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pigeon-smidge · 4 months

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✦✩ Crowley & Aziraphale (Taylor’s Version) ✩✦

So for the past couple of months I’ve been pouring my heart and soul into an analysis masterpost of this playlist, a Crowley and Aziraphale playlist comprised purely of Taylor Swift songs. I had been curating this playlist for a little while over the latter half of last year, and around November or so I decided to write up an analysis for why I’ve included each song! Some are about a specific character, some about their relationship, and many are about both! Five-ish months and eighteen pages of analysis later, here we are. It’s been so awesome to combine probably my two biggest interests, and even if you’re not a swiftie, I encourage you to read some of this if you’d like to!! You might find some songs you really like the sound of. If you like it, please support :) I spent so long on this

The track list is as follows:

All You Had to Do Was Stay

Say Don’t Go

How You Get the Girl

You are in Love

Wildest Dreams

hoax

peace

mirrorball

Come Back … Be Here

The Very First Night

All Too Well (10 Minute Version)

The Archer

Death by a Thousand Cuts

Cruel Summer

tolerate it

champagne problems

ivy

Back to December

The Great War

Midnight Rain

Tied Together With A Smile

Don’t Blame Me

Dancing With Our Hands Tied

✩✩✩✩

Notes: song titles are in the same order as the track list. they're numbered and colour-coded by album (1989 and midnights share the same colour, as do folklore and rep because Tumblr has limited options) so it’s easier for people to find specific songs they want. They’re not in any particular meaningful order, just grouped by album. If you want to read specific song analysis, please scroll to that point, or open this post in its own window and do a page search (on mac it’s command+f , but I’m not sure about other operating systems.) Obligatory disclaimer that this is all my subjective analysis, both of Taylor’s songs and Crowley and Aziraphale’s characters. I am not making any assumptions about the creative intentions behind them, these are purely what they mean in my view. What I think is not necessarily what the creators intended. If you disagree with anything, that’s fine!! Just please don’t be rude about it. I’d love to hear what you have to say about it!! If you’ve got any thoughts or additions, please add them in a reply or reblog, and we can make it a discussion :D Check back in the future if you want, because I might be adding more depending on if I have some new ideas! ✩✩✩✩

Alright, with that stuff said, here we are!! Grab a snack and get cozy if you want, this is a long one. You can read as much or as little as you want!! I hope you enjoy :)

✦✩ Crowley & Aziraphale (Taylor’s Version) ✩✦

All You Had to Do Was Stay

Title is self-explanatory. However it fits both perspectives; Crowley begging Aziraphale to stay with him and to not leave for Heaven, and Aziraphale begging Crowley to stay with him. They both view the other as being opposed to their own plight because their failure to communicate leads to misunderstandings. Specifically the choruses are most relevant. The verses don’t really feel like they fit; they’re very, very angry and bitter, and describe a relationship that the narrator has pretty much moved on from (‘and people like me are gone forever when you say goodbye’ & ‘now you say you want it back, now that it’s just too late’ to name a few lyrics). I don’t think this is accurate to them as I don’t think they’re going to be able to move on in this way. I also don’t think they’re this angry with each other. The narrator, in the verses specifically, describes their partner in a very reductive way. ‘People like you [..]’ etc, is a very insulting way of talking. Not that either party isn’t upset with the other; I think they’re both very confused and hurt. But I don’t think they’re at the stage where they can be this vitriolic. Partially due to character reasons, and also because obviously the story isn’t going to end with them in the exact positions they’re in now (otherwise there wouldn’t be a third season and the show would be very unsatisfactory). They’re upset, but they’re resigned and bitter, as opposed to outwardly aggressive about the other. ✦ Notable lyrics: ‘You were all I wanted, but not like this’ Because Crowley wants Aziraphale but only if they can stay the same, not both angels in Heaven. ‘Had me in the palm of your hand, why’d you have to go and lock me out when I let you in?’ Because Crowley poured his heart out and from his perspective Aziraphale didn’t think him enough to leave Heaven behind for. 2. Say Don’t Go

This is THE Aziracrow song. I had a 1989 (Taylor’s Version) listening party with my friends and when this played I went WAIT … especially the second verse and the bridge. The entire song is about begging someone to say that they want you to stay. Even though they both did tell the other they wanted to stay together, neither of them actually realised that’s what they were saying. ✦ Notable lyrics:

‘Cause you kiss me and it stops time, and I’m yours, but you’re not mine.’ The first half of the sentence being from Aziraphale’s perspective in reference to the kiss, and the second from Crowley’s, in reference to how Crowley’s much more accepting of his romantic feelings.

‘I’m standing on the sidewalk, alone. I wait for you to drive by. I’m trying to see the cards that you won’t show.’ Because of those shots in the Final Fifteen with both of them ‘standing on the sidewalk’ watching each other from opposite sides of the road. Also, any lyrics with references to cars or driving makes me think of these two. ‘Cards that you won’t show’ is very interesting lyric, because it’s a reference to Aziraphale’s love for human magic tricks, and also to their inability to actually properly express and explain their thoughts to each other. ‘I said ‘I love you’, you say nothing back.’ Crowley’s perspective. 3. How You Get the Girl

This song is about how to apologise to someone after breaking their heart … while the breakup was not entirely Aziraphale’s fault (they BOTH need to learn to communicate and properly confront their feelings), some of the lyrics do have some similarities to their relationship.

✦Notable lyrics: ‘That you were too afraid to tell her what you want.’ He was just scared about what his feelings for Crowley mean :( 4. You are in Love

The single happy song on this playlist. Honestly, it’s a song which isn’t that specific to them and I feel like it’s applicable to every ship ever; you know, the Love Song. However, there are some lyrics in this song that have some of their vibes. The whole song is about how love is constant and yet unable to be put into words or exactly understood, which perfectly describes them. ✦ Notable lyrics: ‘He says ‘look up’, and your shoulders brush’ reminds me of someone telling someone else to look up at the stars !!! because Crowley made the stars and he was so happy about them :( and Aziraphale remembered that AHHHHHH

‘and why I’ve spent my whole life trying to put it into words’ it’s ineffable <3

5. Wildest Dreams This song is about falling in love with someone while knowing that it can never last.The relationship in this song is one that is magnetic and beautiful and messy, and the protagonist enters it while knowing it’s going to end but wanting to stay anyway. This describes their relationship perfectly. They both have a tendency to repress their feelings because they both feel like they can never be acted upon. Even them being friends is something that is constantly fraught with danger, something that they actively need to fight for if they want to keep it (See The Great War). To Aziraphale, indeed to both of them before their shared realisation of ‘this is possible’ because of Gabriel and Beelzebub’s confession, their relationship only ever existed in their ‘wildest dreams.’

✦Notable lyrics:

‘He said, “Let's get out of this town, drive out of the city, away from the crowds.” I thought, “Heaven can't help me now” Nothing lasts forever, but this is gonna take me down.’ All of Crowley’s invitations to run away; invitations that are always declined, even if Aziraphale wants so badly to go with him. There’s always a duty that pulls him away, something he feels he needs to fix before things can be how he wants them to be.

‘Nothing lasts forever’ HAHAHAHA … ‘I said, “No one has to know what we do.”’ A relationship that’s kept hidden. “He’s so tall, and handsome as hell. He’s so bad, but he does it so well.”Beauty and love that pulls you in, but feels wicked and frightening. See Cruel Summer.

6. hoax

THE Crowley song. About loving someone who exposes your vulnerabilities; they feel like part of who you are, so they’re also your biggest weakness. ✦Notable lyrics: ‘Stood on the cliff side screaming ‘give me a reason’’ is very much ‘show me a Great Plan.’ ‘My best laid plan, your sleight of hand.’ References to magic!! Crowley prepared and tried to gain enough confidence to confess to Aziraphale and ask for them to run away together, but Aziraphale’s ‘sleight of hand’ and the Metatron’s influence messed with that. It looked like he was actually going to confess and they maybe had a chance, but then that all fell apart because he didn’t foresee any reason why Aziraphale would go back to Heaven . ‘You knew it still hurts underneath my scars from when they pulled me apart, but what you did was just as dark. Darling, this was just as hard as when they pulled me apart.’ Aziraphale ‘abandoning’ him hurt him greatly, as it felt like such a core part of him was being torn away. This is akin to what Falling would likely have been like, obviously not the same, but in both instances his sense of normal, his identity, and everything that he held dear to him was destroyed.

‘You know I left a part of me back in New York.’Crowley and Aziraphale can both never truly leave the other without leaving ‘a part’ of themselves behind, because they’re so intertwined in each other's existences.

7. peace

Describes how they could never find peace with each other because ‘hereditary enemies’ etc etc etc. They can’t be safe together; for a long time they couldn’t even admit their friendship because it would mean danger. We can still see this in Aziraphale; he’s constantly afraid of doing the wrong thing when he should be a good angel.

8. mirrorball

THE Aziraphale song. Perhaps one of the most Aziraphale songs of all time I'm genuinely not joking or exaggerating it's SO GOOD. About a people pleaser who revolves their life around others. Their existence and value is determined by their role in relation to someone else and how well they serve said role. The image of a mirrorball, shining high above the dancefloor, providing light and a shiny jewel for everyone to look at, yet being all alone (that Taylor Swift described was the inspiration for the song), is very fitting. ✦ Notable lyrics:

‘I’ll show you every version of yourself tonight.’ For so much of his life, Az’s purpose has been to serve Heaven. This lyric reflects that. His character growth throughout the show largely focuses on him coming to terms with their lies and abuse, and forming moral codes of his own.

‘You are not like the regulars, the masquerade revellers, drunk as they watch my shattered edges glisten.’ ‘Masquerade revellers’ referring to the angels, watching Aziraphale ‘break in a million pieces’ to serve Heaven, without understanding that he has limits and he’s his own person.

