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wavesoutbeingtossed · 3 months

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Screaming from the crypt (or how the past haunts the present on Midnights)

I know it's been discussed so much since Midnights came out but just.

I love how there is such a clear narrative throughout the album (and perhaps especially on the 3am/Vault tracks). About questioning and regret and choices and coming to terms with all of it. It is one long story about how we're all a mosaic of the choices we make, each one taking something from us and leaving something else in its place.

(And now a disclaimer: I'm looking at this mostly through a narrator/subject lens, and trying not to dive too deeply into real-life events or speculation except for in a general sense. For this purpose I like to look at the body of work as art, like literature, because I find it makes it easier to see the common threads in the different songs and cohesion in the narrative.)

In looking at the 3am+ tracks in particular, it's fascinating how some turns of phrases or themes repeat themselves in different songs, in different contexts. (I'm only focusing on the non-standard tracks because there are too many songs and I'd be here all day but I bet I could do a part two lol.) I know many people have pointed out the parallels throughout her discography already and I’m not saying anything groundbreaking by writing this, but I love how these parallels run through in the same album, because it makes it seem like it's one long story, or at least, one long rumination on many different stories that are coalescing into a single narrative.

Battle (let’s go)

For instance, the one that jumped out at me when I started writing this post the other week was, "Tore your banners down, took the battle underground," in The Great War and "If clarity's in death, then why won't this die? Years of tearing down our banners, you and I," in Would've, Could've Should've. It's a story about staying stuck in the same cycle of reliving trauma and coping mechanisms and bad habits over and over again and fantasizing about how taking the “antagonist” out and gaining the upper hand for good would bring closure (WCS), but the truth is that nothing ever will. All that cycle does, though, is repeat itself in other situations, and in this case pushes someone away the narrator cares for (TGW). The difference is that the imagined battle in WCS is a two-way street in her mind (that is ultimately unwinnable because it was never a fair fight), but in TGW it's one-sided -- she's the one fighting dirty, taking shots, the way she'd been doing in her imagination (or nightmares) all these years. But the person in front of her isn't fighting back the way the person in her mind in WCS would, because their intentions are honourable instead of exploitative.

And that's paralleled in another pair of lyrics from the two songs, "And maybe it's the past talking, screaming from the crypt, telling me to punish you for things you never did," (in TGW) and "The tomb won't close, I fight with you in my sleep," (in WCS). In both cases, the funeral imagery makes it seem like this past event should be dead and buried in WCS, but it keeps rising from the dead, haunting her no matter what she does and in TGW, another (or perhaps the same?) tomb that won't close keeps unleashing new ways to hurt her and in turn the new person in her life. In other words, the trauma from the past continues to bleed into the present.

(Again from a literary point of view, I'm not saying the events of the two songs are linked IRL, but they're fascinating textual parallels on the album as a string of chapters, which is why Dear Reader is so compelling, but that's a whole other essay.)

To keep the battle motif going, there’s yet another parallel, this time between TGW’s "[You were a] soldier down on that icy ground, looked up at me with honor and truth," and You’re Losing Me’s "All I did was bleed as I tried to be the bravest soldier, fighting in only your army.” In the former, the subject is laying down his armour in the war she’s projecting onto him, waving the white flag, and she realizes that she’s about to destroy something if she doesn’t put her sword down too. By the time we get to YLM, the roles are almost reversed; at the very least they’re supposed to be on the same team, but in this case she’s doing all the heavy lifting, fighting for their relationship in contrast to his apathy killing it. It’s also pretty interesting (if not outright intentional) that one of the 3am+ editions of the albums starts with The Great War, where they find themselves in conflict (even if it’s in her head) that ends in a truce, and ends with You’re Losing Me signalling the end of the relationship, evidence that the resolution in the first song wasn’t an ending but merely a ceasefire before the last battle.

