calloo, callay, come run away

jess. 30s. she/her. 18+ only. aries ☼ virgo ☾ virgo ↑ wyler shipper & swiftie. writing fanfic ever so slowly.

[persephoneed]

wyler fanfics by jesstheenthusiast

i was so ahead of the curve, the curve became a sphere you know that my train could take you home even if it's just pretend cross your heart (won't tell no other) my thoughts will echo your name

[henstomper]

hard cider was invented when someone decided to make beer that tastes good instead of bad

[impossiblepackage]

stupid fuckin post. People have been making beer since before they even knew how to write and you think that they don’t like the way it tastes?

[henstomper]

damn all that time and it still tastes really bad. huge L tbh

[miriammaisel]

@pscentral​ event 50: colours voicemails for isabelle (2026) dir. leah mckendrick (insp.) (template)

[handsywoman]

1 hour later

[filmgifs]

VOICEMAILS FOR ISABELLE 2026 — dir. Leah McKendrick

[cages-boxes-hunters-foxes]

Taylor Swift and Travis Kelce Donated $26 Million to Charities Ahead of Wedding

Taylor Swift and Travis Kelce have donated $26 million to charities, a rep announced, prior to their wedding.

Taylor Swift and Travis Kelce have donated $26 million to at least 20 charities this week, a representative announced, in advance of a wedding reported to be taking place this weekend in New York.

The pair have still not officially acknowledged that nuptials are about to take place, and even the announcement of the charitable efforts does not mention the wedding, though it’s clear that the donations are part of this week’s celebrating.

The 20 charities include a number of food banks in different cities, educational programs and children’s hospitals or medical programs.

The announcement simply says, “This week, Travis Kelce and Taylor Swift donated $26 million to charities across the United States. They include the following…”

The list of 20 is as follows:

City Harvest, New York City

Food Bank for NYC

New York Cares

Los Angeles Regional Food Bank

Harvesters – The Community Food Network, Kansas City, MO

The Store, Nashville, TN

Helping Harvest, Reading, PA

Rhode Island Community Food Bank

Feeding America, National

ASPCA, National

Dolly Parton”s Imagination Library, National

Grammy In The Schools, National

Education Through Music, New York, NY

Answer The Call, New York, NY

Musical Mentors, New York, NY

After-School All- Stars, New York, NY

After-School All-Stars, Cleveland, OH

MSK Kids, the pediatric cancer program at Memorial Sloan Kettering Cancer Center

Children & Teen and Adolescents & Young Adult (AYA) Programs, Hassenfeld Children’s Hosipal at NYU Langone

Children’s Mercy Hospital, Kansas City, MO

[wibblyrlin]

Florence Welch at Southside Festival (2026)

[sick-jan]

[describe-things]

[Image: a twitter thread by Clint Smith (@ClintSmithIII) from his verified account, posted on 19 Jun 17.

“Spent Juneteenth rereading ads taken out by formerly enslaved ppl looking for their family. Freedom was accompanied by so much grief.” Attached to the tweet are five photos of newspaper ads:

1. “Information wanted of my husband and son. We parted at Richmond, Va., in 1860. My son’s name was Jas. Monroe Holmes; my husband’s name was Frank Holmes. My son was sold in Richmond, Va. I don’t know where they carried him to. My husband was not sold; I left him in Richmond, Va. and I and five children, Henry, Gabriel, Charles, Dortha, and Jacob were sold to a trader who lived in Texas. I am now old, and don’t think that I shall be here long and would like to see them before I die. Any information concerning them will be thankfully received by Eliza Holmes, Flatonia, Fayette Co., Texas.”

2. “Information wanted. I would like to know the where abouts of my mother, who went by the name of Mary Jackson. She was owned by a man whose name was Allen Tyler, who lived three miles east of Brunestown[,] and was sold down south in 1846. The last time I heard of her, she was in New Orleans. Any information will be thankfully received by Matilda Harrison, Jeffersntown [sic], Jefferson Co., Kentucky.”

3. “Information wanted of my people—Jenny Moses, Mela Fields, Selia Fields, James Fields and Felix Fields. The first three are my sisters, the fourth is my brother and the last. ismy step-father. They all belonged to Charles Baren. My sister Jenny and myself were sold to Jack Felder. My sister Jenny was sold again to Buchanan. Any information concerning them or their children will be prayerfully received by me. Minder Latson, Postoffice, Brenham Washington Co., Tex. Rev. J. S. W. McLay.”