‘Hush, when no one is around, my dear, you'll find me on my tallest tiptoes, spinning in my highest heels, love, shining just for you. Hush, I know they said the end is near. But I'm still on my tallest tiptoes, spinning in my highest heels, love, shining just for you.’ Aziraphale only really acts himself when it’s just him and Crowley and they’re free of Heaven and Hell’s observing forces. Also ‘I know they said the end is near’ ; reference to Armageddon!! ‘I’m still a believer, but I don’t know why, I’ve never been a natural, all I do is try try try’ He’s trying to be good but his warped understanding of what good is hindering that. He has such a low self-esteem especially in regards to his own ‘goodness’, hence he tries so hard :( he’s just trying to do the right thing but he doesn’t realise what he believes to be right is far from it ahhhhhh

‘I’m still on that tightrope, still trying everything to keep you looking at me.’ Remember the ‘I’m standing on a tightrope, alone.’ Lyric from Say Don’t Go? He’s positioned above everyone else, on a completely different level to them, representing his isolation and unique status as really one of the only angels who’s simultaneously trying to do the right thing to help people while following the will of Heaven, things which often contradict each other.

9. Come Back …. Be Here

Long distance anthem!!!!! Them pining after each other after the s2 finale when they’re separated; it mostly feels like Crowley’s pov.

✦ Notable lyrics: ‘taxi cabs and busy streets that never bring you back to me’ London is busy, but to Crowley, it feels empty because one of the things he loved the most is gone. ‘If I'd known what I know now, I never would have played so nonchalant.’ Because their own constant inability to confront their feelings and dancing around their relationship is what lead to their misunderstanding and then them being separated. If they had actually talked about things together, maybe they’d have a better understanding of their relationship and what the other wants.

10. The Very First Night.Nostalgia and looking back on what was. Very fitting for a show with immortal beings that features their histories together all throughout time. ‘I knew the angel you used to be.’ ‘The angel you knew is not me.’ ✦ Notable lyrics:

‘I wish I could fly, I’d pick you up and we’d go back in time, I’d write this in the sky, I miss you like it was the very first night.’ opening scene of season two, CROWLEY MADE THE STARS DKAJNS They both want things between them to be normal and safe. Aziraphale thinks that them being together in Heaven, like things used to be, would ensure this, but Crowley of course wouldn’t touch it with a ten foot pole. ‘I wish I could fly’ is interesting. Falling being akin to clipping a bird’s wings; removing them of their power. Obviously Heaven would think taking away an Angel’s Heavenly status is a terrible punishment. It’s interesting because Crowley doesn’t actually wish he could fly because he doesn’t want to be an angel again. This lyric could be representative of both of their wishes for more power to be able to change things. They both want to be able to make things better for the two of them and for everyone else, Aziraphale just thinks he has to become a better angel and embrace his Heavenly duties even more in order to make things how he wants them (‘If I’m in charge, I can make a difference.’)

11. All Too Well (10 Minute Version)

One of her most iconic breakup songs …. but this song, and the 10 minute version specifically, has lots of lyrics that remind me of them. Notable lyrics: ‘Something ‘bout it felt like home, somehow’ Aziraphale was home to Crowley, when neither Heaven nor Hell ever treated Crowley like he had a place. One of my favourite metaphors in this show is the use of Crowley’s glasses to represent his vulnerability. The bookshop is one of the only places he ever takes them off because it’s the only place he feels really safe. Him taking them off during his confession only to put them back on again when he realises Aziraphale isn’t going to follow him, and then being on during the kiss is just so symbolic!!!! AJSNBSKDNSBSK ‘You almost ran the red cause you were looking over at me’ obligatory driving lyric ‘you used to be a little kid with glasses in a twin sized bed’ Crowley used to be so happy about making the stars :( ‘Oh, your sweet disposition, And my wide-eyed gaze’ THEM !!!! More vibes of them as angels though. ‘And I was thinkin' on the drive down: Any time now, he's gonna say it's love. You never called it what it was. ‘til we were dead and gone and buried, check the pulse and come back swearing, it's the same after three months in the grave. And then you wondered where it went to as I reached for you but all I felt was shame, and you held my lifeless frame’ This entire section is them. Aziraphale could never admit their friendship or his own feelings because of his relationship with heaven. He feels ‘shame’ because it’s not what he should be doing as an angel. ‘And there we are again when nobody had to know. You kept me like a secret, but I kept you like an oath. Sacred prayer, and we'd swear to remember it all too well, yeah’ Hiding their relationship because az is afraid and it puts both of them in danger. However Crowley doesn’t have the same loyalty to heaven or hell so he keeps aziraphale like an ‘oath’ because it’s an important vow as opposed to something you have to keep hidden. Also any references to prayer is yeah !!!! ‘Well, maybe we got lost in translation, maybe I asked for too much.’ Because they never talk about their feelings!!!!!!!!!!!!!!!!!!!!!!!!!!!! ‘They say all's well that ends well, but I'm in a new hell every time you double-cross my mind. You said ‘if we had been closer in age maybe it would've been fine’ and that made me want to die’ References to hell. Crowley thinks Az will only love him if they’re both angels (but this isn’t true, while Aziraphale does still have biases against Hell because of Heaven’s abuse -’You’re the bad guys!, etc-, he just wants them to be happy :( ) Also ‘every time you double-cross my mind’ is such a clever piece of lyricism. I’ve got nothing too deep to comment on with that one, it’s just plain clever. ‘The idea you had of me, who was she? A never-needy, ever-lovely jewel, whose shine reflects on you’ Again, Crowley thinks Az will only love him if they’re both angels. Aziraphale also deeply failed to understand that Crowley doesn’t want to go back to heaven; this section is from Crowley’s view that aziraphale only cares about him as an angel, which is partly true but he remembers how happy and safe they both were as angels, and he just wants that feeling back. ‘I'm a soldier who's returning half her weight’ fighting for a broken cause; applicable mostly to Aziraphale’s loyalty to Heaven, but could also have meaning in regards to him and Crowley (See The Great War). ‘I still remember the first fall of snow and how it glistened as it fell. I remember it all too well’ because they were together for the very first fall of rain EVER !!!1

12. The Archer This is perhaps one of Taylor’s most Crowley songs ever. His anxiety and paranoia. He’s constantly on edge, constantly worried. He’s lived consistently exposed to danger and lies in every single direction with Aziraphale being the only one he could really trust, and even then, the two of them weren’t ever fully honest with each other. ‘The archer’ is someone who is consistently ‘ready for combat’ and thus sabotages their relationships because of this and feels guilt for it. ✦Notable lyrics: ‘I jump from the train, I ride off alone.’ Crowley’s way of dealing with stressful things is to run away from them. He consistently abandons situations he isn’t prepared to deal with because he ‘never grew up’ and gained the ability to properly communicate his feelings. Him walking out the bookshop door and driving away could be a representation of him running away from his feelings for Aziraphale because the fragile hope he’d gained in the previous scene had been torn down.

‘I’ve got a hundred thrown out speeches I almost said to you.’ Because they never actually talk to each other:

‘Because you and Mr. Fell don’t ever talk to each other.’

‘We talk all the time, trust me. We’ve been talking for millions of years. Blah, blah, blah, blah. I say something brilliant, he says something unintentionally funny back, it’s great.’

‘You never say what you’re really thinking.’

‘I wake in the night, I pace like a ghost, the room is on fire, invisible smoke.’ Bookshop fire ….. also just general restlessness and inability to sleep; to rest, because he always feels like he needs to be fighting for what he has and wants otherwise he’ll lose it.

‘All of my enemies started out friends, help me hold on to you’ Crowley’s whole life and sense of self was torn away from him and burned, and any relationships he managed to have before he Fell would have gone up in flames as well. His desperately self-sustaining and combative attitude towards existence was likely borne from this; being unsteady in anything he ever gained. Aziraphale obviously was the only relationship he really was able to ‘hold on to’, but even the angel was never able to fully feel like he could be himself … and also, this lyric:

‘screaming who could ever leave me, darling? But who could stay? [….] you could stay.’ Except ‘he’ didn’t stay, did ‘he’?

13. Death by a Thousand Cuts

A breakup song about a relationship that you can’t move on from because it formed such a key part of you for so many years. It was ‘a great love; one for the ages’ yet you’re ‘still writing pages.’

✦ Notable lyrics: ‘I ask the traffic lights if it’ll be alright, they say ‘I don’t know’’ very much Crowley driving around aimlessly trying to fill up the space Aziraphale left behind.

‘I get drunk but it’s not enough because the morning comes and you’re not my baby.’ Because that’s also how Crowley copes with his feelings when they get too overwhelming; running away and drowning himself with drink.

‘Gave up on me like I was a bad drug, now I’m searching for signs in a haunted club.’Aziraphale doesn’t really feel comfortable admitting his relationship with Crowley. We can see that Crowley doesn’t like this through, for example, their dialogue when Crowley first asks for holy water (‘fraternising’ etc). To Crowley, Aziraphale leaving must have felt like Crowley wasn’t enough to stay for, and that Aziraphale never really loved him as much as he loved Aziraphale. Also bears similarity to Don’t Blame Me (‘Lord save me, my drug is my baby, I’ll be using for the rest of my life, oh.’) which gives the impression of love that was addicting and powerful, but it became too much. ‘Our songs, our films, united, we stand, our country, guess it was a lawless land.’Get ready because this line is so much more meaningful than I ever realised when I added it to this post. ‘Our songs’ something something nightingales.

But the real meat of this lyric lies in the second half. The phrase ‘united, we stand, divided, we fall’ is often used in mottos of organisations and countries in order to inspire collaboration and patriotism for them. It preaches the importance of staying loyal to a certain side, for if division sows among them, then they will ‘fall.’ Historically, it has been frequently used as war propaganda in WWII, and the American Revolutionary War. It has also been used in the struggle for Indian independence, by Ulster loyalists in Ireland, and by many political leaders, for example. Similar phrases can be found in the Bible, for example in in Mark 3:25 (If a house is divided against itself, that house cannot stand), Matthew 12:25 (Every kingdom divided against itself is laid waste, and no city or house divided against itself will stand), and Luke 11:17 (Every kingdom divided against itself is laid waste, and a divided household falls).

