even statues crumble if they're made to wait

Let's talk about the predatory inversion of the Good Samaritan in The Manuscript. A stranger who finds a victim of robbery bruised and bleeding in a ditch and saves them. A scriptural reference that young!Taylor has enough skepticism to question ("you're a professional") but then falls for. A pattern repeated (false gods, Jehovah's Witness suits, conmen not with actual religious offerings but instead with "get love quick" schemes). Change the Prophecy indeed.

the way that cinephile sounds like SIN... am I onto something here am I the only one who hears this...

Side A of TTPD really begins in a state of foreboding awareness (Fortnight, little TTPD) that gradually descends into denial (Fresh Out the Slammer, But Daddy I Love Him), oblivion (Down Bad), and indulgence of the dark-sided urges heartbreak lives alongside (Guilty as Sin?), which the she only begins to snap out of with the conclusion of I Can Fix Him (No Really I Can). The painful clarity of loml -> The Smallest Man Who Ever Lived allows for a perspective shift and recovery of self detailed by The Alchemy and Clara Bow.

Side B is about telling the story of the grief, the loss, the hope, without the blur of mania—it's about feeling the feelings and telling the stories instead of trying to feel everything (ANYTHING) Else. Questions are asked (How Did it End?, The Prophecy) and answered (The Bolter, The Manuscript).

The double album makes all the sense in the world.