed)

Taylor posts a picture of her playing a guitar in the studio, captioned "Somewhere in LA..". Later, Taylor confirmed that she was recording How You Get The Girl. Given what was going on in her personal life, she likely wrote this sometime in the fall/winter of 2012, but all we know for sure is the date she recorded it.

February 9, 2013: Tweets "Grammy rehearsals last night, studio today, who knows what tonight holds! (I do. Laying around watching TV and eating candy.)"

March 6, 2013: Taylor is photographed outside a studio in LA

March 23, 2013: Posts a picture of her playing guitar captioned "Pre show. Columbia, South Carolina"

I Wish You Would: May 28, 2013 (Inferring)

Taylor is photographed out for lunch in Rhode Island with Lena Dunham (and likely Jack Antonoff, who was Lena's boyfriend but not as famous at the time) on May 27 before leaving for her show in Phoenix, Arizona the next day Jack: "We were hanging out at her house in Rhode Island and we were talking about John Hughes movies, and a lot of the music that inspired [them], and just this general culture of sound in that time period that was really larger-than-life in an anthemic, positive way. These songs could be at the end of films that were really, really beautiful and said a lot. That actually ended up being a song called 'I Wish You Would' which is going to be on her album. We first worked on that song together and realised we kind of have a good thing. Taylor: “This is a song I did with Jack Antonoff, and Jack is one of my friends and so we were hanging out and he pulled out his phone and goes "I made this amazing track the other day. It's so cool, I love these guitar sounds." And he played it for me and immediately I could hear this finished song in my head, and I just said "Please, please let me have that. Let me play with it, like send it to me" And so he sent it to me and I was on tour and this was me playing the track on my laptop recording me singing the vocal into my phone and it ended up being a song called "I Wish You Would", because Jack wrote back and said "I love that".”

June 7, 2013: At the CMA fest, Taylor is asked if she's started writing for her next album yet

“It's starting, all the anxiety is starting and when the anxiety starts, then the writing happens right afterward, usually. Um, so, yeah, I basically... I like to, I like to write for about two years before I'm finished with an album because I... at this point I kind of know that whenever I write in the first year is going to get thrown away, because, I'm going to like it, but it's going to sound a little bit like the last project I had, and the second year usually ends up sounding like the next project. So I think at this point, at this point I feel like staying the same is the easy way to go but it's not the way that I want to go, creatively. I think you need to challenge yourself, I think you need to change up your influences, I think you need to be inspired by different things that you've been inspired by before, and, uh, y'know, It's harder to call people you don't know, and it's harder to think of topics you haven't covered and think of new ways to say old emotions that everyone feels, but, that's the goal at this point."

June 20-21, 2013: Taylor and Selena Gomez hang out, and Taylor potentially writes Wildest Dreams.

July 15, 2013: Taylor gives a brief interview to Rolling Stone

“The floodgates just opened the last couple weeks,” she says of the songwriting process. “I’m getting to that point where I’m irritating to be around because I’ll be with you for half the conversation and then the second half of the conversation I’m clearly editing the second verse of whatever I’m writing in my head.” “I really loved collaborating [on Red],” she says. “You work with a lot of different people and you find the people you have this dream connection with in the studio. I know those people and I know the ones I want to go back to. But I also have a really long list of the people I admire and I would really love to go and contact. So that’s kind of where that is.” “I think that the idea of having a different approach to every single one of my albums is so exciting to me. I never want to make the same record twice. Why do it? What’s the point? It’s so overwhelming that when you’re starting a project there are such endless possibilities if you’re willing to evolve and experiment. If you’re willing to become a different version of yourself, you can really go anywhere with it. And that’s kind of where I am. The kind of the laboratory experimental stage of really catching onto a new thing that I’m liking.”

July 18, 2013: Taylor unfollows the three backup dancers that left her tour for Katy's, meaning Bad Blood was likely written sometime between July and November 2013.

Sweeter Than Fiction: Summer 2013 (Speculation)

Taylor wrote this one over email, and then it was recorded in New York (partially in Jack's living room, partially in an actual studio)

August 25, 2013: Taylor and Selena Gomez hang out at the VMAs, and Taylor potentially writes Wildest Dreams.

August 25, 2013: Taylor gives a brief interview on the VMAs red carpet

"But I think [songwriting is] about to start to kick into full gear. I'm about to go into the studio. It's about to get really intense."

Out Of The Woods: September 14 2013 (Inferring)

On September 14, Fun cancelled their show. Taylor was likely either flying to or from Charlottesville, where she had a show for the Red Tour. Jack: "When I did the track for Out of the Woods, which is a Taylor song that I'm really proud of, there was some issue at a venue and our show was canceled that night and I didn't have my stuff, I had left it on the bus, so I only had these old samples on what was on my laptop, and caught up that 'oh oh'' thing, and I only had one drum kit on there, and these dumb little things [sometimes turn into a great song]" Jack: "So 'Out Of The Woods' was the third thing we worked on together, and probably the easiest. I sent her the track for it, and she sent back a voice note with the verse and chorus in what felt like five seconds. And it was just perfect. It's eerie how similar it is to what the final product is." Taylor: "This is a track that Jack Antonoff sent me, and I was actually on a plane, I got it and I got on a plane and I'm listening to it, and I'm just like listening to it and mumbling melodies cause the song came to me immediately like, in full [...] I think what I should start by playing you, is when I got the track, what I sent him like an hour later, and it is, me.. um, me singing what came to me, which ended up being the finished version of the song, or at least really close to it."