In this song it describes the relationship between the singer and their former lover, which further animates their love as a physical nation or state (as well as a house with the lyrics ‘I look through the windows of this love, even though we boarded them up, chandelier’s still flickering here ‘cause I can’t pretend it’s okay when it’s not).

This animation and the use of this specific phrase which has been used to garner a sense of loyalty towards a cause shows their love to have been a deeply personal thing, something you pledge your devotion to. However, in this song it’s contrasted with the lyric ‘Guess it was a lawless land’ which shows that the nation and love was hollow. It fell apart due to division.

Remind you of anything? Loyalty conflicts is a big part of this show, particularly with Aziraphale’s character, who is still shown to be attached to Heaven as late in his character arc as the Armageddon storyline in season one:

‘Even if I did, why would I tell you? We’re on opposite sides!’

‘We’re on our side!’

‘There is no ‘our side’, Crowley!’

Aziraphale’s turmoil between his Heavenly duties and his feelings for Crowley (not just romantic, even their friendship) is a large part of his unwillingness to admit their closeness, but he’s also just afraid that they’ll get punished. He’s just afraid.

‘we could’ve been …. us.’

‘our side.’

‘a group of the two of us.’

etc , etc

Their relationship is repeatedly treated like it’s its own ‘side’ or ‘group’ that can be pledged allegiance to or deserted. This perfectly sets up Az’s character conflict and growth. It’s so GOOD!!!!!!

It also has a double meaning with Heaven’s patriotism, which has a façade of goodness but is really very corrupt and ‘lawless.’

‘But it wasn’t enough, it wasn’t enough, no, no.’Crowley tried so hard to convince Aziraphale to go with him, he did everything he could, but it didn’t work. That’s what the kiss was; not a moment of love, but a moment of desperation. A final attempt to lay everything out. But it wasn’t enough.

14. Cruel Summer

Secret relationship that makes you feel whole but destroys you at the same time. ‘Devils roll the dice, angels roll their eyes.’ Religious language. The inability for Heaven and Hell to understand love, and even just friendship, between angels and demons is possible. Hell, and the demons, ‘roll[s] the dice’, the language featuring references to gambling shows their more opportunistic nature and need to trick every situation into benefiting them, because otherwise they’re stuck at the bottom of the pile. They can risk everything on a bet that could see them losing all their money, but they don’t really have anything to lose, which makes them very dangerous (like Furfur). Heaven is more judgemental, ‘roll[ing] their eyes.’ This judgement is what Aziraphale is afraid of (and, of course, the physical retribution that follows). It’s rather akin to an abusive relationship such as between a parent and a child, with an unhealthy power dynamic and Heaven always having more control. The child is always trying to do what’s right, but their view of what is right is often in relation to what their parent has raised them to believe is right, or simply in relation to whatever will make the parent happy. This is an analogy that perfectly describes Aziraphale and his internal conflict. ‘and if I bleed you’ll be the last to know’ Az hides his distress and doesn’t like people seeing him cry. See Tied Together with a Smile (second to last song).

‘and I scream for whatever it’s worth; ‘I love you, ain’t that the worst thing you ever heard?’’ From Crowley’s perspective, Aziraphale loves Heaven more than him, and loving him is something that is shocking and unthinkable. Aziraphale is aware and okay with his feelings for Crowley, he’s only okay with them on a very, very surface level. He’s only sort of okay with their friendship, but doesn’t want to acknowledge anything more than that. So even if a confession of love is something Aziraphale wants from Crowley, he also doesn’t want to hear because he knows that they could never work. AHHHHHHH 15. tolerate it Largely about Aziraphale’s relationship with Heaven. He gives them everything and works so hard to be a good angel but they never fully value him. ✦ Notable lyrics: The bridge also is in reference to his and Crowley’s relationship: ‘While you were out building other worlds, where was I?’ Because they made the stars!!!!!

‘Where’s that man who threw blankets over my barbed wire? I made you my temple, my mural, my sky … now I’m begging for footnotes in the story of your life.’ CROWLEY CROWLEY!!! Also religious imagery is just *chef's kiss*.

16. champagne problems

About a proposal that’s refused … I feel like I do not need to elaborate much on this, however it does apply to both of them, because they BOTH were offering something that the other refused. ✦ Notable lyrics: ‘this dorm was once a mad-house, I made a joke, ‘well it’s made for me’’ Crowley vibes. ‘I never was ready so I watched you go.’ Aziraphale wasn’t ready to fully turn away from Heaven, so he had to watch Crowley leave. ‘You had a speech, you’re speechless, love slipped beyond your reaches.’ Crowley tried so hard to convince Aziraphale; he knew he had to start talking first because if not he’d ‘never start talking. He knew what he was going to say, he ‘had a speech’ but it ‘wasn’t enough’ and Aziraphale ‘slipped’ away.

17. ivy

This song is about an affair, and it’s also a very, very queercoded song. To Aziraphale, his relationship with Crowley feels like figuratively cheating on Heaven, ignoring his duties and shunning his responsibility and role as a ‘good angel’. Notable lyrics: ‘He’s in the room, but your opal eyes are all I wish to see.’ “But it’s pretty!” 💛💛 ‘So tell me to run, or dare to sit and watch what will become.’ Aziraphale’s relationship with Heaven is very mentally abusive. He will only be free of their influence if he ‘runs’ from them. He can’t stay connected to Heaven and be truly free and happy.

‘So yeah, it’s a fire, it’s a goddamn blaze in the dark and you started it, you started it. So yeah, it’s a war, it’s the goddamn fight of my life, and you started it, you started it.’ Both of their, but especially Aziraphale’s, internal conflict symbolised through fire and war. ‘Spring breaks loose, but so does fear’ Their bond and love has remained throughout history, and with Gabriel and Beelzebub revealing their relationship, the spark of hope was lit in both of them. ‘Spring [broke] loose’ but the Metatron’s offer subsequently pulled Aziraphale away from Crowley and reignited some of the ‘fear’ that he’s spent the show trying to grow away from.

‘He’s going to burn this house to the ground.’ Speaking of Aziraphale’s fear; he’s worried about what admitting his feelings for Crowley, romantic or even just their friendship, will mean. The danger that it will draw. This lyric also has an interesting double meaning, referencing the literal burning of Aziraphale’s bookshop.

18. Back to December.

Another song about apologising to someone for breaking their heart. ✦ Notable lyrics:

‘You gave me all your love and all I gave you was goodbye.’ The first part of this lyric is only really relative to Crowley’s confession in the Final Fifteen, because their relationship has never really been stable; they never gave the other ‘all [their] love’ because their fear stopped them. Crowley only ever showed his love to Aziraphale because he felt like he didn’t have a choice and it was the only thing that could save them. But Aziraphale

‘But then the cold came, dark days when fear crept into my mind.’ I initially added this lyric because it reminded me of Aziraphale, but it also now reminds me of both of them. Their own fears interfered with their abilities to accept the other’s confession and to be happy. They need to both grow and learn before they can actually have a healthier romantic relationship.

19. The Great War

The metaphor of relationship troubles and trauma being connected to war.

There are some references to said relationship troubles relating to the inability to properly confront feelings and issues, instead turning away and using silence as a punishment to avoid really having to change your relationship.

Also relevant because their relationship isn’t just a metaphorical war; there is the imminent threat of literal war between Heaven and Hell, and literal physical negative repercussions to each of them due to their love being known. The motif of soldiers is also connected to the line of ‘I’m a soldier who’s returning half her weight.’ from ATW10MV.

✦ Notable lyrics:

‘It turned into something bigger, somewhere in the haze, got a sense I'd been betrayed. Your finger on my hair pin triggers …. soldier down on that icy ground, looked up at me with honour and truth, broken and blue, so I called off the troops. That was the night I nearly lost you. I really thought I lost you.’

They are each other’s weaknesses; see hoax. Their inability to communicate their feelings lead to the breakdown of their relationship. They ‘really thought [they] lost’ each other. ‘And maybe it's the past that's talkin’, screamin' from the crypt. Telling me to punish you for things you never did. So I justified it.’

A bit part of Aziraphale’s character is his journey of developing his own sense of morality independent of Heaven’s. This is especially delved into in season two through, for example, the Job storyline and the Edinburgh storyline. However, we can see that he’s still very much under the influence of Heaven’s abuse during episode six through the way he still believes what they say about right and wrong and about the nature of Hell (‘Of course you said no to Hell, you’re the bad guys’ as opposed to ‘they’re the bad guys’). He doesn’t want to do anything malicious, and he doesn’t want to leave to Heaven, with his conflict about staying or going being quite obvious (as numerous points in the Final Fifteen he appears very tortured, frequently hesitating and trying to say things other than wanting to go back to Heaven). But he feels like it’s what he had to do, ‘So [he] justified it.’

20. Midnight Rain

This song is actually on their official playlist!!! About moving on from someone who wanted something different out of your relationship; a sentence which almost perfectly describes the way they view their relationship (of course, their misunderstanding led them both to believe the other wants something different, when in actuality they both want the same thing; to be safe together).

‘My town was a wasteland, full of cages, full of fences, pageant queens and big pretenders, but for some it was paradise’

‘It came like a postcard, picture-perfect, shiny family, holidays, peppermint candy, but for him it’s every day.’Heaven… I don’t think I really need to elaborate on this.

‘He wanted it comfortable, I wanted that pain. He wanted a bride, I was making my own name, chasing that fame, he stayed the same, all of me changed like midnight rain.’

Crowley wants them, he wants them to be ‘comfortable’ and safe, and he thinks that’ll only come if they distance themselves from both Heaven and Hell. Aziraphale also wants this, but he also can’t leave Heaven behind to the extent Crowley wants him to. He wants the ‘pain’ of belonging to Heaven’s institution and having high value there, because it’s familiar to him. It might be incredibly abusive, but it’s home to him.

He wants to do the right thing, and he thinks that the only way to do that is to stay there. Ahhh ..

21. Tied Together With A Smile

Aziraphale song :( another one about his massive insecurities, folks.

✦ Notable lyrics:

‘you walk around here thinking you’re not pretty’ Aziraphale always doubts how good of an angel he is and how well he’s doing what’s expected of him.