Putting the rest under a cut because this is waaaaay too long now ⤵️

(There’s also another metaphor there in The Great War with its battle imagery: World War I, aka The Great War, was supposed to be the war to end all wars, because loss on its scale was never seen before and when it ended, most thought never again would the world embroil itself in such battle, the horrors and implications were so devastating. Two decades later, the world found itself in WWII, with an even larger scope and more horrific consequences, the intervening time between the two a period of festering conflicts and resentment leading to some of the worst acts the world would see. Bringing real life into it for a second, there’s something a little poetic, though sad, about The Great War the song being about a fight that could have ended the relationship that they ultimately resolved and was meant to be evidence of the strength of their love, but so too did it end up being a period of détente, the greater battle coming for them years later. But that is not the point of this post.)

If one thing had been different

Another major theme in these editions is pondering the "what ifs?" of life, but I think it takes on even more significance in the broader context of the album in the lyrics of "I'm never gonna meet what could've been, would've been, should've been you," in Bigger than the Whole Sky and the repetition of would've/could've in Would've, Could've, Should've (I would've looked away at the first glance, I would've stayed on my knees, I would've gone along with the righteous, I could've gone on as I was, would've could've should've if I'd only played it safe, etc.) In both songs, the narrator is mourning an alternate course their life could have taken* and questioning what they could have done differently, in the aftermath of trauma and loss, and the regret that comes with that loss, and with the loss of agency in the situation because ultimately it was never in their hands. In an album full of questions, wondering about the path not taken, or the forks in the road that have led to a different version of your life, it's digging deeper into the contrast of choice vs. fate, action vs. reaction, dwelling on the past vs. moving on. When you're supposed to let go of the past, what do you do when it is holding your future hostage?

(*I know there are different interpretations/speculation about BTTWS which I am not getting into on main. I'm just saying that whatever the song is about, it's grieving something that never came to be. The literal origin of the song is less important to the album than the sense of loss it portrays. Whatever the inspiration is, it's crafted to tell part of the story of Midnights of ruminating over how, to borrow from her previous work, if one thing had been different, would everything be different?)

(Also I was today years old when I realized that the words are inverted in the two songs. Apparently I've been hearing BTTWS wrong this whole time.)

There's also an interesting tangent in the role of faith in both songs: in WCS, the events of the story cause her to lose her faith (e.g. "All I used to do was pray," "you're a crisis of my faith,") and question all the things she felt had been unquestionable until that point in her life (e.g. "I could have gone along with the righteous"), whereas in BTTWS, she questions whether that very lack of faith is to blame for the loss in that song ("did some force take you because I didn't pray? [...] It's not meant to be, so I'll say words I don't believe"). It's like pinpointing the moment her life changed and upended her beliefs (WCS), but as a result then leaving her unmoored in times of crisis because ultimately there's no explanation or comfort to be taken from what she used to hold true before that (BTTWS). The words she once relied upon to guide her have long since lost their meaning, but in times of trouble it leaves her wondering if that faith she once held then lost could have prevented this pain.

(Shoutout to WCS for being Catholic guilt personified lol.)

To keep on with the vaguely faith-y notions, an obvious parallel is the line in Would’ve Could’ve Should’ve about, “I damn sure never would've danced with the devil at nineteen,” and, "When you aim at the devil, make sure you don't miss," in Dear Reader. All of WCS is about her fighting with an antagonist who haunts her, with whom she wholly regrets ever becoming involved. DR could be seen as a reflection on that fall from grace, warning the audience that if you choose to go after the person (or thing) haunting you, make sure you do so clearheaded enough to be decisive. Again, these “devils” may not be related in real life: the IRL devil in DR could be speaking about her naysayers, or Kim*ye, or Scott & Scooter B, etc., meaning not to cross your enemies until you know you can win. But taking real life out of it and looking at it textually, I am intrigued by the link between WCS and DR, so that’s what I’m going with here. And perhaps that’s even the point in a wider sense; there will be multiple “devils” in your life, or threats to your well-being. If you’re going to commit to taking them down — whether it’s an actual person, or the demons inside you that refuse to let you go — make sure you have the right ammo so that they can no longer hurt you. (Of course, one lesson from these experiences is that sometimes you can’t win, and you have to live with the fallout.)