September 20, 2013: In a brief interview with USA Today, Taylor says she plans to work on her next album between the next few legs of the Red Tour

"I’ll be in the studio, figuring out what comes next. I really like to take two years to make a record, and I’ve been writing and doing stuff for the last year. This is kind of the year that it goes into overdrive, and it’s all I think about and I become obsessive over it and I’m hard to talk to"

September 22, 2013: Taylor gives an interview to New York Magazine where she talks about her plans for TS5

These days, Swift is thinking a lot about her next record. While on the Red tour, she’d been writing songs and stockpiling ideas: reams of lyrics, thousands of voice memos in her iPhone [...] she plans to spend much of 2014 writing and recording the new album, a prospect she finds exhilarating and terrifying. “I worry about everything. Some days I wake up in a mind-set of, like, ‘Okay, it’s been a good run.’ By afternoon, I could have a change of mood and feel like anything is possible and I can’t wait to make this kind of music I’ve never made before. And then by evening, I could be terrified of the whole thing again. And then at night, I’ll write a song before bed.” Swift hopes to collaborate with new songwriters and producers. But she planned to begin, she said, by heading back into the studio with Max Martin and Shellback. “I want to go in with Max and Johan first, just to figure out what the bone structure of this record is going to be. “I have a lot of things to draw from emotionally at the moment. But I have to draw from them with a different perspective than on Red. I can’t say the same things over and over, you know? I mean, I think it’s just all the more important that I don’t ever allow myself to coast. At the same time, there’s a mistake that I see artists make when they’re on their fourth or fifth record, and they think innovation is more important than solid songwriting. The most terrible letdown as a listener for me is when I’m listening to a song and I see what they were trying to do. Like, where there’s a dance break that doesn’t make any sense, there’s a rap that shouldn’t be there, there’s like a beat change that’s, like, the coolest, hippest thing this six months—but it has nothing to do with the feeling, it has nothing to do with the emotion, it has nothing to do with the lyric. I never want to put things in songs just because that might make them popular, like, on the more rhythmic stations or in dance clubs. I really don’t want a compilation of sounds. I just need them to be songs.”

September 28-October 5, 2013: Taylor and Selena Gomez are in the same city, and Taylor potentially writes Wildest Dreams.

October 12, 2013: Taylor gives an interview to the Associated Press

Swift: I think the goal for the next album is to continue to change, and never change in the same way twice [...] How do I write these figurative diary entries in ways that I’ve never written them before and to a sonic backdrop that I’ve never explored before? It’s my fifth album, which is crazy to think about, but I think what I’m noticing about it so far is it’s definitely taking a different turn than anything I’ve done before. AP: You said recently you’ve been working on songs for the new album for about six months. What can you tell us about what you have planned? Swift: It’s too early to tell who are going to be my predominant collaborators, but I do know that my absolute dream collaborators were Shellback and Max Martin on the last project. I’ve never been so challenged as a songwriter. I’ve never learned so much. I’ve never just been so excited to show up to the studio every day, just because you never know what we’re going to put together. I’ll bring in ideas and they’ll take such a different turn than where I thought they were going to go, and that level of unexpected spontaneity is something that really thrills me in the process of making music. ... What if we did this? What if we made it weirder? What if we took it darker? I love people who have endless strange and exciting ideas about where music can go."

October 14, 2013: At the NSAI, Taylor talks about reinventing herself for different albums

"I’m making my 5th record now, so I think you have to change things up, you have to explore different corners of music as much as you can. Cause I really, it’s been a big goal of mine to never make two albums that sounded the same. I really want my fans to be able to be like "Oh that song? Clearly that's from the Fearless album", "No that one, that one was from Red" and so I’m in the process of doing that thing all over again for my 5th album and it’s amazing to be in the studio and to be songwriting again, and be honored for songwriting tonight"

Blank Space: October 26, 2013 (Inferring)

It looks like she’s wearing the same outfit in this behind the scenes footage and these candids Taylor: "I was going into write with Max Martin and Shellback, who are two of the primary collaborators on 1989, and I... was preparing all these things, and I, I think Blank Space was like the third thing I played them, and they just stopped and they were like "NO, this is the first thing we're working on today." [...] I had the idea for the chorus and I had the hook, but a lot of the verse was gibberish." Taylor (On what song took her the least amount of time to write): "Blank space, cause I'd written a lot of the lines down already in the year preceding the session"

October 29, 2013: Tweets "Sitting in the studio writing the next album (!!!!) and wanted to thank you for the American Music Award nominations!"

November 1 : While promoting Keds, Taylor is asked about her next album

"What I go through is going to be the story that I tell. I think lyrically, I always try to tell my fans exactly what’s happened to me in the last two years, and that’s the thing they can expect. Everything else, they won’t be able to expect. Having been in the studio with this one, I’m just like… oh, this is going to be fun"

Bad Blood: Fall 2013 (Speculation)

The backup dancer drama seems to have kicked off in mid-July. Given that it's produced by Max Martin and Shellback, and Taylor was in the studio with them pretty much non-stop from October-November, we can assume that it was recorded sometime in the Fall of 2013

New Romantics: Fall 2013 (Speculation)

Unfortunately, Taylor doesn't really talk about this song. Given that it's produced by Max Martin and Shellback, and Taylor was in the studio with them pretty much non-stop from October-November, we can assume that it was recorded sometime in the Fall of 2013

Wildest Dreams: Fall 2013 (Speculation)

Selena reportedly told a fan she was there when Taylor wrote this, and I've noted above all the times Selena could have been with Taylor in 2013 (Here's my personal ranking of how likely each date is). Given that it's produced by Max Martin and Shellback, and Taylor was in the studio with them pretty much non-stop from October-November, we can assume that it was recorded sometime in the Fall of 2013.