4. “Information wanted— Of my mother Rachel Embry. My name was Henrietta Embry when I was taken from home. I left my mother in Baltimore, Md., and came to Texas with Rutineth Baerafe, My name is Henrietta Anderson. Any one who can tell me where my mother is, I will reward them. Address me, care Rev. W. H. Anderson, San Angelo, Green Co., Tex.”

5. “Information wanted—Of my mother Mrs. Louisa Hacket. She was the wife of Lloyd Hacket. They lived in Prince George County, Maryland near Laurel Mills. There were two brothers, George and Greenberry, and sisters Annie, Carol, and Emily Hacket; have not seen them for nearly 44 years. Any information from these people will be gladly received by me. Address Mrs. Fanny Robinson, No. 1227 Bainbridge street, Philidelphia, Pa.”

Clint Smith’s thread continues: “As we commemorate Juneteenth, we should be sure to remember the enormous toll that 250 yrs of enslavement took on millions of families.” (7 comments, 650 retweets, 1,432 likes)

“Even after the Emancipation Proclamation & the end of the Civil War, most enslaved ppl who had been separated never saw their families again.” (42 comments, 913 retweets, 1,870 likes)

“Always celebrate freedom, but never forget what was lost in achieving it.” (6 comments, 436 retweets, 1,119 likes)]

[persephoneed]

is it unreasonable that one of my biggest pet peeves is how a startling number of people seem to believe that the alleged witches of salem, massachusetts were burned at the stake rather than hanged

[allergictocolor]

This bothers me so much. Nineteen people in Salem were hanged, one died of torture, and at least five died from diseases while incarcerated. Elsewhere in New England, they were also stoned to death.

It also bothers me that so many works of fiction have a mythology where modern witches are descended from the witches of Salem. Those weren't witches; they were just regular people, often Christians, and they were murdered by townsfolk swept up in a hysteria that accused more than 200 people in less than two years.

[persephoneed]

Thank you for saying all of this because I am very passionate about the subject, and you are absolutely correct about everything!

To further your point about the victims not being witches themselves, they also weren’t actually executed for witchcraft! Anyone who was accused and admitted to being a witch or a warlock lost their land and was sent to prison - and this was several hundred people if my memory serves me correctly. But they formally executed the 19 individuals who had refused to admit guilt and killed one during interrogation for the same reason. They might’ve lost their lives, but their families kept their land (in general the land disputes are often glossed over in many discussions about the accusations, trials, and hangings asdfghjkl), and these individuals felt that they were honoring god, as it was a sin to lie.

So the “witches” were in actuality very principled, religious martyrs. And I’ve been to Salem, MA twice, I very much enjoy the witchy vibe of the contemporary town, I love Hocus Pocus, etc. etc. etc. but the misconceptions about the actually historical event drive me up a wall.

[juliensorelapologist]

i don't like pop literature analysis of Wuthering Heights that are like. oh you shouldn't romanticize Heathcliff and Cathy relationship it's like dark romance it sells you a negative view of what love should be about whatver. first of all "not romanticize" i'm sorry my reading of this gothic novel isn't pure enough for you. second! heathcliff is nooot a fucking dark brooding mysterious love interest. the only person to see him this way is Isabella and she's uh pretty clearly wrong and the narrative doesn't shy away from telling you this.

he is! catherine's! childhood friend! she doesn't see him as a handsome mysterious stranger she sees him as her other half and as someone who was there for her and loved her when she was a kid running around and being dirty and improper and deeply disliked by everyone in her house including her father for daring to not live up to the gendered excpectations of what she should be. and she misses being that kid so so so bad, and she hates married life and she wants to go back home even though home was awful and abusive and she ran away from it because at leaaaast she was allowed to be herself there. and heathcliff is home.

and heathcliff isn't obsessed by Cathy the way people describe him she's not a thing to own. she's the only person to have ever loved him apart from his dad for like a few years. she's the only one that doesn't constantly dehumanize him or wait for him to turn into the savage beast they all think he is. he's deeply alienated from the society he grows up in because of his skin color and she! doesn't! care!

sure sure their love is bad for them and those around but you know why it is that way? not because they're toxic or whatever (i mean sure, in part, but) but because they're not fucking allowed to love each others. because god knows and Heathcliff knows and Cathy knows they could never get married. because the only way for Catherine to hope to help him is to marry a nice guy she kind of likes because as a woman she's powerless because even if Heathcliff comes back a gentleman he's only ever be perceived as a crook! because even if he owns "Wuthering Heights" he's "cheated Hareton out of his birthright", because Heathcliff doesn't and will never have a birthright!!

like. Heathcliff is a pretty terrible person. Cathy is sometimes unkind. i wouldn't want that relationship. but you know. if they weren't operating under the rules of the Racist Patriarchal Crushing Machine, they'd maybe get to be kinder to others and each others and themselves! They're not at fault for wanting to be with each others actually it's not a great woke reading to go "wellll they should have moved on and accepted their respective shitty fucking place in society". i'm glad you've moved on from being attracted to insane dangerous men, but then also iiiii think you're missing some themes. maybe.