(Sidebar: I know that “dancing with the devil” is a turn of phrase that means being led into temptation and engaging in risky behaviour, as opposed to describing the actual person. Given the religious metaphors in the song, that could very well be/is the intention, particularly when it’s preceded by, “I would have stayed on my knees” as in she would have continued to follow her faith — in whatever sense that means — had she never met this person, which could also be a more eloquent way of saying she would have continued to be live her life in a way that was righteous (even naive) and seen the world in black and white. Either way, it’s a force she wholly rejects. Like I said, multiple devils, same fight.)

Regret comes up too: in WCS, she says, "I regret you all the time," obviously directed at the person who manipulated her and led to her perceived downfall, citing him as the one impulse she wished she'd never followed, because it won't leave her no matter how hard she’s tried. In High Infidelity, she tells the person to, "put on your records and regret me," and on the surface, it’s like she’s turning the tables, painting herself as the one now causing the regret in someone else, the one inflicting the pain this time. Yet the verse preceding it and the lines following it in the chorus depict a partner who is also emotionally manipulative and vindictive like in WCS (“you said I was freeloading, I didn’t know you were keeping count,” “put on your headphones and burn my city,”). It’s not so much that she’s intentionally harming the person (the way the person in WCS does to her), but rather that the venom in the subject’s feelings towards her seeps through; she’s imagining the way he’s going to feel about her when she leaves, hating her just for by being who she is. (There could be another tangent about how in both songs she’s there to be a “token” in a game for both of the men, who play her for their own purposes.) The regret is dripping with disdain. It’s as though she’s picturing how the person is going to hate her for doing what she’s thinking of doing the way she hates the person who first hurt her.

Sadness, unsurprisingly, shows up in a few lyrics. In BTTWS, “Everything I touch becomes sick with sadness,” sets the scene of a person so overcome with grief that it permeates everything around them; they cannot see their way out of it and feel like the fog will never lift. In Hits Different, it’s, “My sadness is contagious,” the result of a breakup where the person’s grief again touches everything and everyone around them, pushing them further in their despair and loneliness. The reason behind the grief in either case may vary, but regardless of the source, the feeling is overpowering and isolating. They may be different chapters in the story, but the devastation is hauntingly familiar. (As is a recurring theme in Midnights as a whole: there are situations and feelings that present themselves at different points in her journey and colour in the lines in different ways along the road. Like revisiting an old vice and realizing the hit isn’t quite the same as it was in the past.)

Death by a thousand cuts

She also writes about wounds on this album, which isn't surprising I suppose given that the whole conceit is that these are things that have kept her up at night over the years. WCS is perhaps the driving narrative on this never ending hurt when she sings, “The wound won't close, I keep on waiting for a sign, I regret you all the time,” suggesting that no matter what she does, the pain of this experience has permeated everything she’s done afterwards. (Not unlike the overwhelming grief in BTTWS, for instance.) Elsewhere, in High Infidelity she sings, "Lock broken, slur spoken, wound open, game token," and in Hits Different, "Make it make some sense why the wound is still bleeding.” Again I'm not suggesting they're about the same events; the line in HI is about a situation where a partner crosses a boundary, hits below the belt, picks at an insecurity (or creates a new one) and treats the relationship like it's transactional, opening the floodgates in turn. In HD, the wound seems to be more self-inflicted, where she's pushed the person away. (Over a situation real or imagined she feels she needs distance from.) But again, something has picked at her like a raw nerve, and just like in the past, she's hurting, even in a different time and place and person. Almost like the wounds of the past break open over and over again to create new scars. If one were to extrapolate further, it wouldn’t be the biggest leap to wonder if the wound open in WCS, then torn apart in HI makes the one in HD hurt even more.

(I once wrote a post about how I think as time goes on, WCS is going to turn into one of those songs that will be found to drive so much of her work, because it’s just… kind of the unsaid thesis statement of so much of her songwriting.)