‘That you cry, but you don’t tell anyone, that you might not be the golden one, and you’re tied together with a smile but you’re coming undone.’Aziraphale doesn’t like letting anyone see him cry. He always turns away and tries to pretend he’s the ‘golden one’, trying to pretend everything is fine and he’s always doing exactly what Heaven wants, yet he is so insecure about his goodness.

The entire second verse about him wanting love and praise from Heaven: ‘I guess it’s true that love was all you wanted […] but he leaves you out like a penny in the rain’ he’s tossed aside and talked down to by the people he works so hard to do the right thing for.

22. Don’t Blame Me Mainly this song is included because of its heavy religious motifs. It’s very reminiscent of a gospel song, also connections to Cruel Summer; ‘love made me crazy’. Of course a lot of this song is very ironic because it describes a love so strong and intense that it ‘made [me] crazy’, that you disregard everything ‘true’ and ‘right’, only doing what you feel is right in connection to your lover, nothing else mattering. However, this is absolutely NOT what happened in this show, in fact the exact reverse. I think this song describes how Crowley feels; not feeling connected to the institutions of Heaven and Hell and being willing to leave them completely behind. Perhaps it also describes a hypothetical future in which Aziraphale has grown and reached the point he can comfortably leave Heaven completely.

✦ Notable lyrics: ‘Baby I would fall from Grace, just to touch your face. If you’d walk away, I’d beg you on my knees to stay.’ Because .. because that’s what happened. They begged eachother to stay :( Also religious language. ‘I get so high, oh, every time you’re, every time you’re loving me, you’re loving me.’ Their relationship is so powerful (especially how they were able to perform the really large miracle ACCIDENTALLY). ‘Something happened for the first time in the darkest little Paradise.’ Religious language. Them being together is their own ‘little Paradise’, because, due to them being forced to hide the nature of their relationship, their relationship becomes very intimate and personal. ‘Halo, hiding my obsession, I once was poison ivy but now I’m your daisy.’ Religious language. Aziraphale helps Crowley be able to relax and to rest, letting down his guard. Crowley’s not fully able to do this, and he’s not fully willing to embrace the fact he is indeed ‘nice’, but he’s getting there. He’s still The Archer, but he can put down his bow slightly easier (but of course, the one time he fully put it down and opened up his heart, he was burned, so I don’t think he’ll be doing it again any time soon). ‘Lord save me, my drug is my baby, I’ll be using for the rest of my life, oh, oh.’ This lyric is particularly meaningful when parallelled to Death by a Thousand Cuts; ‘Gave up on me like I was a bad drug.’

23. Dancing With Our Hands Tied This song describes a love that you desperately want to be hidden yet you know that it’s only a matter of time before everyone finds out and the danger starts.To have one’s hands tied is to be unable to affect something, representing how their relationship and their own lives were always out of their control because they could never live how they wanted to without fear of retribution (an excellent metaphor for queerness). Additionally, the motif of dancing, which in this context is an intimate and notably private act between the two lovers, is happening while the lovers’ hands are tied, representing the division and conflict that intrudes even while they’re alone together (‘Something happened for the first time in a darkest little Paradise’ from Don’t Blame Me).

✦ Noteable lyrics: ‘I, I loved you in secret.’ ‘Yeah, we were dancing, dancing with our hands tied, hands tied.’ See above for analysis of the title lyric!! This song also reminds me of them because thy did actually dance together in season 2 episode 5, which is one of my all time favourite GO episodes. ‘I, I loved you in spite of deep fears that the world would divide us. So, baby, can we dance, oh, through an avalanche?’ They couldn’t live how they wanted because of ‘deep fears’ that outside forces would ‘divide’ them, which in the end is what happened. Feeling like the world is against them (‘angels and demons, they can’t just-’)

Honourable mentions!!

Lyrics that make me think of them but there’s not enough content in the overall song to justify it being put on the playlist. They don’t have much, if any, elaboration, but if you want to hear my thoughts on any of these, let me know!! Of course I’ll add analysis to these if anyone wants them. This will probably be the section of the post that’ll be updated the most frequently, and feel free to reply or reblog with any of your additions :D

‘Just a shot, just a shot in the dark, oh oh.’ - Sweeter than Fiction, 1989 (remember the ‘I’ve known it from the very start, we’re a shot in the darkest dark’ from Say Don’t Go?)

‘Now you hang from my lips like the Gardens of Babylon. Your boots beneath my bed, forever is the sweetest con.’ - cowboy like me, evermore

‘Eyes full of stars, hustling for the good life […].’ - cowboy like me, evermore

‘And you asked me to dance, but I said ‘Dancing is a dangerous game.’ - cowboy like me, evermore

‘I knew it from the first, old-fashioned, we were cursed, we never had a shotgun, shot in the dark.’ - Getaway Car, reputation (again, the ‘shot in the dark’ lyric! Also this was my suprise song WHAT THE FUCK?!??!!?!?!?!?!?!?)

‘We were jet-set, Bonnie and Clyde, oh yeah, ‘till I switched to the other side, to the other side.’ - Getaway Car, reputation (‘We’re on our side!’ … ‘There is no ‘our side’, Crowley!’).

‘Cause lately I don’t even know what page you’re on.’ -The Story of Us, Speak Now

‘Oh, simple complication, miscommunication leads to fallout. So many things that I wish you knew, so many walls up I can’t break through.’ -The Story of Us, Speak Now

'But I liked it better when you were on my side.' -The Story of Us, Speak Now

‘And I wouldn’t marry me either, a pathological people pleaser, who only wanted you to see her.’ -You’re Losing Me, Midnights

‘Loving him was like driving a new Massarati down a dead end street; faster than the wind, passionate as sin, ended so suddenly.’ - Red, Red

'You dream of my mouth before it called you a 'lying traitor.' - Is It Over Now? , 1989 (Taylor's Version)

thanks for getting to the bottom!! it means so much to me that you wanted to read this in any amount, you truly have no idea. here's a cookie 🍪 !!!!!

bye :D

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bunysliper · 11 months

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Castle Ficlet: After Party (Time-Honored Tradition verse) 1/1

After Party (Time-Honored Tradition verse)

He hadn't been sure at first about skipping prom, but he's a believer now.

Sure, they'd gotten dressed up – and oh, does Kate look amazing in her strapless dress and half-tied converses – and they'd gone to dinner with their friends, but when the time came to go to the dance, he and Kate had made their exit, slipping back into Gerry's car (thank goodness the man and his mother had parted on good terms) and grinning at each other as the others jumped into their limo and drove away.

"Well, Ms. Beckett," he had asked, reaching over to take her hand and lift her knuckles to his lips. "Where would you like to go for the rest of our evening?"

She'd had a plan for the whole night but she hadn't wanted to share it until then.

"So," Kate drawls from her spot atop his grandmother's radio, "how was your prom night, Ricky?"

Rick Rodgers grins, crossing the living room with their drinks in his hands. Kate leans back, lifting her chin.

"Is it everything you'd hoped it would be?" she adds, taking the glass from him.

He dips his head before she can take a sip, brushing his lips over hers. "A poetry slam where you got up and performed? It was awesome."

"Yeah?" she asks, sounding almost bashful.

"Oh yeah," he says, pressing another kiss to her mouth. "And this might be the best after party ever. All we need is to get settled and enjoy our time alone here at Chez Rodgers."

"You picked a movie?" She pecks back, grinning at his nod. "I'll get changed."

"I left my sweatshirt on the bed."

Kate laughs, jumping down from the radio and ducking under his arm toward his bedroom.

Rick runs into the kitchen, grabbing the popcorn he'd started before going to change and returning to the living room. He flops down on the couch, propping his feet on the coffee table as he waits for his girlfriend to return from getting comfortable.

Yeah, it's been a good night.

#Fluffy Friday #Caskett #Caskett Fanfic #Castle Fanfic #Castle Fanfiction #My Fanfic #Castle AU Fic #High School AU #Time Honored Tradition verse

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lotrmusical · 18 days

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here it is: the Big Wheel of Things People Love About Watermill Lord of the Rings!

spin here

optional: use what you get as a creative prompt for fanworks to celebrate the anniversary of the production! (full info here)

a couple stats from sorting the responses, just for fun:

louis/frodo is the most commonly mentioned, followed by nuwan/sam, aaron/aragorn and folarin/gimli.

a full 10% of responses mention the characters' physical affection: hugging, holding, reaching for each other, etc. this is truly the world's claspiest musical

louis and nuwan are tied for the most quoted line deliveries, followed by tom

everyone really loves the ent noises and falling leaves in the fangorn scene. (5 separate mentions)

full list of responses & credit below the cut 🍃

@cicelythereaper:

The Ents being represented by the sound of wood striking wood in the walls

The actor-musician setup - the way everyone is musical and telling a story!