Wonderland: Fall 2013 (Speculation)

Another one Taylor just doesn't talk about all that often. Given that it's produced by Max Martin and Shellback, and Taylor was in the studio with them pretty much non-stop from October-November, we can assume that it was recorded sometime in the Fall of 2013

Nov 20, 2013: Taylor posted "While in the studio, I came to the realization that my bangs are long enough to use as a sleep mask on long flights. Then I remembered I don't ever use sleep masks on flights. So really, I just need a haircut"

November 25, 2013: Taylor and Scott Borchetta have a meeting to talk about her plans for TS5 and are both asked about the next album at the AMAs

Taylor: “We got a lot already. There are probably seven or eight [songs] that I know I want on the record. It’s really ahead of schedule for me. I’m just stoked because it’s already evolved into a new sound, and that’s all I wanted. And I would have taken two years to make that happen, but it just kind of happened naturally, so that’s all I could really ask for.” Scott Borchetta: "Well earlier today we got together and she played me seven new songs, and she’s just on fire. The level of desire and passion that she has just to keep getting better, she’s an artist that just really never wants to just say ‘Well okay this is good enough’. It’s always gotta be better. She’s in amazing creative place right now." By the end of November, Taylor had likely recorded This Love, All You Had To Do Was Stay, How You Get The Girl, I Wish You Would, Out Of The Woods, Blank Space, Bad Blood, New Romantics, Wildest Dreams, and Wonderland. That’s 10 songs total, 5 of which were likely recorded in the past two months, and 7 that had been made since Taylor and Jack had their conversation about 80s music in May.

Dec 21, 2013: Taylor briefly talks to Billboard about TS5

"I’m really loving collaboration right now [...] I see it as a bit of an apprenticeship. I want to be around people who love writing songs and have done it for years. Every time I’m in a studio I’m learning, like how to build a drum track, and getting a new perspective on things. It’s so thrilling to keep learning on your fifth album. As soon as [an album] comes out I’m figuring out what the next one will be. It’s gotten to the point where each one is a reinvention, which is what I like best. I like it when it sounds new and people don’t know where you’re going to go next."

Say Don't Go: Jan 1, 2014 (Confirmed)

Diane Warren: Warren, who typically writes on her own, says the two of them “sat down and wrote the song […] from scratch” during the last few days of 2013. She remembers being impressed with how specific Swift was with her lyricism and how considerate she was about how her fans might receive it. “She was very particular about how she said certain things. It was a really interesting experience. She gets her audience [...] She’s deeply aware of how her fans want to hear something. I can’t explain it, but that’s probably why she’s the biggest fucking star in the world.” Several days after writing the song together, they got into Warren’s office to record a demo, where Swift played it on her acoustic guitar. “We demoed it on New Year’s Day. And I’m a workaholic, and that’s fine for me,” she says. “But I remember being impressed that she did, too. Everybody’s on vacation, but she showed up.”

You Are In Love: Jan 2014 (Inferring)

This song is copyrighted for 2014. Taylor has said a few times that Clean, Shake It Off, and Style were the last songs written for the album, meaning You Are In Love was likely completed in January or early February. Given Taylor's busy schedule in late January and early February, I'd guess this was written at some point in early January. Furthermore, I'd guess it was sometime after the 9th, when she returned from looking at house in New York.

I Know Places: Jan 22, 2014 (Confirmed)

Taylor: "I sent this voice memo to Ryan Tedder because I'd always wanted to work with him, and finally we scheduled some studio time. So I always wanna be prepared, I wanted to send him the idea that I was working on before we went into the studio just in case he wrote back and said "I can't stand that, I wanna work on something else, think of something else" So I just sat down with the piano, put my phone on top of the piano and just kind of explained to him where I wanted to go with the song, how I saw the melody sitting in and we ended up recording the song the next day and it ended up being on the record called "I Know Places" So this was the voice memo that I sent to him the night before we ended up finishing the song"

Welcome To New York: Jan 23, 2014 (Confirmed)

Ryan Tedder: "I thought we were going to walk in and start something from scratch because that's what I was used to. Then she calls me and says, 'Is it cool if I already have an idea?' I said, 'Sure.' She said, 'I have this song, I'm obsessed with New York and I just moved there, I want to write an ode to New York because no one's done it in a long time.' And then she sent me a voice memo. She's like, 'I want it to sound like 1980s.' So the next day I brought in a Juno-106, which is a very 1980s keyboard and I literally programmed that entire song right in front of her. It was very much on the fly, and that song was done in about three hours. And I did the rest of the production I think later that week. I was in Switzerland on a tour bus, and I did four versions of 'Welcome to New York,' one of which I liked personally more, but the thing about artists is they become very obsessed with the demo. She was in love with the demo so no matter how hard I fought, she brought it back to the demo, so really what you hear is what I did on the first day."

January 26 2014: Dianne Warren says that she recently wrote a song with Taylor

"I worked with Taylor Swift on a great song [...] I'm excited about the [song] that we did, it's pretty cool Dianne in 2016: “I know [Swift] likes it, so hopefully it will see the light of day. I know she really likes the song. She didn’t want me to give it away, so hopefully that means she wants it.”