Another repeated theme is that of the empty home and loneliness. In High Infidelity, she sings, "At the house lonely, good money I'd pay if you just know me, seemed like the right thing at the time," painting a picture of someone who may have everything they'd want to the outside world, but in reality feels metaphorically trapped in their home (or at least alone amidst abundance), a symbol of a relationship gone sour and a failure to build connection. She just wants someone to understand her, want her for her, but as she's written earlier in the song, she's just a pawn in the game, a trophy from the hunt. Home, in this case, is lonely, isolated, an emblem of her fears. In Dear Reader, she continues this thread, then singing, "You wouldn't take my word for it if you knew who was talking, if you knew where I was walking, to a house not a home, all alone 'cause nobody's there, where I pace in my pen and my friends found friends who care, no one sees you lose when you're playing solitaire." It's the same idea, admitting to listeners that the gilded cage she lived in kept her distanced from her loved ones and real connection, keeping her struggles close to the vest but feeling desperately lonely amidst her crowning success. She's pushed people away and it may have felt like the right thing at the time, but in the end maybe felt like she was trapped. And when you push people away, eventually they take you at your word and stop pushing back; you’re a victim of your own success at isolating yourself. What starts out of self-preservation then further perpetuates the underlying problems.

(There's another interesting link about "home" also feeling unsafe with HI's "Your picket fence is sharp as knives," which further leads into the theme of marriage/domesticity feeling dangerous, which is a whole other thing I won't get into here because it's another discussion and may derail this already gargantuan word salad.)

In a slightly similar vein, we have the metaphor of bad weather for a rocky road or unstable relationship, in High Infidelity again with, "Storm coming, good husband, bad omen, dragged my feet right down the aisle" and You’re Losing Me’s "every morning I glared at you with storms in my eyes.” They aren’t speaking of the same situation or even same kind of breakdown, but it is pretty interesting how the idea of clouds/storms/floods/etc. play such a role in Taylor’s music to signal depression, apprehension, fear, uncertainty, etc. In HI, I think the “storm” coming is the looming threat of commitment to a partner who makes the narrator uneasy (if not fearful). In this case, the idea of making a life with this person is not one that incites joy or comfort, but instead makes the narrator feel that dark times are ahead if she continues down this path. Perhaps in some way, the “storms” in YLM have made good on the threat in HI in a different way; it’s a different home, a different relationship, but the clouds have settled in regardless, and some of her fears have come to fruition in ways she did not expect. The person she once trusted no longer sees her or her struggles (or worse, doesn’t care), and the resentment and pain build with each passing day.

Coming back to heartbreak, one of the obvious "full circle" moments is the beginning of a relationship in Paris, where she says that, "I'm so in love that I might stop breathing," clearly enthralled in a new love that allows her to shut the world out and grow in private, capturing the all-encompassing nature of the relationship. This infatuation has consumed her in the most wonderful way (in contrast to the sorrow of some of the previous songs), and it feels like a life-altering (or even life-sustaining?) force that is so strong she may forget what it’s like to breathe. (Metaphorically speaking, of course.) By the end of the album, though, in You're Losing Me, that heart-stopping love has become a threat: "my heart won't start anymore for you." In the former, her racing heart is full of excitement, but by the latter, her heart has given out completely under the weight of the pain she bears. (YLM is full of death/illness imagery which I already wrote about awhile ago so I won't hear, but needless to say that song deserves its own essay for so many reasons.) She's gone from the unbridled joy of the beginnings of a relationship to the unrelenting sorrow of its end, two sides of the same coin.

Love as death appears elsewhere in the music too, for instance, in High Infidelity’s, “You know there's many different ways that you can kill the one you love, the slowest way is never loving them enough" and You’re Losing Me’s “How can you say that you love someone you can't tell is dying? […] My face was gray, but you wouldn't admit that we were sick.” Though not completely analogous situations, they both tell the tale of one partner’s apathy (or at least denial) destroying the other. In the former, the partner’s actions (or inaction) are more insidious, if not sinister; in the latter, the lack of momentum (or admission of a problem) is passive. In both cases, the end result is the narrator’s demise; it’s a drawn out affair that chips away at her morale and her health and her sense of self. (Breaking my own rule about bringing in alleged actual events into the discussion, but the idea that the relationship in High Infidelity, which was obviously fraught with unease and even fear, ended in a similarly excruciatingly slow and hurtful death by a thousand cuts as the relationship in You’re Losing Me almost did at that time must have been so painful. It almost feels like YLM is wondering why what used to be a source of light in her life was mirroring a situation that caused her such pain in the past.)