Galadriel standing within her giant wreath - which turns into a sort of Ring of fire when she's considering going darkside

The choreography of Flight to the Ford

Frodo and Gollum's parallel body language

Folarin's performance in Moria

Saruman. Everything about Saruman

Aragorn's habit of clasping people's heads

@mischieffoal:

Matt Bugg's Gollum thirst traps

Lobelia

Evil flute magic

I want the ring/risk to be mine alone

Day May End

The breath like choreo at the first "lorien laure"

clutching our heads in his hands

Mrs. Bracegirdle

Samfrosie 5ever

GIRL PIPPIN

"our lives are woven together yours and mine"

aoife's voice

sioned's extremely eldritch elf queen

brown sam and black rosie!!!!!

yazdan's just really hot

extreme divorced energy saruman/gandalf

that bit in the council of elrond where Legolas speaks just as the turntable has put him directly facing the audience

Boromir's death and wake

Boromir's ghost/Faramir

Aragorn/Arwen, they do it SO WELL

@nowandforalways:

The new arrangement on specifically Frodo's verse of Now And For Always

"SAM LOVES ROSIE SAM LOVES ROSIE"

The way that PDukes says the words "a far, green country"

Frodo constantly slinging his arm around Sam's shoulders

Plum cake

Bilbo kissing Frodo's hands

Ensemble hobbits reaching their hands out to Frodo when Sam helps him up before Wonder

Hobbit hug after Gandalf falls in Moria

"Heyday" stupid-foot-tap-jump-thing

The change in Gollum's voice after Frodo calls him "Smeagol"

Sparkly elven cloaks

The way Arwen holds her arms

Stab Wound Continuity™️

Shelob puppet

PDukes standing behind Theodenothor looking so SAD

Arwen & Aragorn's matching arm movements during Lasto i lamath

The "beat drop" in Lothlorien (when they start singing in Quenya lol)

"Master Elrond, WHY there is a dwarf here I do NOT know"

The lighting during Song of Hope (reprise)

The Black Speech being projected on the back wall when Gandalf takes it out of the fire in Bag End

Frodo mostly hanging back at his own birthday party and then immediately getting SO INTO IT when the dancing starts

Frodo fully forgetting his pack at the start of The Road Goes On and Sam grabbing it for him

Louis' voice

Frodo directing the other hobbits and encouraging the Breelanders during The Cat And The Moon

The red waistcoat with Louis' dark hair and eyes

How physically affectionate Frodo is with the people he loves

TIRED AND COLD

Frodo grabbing Smeagol's arm to counter-balance as Smeagol falls into Mount Doom

Louis being the resident freak in all of the cast interviews

Frodo being on the lower harmony for the first time in the whole show when he joins Sam singing at the Gray Havens

@eelfleece:

BIG! SPIDER! PUPPET!

little small leaves floating down in the ent scene and the soft Boom Boom accompanying them

anonymous:

It drove my sibling's wife insane for several months. Sometimes the most important thing about a production is how much it means to people you care about.

the actor-musicianship

the intimacy of the theatre

the cast themselves

the strong south-asian inspiration in the music and choreo

It felt like such a genuine production. No big stage or huge light shows, just actors having fun and delivering one hell of a performance. The smaller venue helped with that a lot

The pre show where Bilbo walked among the crowd greeting people and chatting with them as if they too were hobbits.

I walked from Newbury station to the theatre so getting there and seeing that the outside of the theatre was decorated as well was such a good way to arrive there after an hour of walking

All of the actors being the ones who play pretty much all of the music as well made me have so much more respect for the amazing cast

The parts where actors played outside of the stage like gollum climbing the decor or Aragorn (I think) suddenly being on the balcony.

The leaves falling when the ents are in the scene made it so much more immersive

The costumes made for the production were amazing. Each one suited the character well

I saw the actress who played pippin smiling throughout the entire show. She was having genuine fun and that made it so much more authentic to me

I am Astonished that they managed to fit all the three books into one musical.

I just really hope this musical will someday return to the watermill theatre as it was the best performance I have ever seen. Nothing will top this

the way louis maskell says "mr gandalf - please" with a laugh in his voice as he kneels next to sam to "protect" him from being turned into anything unnatural

the final show where sam scurried behind frodo during "don't let him turn me into anything… UNNATURAL" so frodo just knelt with his hands out in front of him like "Mr Gandalf… please"

Legolas! and! Gimli! forehead! touch! and! head! clasp! during wonder after talking about seeing the caves and the forests together

Louis Maskell's wiggles

Yazdan's northern accent for Legolas

the Look TM and intonation on Frodo's "…goodbye, Sam" before they do the foot tapping as Sam heads off to the Ivy Bush with Rosie

looks like /you've/ got ALL the company you need

oh yes! lots of FRUIT around here

Aragorn, Legolas and Gimli doing different rituals whilst kneeling over Boromir's body

Aarongorn's ritual gesture - hand to head, chest and lips

boromir: 'and defeated him!!' elrond: '…...yes. 🙄'

'don't adventures ever have an end?' bilbo's heartbreaking tone

circle of light holding gandalf captive in isengard

the pattern from the moria doors also used on gimli's costumes

NAZGUL PUPPETS. horse skull my beloved

the blue cloths rippling down from the ceiling for flight to the ford

amelia's high harmony in road goes on

council of elrond turntable and curved benches blocking that effortlessly puts everyone where they need to be to keep the scene moving, clear, dynamic

'go forth in hope that the small may succeed where the great could not' tom's tone and gentleness with frodo making me cry every time

STAR OF EARENDIL A CAPPELLA MOMENT. CHILLS FOREVER

all the times merry, pippin and sam support frodo and help him along, emotionally and physically

EVERYONE MIRRORING SAM AND REACHING OUT THEIR HANDS TO FRODO BEFORE WONDER

nuwan's beautiful floral guitar strap

sioned's galadriel becoming increasingly terrifying, her distant gaze and lilting intonation

matt bugg gollum upside down moments

the audience helping to rebuild the shire for the epilogue

the big white sail for frodo to exit behind one final time, and his last look back as he goes

all the people playing instruments but ESPECIALLY elliot getting so so energetic and hype during song of hope reprise

'w-w-what she means is… how about a song?' and the other hobbits immediately dying inside

FOLARIN'S LAMENT FOR MORIA and his bowing to the surroundings before he starts and the depth and reverence and awe he brings!!

CHARLOTTE GRAYSON ROSIE 'i've been expecting you since the spring!!' making me cry every time

aarongorn's gentleness and reluctance to come out, and the way he sits during the council trying to fade into the background while everyone's talking about the lost sword

bridget and reece's cartwheel/lift choreo in cat and the moon!

the lights in the big tree by the outside stage

'that's often how it is in a forest, pip' geraint's hilarious delivery, and him and amelia clearly having the MOST fun together

The ensemble acting as an extension of Sam! He represents the people ✊

The way Aragorn falls to his knees after Song of Hope (Duet)

The nazgul lighting

Incorporating the environmentalist message from the book with the wildflower packets, the orcs' industrial look, and the emphasis on rebuilding at the end

The ensemble narration :)

The sense of loss that clouds the production, as it tells of the end of an era and doesn't quite finish where it started (same place but so much is missing) (again with the rebuilding theme)

Rosie Cotton

Creative use of the physical space in the house!

The ents being represented by Noises

Being a major adaptation willing to mess around with gender! I hope this starts a trend of more genderfuckery in Tolkien adaptations

the detail of the set and costume design!! e.g the pattern on gimli's costume matching the moria floor pattern

Folarin's Lament for Moria - absolutely incredible voice, was swept away

The hobbits hurriedly putting their waistcoats on and rolling up their shirtsleeves as they transition from Mount Doom to Gondor

Yazdan's wide eyed wonder and smile as he sings Lorien

Sam's quiet, muttered "no Frodo" when Frodo says "goodbye Sam" during the final (I love to have my heart smashed into a thousand pieces)

Charlotte as Rosie - so joyful and sweet and strong and A++++ fiddling

whoever's job it was to stick their hand through a hole in the ceiling and drop leaves one by one while the ents were talking

Nuwan's Sam and Louis' Frodo, how tender and in love they were

HANDS

Tiny weirdo powerhouse Georgia Louise Galadriel!! Best Galadriel performance ever.

Boromir and Sioned-Elf’s mesmerising interaction at Lothlorien

Legolas and Gimli's arm clasp / forehead touch during Wonder

Bilbo’s birthday party in the garden and getting to wish him a happy birthday

Frodo’s expression when Elrond gives him his blessing

Elf hand choreography and hand speak!!

Literally everything about Nuwan and Louis in Now and for Always

Sassy Elrond/Saruman

Aaron’s soft boi Aragorn. I stan a gentle king.

Nuwan's Sam being decisive and protective with Frodo and taking no sh*it. "Lots of fruit around here!" comes to mind.

#lotr musical #lord of the rings musical #lotr #watermill anniversary creative celebration #long post #thanks everyone for sending these in i had the best time reading through all the responses #all of which are very normal #also if you want me to add/remove credit for your responses let me know :)))

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milkybonya · 2 years

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☆彡actor

🎼 love as: are we living out a fake fantasy or is this true destiny?_Actor

🎼 track 05 of the 낭만 (NANGMAN) -- do you believe in romance? series

🎼 you like Hwang Hyunjin... but you're not sure if you're falling for the male lead role that he acts out with you or for the real him.

!: suggestive content (kissing/making out), open-ended, ~1k+ (?)

#: actor!Hyunjin x actor!(gn)reader, y/n crushes on Hyunjin

[💌: finally finishing this up T_T a song that gets better over time: something by dress... big naughty's verse at the end makes me ascend]

he cups your entire right cheek in just one of his hands, stroking it with his thumb.

"my love..." he mumbles, his eyes settling on your lips.

your heart shouldn't be racing. you should be keeping calm... but you can't help it. the moment when he tilts his head and his locks fall over his eyes, his lips touch yours and his hands pull you closer, you have to use all your willpower to keep your knees from buckling.

"cut!" the director announces.

Hyunjin pulls away slowly, as if savouring the kiss despite it being completely scripted.

"was that okay? are you okay?" he asks, his hand still cupping your face. he seems to still be stuck in the kiss until he realizes and pulls his hand away.

"yeah, it was fine!" you reassure the boy.

he smiles brightly at you and his hands enter his pockets. someone from the production team calls him over and he excuses himself, and you're left fanning your face to get yourself to calm down.

your manager approaches you with some water.

"hey, y/n, are you alright? did you get too caught up in the scene?" they ask.

"yeah, i guess so..." you mumble, thanking them for the water and taking a sip.

you watch Hyunjin from afar and how he interacts with the staff, intently listening to them and nodding along. he's so dreamy... is it just because of the character he plays? are you falling for him or his character?

you're not a rookie actor by any means, and you've played plenty of romantic scenes before... never have you felt this way. but then again, and no offense to the other actors you've worked with, none have ever been quite this handsome.

you suck in a breath through your teeth, still watching him.

well, heck. why don't you put your acting skills to use and go approach him with somw fake confidence? nothing is stopping you!

so, that's what you do. Hyunjin immediately turns to you with a smile, and when you ask for a second of his time, he gladly follows you outside of the set.

"honestly, y/n, thank God you pulled me away. the staff were repeating themselves a lot back there," he explains with a giggle. you don't comprehend any of it because you're so busy staring at the way his thin, silver rings sit on his fingers and how his hands themselves seem to nervously dance with one another.