[mintaii]

was thinking about this book again recently

[persephoneed]

is it unreasonable that one of my biggest pet peeves is how a startling number of people seem to believe that the alleged witches of salem, massachusetts were burned at the stake rather than hanged

[theglitchywriterboi]

I hope every writer who sees this writes LOADS the next few months. Like freetime opens up, no writers block, the ability to focus, etc etc you're able to write loads & make lots of progress <3

[stevviefox]

Passing along for all the writers out there!

[cages-boxes-hunters-foxes]

"Hi. The quality of my speaking voice is the product of two things that I’m not sorry for. One is that I went to, I was lucky enough to go to a Knicks game last night. I screamed for 100% of it, and then I got home and I was like, ‘You gotta stop screaming. You’re screaming too much. You’re screaming instead of talking. You’re too excited.’ And I was like, ‘Okay, I’m not going to scream tonight.’ And then I got to witness the amazing performances that I saw tonight, and then I just kept screaming. I just never stopped screaming. And so this is what you get, and again, I make no apologies for that. I’ve had a blast. Tonight has been amazing.

I want to begin by thanking the person who introduced and inducted me tonight, and thinks this is the first time he has inducted me into something. But what he may not be taking into consideration is that through his decades of spellbinding storytelling, Steven Spielberg has unknowingly inducted me and countless others into his sacred club of expansive world-building. From the time he was a kid, every time he dreamed something up, he wanted to do anything humanly possible to be able to show it to you. I watched his films pivot between different genres, from action, to sci-fi, to historical epic, to drama, to comedy, romance, fantasy, to musical, and I watched him ace every single genre. And that kind of limitless creativity isn’t just inspiring to burgeoning filmmakers. Because of examples of Steven’s, I trusted my imagination, regardless of it was taking me somewhere new and uncharted, and then every time I dreamed something up, I wanted to do everything humanly possibly to be able to play it for you.

A few months ago when the Songwriters Hall of Fame asked me about my heroes and the creatives who shaped my storytelling and who I might want to present this award to me, I said Steven’s name. And about an hour later to my absolute delight, I ended up on the phone with him and his legendarily effervescent wife, Kate Capshaw, who is here tonight. And he was telling me, yes, absolutely, he would be thrilled to be here. I was completely blown away because the man has a massive film called Disclosure Day that’s coming out at midnight tonight, and he’s still going to agree and show up to do this for me a few hours before it comes out. Wouldn’t that be impossibly hard to balance? Wouldn’t that be too difficult, scheduling-wise? I’m trying to give him an out. At which point, Kate said something I’ll never forget. She said, ‘Good and true things are easy.’ And if I look back at my entire 23-year career in music: the ups and downs, the industry battles, the trials and tribulations, the tears and the cheers and the dogpiling of doubt, the criticisms, both fair and unfair, the complete loss of privacy, the world tours, and the ego wars, and the twists of fate, the absolute magical chaos of this path that I chose when I was too young to remember it ever being a choice at all. Songwriting was the easiest thing I ever did. Not because it didn’t take effort – it definitely did; not that it wasn’t frustrating at times, because it could be; and not that my songwriting didn’t haunt me relentlessly until I cracked the perfect internal rhyme scheme for the third line, the second verse of the book where my teachers called me out in class for not paying attention – because that definitely happened. But when I say that songwriting was the easiest part for me, I think what I mean is that it was instinctual. No one taught me how to do it. I had to be taught how to entertain a crowd, and learn choreography, and be less annoying, and navigate the industry, and fiercely protect my own sanity. I had to learn all of that over time, through difficult lessons and massive amounts of trial and error and chaos and calamity. But songwriting, for me, was pretty much the only thing I ever just naturally did.