From the same little breaks in your soul

I said early on that part of what is so compelling about Midnights is that it feels like an album about ruminating — on choices, on events, on people — and the two final “bonus” tracks of the album depict that as well. In Hits Different, she sings that, “they say if it’s right, you know,” an ode to the confusion of a breakup and struggling with the aftermath of calling it quits. It’s a line that has always intrigued me, because the typical use of the phrase is in the sense of, “you’ll know when you meet the one,” but here it seems to have a double meaning, a reassurance perhaps from the friends (who later on tell her that "love is a lie") that she’ll know if she’s made the right decision in calling it off, but could also be her wondering if the relationship is right, she’ll know, and want to reconcile. In the final bonus track, You’re Losing Me, she sings, “now I just sit in the dark and wonder if it’s time,” this time leaving no doubt about the dilemma she faces, though it’s no less fraught. She’s wondering, perhaps for the last time, if now is finally the moment to end the relationship for good. They say that if it’s right she’ll know, and now she’s wondering if that feeling inside her (that once told her her partner was the one, which is why it hit differently), is telling her that it’s time to go for good. Wait Alexa play “It’s Time To Go.” These are not only the things that keep her up at night, but the things that play over in her mind like a film reel in her waking hours.

Midnights as a whole is a deeply personal album, as is most of Taylor's work, but the 3am+ edition tracks seem to dig even deeper to a lot of the issues raised on the standard album. Almost like the standard tracks are the things she wonders about on sleepless nights, but the bonus tracks are the things that haunt her in the aftermath. The regret, anger, sadness, grief, relief, even joy— they’re the price she pays for the memories she keeps reliving. Midnights might be the most cohesive narrative of all her albums, and really does feel like we’re watching someone work through her journal over time, stopping short of outright naming those giant fears and intrusive thoughts (except for when she does) but making them plain as day when you connect the songs together, and perhaps never more clearly than in the expanded album. It’s incredible how the songs stand on their own to relay a specific moment in time, but that they are also self-referential to each other (whether thematically or overtly) to weave a larger web over the entire work. We’re so lucky as fans to have these stories and to keep peeling back these layers as time passes. (And my literature-analysis-loving ass loves her even more for it.)

This is obviously by no means an exhaustive list, and I know there are more parallels and probably even stronger links (particularly when you add the standard version into the mix), but these were the ones that particularly struck me and I’m just glad I’ve had a chance to sit with this and think it through. ❤️

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

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el-buzz · 3 months

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📚 Cg! Clay HCS!!! 💚🎶

Aggagaggaggag first hc list I do EVERRR (so please be kind (˶ᵔ ᵕ ᵔ˶) /💗💗)

Cg! Clay x Agere! Reader!!

pretty much gender neutral!!

Cw: caps lock (just me having happy outbursts), um lotsa author notes and commentary I just wanna talk about him and about how he would be as a cg :ccc, also this is incredibly self indulgent

Also there was no proof reading ☠️

(Crossposted on ao3 @Soft_Buzz!! oh and I’ll update this if I get a new hc idea)

Anyways here you go 💚:

•nicknames for you: kiddo, baby, bubba, bubba wubba (he’s squeezing your cheeks and baby talking you 😭😭), prince/princess/ lil highness/royal, and a number of other sweet nicknames or any that you prefer!

•he would be suuuuuch a sweet and doting caregiver waaaaaaah but he would definitely ensue rules for you! Calm and Strict(ish) cg! Clay would pull up to make sure you are safe and healthy even if you are feeling big!!

•he’d hate to see you hurt or sick, but he’d do everything thing in his power to nurse you back to health :]!

•Clay would definitely provide his kiddo with healthy snack or with fruit or veggie cups!

•Although Clay’s sorta strict he can be soooo soft he always want to hold you, whether it’s your hand/pinkie or cuddle up with you.

•You are his battery and he wants to recharge.