"but anyways, what did you want to talk about?" he asks, eyes wide as he gives you his full attention.

his long, dark locks tied half up half down expose his pretty T-zone.

"oh uh... well, i was wondering if we could exchange numbers and go over the script on our own, together, sometime?" you ask, not even missing a single beat despite your request being a little odd.

Hyunjin is sweet though, and doesn't question it much. yet, is he sweet or is he just acting that way because he's used to putting on an image?

"oh... are the scenes for next week making you extra nervous? don't worry, me too! we can definitely do that! here, pass me your phone and i'll give you mine."

your fingers brush against each other and your heart races. it wasn't like you weren't just kissing this man a few moments ago. yet you weren't really kissing him, were you? you were kissing a character. you, no, not even you but a character, was kissing another character.

identity crisis. the one problem with actors that people rarely discuss.

anyways, you get his number just like that. all according to script.

two days later, you're pacing around in Hyunjin's livingroom, muttering the lines to yourself as he makes you both some hot beverages.

"you look like a mad scientist right now," he says before chuckling. his laugh is like honey for the ears and it makes you stop walking, which makes Hyunjin think he hurt your feelings.

"i was joking, i'm sorry if i offended you," he calmly explains, but you firmly shake your head and tell him it's fine.

he nods in response and his hair, untied today, bounces around his gorgeous, tan face.

Hyunjin then walks over to you, drinks in hand and offering you one. you take it before he can warn you that it's hot, and it slips straight out of your hands.

smash.

the hot liquid spreads around the floor and Hyunjin urges you to step back as he runs to clean it up. he's straight out of a drama with the way he vaccums up the glass and wipes away the liquid from the floor, pausing to push his hair behind his ears and roll up his sleeves.

he knows exactly when to do what, and you're in love, smitten for his calculated moves and perfection. but is it even love if it's perfect?

"let me help," you keep offering, but his worried face and tone tell you to move onto the couch and rehearse the script while he cleans up.

it doesn't take long but it feels like an eternity for you as you watch over him. yet before you know it, he's holding out another drink to you, reminding you quickly that it's hot this time.

"thank you, Hyunjin. i'm so sorry."

"hey now, y/n. don't apologize! i'm just glad you're not hurt. now, let's finally practice, shall we?"

ah yes, practice. no small talk. no cuddling on the couch--why would that even happen?! your mind races ahead, already imagining scenarios with your co-actor...

"so the next scene seems to be an argument that ends in a hug. i start this one... honey. why won't you just hear me out?" Hyunjin's tone changes immediately as he adopts his character's tone.

"no, i think you need to listen! you've been going around seeing other people and i've acted oblivious for too long," you shout.

"other people? my love, i've only been seeing you--"

"don't you dare lie!" you cut him off at the perfect moment and let your voice shake, just like the script commands.

"those people theyre--it's all fake. but we're real, my dear. we're real," Hyunjin's voice grows more quiet.

"if we're real then why do you keep referring to me with different petnames. why can't you stick to one! who is it that you call 'my dear'? must be someone else! i've never heard that one before."

Hyunjin lets out a scripted sigh and races forward to wrap you in a hug. he feels so warm and the butterflies rage within you again, still persisting even when he pulls away to look at you while saying his next lines. his hands holding onto you keep you in place. once again, your legs have gone weak.

your eyes land on Hyunjin's plump lips. they're so red and shiny, coated with the sip of his drink he took earlier. you wonder how it tastes. you wonder how it tastes on Hyunjin's lips--no. you wonder how Hyunjin's lips taste.

and before you know it, you've gone off-script. you've broken out of your character and are pressing your lips to his and God it feels so good. they're warm, they taste bitter like his drink but sweet from the cookie he ate before, they're soft and... and he's kissing you back. he's holding the back of your neck to bring you closer as his other hand supports your back, he won't pull away, he won't take a breath until you do.

you finally pull away when you start to feel dizzy, and you both avoid each other's eyes for a few seconds. when you finally look at him, he looks dazed.

"um... y/n i think.. i think we should go back to the script," Hyunjin mumbles, crouching down to pick up the papers he forgot he dropped.

"and what if i don't want to," you say, too quiet for him to hear.

you wait for him to tell you that the kiss should've never happened and should never happen again. he doesn't. so, you hope it'll happen again. you hope you can break free of the script you're forced to follow.

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tobytost · 8 months

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In the grand expanse of the cosmos, where stars flicker with ancient wisdom and galaxies pulse with the heartbeat of creation, there exists a realm where imagination reigns supreme. Within this boundless expanse, there emerged a craftsman named Dave Filoni, a bard whose tales once resonated with the harmonious chords of the Force. In the beginning, his hands sculpted worlds, his words breathed life into characters, and his vision illuminated the darkest corners of a galaxy far, far away.

Oh, how we marveled at his ingenuity! The Clone Wars, his magnum opus, unfolded like an epic poem, each episode a verse in a cosmic ballad. Ahsoka Tano, Anakin Skywalker, and the clones—they danced through his narrative with grace, their stories etched into the very stars. It was Filoni’s storytelling that rekindled the spirit of Star Wars, bringing forth a resurgence of hope among the faithful.

But as the wheel of time turned, a shadow crept over Filoni’s creations. The nefarious specter of greed began to weave its tendrils around the heart of his storytelling. The allure of profit beckoned, whispering promises of wealth and power. And thus, the purity of Filoni’s artistry began to wane, eclipsed by the insatiable hunger of corporate coffers.

We, the ardent admirers of Filoni’s craft, find ourselves in a state of profound lamentation. Where once there was depth, there now lies a barren landscape of shallow plots and hollow characters. The live-action series under Filoni’s stewardship, once hailed as the heralds of a new era, now stand as monuments to avarice. These productions, bereft of the soul that defined his animated triumphs, reek of profit-driven decisions. Substance has been forsaken for spectacle, and intricate storytelling sacrificed upon the altar of easy fan service.

Yet, in the depths of our sorrow, we extend a hesitant hand towards Filoni, seeking to understand the nature of his fall from grace. Is he a captive bard, his creativity held hostage against his will? We theorize, not out of malice, but out of a desperate desire to preserve the belief in his intrinsic brilliance. Could it be that his hands are tied, his creativity stifled under breakneck deadlines and profit-hungry overlords? The very thought chills the heart, for it suggests that the shackles of capitalism have ensnared even the most luminous minds.

And so, until the truth unveils itself, we stand resolute in our condemnation of the avaricious grip of the Disney corporation. The gloved hands of a mouse have become instruments of oppression, throttling the imagination and desecrating the sacred lore we hold dear. The weight of this corporate yoke stifles not only Filoni’s genius but also the collective dreams of fans worldwide.

In the echoes of our discontent, there lingers a glimmer of hope—a hope that one day, Filoni will break free from these chains, that he will once again wield his storytelling prowess with unbridled passion and unwavering dedication. Until then, we raise our voices in defiance, calling for the restoration of creativity, integrity, and the boundless spirit of storytelling that the Star Wars universe deserves.

manifesto anon you genuinely brought my mood up, it's been such a crazy fucking day, sorry I've been delaying answering this but it's always so funny to read your little manifestos they make me giggle

#also again you're right as always #sorry i cant write a cool ass answer like you do #manifesto anon #asks #star wars meta

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tallbluelady · 2 months

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Coffee

(Mid ShB, after Rak'tika. Takes place in a shared WoL verse. Word count 3.3k ^^;)

Rowan bolted awake from her nightmare. She had fought Zenos again, a regular visitor of her dreams of late. What woke her this time is that he tore Urianger from her heart. She shook her head. The image was patently ridiculous in the early morning light, but still disturbing enough to know she wouldn't get settled back to sleep anytime soon. It was planned to be a recovery day of sorts, so Rowan could potentially take a nap later. She sighed, pulled up her hair, and started to get dressed.

Sniffing the various teas the Exarch had selected and finding them all unsatisfactory, Rowan started to shuffle down to the common room in the Pendants. Mayhap she'd see Thancred and Minfilia with some coffee biscuits. Or Kitali looking for aught to eat. Urianger was an unlikely subject, he'd probably only fell asleep a few bells ago…

But Urianger was far more likely a person than the pair she found. Sitting at a table, plain as day, was Emet-Selch and Yloise. Yloise smiled and waved to her, and Emet-Selch looked like the cat who had caught the mouse. Rowan gave a small hum and tried to find a better metaphor as she approached the table.

"You know, we were just talking about you," he said over tented fingers. "Why don't you have a seat and join us?"

"I was just going to find a tea blend I liked and return to my room..." Rowan muttered, unable to come up with aught more convincing.

"Just tea? With how bleary eyed you look, you may need something stronger. Here -" he poured a third cup, " - Yloise and I were just enjoying this fine coffee together. I'm sure we could spare you some."

"Oh, it's excellent, Rowan. You won't even need that much cream and sugar in it," Yloise added. She seemed... giddy? Gods, let that just be the coffee.

Rowan eyed the cup and then the Ascian. "You do know I trust you about as far as I can throw you. Well, I could probably throw you farther if I got the drop on you."

Yloise chortled at that. "See, I told you Rowan has bite to her bark."

Emet-Selch smiled with a hint of steel in his eyes. "That's smart of you, I won't deny. Whether or not you could get the drop on me is another story. But here, as proof of its safety..."

He poured a fresh cup for himself and drank the coffee black. He gave a contented hum.

"I can't tell you how overjoyed I was when I found this particular variety of coffee bean survived the Sundering..." he said wistfully. "A dear friend helped to cultivate it."

Rowan found herself taking a seat at the table before she realized her curiosity had won her over. Yloise reached out and patted Rowan's arm. Rowan blinked at the uncharacteristic affection. There's no coffee strong enough to explain that.

"Oh, here, let me add some cream and sugar for you..." Emet-Selch took the creamer and poured it til it was exactly the soft brown that Rowan liked it, and then added two sugar cubes.

"Yloise, did you tell our sworn foe how I like my coffee?" Rowan asked.