January 26 2014: Taylor loses Album of the Year at the Grammy's to Daft Punk. She tells a few different stories about what the rest of the night looked like for her-- in some she goes home alone, in some she has some friends over-- but in all of them, this is the night where she decides that she's gonna name the album 1989, and she's not going to let her label tell her to put any country songs on it.

Clean: Feb 9, 2014 (Confirmed)

According to Imogen Heap's blog post, Taylor had the first verse and chorus by the time they got into the studio, and then wrote the second verse and bridge during the session. Taylor's part was wrapped up in 9 hours, ending at 8pm, while Imogen stayed up until 4am because she didn't want to stop working on it. Taylor: ""Shake It Off" and "Clean" were the last two things we wrote for the record, so it shows you where I ended up mentally. “Clean” I wrote as I was walking out of Liberty in London. Someone I used to date— it hit me that I’d been in the same city as him for two weeks and I hadn’t thought about it. When it did hit me, it was like, ‘Oh, I hope he’s doing well’. And nothing else. [...] The first thought that came to my mind was – I’m finally clean." Imogen Heap: I was really writing the tiniest amount just to help her do what she does. I put some noises to [“Clean”], played various instruments on it, including drums, and anytime she expressed she liked something I was doing, I did it more. It was a really fun day. She recorded all her vocals [for “Clean”] during that one session. She did two takes, and the second take was it. We always thought she would probably re-record it, because we thought it can’t possibly be that easy. But after we lived with it for a few months, we felt it was great.

February 15, 2014: Taylor posts "It was a studio Valentines Day with Max and Johan!"

Shake It Off: Feb 15, 2014 (Confirmed)

Lover Diaries (From Feb 22): "This week I’ve been in the studio with Max and Johan every day and it has been the most creatively successful and fulfilling time. The first day, Johan just made a really up tempo drum beat because we decided we needed something UP and light. We worked at it for a few hours before I just started singing “shake it off, shake it off.” And then the best way I know how to describe it is that the chorus just fell out of the sky. It ended up being this song about doing your own thing even though haters are gonna hate, and you just have to dance to your own beat. We all went home and I wrote the first and second verses and brought them in the next day. We wrote this chanty cheer leader bridge that I absolutely LOVE. We spent all day doing vocals and the next day recording background vocals. I think it’ll end up being the first single and Max said it’s his favorite song he’s ever been a part of." Taylor: "The problem was, I had all these lyrics, and I didnt have, like... writing session was coming up and I'm just like "I'm not getting a melody, I'm dead, I don't know what I'm gonna do." The thought terrified me, so I just sorta sulked into the studio and I was like "Guys, I have like an idea but its like, lyric, but I... and I know the vibe I want-- I want it to start off and the second the song starts, I want it to be the song where like, if it's played at a wedding, and there's this one girl who hasn't danced all night at the reception, all her friends come over to her and there like "You have to dance, come on, you have to dance on this one!". That's what I wanted. So I was like "Shellback, can you just go to the drum kit and try to play that?" Taylor: "There's one thing that I've always said to Max, is like "I don't like horns" I just always had a thing about it, I was always like weirdly scared of it, or intimidated by horns, I don't know what it was? It's a weird, like, nerdy studio fear of mine. I was like "No, no horns!" and I don't.. I don't even know, I don't have a reason for it, I love songs that have horns on them, I was just like "I don't think I can pull off horns." Strange. But, he goes over to the mellotron and he starts playing this horn sound. I'm like "What are you doing. Don't do that." and he's like, "No, I think this is cool" and I'm like "No it's not cool, and where are your chorus chords, because, that, you're just playing three chords over and over again and I can't make a chorus out of them, why don't you go to like a chorus chord that starts off the chorus, where is the one, like why don't you go--" and then there was this moment, where I thought of the whole chorus, and it's over the chords that I had just told him are not "chorus chords", which is a ridiculous thing to say."

February 18, 2014: Taylor is photographed entering Conway Studios

Style: Feb 19, 2014 (Confirmed)

Niklas Ljungfelt (guitarist): I played on “Style,” a song I started with Ali Payami for ourselves. He was playing it for Max Martin at his studio; Taylor overheard it and loved it. She and Max wrote new lyrics. But I recorded the guitar on it before it was a Taylor song. It was an instrumental. I didn’t have a clue that Taylor would sing on it. The inspiration came from Daft Punk and funky electronic music. Taylor: I'm pretty sure after we finished this one I knew the record was done. Shake It Off and Style were the last two songs to be written for 1989.

March 2014: Taylor's interview with Glamour is published (likely conducted two months beforehand)

TS: Working on this album has been unbelievable [...] I'm already in love with it. It's so different. CL: What's the new sound? TS: On Red I did three songs with Max Martin Shellback [...] I think we'll be doing a lot more than three songs together on the next album [Laughs].

March 26, 2014: Taylor is photographed entering a music studio in New York

May 30, 2014: Taylor writes in her diary:

So a crazy story unfolded in the last 24 hours. Last night, I had this vivid dream where the photo I’d chosen for the album cover wasn’t good enough, intriguing enough, artful enough. It woke me up. I couldn’t shake it and it stayed with me all day. Because that nagging feeling I’d been pushing back for weeks was now confirmed in my gut … It wasn’t good enough. I went to the venue, mind racing, wondering if I’d have to do an entirely new photo shoot … I got to my dressing room with newer versions of the “cover.” I looked at it and felt nothing. The team pulled up this new scanned file of the Polaroids we had taken during the shoot. I saw within 10 seconds. The shot. The cover. It’s a Polaroid of me sitting against a beige wall with a blue seagull swear shirt on. You can see my red lips, but the photo cuts off my eyes. From some reason unknown to me, it’s the most intriguing photo I’ve seen. I think it’s the mystery of not seeing my eyes. Maybe it just looks effortlessly cool. The craziest moment came when something caught my eye. The cover photo is photo 13. I kid you not.