* HE WOULD SOOOO READ TO YOUUUU AHHH he loooooves reading so ofc he’d love to share that interest with his little one

• (please it’s the cutest thing ever)

• imagine him beside you with a book open (he has his reading glasses on :3) and as he reads, he gives all the different characters different voices and will always put emotion into his reading voice, which always leads to you giggling or you gasping in surprise.

• One time you insisted that you were big enough for his sad book club and that you wouldn’t become a big puddle of tears so he gave you Charlotte’s Web to read.

• You were a mess. You didn’t stop being sad for the next couple of HOURS (yes this is a reference to that JD fan art ifykyk☠️)

• Clay had to give you so many hugs, cuddles, and kisses to make up for it. He thought it’d be funny, but he sorta forgot how emotional of a little one you can be.

• “I’m so so sorry baby.” *kiss* “How can I make it up to you?? I’ll do anything”

• oh you’d grin a that. You choose to either do dress up WITH make up or draw on his face and mess around with his hair. AND ice cream.

• You took soooo many pictures (and you may or may have not shared them with Viva, Poppy, and his brothers) Clay says he hates you for it, but secretly believes it was so worth it to see that sparkle in your eyes

• he bought you a piggy and a spider (with little bb spiders) stuffie. Even if you have arachnophobia, you hugged those stuffies while crying happy tears. You gave him a tight hug which he softly returned and gave you a forehead kiss.

• (This whole event was also the birth of your happy scrapbook club!! (even though it just you :} ) )

• You and Clay will just sit together while reading different things. Him with some well recognized and praised novel or book and you with a happy lil scrapbook in your hands!

• I’d also like to think he has a puppet character like Bandit does with unicorse! (Maybe a dragon but that just me :])

• (Clay and Branch be matching with their ventriloquism skills lol)

• If you seem to be clumsy or fall often he starts to develop a sort of spider sense for it and will catch you before disaster happens

• OKOK I know this is gonna sound random buuuut I believe Clay is the type to carry lollipops, and sometimes other candy, around. Idk like I can just picture him a with a lollipop in his mouth trying to look all serious/mysterious and nonchalant LOL

• ANYWAYS back to the Agere stuff

• I think that after completing a task or being good, Clay would def give his kiddo a lollipop as a treat!! that orrrrr if his kiddo seems to be regressing in public and they really want/need a paci or just something to fixate on then boom!!! Lollipop! :D

• Talking about rewards

• This man would sooooo spoil you!! you’re his treasure and he wants you to know it!!

• He’ll either get you food you’ve been craving or a stuffed animal/little gear orrrr both!!

• (Because of the two of you, you now have a chest fuuuull of stuffies Woops💧)

• You always try to show your appreciation by giving him small handmade gifts!! A lil pop up card, bead bracelets (you definitely have matching bracelets), even something crocheted/knitted, and pretty much any arts n crafts you can make!

• Now onto funny business ( •̀ - • )!

• so ofc when it first came to having fun and being playful with you he was bit scared

• can you blame him???

• He’d spent A LOT of time trying to get rid/away from the tittle of being the fun boy

• Ofc through lot of reassurance you let him know that he can have fun and play with you and still be a very serious caregiver!

• you help him understand that being funny and silly every once in a while doesn’t hurt and that he should try to find a balance that work for him! Which he eventually does :D!!

• I like to believe that he’d be great at playing pretend and hide and seek!

• “Worry not your highness!! You will protect you from the dragon!” (It’s one of your plushies)

• “Wherever could my kiddo be?? They must have turned invisible!!” (he can hear your giggles which just makes his smile wider)

• Although he really tries to be there for you, he’s a reaaaally busy man :((( but he still tries to spend time with you through parallel play! While he’s doing his grown up paperwork, you get to colooor!! (or draw or scrapbook or anything really) as long you promise to be good and not distract him

• (plus the sooner he’s done the sooner he can give you all his attention! so it’s a win-win situation :D)

• Actually if you were feeling extra lil you’d just get a paper and scribble on it with crayon trying to copy Clay’s mannerisms (when he sees this he’s physically holding himself back from just picking you up, cradling you, and just babying you waaaah you’re gonna be the end of him)

• oh and he would sooo keep your little artworks in his working area (they bring a sweet smile to his face and warm his soul you’re the best kiddo he could have ever asked for)

• You also get to have cuddles while he works! Sometimes he’ll just sit you on his lap with a stuffie or two while he wraps an arm around you and litters your head or face with kisses!