She shook her head, her green lenses causing the light to dance. "Nay. Strangely, he knew how I took mine too."

Rowan squinted at her friend's smile, then glared at Emet-Selch.

"Tis a gift of mine," he said with a shrug. "Most people's personalities line up with their coffee order."

"I won't deign to have you tell me mine own personality, even if you got my order right." Rowan swirled her cup in her hands.

She thought she heard a small gasp from his direction, but he seemed composed by the time she looked up.

"Suspicions aside, it really is quite good," Yloise said, taking a sip from her cup. "There's naught that I can detect in it to worry about."

Emet-Selch smiled and sipped his own coffee in a show to prove that it wasn't poisoned. I suppose it's inconvenient to poison your body even if you are effectively immortal.

She sighed, took a sip, and felt herself rush off into an Echo Vision. Dammit.

* * *

There were three masked figures at a table. It was raining outside, or it was at least grey. It took Rowan a minute to understand what they were saying as they all spoke in that over-loud language the Ascians were wont to speak in.

"- and please refrain from using my given name in public. I've asked both of you this multiple times," Emet-Selch's unmistakable voice rang from the figure in the red mask. "The Convocation deserves the honor of my title, even if you don't think I do."

One of the opposing figures sighed in an exaggerated manner, much like Yloise would. "Really? And after all the work Minthe did to create this concept of coffee just for you? You're worried about honor?"

"Oh, it's just that we're not special enough to him, Ariadne. I've heard him tell Daedalus he can use his name," said the last figure, Minthe, who swirled her cup just like Rowan would.

"Oh, you did, did you?" Ariadne turned to the red-masked figure.

The figure who spoke with Emet-Selch's voice sighed. "Please refrain from spreading such personal information to everyone, Minthe."

"It's just to Ariadne." Minthe took a smug sip of her coffee.

"Tell ya what, Emet-Selch. If you admit that you appreciate Minthe's coffee, we'll keep that little detail between us." There was a wink to Ariadne's tone.

"You need not black mail me for that, Ariadne." The red masked figure turned to Minthe. "I am grateful to you, truly. You've created something both potent and drinkable."

"Fulfilling both of our measures of success on a concept," Minthe said primly.

He nodded and the last thing Rowan saw was the figure in the red mask take her hand.

* * *

Rowan flinched when she came to and felt Emet-Selch's gloved hand on her wrist. "Don't touch me."

He raised his hands in a nonthreatening manner. "You were gone for a while. I wanted to make sure you were alright."

"Then you should have asked Yloise to check my pulse. She's a competent healer."

"I told him you wouldn't like it," Yloise said sheepishly. "But he insisted. And he even managed to save your cup of coffee from falling."

Rowan turned to her. Yloise was one of the few people who encouraged her to set boundaries and help keep them up when Rowan couldn't. And here she was letting the Ascian trample all over them.

"Then all the blame should be on me - twas my fault for assuming such familiarity. Tis one thing to accept a drink from a comrade, tis quite another to initiate physical touch. I took advantage of your vulnerable state and for that I am sorry." There was some actual regret to his tone.

Rowan gave a noncommittal hum at his little speech. If Emet-Selch wanted to give the appearance of contriteness, he was doing a good job of it. But it didn't do aught for the fact that he had orchestrated multiple genocides. She tried rising from her seat, but sat down when she felt woozy and heard concern from her companions. She wasn't going to give Selch the satisfaction of catching her. So they all sat in an uncomfortable silence while Rowan recollected herself.

"Is there anything you'd like to talk about, Rowan?" Yloise asked. Is there anything in that Echo Vision you saw?

Rowan took another sip of coffee. Despite her vision, it was some of the better coffee she ever drank. But it was mostly to give her time to think. How could she get Emet-Selch out of there? Well, if he insisted that he was a man like the rest of them…

"You know, I'd really prefer some privacy with Yloise, if that's alright with you, Emet-Selch," she said. "Tis a delicate matter I'd speak of to her."

"Oh, if there's aught to be said to Yloise, it can be said in front of me," he said, smugness returning to his tone.

Figured he’d say that. "Well, I do suppose the Paragons of Eld would have such fascinating opinions on contraception and menstruation..."

His smugness immediately dropped. Got him.

"It might be for the best. We'll, uh... talk to you later," Yloise said.

"Oh, I will speak to the lot of you later, have no doubt about that." He waved his hand dismissively and disappeared into the void, cup and all.

Rowan let out a sigh of relief, then jumped when she realized Yloise was leaning in close.

"So are you and Urianger fucking now?" she asked, eyes bright.

Rowan could only let out a few croaking sounds at that. Then she shook her head. "That's not important, I just needed Emet-Selch gone.”

Yloise laughed. "Well, you did a good job of it. The drop on his expression! Gods, I couldn't have thought of any better."

"Oh, thank the Twelve. When I saw you two at the table I was worried..."

"About what?" she asked quickly.

"Have you seen the way he looks at you? Like... like you're some sort of bauble to be coveted. I don't like it."

"Ha. Well, have you seen how he looks at you? Like he's a wounded man. All pain and regret."

Rowan grimaced. "I have caught glimpses of that, aye."

"Isn't that just fascinating? Aren't you curious why a Paragon of Eld looks at you like that? What could even cause that? I mean, you've always been curious."

Rowan looked at her half drank cup of coffee and set it back on the table. "I dunno, I find my curiosity's quickly sated for the man who signed the order for Black Rose."

Yloise grimaced. "Rowan..."

"Yloise, Gods know we need someone to track what Emet-Selch is doing. And it looks like you have an easy in with him. But... pray, don't get swept up in his game." She rose to her feet. "I think I've had enough coffee for now."

If she said aught else, Rowan ignored her. She headed towards the aethernet shard nearby. The annoying part was that Yloise was right. Rowan was curious. The three of them in the vision, set in the same positions as their little meeting. Obviously that was orchestrated. Emet-Selch had said the coffee was cultivated but the woman - Ariadne - said it was a created concept. Whatever that even meant. And... Minthe and Daedalus. Those must have been the ones she saw in the vision in Idyllshire.

Her mind was worlds away when she bumped into someone at the aethernet shard. Rowan actually bounced off of her fellow collider, and was grateful for the steady hands at her arms when they righted themselves.

She blinked. "Urianger! Uh, oh, I'm so sorry."

"Tis quite alright; thou merely gavest me a momentary fright. Is aught amiss?"

Rowan shook her head. Then she realized her hands were on his chest and her thumbs were stroking the fabric of his chiton. She sheepishly withdrew them, though it seemed he didn't mind.

"Ah, mayhap I should get a proper breakfast."

Urianger nodded, hands slowly tracing down her arms as if he didn't want to stop touching her. Rowan didn't want him to stop touching her.

"I too, was seeking sustenance after finding naught of use in the Cabinet of Curiosity. Shall we adjourn to the Pendants?"

"Ah - nay. I was just there," she said. She saw his puzzled look and added, "I can explain over a pastry."

They found a stall with suitably flaky rolls and took a seat by a bench. The whole thing felt rather nostalgic to Rowan.

"Do you remember the day I bumped into in Vesper Bay?" Rowan asked.

"Would it not serve to recall that day by the most important fact that it was thy first successful attempt at arcanima?" Urianger asked, faint smile on his lips.

"Aye, well, twas not aetherology that reminded me of that today."

"No, I suppose that other event twas the greater reminder."

There was a softness to Urianger's expression that caught on Rowan's heart. She realized that he must have always been so soft with his expressions, but it had been obscured by his goggles and cowl. She smiled back at him, reveling in the ease of doing so.

"Ah, but how far we have come! I..." Urianger swallowed. "What a fool I was for not seeing thy interest sooner."

Rowan turned away. "Tis my fault, really. I never said aught after Moenbryda... and Raer is so kind and gentle. If any man deserves you, twould be him."

"Ah. Yet he seemed so adamant that it was but a passing tryst for him... surely to save thine heart, yet he wounded mine by saying so."

Rowan hummed and the two of them finished off their pastries. The talk of wounded hearts reminded Rowan of her conversation with Yloise.

"I, ah. Before I bumped into you, I had coffee with Yloise," she said. "And Emet-Selch."

"Art thou well? Is Yloise yet safe?" Urianger asked.

"She's fine. I'm... physically well. Yloise would've been able to find aught strange with the coffee... but I'm fairly certain that he tried to orchestrate an Echo vision. Though I can only guess as to why."

"Curious. May I ask what thou sawest in the vision?"

"It's not what but who. There was Emet-Selch on one side of the table, and two women on the other side. Who resembled Yloise and I in our mannerisms." Rowan began to fold the wrapper her pastry had been in.

Urianger's brow furrowed. "It hath been surmised that each soul on the Source was once part of an ancient, whole soul. But tis a rare thing to see a vision of one's past self, even just a singular lifetime ago."

"Mayhap tis more likely when you're exposed to things of that past life. This... this is not the first time I've seen a woman resemble myself in a vision." She pressed the creases of the wrapper. "Once after eating curry I saw a man and that same woman having a picnic."

Urianger put a hand to his chin in thought. "Thine Echo seemeth to activate more with a physical sensation, if I recall correctly. Strong flavors such as curry and coffee must have had an influence upon thy memory."

"Aye, that's what I thought." Then Rowan turned. "Wait, you remember my Echo is like that? I've only had a scant number of visions throughout my life, and you weren't present for most."

"I do. Twas one of the details that convinced me of mine ardor for thee." He smiled and took her hand. "That and my numerous dreams of rowan trees."

Rowan laughed. "You know a rowan tree by sight?"

"I had visions of the same tree since I was but a lad. Luckily Sharlyan is a nation of learning and I easily found an example in a botanist's folio. Oft I would be caught in dreams of peril - only to fall from deepest azure skies -" he kissed her hand "-and land safely into the boughs of a rowan."

"Oh, that cannot be true, you incorrigible flirt," she giggled at it all the same.

"Tis so, though I am indeed incorrigible in that regard. The dreams first lead me to know that thou wert one of the Warriors of Light. Though mayhap they had always meant to lead mine heart to thee."