August 23, 2014: Taylor is photographed walking out of a studio in LA (Note: I can not find a place that specifies if this is a recording studio, dance, photography, radio, or television studio.)

Now That We Don't Talk: Summer 2014 (Speculation)

Seeing as Taylor said she didn't have time to figure out the production, I imagine this came fairly late in the process. Taylor has a habit of adding songs right up to the deadline-- with Folklore and Evermore, she added multiple songs a week before the album came out. The latest she added songs to albums while signed to Big Machine was September, though (both Forever & Always and So It Goes...), so I assume that's the absolute latest she could've added a song. Taylor: "Now That We Don’t Talk” is one of my favorite songs that was left behind, it was so hard to leave it behind, but I think we wrote it a little bit towards the end of the process and we couldn’t get the production right at the time. But we had tons of time to perfect the production this time and figure out what we wanted this song to sound like. I think it’s the shortest song I’ve ever had, but I think it packs a punch, I think it really goes in. For the short amount of time we have, I think it makes its point.

And that's all for this timeline! Check out my others:

TIMELINES: debut • fearless • speak now • red • 1989 • rep • lover • folklore • evermore • midnights PLAYLISTS: debut • fearless • speak now • red • 1989 • rep • lover • folklore • evermore • midnights • entire discography GENERAL: tag

#txt*#timeline*#taylor swift #OH MY GOD ITS OUT ITS OUT ITS OUT I'VE BEEN RESEARCHING THIS FOR THREE YEARS AND IT'S DONE #!!!!!#as always let me know if you want further sourcing on anything/if you spot a typo or something

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son1c · 1 year

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i sketched a boscage maze shadow to complete my set. this version of shadow takes several... creative liberties... with boscage maze, but i think it works? maybe? let me explain.

so, i like the idea that boscage maze is the result of a science experiment catastrophe. the fallout of the accident mutated all life on earth, creating mega fauna (such as thorn rose’s giant flicky), and killer plants. i’m talking humongous venus flytraps that capture and consume people, vines with minds of their own, etc. obviously, this made earth extremely hostile to regular humans... so they left.

the survivors of the catastrophe boarded the ark and left for space. they had plans to return-- but at the current time, it was simply too dangerous to do so. and they needed to make something that would be able to combat the violent mega fauna. enter... shadow. aka halcyon, as he’s called in this au. halcyon has the ability to drain shard energy, thus un-mutating the corrupted plants and animals, and returning them to their natural state.

unfortunately, the people on the ark thought that the world was still too dangerous for him to return to shortly after his creation, so they put him on ice, waiting for a better time to start their restoration project. before that, though, halcyon grew up hearing all kinds of stories about the way earth used to be... a beautiful paradise, a safe haven in a vast, uncaring universe. his best friend on the ark, maria, also instilled in him one wish: save earth. so that’s what he intends to do.

his bitter enemy is thorn rose, whose goal is to protect the horrible mega fauna. but she just doesn’t understand the harm it’s doing to what was once a peaceful planet. and how could she? she never knew what it used to be.

#sonic #sonic the hedgehog #sth #shadow the hedgehog #sonic prime #sonic au #just a doodle lmao i had to get this out got bless. i will probably not draw him again but #for my own sake i wanted to tie up this loose end #scribbles #halcyon #his name <3 btw <3 #and also the knuckles of this universe being a conspiracy nut loops back around to halcyon being AN ALIEN and i think that's #really funny tbh.#edit: omg i forgot his earring nooo i just fixed it </3 #AND MY SIGNATURE? oh my god i've never done THAT before LMFAO

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starry-bi-sky · 2 months

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I'm having incoherent thoughts about clone danny again from the clone/clone^2 au (when am I not?) but more specifically I'm thinking about his reaction to finding out he's a clone. The standalone clone au digs into that a little more than clone^2, which is more focused on Danny and Damian's relationship. But neither (so far) really get into Danny's issues about finding out he's a clone after 15 years of thinking he wasn't.

Because he resents his parents for not telling him for so long. He resents the way he found out; through a trivial school project rather than a sit-down talk. He resents the fact that, apparently, they had meant to tell him sooner. But forgot. He resents the fact that they never told him because finding out feels like something was stolen from him when it had the chance to not be.

Danny Fenton, just fifteen, cloned not even half a year ago, knows what that personal violation of autonomy feels like. He knows what it's like to be cloned and while he loves Ellie, he does, she's his sister, and in this au his twin. But he is still left with that feeling of unsafety after realizing he'd been cloned. Being cloned is violating. The onset realization that it's so easy to get DNA without the other party noticing, and that what was stopping someone from trying to clone him again?

Followed only after with the rest of the inexplainable mix of feelings of being cloned, the rest of that inner conflict and panic that's an ugly mocktail of emotions that range from horror to fear. Trying to imagine what it's like to be cloned from the cloned party, and I imagine that it leaves you with the feeling of needing to crawl out of your own skin with discomfort.

And then he gets put on the other side of it. Danny Fenton, only fifteen, was cloned not even half a year ago, finding out he is a clone. And reactions, I imagine, can vary from person to person. But to him, it feels like something got stolen from him, like someone took a hole puncher and stuck it right into his chest and stole a chunk of himself from him.

