@maisiepetersnetwork event: two years of ysuft

before ttpd comes out, what taylor album was a grower for you? one that you had to listen to a few times before you really loved it? mine was evermore

since its the last day of the midnights era - what are your top three songs from midnights, which music video is your favourite, and what's your favourite midnights performance on the tour?

my love had been frozen...

Really interesting how Taylor has all these songs in her catalogue revolving around the theme of getting people to STAY in her life : AYHTDWS, Stay Stay Stay, The Archer (who could ever leave me darling but who could stay?), Cornelia Street (I hope I never lose you), Don't Blame Me (beg you on my knees to stay), Last Kiss (something reminds you wish you had stayed) etc

And then there's those songs near the end of relarionships, where she has a lot of allusions about the DOWNSIDES of being the one who stays in a hopeless place, even if it's time to go : There was nowhere for me to stay but I stayed anyways // Good girls hopeful they'll be, and long they will wait // I wait by the door like I'm just a kid // I wait for you to drive by...I would stay forever if you say "don't go" but you won't // we wait for trains that just aren't coming // Foolish one waiting for confessions of love that are never gonna come.

The new lyric reminds me of the latter kind of songs, where you are willing to wait, you KNOW what it's like being the one who gets left, so you will wait and stay and stay and stay even if you get nothing in return...because this is patience, this is how it works. It takes time to realise that you're not getting much in return of staying. Your presence isn't valued. It's all very "it's time to go" coded. Let's see anyways.

i love this theme of hers because it's the opposite of another recurring theme, the idea that she cuts and runs. to me, it's always struck me that taylor runs when she knows she has to, but she might feel like she often stayed a little longer than she should have, to her shame. relatable!

Ahhh I love release weeks, the chaos, the clowning… something new and wild happpens every few hours, new lyrics make us lose our goddamn minds, fans arguing FOR a double album, fans arguing AGAINST a double album, tiktok swifties for some reason thinking rep tv is coming, spiraling about wether or not Taylor’s cat is dead (this is a new one), unfollowing and blocking left and right bc of leaks (are they real? Are they fake? Who knows, too late once you see them), everyone live blogging their mental breakdowns, someone logging in who’s been away all day and is confused, seeing takes from the mutual in law you don’t like, the “I KNEW IT FROM THE BEGINNING” types, people complaining that their job expects them to do work, seeing a “I’m so glad I took off of work on friday” post, the “actually I still haven’t recovered from folklore/evermore/etc” crowd, there’s really nothing else like it, honored to spend every release week on here with you guys I wouldn’t want to spend it any other way

hi i hope to not upset anyone w this i'm genuinely asking because i kind of agree w the feelings but i don't know how to put it into words: why are a people mad at the barbie discourse going on rn?, i more or less get ur points but i still feel like rolling my eyes at the ryan gosling nomination too, i'd like to read the different pov's from whats going on twt pls, thank u. im not part of cinephile tumblr or twt i just came across ur post

i think a big part of it is just that a lot of us who really follow the industry and support female filmmakers have grown a little weary of the way greta gerwig and her work have become this lightning rod that attracts both insanely misogynistic criticism, but also attracts a core audience of female viewers who are... i don't think it's misogynistic to say this, but not very sophisticated in their critical thinking abilities, and who vibe with gerwig's aesthetic and storytelling because it soothes their man-made insecurities about consumerist, frivolous stories about "girlhood" (white, suburban, middle-class, gender-conforming heterosexual femininity) not being "taken seriously." a lot of people really like her work (and sofia coppola tends to appeal to the same people) because it's not very complex - it tells you what to think, rather than inviting you to think for yourself, and what it tells you is "women are complicated. it's hard to be a woman. women have souls and brains and desires. sometimes they even go to the gynocologist." that's fine but i tend to prefer my movies to have something to say that hasn't already been covered by the song bitch by meredith brooks! but that core group of fans are the ones who appear to be driving this discourse about how barbie "isn't being taken seriously" by the hollywood gatekeepers, when it was literally nominated for eight oscars, made a billion dollars, and gave both robbie and gerwig the biggest blank checks of all time for whatever projects they pitch next. it's also really annoying to see people act like hollywood has personally Done A Misogyny to margot robbie, whose campaign and press run since may has been all about her work as a producer on this film, by nominating her in her capacity as a producer and not as an actress in an incredibly competitive year with several other actresses i'd put in the best actress category over her.

