blythelyunaware
blythelyunaware
“I am looped in the loops of her hair.”
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Just some dead kids vibin' in a void
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could you imagine being someone at watford during carry on?
in half your classes simon is smoking so much it’s making you sick, you can barely focus. baz is no where to be seen but the two of them have always been a packaged deal before…it’s strange without the spit wads and punches always been exchanged…
then baz is back! not that you care, you were just getting used to the relative silence (despite the humdrum’s attacks). you’re studying for midterms in the library and you are suddenly magically pulled to see simon outside fighting a dragon . with baz. as soon as the spell wears off, you go back inside. you’re sick of their drama and you have tests.
the fighting that had been a near constant for all of your watford years seems to be missing, you notice, being nostalgic about your last year. some crazy stuff seems to have happened, and simon and that girl he always hangs out with—penelope?—never came back. baz delivers a speech without once being interrupted by simon yelling about vampires. you’re idly wondering where exactly the chosen one could have gone after his prophecy had been fufilled, when you seeing baz-bloody-pitch DANCING with simon snow!! and then they KISS, in front of EVERYONE. you’re dumbfounded. their rivalry practically was the graduating year’s defining trait!
“what the actual fuck” you think to yourself
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reblog if you’ve read fanfictions that are more professional, better written than some actual novels. I’m trying to see something
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Honestly Michael Scott would fuck so hard with TTPD. You just know he’d have the “were you sent by someone WHO WANTED ME DEAD” part on repeat over and over again. Just that part. Because he wants to taste it.
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Instead of talking about which song was for who, I like to think of the most obscure historical figures who would relate to each of the new Tortured Poets songs. Like, you’re telling me Henry the Eighth wouldn’t absolutely be shaking his ass to “Fresh Out The Slammer” as he feverishly wrote a handwritten letter to his new wifey-to-be after each death/divorce/beheading? Oscar Wilde’s exes would love the title track. “But Daddy I Love Him!” is what I imagine Eva Braun thought every day of her miserable life…..
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TTPD explores fame and Taylor’s reputation a lot better than reputation does…
“Who’s Afraid of Little Old Me?” was the vibe I thought reputation was going to be. I’m so glad that she circled around back to the idea of burning witches and explored it again.
I wonder if this album would’ve been received better if this is what was released in 2017 as “reputation”.
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“Greetings from Florida” – postcard, ca. 1934 // Florida!!! – Taylor Swift feat. Florence + the Machine
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taylor swift | video taken by: @silverman_nate on instagram
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The smug moral-high-ground-parade you guys play is so exhausting. Because at the end of the day, Taylor Swift is not asking you to look up to her as the epitome of moral perfection. She has never asked to be looked at as the epitome of moral perfection. She just wants to make her music and sing her love songs and be recognised for her art. Instead all we’ve ever done from the GET GO is zero in on the who and the why and oh gosh, how dare she not tread down this highly specific path that we want for her. How dare she not immediately denounce this man in an Instagram post and declare herself a political lesbian, then proceed to announce an album called The Marxist Manifesto Department. Because we “monetarily supported” her (voluntarily, bare in mind, in exchange for a SERVICE OF GOODS) there must be some unspoken clause of total entitlement to who she sleeps with, who she associates with, who she befriends or happens to pass a smile to.
Bottom line is, let the girl fucking breathe. Her most pressing crimes have been not being the very tortured artist she mocks on her album — because that’s what you guys actually consider as “unproblematic”, right? A downtrodden, shiny, authentically left-wing artist (preferably poc so it can complete the checklist of total and utter authenticity) who sing their poverty ballads and you all feel great about yourselves for enjoying it because only that kind of art is authentic so it’s okay for them to use analogies of being in asylums or being mentally ill. And then immediately discard them as a capitalist sell out when they get rich from their pain.
We’ve all had insane crushes on people that suck. Many people can probably admit to having an attraction to someone that they aren’t politically in agreement with. People are involved or married to partners they aren’t in political agreement with. Except they get to work their differences out in peace and without the humiliation of public scrutiny.
What a silly, hypersensitive, outrageously unfair thing to ask - no, DEMAND - that somebody “call out” their partner on a gigantic and extremely volatile public platform because YOU feel bad that you can’t listen to the artist and feel good about yourself? Being a celebrity does not mean you suddenly relinquish your humanity and your feelings and your personal conflicts and turmoils. Being a celebrity does not mean you are a blank slate that cannot be tarnished by flawed judgement because then what does that say about the people who like you?
I swear ya’ll screech and screech about Taylor Swift being a greedy capitalist, racism-apologist white feminist but you participate in this very same game of capitalism by acting like the stakeholders to the Taylor Swift brand — shaking your fists and questioning her every move like your personal investments, financial and emotional, are the ones that are at most risk.
I'm sorry but Taylor Swift literally writing a song about having a tantrum because her fans called her out for dating Matty Healy.
Her fans go, "Yes, queen, no one can tell you what to do!"
Her POC fans were allowed to be upset that someone they have monetarily supported dates a known racist who said he enjoyed watching corn of black women being brutalised. And even if it was a joke--- no, stop, hear yourself, it's not fucking funny.
She also keeps cosplaying mania and mental breaks. Babe, having a breakdown is not an excuse for dating a known racist like jfc.
On another note, she keeps referencing and alluding to Joe Alwyn having depression. She's done it on multiple albums. It's not her place to out his mental health issues.
It sucks because I genuinely enjoy so much of her music, but she's so damn problematic.
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Only when your girlish glow,
flickers just so,
do they let you know:
It's hell on earth to be heavenly.
Them's the breaks, they don't come gently.
Clara Bow - The Tortured Poets Department (2024)
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but on a wednesday, in a café, i watched it begin again…
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You look like Stevie Nicks
in ‘75, the hair and lips
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