Anyone Think Taylor Ever Cleaned Her Teeth With Her Bugs Once? Maybe She Saw A Snippet Of A Documentary

anyone think Taylor ever cleaned her teeth with her bugs once? maybe she saw a snippet of a documentary about those dentist fish that other fish patiently line up and cause zero trouble in the area, a neutral zone if you will, while they wait for the dentist fish to clean their mouths of parasites and dead flesh and then she decided to try it (because she was inspired by the fish all co-operating together) and almost choked but then she locked in and went "this is easy as fuck. triumph is such a pussy. alexandria was probably faking. this is so normal. I can have as many bugs as I want in my mouth and I'm not gagging" and the other chicago wards never mention it ever because they value their lives.

isnt it crazy how imp gets countered by like 2 capes and theyre both heartbroken? like regent can control her (although she can escape if he falls asleep) and cherish can sense her even when her stranger power is up. if i was more adept at vasilposting i would say that this was related to how she only really finds people she can relate with amongst the heartbroken and this is shown through them being able to break through her veil of being forgotten. but im not. so i wont.

A commission for the lovely panda, who got me to work on this Alexandria design!

@lakesbian

melancholic imp : (

she so .

TW: Suicide mention. Worm Spoilers.

Reprising my Neil Cicierega post from before about how "Mullet with Butterfly Wings" is a skitter/scurry/chitter song.

Crocodile Chop is a Gold Morning song. The lyrics are all very slurred and drunken. She's lurching around. Amy's hands on her as she "Wake(s) up!". "Why'd you leave the keys on the table?" Who's just leaving Amy alone with Taylor. They had to know she was going to do something drastic. Lisa should've, and that's the tragedy isn't it? "Here you go and create another fable." The myth, making Taylor into a weapon. Maybe I'm reading a little too much into it, but this is supposed to be a fun little post anyway, it's not too serious.

Except "I don't think you trust in my self-righteous suicide." is just a dead on, straight between the eyes, punch to the forehead shining example of Taylor Hebert's character in this moment.

The scream for Fathers feels a little bit like Taylor's frustrations with Danny, and maybe a little bit of QA (who is currently in the driver's seat) might be feeling a little forsaken by her father Scion herself in this moment? "Father into your hands I commend my spirit." and the whole section there, is SOAD directly lifting words from Jesus' crucifixion. This one's not a particularly deep take from me, but you can see Jesus' crucifixion as a kind of self-righteous suicide, huh? And Taylor is also putting herself on the line, as usual, and sacrificing any other kind of future she may have had for herself in favor of the greater good, and the unity of humanity. It's a consistent, doomed worldview she's held ever since "Cut Ties, I'm Sorry." entered the picture. She put the Undersiders aside. She spent more time with the Chicago Wards than them, and her time with them wasn't even worth mentioning in the text. She sets them aside too. She trains Golem because they have a shared enemy, but there's nothing else there. There can be nothing else there when she has to go die on the cross, unknowingly, but still. The Simurgh, Contessa and Dinah all conspiring to put her in the right place at the right time.

My read of SOAD's lyrics seem focused on the 'right to die', about how nobody truly deserves to die, but we all will die, but there are some people who are condemned regardless of their circumstances for the method of their death. Serj Tankian brings up his potential for dying in a drug overdose as his example of someone dying in a shameful way, and therefore 'deserving' to die. (This is just me paraphrasing the wikipedia entry I'm not uncovering new ground here lol). There's also the very literal Angel-like being hovering over the battlefield to consider.

Choosing how you go out is more than some people get. Except Taylor doesn't get to choose how she goes out in the end, does she? Taylor doesn't really have a choice here. The Simurgh chooses. Dinah chooses. Contessa chooses. That little static burst as the song fades out to "Transmission" (a little bit where a numbers radio is played interspersed with the introductory rift from David Bowie's Space Oddity) sounds like her turning her head to see Contessa sitting there with her gun in her hand.

All of this is set to Elton John's Crocodile Rock, which I haven't really listened to enough to have thoughts on it. I don't really have any deep takes on his side of the mashup, other than the fact that the piano and Serj's "Die" is pitch shifted to Elton's "laa, la-la-la-la-laa" making it very unsettling.

I've been listening to too much of Neil's music while driving to work and it's starting to mix together with all of the other brain worms, creating intricate mental AMVs, and it shows.

good for her

I don’t have object permanence. I put a knife down and spent half an hour panicking because I thought I lost it. It was just on my desk. Not even hidden either like 5 centimetres away from my laptop. Hey you know this blogging thing is pretty fun. I just tell people things.