• Now onto not so funny business ૮๑ˊᯅˋ๑ა

• sometimes Clay’ll have a rough or tiring day :((

* and that’s okk caregivers have their moments too!

• He’ll usually want to cuddle with you and hold you close. (You are his stuffie :D)

• He might even tickle you or blow raspberries on your tummy (if you give him permission ofc!!) which often leaves you with a giggling and squirming fit.

• He just loves seeing you laugh and smile (especially if it’s him who made you happy :] you just brighten his day so much sometimes)

• One time he was just so tired and just laying down on the couch and then you brought one stuffie to him and then two till you pretty much had him buried under almost all of your stuffies!!

* You then proceeded to lay on top of him, and Clay just sticks both arms out from under the pile while smiling softly with his eyes closed.

• Let’s just say you guys woke up with stuffed animals scattered eeeeeverywhere

• If you’re a kiddo/baby who tends to get overwhelmed easily, he’ll get you some noise canceling/dampening headphones and just wraps you in a soft blanket like a little burrito.

• He’ll also either get you an eye mask or will lower the lights if he can. (And if you’re feeling lil enough then a paci too!!)

• After doing any of this, he’ll just bring you onto his lap and whisper sweet lil nothings to you till you feel better or seem to fall asleep :D!

• would enforce a bed time >:( (he is a very very veeeery serious guy after all)

• but luckily bedtime means a bottle or sippy of sweet sleepy tea and a storyyyy :D!!

• Forehead kisses!! (CALL ME BIASED CAUSE I LOOOOOVE FOREHEAD KISSES but I stand by what I say.

• Oh and if he’s ever gonna to be very busy for the day and he won’t be able to take care of his kiddo, he’d ask Viva to help him take care of you!!

• Plus who doesn’t love babysitter Viva??? She’s so energetic and fun with you, but she’ll definitely tone it down for you 💛

• she’s also super strong so she’ll definitely carry you or give you a piggy back ride if you ask :>!

• She also give you lots of candies and sugary foods but shhhhh don’t tell Clay itsa secret (but I think the sugar rush/crash you have when he picks you up from Viva’s tells him more than enough

• (I feel like he would trust all his brothers with you (especially Bruce) except JD 😭😭)

• He would sooooo grab your cheeks and squeeze them like he did to Branch when first seeing him again

• Expect him to do that whenever he just wants to dote on you and baby you even if you’re feeling bigger than usual he just loves youuuu! 💚💚💚

In summary: I need this man bc he is the bestest boyfriend and caregiver ever!!

Final notes!:

I love likes but comments and reposts are greatly appreciate (I love to talk if you can’t tell) type something out and let me know what you think 💗💗

If anybody would like to use any of the hcs/scenarios for a fanfic tots fine with me just don’t forget to tag me for credit and so I can see it :DD!!

#I’m saying this even though there’s like NO ONE under the agere tag for this fandom.#Which is surprising like where are you all???? Huh?!?! Huh?!?!#Like c’mon it’s agere galore! Colors! Music! AND Family reunion and Love!!#Plus two great and amazing and lovable villains #Branch was literally abandoned as a baby! (Plus other brothers also have problems/struggles)#Just take the bait and write/do Agere stuff for them!! 😭😭(help I sound mean but I meant that in a nice way)#but I get it the fandom feels like it’s dying on here. I just got here y’all don’t die on me already 😭😭)#(Genuinely don’t think anyone wanted this but oh well I’m sending it out to the world with a mission to complete #which is bring happiness!!)#(mostly for myself tho lol)#I can’t believe I did all of this instead of a college essay #trolls agere #clay #sfw agere #trolls 3 #age regression #being brave out here and using clay x reader in the post just to see what happens #if i get any hatred i’ll immediately remove it :/

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