“Peter.”
The boy can’t even look Tony in the eye. Not because he’s afraid, but because he’s tired. Defeated. The most he does is glance at his mentor like a sad, curious puppy.
Tony can only smile.
“You’re doing great,” he tells him.
Peter looks surprised to hear that, as he raises his head a little and actually gazes at the man.
“I know you don’t believe it with how much you’ve been dealing with,” Tony details. “You might think you’re failing, but I see your effort. You’re a hero both at school and at home… and well, everywhere. And I’m proud of you.”
It’s like Peter hasn’t heard these words in forever.
Because his eyes grow deep, his lips quiver, he begins shaking. Tony can tell there’s a lot of pain in there, as Peter covers his mouth once he starts sobbing, so he doesn’t make much noise.
Tony kneels in front of the kid, opening his arms. Peter immediately launches himself towards him, hugging him so desperately, and sobbing so much that it must hurt. Tony hates imagining how long Peter must have kept it to himself. How long has he felt like a failure?
Peter is so much more than “good enough”.
He’s doing great, amazing, even.
And the kid needs to remember that more often.
Tony will make sure of that.
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I have complicated thoughts about atw10. I go back and forth on it - sometimes I hate it, sometimes I love it. but I think I always end up at those extremes because I can’t help but compare them.
first you have the og atw. perfect, no notes, whether or not you agree it’s her magnum opus it does deserve every bit of hype it gets because it’s a great fucking song. (the magnum opus conversation is intertwined with the lore about the song - that taylor wrote it all in a vent sesh with her band; that it wasn’t a single but became a fan favorite because it’s a great fucking song; that there’s A Scarf™️; that taylor recognized all this history and played it up; that by rerecording her music taylor gets the opportunity to carefully prune, as one would a bonsai tree, narratives and how her eras are remembered and how this is the one she’s cemented in history; that now the focus on a song’s lore has intentionally and unintentionally become integral to its endurance and popularity….) the original song has extreme dynamic peaks and valleys despite its nearly unwavering four chord progression. it has lines about autumn leaves and repeat phone calls so insightful that you marvel at how anyone could have been so talented as to string those precise words together. but its emotional punch is twofold: the details are just clear enough to make you recall one of your own experiences and just hazy enough to prevent the writer’s experience replacing yours. the whole thesis is about remembering all too well, forever. you can’t get rid of it. because you remember it. you remember it all. the song is a tour de force and taylor’s skillful manipulation of emotional/musical tension in this song is something that will be appreciated and studied for years to come.
then on the other hand you have atw10, which not only sounds and reads differently but could even be considered antithetical, or at least a foil, to the original song. the zeniths and nadirs are less pronounced and she expands the story with new verses largely interpreted to be about a toxic relationship with an age gap. the musical arrangement is more modern and features an expanded palette of instruments: tension and release comes from subtle harmonic differences, staccato background vocals, or a wild violin. the new verses - were they really part of the original song? or do they clearly betray the perspective of someone who’s 10 years older? the short film - it hammers home this exact expanded story and was admittedly written as a retrospective, with the insight that being 10 years removed from a toxic relationship provides. the ultimate effect is that atw10 is not about remembering it all because you can’t get rid of it. it’s about taylor remembering it all, even though she can finally get rid of it. the “it” is clearly her own experience (though this is not to say the atw10 story is not a relatable story or that it’s not a valuable story to tell or hear.) “I was there, I was there….” the memories and the pain all trail away with time. but, these memories are very clearly not yours, the listener’s. atw10 may be an expansion of the original all too well story, but this expansion does not simply intensify the same emotions from the original song—it explores a rather different emotional profile. musically and lyrically, and whether intentional or not, atw10 argues that the pain of remembering is dulled and even remedied with time.
and thus the ways that atw10 excels and fails are quite different than the ways the og atw does. whether one is “good” or “bad” depends what we value in a song, and more generally, why we enjoy the songs that we do and the extent to which we value an artist’s interpretation of their own experiences. have we been in toxic relationships and can relate to the specific story of atw10? are there traumas we can’t heal no matter how hard we try? are we moved by brash drums and isolated guitars or playful violins atop chords that chug on and on? does taylor swift’s word supplement or supplant our own connections with her songs?
I know that I personally would find atw10 less confusing if I stopped comparing it to its shorter relative. but the various lengths and mediums in which the all too well story is told make it seem destined that we’ll all be comparing the versions until the end of time. and yet just as there are shades of red for every possible intense emotion - burning, cherry, so scarlet, maroon - so are there reasons to love all too well. just as it will endure in the popular zeitgeist as one of taylor’s best, most famous, most impactful, most beloved songs, so too must all too well live on in every listener because of (and only because of) each and every one of us loving it for unique reasons.
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ive been doing this meditation thing where i identify my feelings. ive never really liked meditation, it would be boring or id get cold or i wouldnt get much out of it or the instructions would be so vague or not applicable to me or id start ticcing a bunch bc i had to hold still.
but recently ive been getting really angry, and overwhelmed, all the time and it just kind of sucks. so a few days ago i laid down with a blanket and closed my eyes and counted my breaths and let myself tic freely even though the tics disrupted my focus. and i let myself feel my emotions in that moment and i let myself shudder and cry out. and i took those emotions and separated them so i could feel them one by one. and i tried to figure out what each emotion was. i didnt need to know why, i didnt need to try to change it, i didnt even need a name for it if i couldnt think of one.
and just sorting through that tangle of emotions so i knew what i was feeling gave me a sense of control, or more it eased the feeling of a lack of control. and it gave me a safe space to feel and do nothing but feel. i think im gonna be alright someday
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It's thundering outside right now and I'm right next to a window reading some Thor fanfic
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Do you think fridgebur has an instruction manual. Like did he come with one
Probably not? In my head like- idk exactly how he was created (pushed out the ice dispenser? Is that the. Equivalent of birth for a fridge????) but however it worked, he does not have a manual. That being said! His surrogate mother, does! As it’s a samsung family hub fridge with four doors and a fingerprint register :-)
This kind of played into Phil not really being sure at times how to raise Wilbur, but he didn’t make any attempts to really figure out or find the manual? And he kind of just, yknow, standard shitty dad Phil.
But! When Wilbur meets Tommy and they start traveling together, Tommy finds a fridge repair manual, and basically with Wilbur’s help, finds out what type of fridge his surrogate mom was.
Tommy by the time of the DSMP is an expert in fridges and fridge repair, to the point where he would probably disassemble Wilbur entirely then put him back together (<- he would never though, he understands there’s a lot of trust in letting someone repair you and he would never break that).
The thing is though, Wilbur is a bit clueless sometimes on how to repair himself, and he doesn’t really see a need to learn because well, Tommy’s there! Which only plays more into their codependency.
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