My parents tell me stories about driving home from taking me to see Disney movies, and in the theaters, they were noticing I was singing the songs from the film on the way home, in the car, but I was changing the lyrics and the melodies to be about my own life. As a little kid, I loved to sing. I loved to do children’s theater performances. But everything came together when I learned to play guitar at 12. I wrote my first song after learning my first three chords. It felt easy to work incredibly hard at this. It felt easy to nurture something I loved so much, to watch calluses form on the tips of my tiny fingers and to become a constant observer of the human condition. Because people’s feelings, passions, and motivations always fascinated me, and it was easy to choose songwriting over everything else in my life.  But it couldn’t have been easy for my parents and my brother—I’m good [crying]—to just pick up and move our entire family from Pennsylvania to relocate to Nashville so that I could hone my craft in the songwriting capital of the world. But after it became obvious that this was not even remotely a temporary phase their tween daughter was going through, they uprooted their entire lives to move me to Music City. And even though words are kind of supposed to be my thing, I will never be able to express my gratitude to you guys for doing that for me. You’re the reason I’m doing it.

In Nashville, I took meetings, and I played acoustic shows until I was able to secure a publishing deal. I got signed when I was 14—oh, thanks! And I got the chance to work with incredibly wise and experienced cowriters. People like Liz Rose, Troy Verges, Hillary Lindsey, Robert Ellis Orrall, Angelo, The Warren Brothers, and the late but so very loved Brett James. So I’d written over 100 songs on my own at that point, but this would be my first experience cowriting. My parents have raised me to be overprepared, show up early, never assume the world owes you anything. And I might have been 14 years old, but I didn’t want anyone in a professional setting to treat me like a baby, or for these songwriters to think that I expected them to write songs for me to slap my name on. So at this point, I started to approach songwriting like a full-time vocation. And that didn’t mean just showing up to my appointments and hoping the ideas would show up too. It meant spending nearly all of my free time writing ideas in preparation for my writing sessions, and then stopping myself at a certain point to allow my cowriters to later weigh in. So some of these ideas were fifty percent done, some were seventy-five percent done, some were just a hook with lyrics and a melody or a chorus. I stockpiled them, so that when I went into a writing session with a cowriter, I’d play them and sing them a few of these ideas, sort of like it was a pitch session, and whichever idea they liked the best is the one that we would finish together. I kept long lists of words that I loved, and I added to it every time I thought of a new one. I developed a serious fixation on alliterations and juxtaposition. And I wrote poems when I didn’t have the right melody yet.

When I was inspired by my own life, my curiosities about the world, or my very dramatic but extremely dire crushes on boys at school who had never even once talked to me, I wrote about that. And if I wasn’t inspired by my own life, I’d use other methods to spark my imagination. I figured, if the idea doesn’t come to you, you have to become your own search party and go find it. Oftentimes, I’d put a movie on. I’d pause a scene, and try to write a song from each character’s perspectives—even the villain. I’d explore what they were going through and try to say it in a vernacular that that character might use. And this is how I learned that every person has a self-constructed justification system that they live by, and we each get to decide what choices we’re willing to condone ourselves. We each decide what we see as good and true, fair and right. And so with my metaphorical Mary Poppins bag of hooks, choruses, and bridges, and my nonmetaphorical backpack from sophomore year of high school, I’d walk into my writing sessions on Music Row.

One of my favorite stories from this time in my life is when I got a chance to write with one of my favorite songwriters of all time, Craig Wiseman. Yep. Craig is an absolute savant of a writer, but he’s also one of the funniest people I’ve ever met too, so I know that I can tell this story. I brought in about five different semi-formed songs that I thought were really strong. Because it was Craig Wiseman, I led my pitch with a song I really thought was special. It was pretty much done except for a few lines in the bridge. So filled with nervous anticipation, I played it on guitar and sang it for him, and when I finished, he very kindly told me tht he thought it was good but he didn’t really get it, and he’d love to hear the other ideas I brought. A few songs later, we landed on one that resonated better with him, and we had a fantastic writing session. It turns out, you really can and should meet some of your heroes. But years later, we still look back on that session and we laugh about that first idea that I had played for him. I had ended up going home and finishing the song on my own later that night. It was called Love Story. Finishing that song that night was me trusting my instincts as a writer, regardless of any feedback or information I had about what other people’s take on it might be. I think now more than ever, in an industry that seems to be consumed by metrics, data, and analytics, and we’re all trying to predict whether something will trend or not, like, writers need to trust their human intuition. And I think the thousands of hours I’ve spent lovingly working at this craft have taught me to really be able to identify the ideas that jump out at me and sparkle and linger, the ones that matter to me the most.