It changes nothing about him and yet it changes everything. It's a betrayal on it's own to just find out he was a clone and they didn't tell him for fifteen years -- it shouldn't mean anything, because he's still Danny, and yet it means everything. It's him, it's him, it's about him. It's his personhood. It's about the fact that a load-bearing rock in his identity just crumbled beneath his feet and now there's a rockslide.

Because then he finds out that they used the wrong DNA. Its like pouring salt in an open wound. He's not even related to his parents or his sister, when for years he thought he was. It's the fact that pieces of his identity that he's been so secure in for so long just got ripped away from him in an instant. Then they tell him -- only through his own horrified prompting -- that the person whose DNA they used -- Bruce Wayne -- didn't even know he existed. That they accidentally used the wrong DNA, then didn't tell the person whose DNA they used.

The betrayal of being lied to for years turns really quickly into horror at his own existence. Something very similar to the horror he felt at being cloned and the skin-crawling discomfort that made him feel like his own skin wasn't really his. And then its not. It's actually not. Nothing but his own name feels like it belongs to him anymore -- not his hair, not his eyes, not his heart or his lungs, nothing feels like his anymore and he didn't know what that felt like until it was gone.

It's a question of Nature Vs. Nurture -- where does the line of "nature" begin and where does the line of "nurture" end? What of him is actually his? What of him is Bruce Wayne's? It's not logical, it's not supposed to be. It's a load-bearing wall on the house of his identity being destroyed and now everything else is caving down in on him. What belongs to Danny, what belongs to Bruce Wayne?

#dpxdc #dp x dc #danny fenton is not the ghost king #dp x dc crossover #dpxdc crossover #dpdc #clone^2 #danny fenton is a clone #its a combination 'oh my god i've been cloned too i know how violating that feels holy fuck' empathy and also the horror of finding out tha #the things you knew about yourself that you thought were unchanging was all WRONG.#its the fact that tragedy is always one step away from comedy. they're twins for a reason. the humor of finding out you're a clone through #a silly school project and the *horror* of finding out you're a clone from a silly school project instead of a proper conversation #danny goes into his room after he's done talking to his parents and he vomits into the garbage can under his desk. utterly horrified #and he calls sam and tucker crying. it shouldn't change anything he knows this and yet it changes EVERYTHING. he doesn't feel like himself #he doesnt feel like himself any*more.* this might be cause for him to do a closet overhaul. something to make himself feel like he's #in control of himself again. piercings. temporary hair dye. *something* to feel like he's in control.#its no wonder why he never wants to tell bruce wayne he exists because he *knows* how violating that feels and he's *afraid.*#it makes him takinh in damian a little more remarkable bc it undoubtedly made #his identity issues worse. but thats a child and a child who needs help and danny is *kind*

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inchidentally · 3 months

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"you're really onto him today aren't you" "ahhh my turn!"

our man Lando really says it's "his turn" to give Oscar a hard time when in this interview alone he a)interrupted Oscar all the time b)took issue with Oscar's answers or didn't listen to them c)accused Oscar of being a serial killer just bc of how he looks d)told Oscar to dump his gf bc she's pescatarian and e)Lando gives Oscar a hard time in every single joint interview bc Oscar just smiles and takes it

#landoscar #mctwinks #twinklaren #lola alert #'and posts it on instagram' 'and posts it on instagram' that was so cute #oscar knows he's just there to give lando prompts and then sit back and listen/watch #not lando acting like the hard done by spouse oh my god let's self reflect on that babe #also I've never seen this clip before ????

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egophiliac · 8 months

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Hello! Sorry to bother but do you have any digital art tips? I’m quite new to it and any tips, tricks or advice would be helpful! Your coloring style is very beautiful and I love it a lot!

thank you! 💚💚💚 sorry this is a bit late, hopefully there's still something helpful in it!

(also, it got pretty long, sorry!)

I think the biggest thing is to just take things slow -- digital art feels different than drawing traditionally, and it's SUPER easy to get overwhelmed by the billions of cool features that the digital world offers. (I say, as someone who spends a lot of time downloading cool brushes and textures...and then never using them ever.) there is a ton of really cool stuff you can do digitally, but because there's so much, I think it's really important to take time to figure out what is and isn't working for you. spend some time doodling without any intent to do a finished piece, figure out how you like to hold (or not hold) your tablet, what keyboard shortcuts you end up using a lot (and therefore might want to map to your pen/tablet buttons for quicker use)...that kind of thing!

everyone's workflow and preferred program and style are different, so it's hard to give hard-and-fast general advice. but the things that I think of as the essentials for learning digital art programs, and what I think of as a good order to focus on learning them in (although YMMV, especially depending on what kind of art you're doing):

brush customization (e.g. flow, opacity, softness)

layers and layer masks

selections and transformations (e.g. scale, rotate, flip horizontal/vertical, skew) (skew is underrated and I will die on that hill)

blending modes (e.g. multiply, screen)

adjustments/adjustment layers (e.g. hue/saturation, curves)

and I think most stuff after that is gravy! often very good gravy though! but yeah, as overall advice I recommend just taking things one little bit at a time, spending some time just drawing and messing around with each feature and what you can do with it. whether or not you end up incorporating any of it into your workflow, it's always good to try things out and just see how they feel! :D

and just so there is at least a little more concrete helpfulness in here, here's a few more specific things that I think are super important to keep in mind!