all that being said, i think there also needs to be room for nuance on the fact that gerwig still made a PRETTY GOOD MOVIE, and that barbie still managed to be an interesting, inventive, mildly incisive film with a fresh and invigorating visual language (okay, i just mean "practical effects," but still) while also balancing its primary duties of "making mattel IP look appealing" and "making a billion dollars in a market that is increasingly hostile to anything that isn't a superhero greenscreen dry-fuck" and that is a big deal! and writing it off as a "toy commercial" for purely stupid women is... well, it's just a skosh misogynistic, babes! both sides of this debate are just being incredibly annoying and in all of it, greta gerwig is basically reduced to a cipher - she's either The Embodiment Of Evil Corporate White Feminism or The Only Woman Who has Ever Directed A Movie, and the specific successes and failures of her artistry completely fall by the wayside. this is a familiar pattern to any of us who are also fans of, like, taylor swift or jennifer lawrence or any other tall blonde woman artist who annoying people on the internet have decided owes them something. but it's still incredibly obnoxious. and once again all i can do is reiterate that this discourse would not be so much of a thing if people simply WATCHED MORE MOVIES BY WOMEN.

i hope this somewhat helped clarify my thoughts, at least. everyone is annoying!

Reneé Rapp

Not my Fault (2024)

@allthekingdomlightshine said: I also love “if we’re living the dream, I hope we never wake up”

@pscentral​ event 23: arcs | Elsa's character growth (insp.)

❄️ Elsa in Frozen (2013) & Frozen II (2019) ❄️

‘It’s always you and her isn’t it? Long after the rest of us have gone. A boy and his box off to see the universe.’

“if you’re worried that you’re a bad person, don’t be! bad people don’t worry that they’re bad” <- seeing this a lot lately and i find it so goofy lol. it’s always a waste of time to categorize anyone as an essentially good/bad person but also like. you can be a “good” person who agonizes over their choices and still end up making choices that are careless or cowardly or even deliberately harmful. the act of worrying doesn’t absolve you of shit bro

I've really grown to LOVE Labyrinth in the last few months, its such a beautiful song! It reminds me of Cornelia Street a lot - "I'd never walk Cornelia Street again" / "I'll be getting over you my whole life", "I thought you were leading me on... but then you called, played your hand" / "I thought the plane was going down, how'd you turn it right around"

GENIUS ANON. you and my anon who explained how bejeweled is about taylor not caring about consequences and high infidelity is her facing the consequences when she gets home, are doing the lord's work on this blog this week!

~~catching up on your blog lol~~

It’s interesting to hear that someone thinks Bejeweled can’t be about Calvin because I think it’s established that High Infidelity is about Calvin (I don’t think that’s contested) and Bejeweled just parallels that so perfectly? Bejeweled is the before/during her going out and having a good time asserting her confidence, High Infidelity is the fallout when she comes home. It’s a pipeline from “and we’re dancing all night / and you can try / to change my mind / but you might have to wait in line” to “I bent the truth too far tonight / I was dancing around, dancing around him” — “I bent the truth” could also go along with her saying that she doesn’t remember if she had a boyfriend in Bejeweled. Bejeweled is her saying that she’s had enough, she just wants to go out and have fun and she doesn’t give a shit about the consequences; High Infidelity is her coming home to face the consequences, the intensity of which demonstrates why she had been so desperate to get out in the first place. Those songs just line up narratively too much imo for them not to be about the same subject matter.

I think it’s definitely related to Joe in that it’s interesting that after so many years of not writing about this relationship she suddenly felt the need to explore it, likely because of stuff she was experiencing in her current relationship. I think that fits the concept of midnights too — I think a lot of midnights was her going back and looking at past relationships to analyze why they went wrong, possibly because she was desperately trying to save her current one. So I think a lot of the songs — Bejeweled, Maroon, Question, even Midnight Rain — may have elements that parallel stuff that was happening with Joe, but they are ultimately about other past relationships.

yes, exactly!

I feel like there's two levels of chronically online. There's like, the variety where you recognize obscure memes and stupid drama and post constantly but have some sort of tether to reality and have friends in the real world and read the news from time to time, and then there's the kind where you genuinely don't realize that your political position or feelings about popular media are not just non-mainstream but actively fringe and that it's not emotional labor to pick people up from the airport.

the tick, tick, tick of love bombs.

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Style being on the denial playlist is so perfect because it really jumped out at me upon hearing the 1989 vault that Style (and the general vibe of 1989) casts a situation as sexy and romantic and playful whereas a song like Is It Over Now discusses the exact same thing but reveals how it was tearing her apart and driving her to destructive behavior (which doesn’t mean Style is dishonest!! this is so how the human brain works in bad situations and relationships— romanticizing and rationalizing something you know isn’t the best one day, and clear eyed seeing it for what it is the next, and going back to casting it in a way that makes you feel okay to continue on with it the next)