I have to say thank you to Sombr for that perfect performance. And his writing is so exceptional that it makes me actually envious, and I love that feeling. He’s going to be the top of my Spotify Wrapped this year, guaranteed, like it’s locked, it’s in the bag. A lot of my late night debates with my friends about the state of the music industry involve me saying very loudly, ‘Sombr is the future and he does it all on his own and he doesn’t need AI. The kids are fine.’ And so obviously, Shane is a very well-adjusted person and artist, and doesn’t need any of my advice at all. There are so many incredible writers that I love who have come into their own recently, and if I had advice for young artists, though, who should perhaps be interested in it, I would say that you really have to prioritize what you love down to your very core, because you’ll need that if your song ever gets heard by the public, or the critics, or the haters posing as critics, or the people who are chronically online, or the robots posing as people who are chronically online. Songwriters have a real balancing act that they have to conduct every day, because inherently, we’re supposed to let it all in, feel deeply and sensitively to the point of near-delusion, and then reflect those feelings and delusions back to the world in the form of a three-and-a-half minute sonic landscape, or a ballad, or a folk tale, or a battle cry, or a 10-minute coming-of-age song about a scarf.

So it’s hard to harden yourself to certain brutal elements of this world, but allow me to now make a hard pivot and pull out a quote I love from the show Yellowstone: ‘When a father says to his son, it’s the one constant in life, son. You build something worth having; somebody’s gonna try to take it.’ Thank you, thank you very much, thank you. So, John Dutton was talking about a ranch, but I’m using this quote to refer to your self-worth, your peace of mind, and your singular vision as a creator. Positive feedback and people loving what you wrote feels incredible, and I hope you get lots of it. But you need to be ready to receive negative feedback, whether you seek it out or not. It’s no longer a shock that this is how things work, but sometimes it feels like I have this conversation with a young writer every other week. If you make anything awesome, someone out there is going to say horrible things about it, or twist what you meant into something completely unrecognizable to you. What I hope you discover is this: You can be sensitive, but also durable. And you can accept that feedback, and skepticism, and criticism are inevitable. You can take what’s useful or constructive from that information, and leave out what’s simply damaging to your creativity. No one does or should make art that appeals to everyone, everywhere, all the time. My favorite art is detailed and singular in its voice, therefore it can’t be digested and metabolized by everyone who experiences it in the same way. I’m very frequently told by people how they feel about my music, that they never really got my music until they got their heart broken, or started driving their daughter to school every day, or until I made an alternative album in the pandemic called folklore, or that they only like the hits, or that they only liked the ones that weren’t hits, or that they don’t like any of it at all. But it doesn’t feel uncomfortable for me to get feedback of all sorts because I know where I stand regarding the work I’ve made.

As writers, we can only hope to meet people where they are in their lives, but you can’t ever orchestrate or force the encounter. You just have to hope that in some exquisite happenstance, you bump into them on the same path at the same time, that somehow, amidst the noise of life, a line we wrote or a melody that we crafted cuts through, and they hear it and they feel something, that they get chills or feel lighter or think of someone they love. Our goal is to elicit that glint of recognition in another human being, because something that felt good and true to us feels good and true to them in the same time. And in that moment, when someone blurts out, ‘I love this song,’ it was easy.

Before I go, there are so many people who helped me get to this podium, who vouched for my writing and cared about my perspective before anyone cared about my name. And then the fans came along, and they wanted to hear my stories, my prose, my hooks, my heartache, and nothing, nothing delights and surprises me more than the fact that 20 years after my first song came out, they still want to read the next chapter. Nothing makes me happier than when someone tells me that they used to listen to my music with their parent, and now, decades later, they listen to it with their own child. [crying] I’m good. Or that they listen to it with their best friend, or when a couple tells me that Love Story is their song, or somebody does a cute little dance to The Fate of Ophelia, or I hear people in different countries singing Opalite in their own accents, or someone tells me that the song Enchanted gets their baby to stop crying. It’s, I’m humbled by the ways that fans have immortalized my songs in their own individual ways, allowing them to be the underscore of some of their real life expeditions on this Earth, the magnificent moments, as important to me as the seemingly mundane. Lastly, I know that when it comes to legacy, there are so many songwriters who have had such remarkable careers before me, and I know that the Songwriters Hall of Fame could have chosen any of these deserving and brilliant writers to receive this honor this year, but you chose to include me in this group of exemplary songwriters to be inducted into the Hall of Fame, class of 2026 tonight. So I want to thank the voters for celebrating and honoring the best and trust parts of my life. I will be forever grateful. Have a good night guys! Thank you!"

— Taylor's induction speech into the Songwriters Hall of Fame on June 11, 2026 (x)

[holyfuckinshitleto]

PETER PAN 1953 | dir. Clyde Geronimi, Wilfried Jackson & Hamilton Luske

[nessa007]

Taylor Swift performs I knew It, I Knew You for the very first time at the World Premiere for Toy Story 5!

[dailybridgerton]

Sophie Baek & Posy Li | Bridgerton Season Four