use! your! tablet/pen buttons! I mentioned this earlier, but they are extremely useful for keyboard shortcuts that you use often! most programs will also let you create new shortcuts for other things -- personally, I use the magic wand tool to fill in big color blocks a lot, so I made shortcuts for 'expand selection' and 'fill' and then mapped them to my tablet buttons.

flop your work horizontally often! when you're working on something, you get used to the way it looks, so seeing it mirrored is a quick way to see it with fresh eyes! in my experience, it often feels like this:

(a common thing is to find that everything is sort of 'leaning' too much one way, which is where skew really comes in handy!) (seriously, I love skew, it is my savior)

if you're working with color, keep a hue/saturation adjustment layer (or a layer filled with black or white and set to Color) on top and toggle it on occasionally to check your values! a lot of people who know a lot more about color than me (and are better at putting it into words) have written about why values are so important, so all I'll say is that the rule of thumb is that your image should still be readable in greyscale:

there are some exceptions and grey areas (do ho ho), but it's a good general rule to keep in mind! (some programs also have a colorblind mode, so you can check to see how your work will look to someone with colorblindness!)

and finally, here's some digital art programs I recommend, if you're still looking for a good one!

free: krita, FireAlpaca

paid: ClipStudio, Procreate (iOS/iPad only)

#art #...sort of #horizontally flipped mal isn't my favorite drawing i've ever done of him #but it's up there #anyway i do personally use photoshop #but i absolutely do not recommend it when there are better and free-er art programs out there #it is the equivalent of texting with a giant 90s-block phone that has been jury-rigged to somehow install whatsapp #because i don't NEED a new phone i KNOW how to use this one it's FINE #(oh god i've become my dad)#someday i will have to actually switch to clipstudio and learn new keyboard shortcuts :(

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dateaforestgod · 4 months

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date a forest god who wanders through the woods with lit candles atop his antlers, wax dripping onto the forest floor

#date suggestions #suggestions #date a forest god #i feel like i've done one like this before. oh well

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bonefall · 10 months

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Are you going to keep Goosefeather's curse? If so are you going to change anything about it? From my memory the book was... depressing.

It will probably get rolled into Pinestar's Crusade, building it up into an SE rather than just a novella. There's actually a lot going on in that specific moment, and it makes sense to go over it all at once.

So to answer your question, yes, most of Goosefeather's Curse is staying. Most of the Crusade Generation have depressing stories to tell. If the Thistle Period is defined by the fact that Thistle Law metastasized and went terminal, and if the Campaign Era was when it was newly born, then the Crusade Era was when it was first conceived.

I've been thinking about Pinestar's Crusade idly and mentioned it a few times, but here's my fragments so far;

PINESTAR'S CRUSADE (Fuses Pinestar's Choice and Goosefeather's Curse)

We start in the Crusade Era; there is now more focus on 3 major characters, though it's still built around Pinestar as the POV

Pinestar, Goosefeather, and eventually Pinepaw's apprentice Speckletail.

Pinepaw is born into the start of the Crusades, a bloody period where the Clans are invading Chelford and brutalizing cats in the hopes of appeasing StarClan. He only begins to learn the full story of what happened in Darkstar's Commandment once he begins going to Gatherings as a warrior

The truth being that Oakstar came up with this idea because he couldn't take an L

But even as an apprentice, it becomes quickly apparent to him that what they're doing is evil. They were brutalizing kittypets who aren't trained to fight back.

During his first raid as an apprentice, he allows a ginger-and-white mother and her kittens to escape

This came back years later, when that queen, Crystal, forms BloodClan in response to the Crusades.

Pineheart watches Oakstar die barely a year later to the queen he saved, using early claw extenders to cut right through him. Even if he hadn't been on his last life, it would have ended him.

But, Crystal lets Pineheart go, recognizing the Clan cat who had saved her life.

Watching his dad die along with several friends, and countless more innocent Chelford, plus being released by Crystal, is a Formative Moment.

Doestar continues the Crusades in the name of revenge for Oakstar, but now that BloodClan exists and is ARMED, the easy raids become bloodbaths.

They slowly peter out, not with a bang but with a whimper. She never announces an official end, eventually she just stops organizing them. No one gets closure, especially not Pineheart.

But the 'peace' doesn't last. Just before Heatherstar takes power from Smallstar and begins the Campaign to take the Mothermouth Moorland, ThunderClan deals with the Great Hunger

Pineheart and Goosefeather become very good friends, part of a little buddy group that also included Tawnyspots and Pheasantfeather (who will become One-eye later)

Pineheart was given his first apprentice, a rowdy little one and the niece of Doestar, Specklepaw. He's tasked with helping her fill the pawsteps of greatness she's destined to walk in.

Just like canon, Goose predicts the Great Hunger... though, he is an adult this time around because of some timeline changes.

And, like canon, it fails. They couldn't stockpile enough food to last an entire year of famine, a scorching summer and a frozen winter, they end up losing a huge stock of their food as if it was destiny.

Goosefeather was forced into a role he hates, given horrible visions of the future, and argues ferociously with Pineheart; if they hadn't tried to stockpile, they wouldn't have lost all that food to begin with.

It is in this moment, he comes to realize that every time he's fought back and used his visions like a warning, it's backfired.

So, perhaps, they are instruction.

But, meanwhile, Pineheart can't loose his apprentice or his friends. While others were hunting desperately, he was keeping cats alive through scouting for grubs, foraying into other territories, and...

Every bite of kittypet food he took for himself was a morsel in someone else's mouth. But this... this he kept quiet.

It started a "bad habit" he could never break.

Having lost the previous deputy to starvation and on her deathbed, Doestar nominates Pineheart to the position. He was shocked and upset by this, but he was the obvious choice.

Son of Oakstar, Hero of the Hunger, the cat who had kept Specklepaw alive when all the other kits and apprentices starved.

But, Pinestar took the helm to extreme controversy.

Everything Pinestar's ever done that worked was nonviolent. He's never seen battle do anything but bring harm, and the thought of leading people into war... it makes him feel sick.

But the rest of the Clan can't see what he sees. They yearn for the glory days (even though they were not glorious at all), itch to die for a cause, and leave this old, disgusting subsistence survival behind them. ThunderClan wants blood and Pinestar just wants peace.

Taking back Sunningrocks is an example of this. To avoid losing Clanmates, he proposed to Hailstar that they would have a Joust, instead.

ThunderClan's strongest against RiverClan's strongest. Adderfang vs Mudfur.

It didn't go well.

The problem with those sorts of situations is you have to abide by the deal. RiverClan took Sunningrocks for 6 months. It was humiliating for ThunderClan.

Even the cats he'd saved from the famine were furious with him

The only things that DID seem to please the Clan was when he would throw them fully into battle. Such as Goosefeather's prophecy that WindClan's herbs needed to be destroyed...

Every time a situation like that happened, where Goosefeather would phrase things as a Holy Struggle, Pinestar was thrown right back to the Crusades

Terrified eyes, screeching, cats begging for mercy, his father dead at his paws and feeling horror and relief swirling

Sitting vigil for old friends killed in these horrible fights, like Moonflower, it made him feel like how he felt the day he buried Oakstar.

And the bile rose in his throat, remembering that Oakstar was not there at his Leadership Ceremony, damned to the Dark Forest.

A thought was born, here. What does StarClan truly want? What do they expect of him? If they will send the architect of the Crusades there...

What of a cat who stayed fed on human food and fed grubs to his Clanmates? Or a leader who never knows the right thing to do?

When Mumblefoot retired and Sunfall became deputy, the Clan seemed to love him more than Pinestar. He found himself just... sitting back, and allowing Sunfall to call the shots.

It was towards the end, when Leopardfoot proposed an Honor Siring. He was from a glorious legacy, she wanted kits... and on his end, he wanted the peace that raising kittens could bring.

The warmth of human dens was calling him, but perhaps the warmth of love for children could keep him home.

UNLIKE CANON; Nothing about Tigerkit was born evil.

There was no StarClan vision of Tigerstar; Goosefeather knew full well that Thistlestar was the Leader of Prophecy.

But Pinestar would never give Thistleclaw an apprentice in time. Nor would he ever give his own little son to a cat as vicious as him.

Goosefeather never hurt anyone... but Pinestar just needed a push.

Pinestar was already anxious, unhappy, clinging to the goodness that was his little kits. Even as two of them were lost to minor illnesses, shortly after receiving their names.

It wasn't a lie. It was just half of the truth.

"Pinestar... you have a choice to make. StarClan has given me a vision of blood and war, and Tigerkit will have a role to play in it."

He DID have a vision... of Thistlestar. Not Tigerkit. But that was enough for Pinestar, his fear and trauma took the helm from there.

He'd seen his friends, his apprentice, the kits who had been born and died in his rule, all of them turn into the monsters Clan Culture demanded

Nothing he did ever seemed to work, why would THIS moment be different?

How could he prevent Tigerkit from becoming like that too?! Was StarClan telling him to KILL his son??

Pinestar's never had a vision from StarClan. He doesn't have the aptitude like a Cleric... what he has is a nightmare, of Tigerkit growing so large he crushes the whole camp under his claws

After a week of agony, Pinestar unknowingly creates a prophecy of his own,

"Can only the death of a child break fate?"

Sensing he was close to victory, Goosefeather dipped his head, not denying his question.

And it's the last straw.

And that is the climax of Pinestar's Crusade. Broken from his experiences, every turn taken for peace causing him more pain, the idea that he might have to hurt his own son plaguing his mind, he makes the choice to leave.

It wasn't hard, he'd still had that old bad habit of taking bites of kittypet food, a couple friends on the other side. But what he doesn't know is that by leaving with his life... he prevents Sunstar from acquiring his own.

Sunstar had ONE single life, StarClan was not able to give him more with the previous leader still alive. For leaving his Clan, for unknowingly preventing the transfer of power, and for dismissing the Warrior Code, Pinestar is sent to the Dark Forest after his death.

He can choose to walk there, or spend time in the mortal plane as just a spirit, but StarClan offers him no place in the cosmos.

#Pinestar's Crusade #Better Bones AU #So yeah it's still depressing LMAO sorryyyy #im a sucker for the theme where someone you raised and loved became part of an evil system #failure to protect. How COULD you have done differently? Was there anything at all that could have saved them?#i've mentioned it before but I love Pinestar most as the foil of Firestar #and it's very underexplored as an idea #How Firestar succeeded where Pinestar failed #Literally like a brighter version of you #someone who never gave up past the point where you would have broken #and how painful and uncomfortable that idea must be #It doesssss things to me #Also I am still shuffling the timeline #Pinestar might end up being old enough to remember Mapleshade... BUT we'll see #It might be pretty funny to have Pinepaw watch his dad take several Ls in Darkstar's Commandment #''this is my cringefail boomer dad who I have a complicated relationship to. he cannot swim. oh god. oh fuck''

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