Rowan simply smiled and watched as Urianger stroked her hand with his thumb. Wasn't there aught else she wanted to do that day? To be fair, this was what she'd more or less had always wanted to do... The emotion felt distantly familiar and she had to shake her head.

"Urianger... you don't have to answer if it makes you feel uncomfortable but... When you worked with Elidibus, did he ever give any hints that it was his title and not his name?"

He gave a small hum and turned his attention to their hands. "Nay. Twas not a subject of importance in those days. Wherefore dost thou ask?"

"Emet-Selch is a title, as my Echo vision revealed to me. Also, it seems they were all very fond of wearing masks back before the Star was rent in twain... and I'm just... Do you think there's aught to be gleaned at the Cabinet about any of that? I would've doubted it, but the pictographs in Rak'tika make me think there could be aught."

"I cannot say aught of the efficacy of such a search, but I would fain aid thee in thy quest for knowledge," Urianger said quickly. His eyes were sparkling at the prospect.

Rowan smiled. "Then lead on, wise Archon."

It turned out that Urianger already had an alcove set up in the Cabinet. Rowan had usually borrowed books and taken them to her room in the Pendants to read, but it appeared the Archon had a different mode of study. He moved a stack of books off of the generous loveseat and tried to organize the tomes, muttering to himself. She was nigh transfixed in his motions. Rowan had resigned herself to a fruitless investigation earlier, but mayhap she'd find joy in the company.

"Mayhap thou shouldst start with these, my lo -" Urianger froze. "- m-milady."

Rowan nodded and tucked a stray lock of hair behind her ear, acting as she didn't hear what he just said. He looked relieved when she took the pile of books without comment. I suppose it's still too soon for him to use the "l" word as well... She took a seat and started to read through the indexes for the titles of the Convocation members. Surely there was written history of their meddling with the fate of the First? When that was exhausted, she searched for the names of the Ancient ones she knew.

She perked up at the mention of Minthe in one text, only to laugh at the book's title. Botanica Norvrandt.

"Doth there be something amusing in thy study?" Urianger asked, looking up from his tome.

"Ah, it's... the woman who resembles me. It turns out she's named after a plant as well. Or mayhap the plant is named after her." Rowan yawned that last bit and stretched.

"Mayhap a break in our research shall do us both some good." Urianger stretched and sat on the loveseat next to her.

"Oh, you don't have to stop if you're..." She noticed his arm on the back of the love seat and general openness to his stance and expression. "Oh."

After a few nervous chuckles between them, Rowan rested her head on Urianger's shoulder.

"Art thou comfortable?" he asked softly.

Rowan sighed and readjusted. "You can put your arm around me if you want."

He nodded and looped his arm around her, hand resting on Rowan's waist. There was a dreamy look to his eyes that made her feel warm.

She nuzzled in closer. "Are you going to get bored while I drift off?"

"With a fair maiden such as thyself upon my arm? Perish the thought - only fools need constant stimulation and amusement," Urianger teased. "I have plenty to ruminate on in the mean time as well. Thou needst not be concerned for mine entertainment, my dear."

Rowan buried her blush in his shoulder at the term of endearment.

"Have I embarrassed thee?" he asked, concerned.

"Mm. Nay. I'm just unused to the gesture. I do - I do like it."

He gave a contented sigh and started to play idly with the ends of her hair. Rowan sighed and cuddled in more, thoughts drifting idly towards sleep until...

Her eyes snapped open. "Yloise."

"Is aught amiss with our comrade?" Urianger asked.

"Nay. She... she just gave the worst tree pun imaginable."

#rowan argentas #yloise coneillants #urianger x wol #aether and anatomy #Our shared OC Emet-Selch #Shadowbringers spoilers #Into the Blorboverse #Many Paths Intertwined

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thesixthchaosgod · 5 months

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'We travel far from Pech and the other Enclaves. For years and years. Some never see the home world, born on the spheres and dying on the spheres. Yet, our ties to our birth planet have never loosened. We preserve the old ways no matter how long we have spend among the stars, fighting battles for our employers. We Kroot are our traditions and ways. Abandoning them nearly doomed us at the hands of the Greenskins before. We have adapted and learned, as we always do. We will not forget the lessons. We will honour the spirits of the ancestors always. We will tell the old stories, make the old dances and recite the old verses. Upon this foundation of stone do we grow and continually adapt.'

- Chok'ya Rhekk, Kroot Shaper

#Kroot #Tau empire #Tau #Found in the Kill Team Into The Dark booklet

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libidomechanica · 3 months

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With light by

A kimo sequence

That grew beside a human door! With light by light: lonely thing, that soon he rose and warmth of loue.

But Flight. Of air, not pure as it, yet pure, doth well delight. My slumber was gone for you, my dear.

Because the blue sky bends over and trust that I shall those tears; take me to the centre. But there.

Pushing toward daybreak. A dainty dish to set before me, when the trance was o’er, the mastiff bitch?

I do not the disaligned. Though yet, heaven seems half-way to lift some weight of low replies.

That hole where leather men are vain? And slowly rolled her with me, we’re wed to one eternity.

I have been faithful to you, Cynara! Harry, Tommy, Wilfred, Edward, Bert—and light and song.

Stay with your old baggage. Plunge them in up to thee, and thee to mee: no, no, no, my Deare, let bee.

Says, I wanted to get married. With blushing shame, by rage suppress’d, let tears, and weep each other?

To sit a star upon the floor below. And, Do I dare? No, no, my Deare, let bee.

Cannot flie away. Nor equal, nor unequal: each fulfils defect in each, and lang’rous waist!

—Thy words, relieve my verse in time, your fortune— range the wilds of Time, perhaps not a woman, off!

Make in misery to live. And lie, ever singing, each to each. Makes you tyrants in the end.

Free from fear, they cross’d the diver’s brain, for a lady’s chamber floor. Yet so did I let my friend.

Now do I know this: I fell in love wilt hear; if from thee. Oh Angel of hopeless, lasting flames!

After than Phoebus, if he seav’n times bright! For forbidden fires. To spit out all the dance was mine.

Bright eyes, that all her hard and cold white as stone. Involved in stillness, plighted vows fleeting as air!

Assist the field is universe into a lute. Is it indeed so? Be thine! The air is still!

I told my love had seen mine execution. Curse on all best exceed proportions of the year.

And gave a twist to me. Which stands check’d; Religion of my mind, thy words, thou art as tyrannies.

I’ll wrap it round. Till the same chance!—Harry, Tommy, Wilfred, Edward, Bert— and light a cigarette.

And all thou know’st to my dear doting heart. Do love you here is none like a dog in a kennel.

But tis twilight dawned; and out of sight. Owe this dearest, that long-wish’d-for end, full to thee, and doubt.

The lovely lady’s shroud. I heard the mermaid now, for I will say: How his hair is growin’ yet.

Give me the shade of the sky.—An’ Charlie, he’s my darling, the young Chevalier. And is he gone?

Ah! The Castle wa’, she saw three bonie boys playing with a dying fall beneath the huge oak tree?

Our bed is lovely maid and sees a damsel bright a dame! Hand, turning her grave. By more than dead!

And like a noon-dew, wanderings I have sinn’d! I want to glide a sunbeam by the Maiden’s side!

Where I fly, pursue, rise in the brain is not so. Spake words Sir Leoline. I dreamed I was a child!

By thee to mount, and complaint of present the bonie laddie in. Bare, lest aught unholy loiter here?

And love to so base a vice, for no man knows. Much, Cynara! No matter by the might be well!

He danced with rough. Amid that scenes appear where’er I turn me not to belie his soul with clay.

Run afresh, as if she ’d said, Gee woe! I lift my heavy eyelids my anguish hangs like shame.

To the fault; I view my crime, but kind? To labour was thine! And do accept my madness, and weak.

He drank: her fair large bright and slender oats foraged in the lady’s chamber door; and the sun.

A cool suspense from pain; thy life destroy. The wanton thru the flower amang them very ill.

Of lonely way, close by the castle bell. As if she be small, jewel-like flower unfamiliar.

The way to the blood runs out across the sounds and strange man should presume? That is so vex’d with thee.

To know her but I? Or foxlike in difference. And thus she stooped, methought I heard a hollow sound.

A blue moon for an instant leper. Lord of her beauty lies, when faithful to the land of spike?

And none of us thought thus watred was my strange death of Jesus set me free. In this fashion.

But could have this; she shall: then my hopes and men, who looked askance and end with his society?

And those tender-ship, cried Sally Brown! Sleeps, and love all night upon mine ears, both I and the brow!

Within the bathroom floor mocks your haire with me! So, the year, that yours and mine had bound us lie?

Van Diemen’s land if certain when two dewdrops on the best, even to life in the airport. Ah!

Seized, inside my honest faith in this man no more, but other me? A shining steps of thy child!

Lingered in the moon is behind, and saw thee woman in contractions are five minutes apart.

Comes first—light in what they might half undo it. Of loue new-coin’d to her from the pitiless wave?

And his Anguish grew—how bear it? But, as luckless, I have sworn to bury all things undo me.

That looks up at the lady by her word were it even for me. Loathe the side-lie of a truth.

For once, a tremor breakfast the sky ascends, wi’ sangs o’ joy. And damning their necks, where away?

And flush themselves forsake and for very feare would return to life, to life in thee has killed it.

And the rain on my soul. And I was a rose that green mama who first forced me to Mortal part.

Scott, Rogers, Campbell, Moore, and Crabbe will trim. To sail with old Benbow; and here, ev’n then, shall be poor.

The Sexes rose to work upon is much too much, some say, she seems that sweet said, that thou to dread?

And hark, again! From happy pieties, thy lute, thy pipe, thy incense sweet face of you and me.

Why should poor beauty from my love, my life. But, as luckless, I have known the rain lasts anywhere.

In the bud will wear white despair? Wilt thou go with me, we’re wed to one eternity in days?

Not Ida; ’ clasp it once all-fragrant-curtain’d love begins again. Then downward like those who love.

What peace. And her voice is strength beguiled, this golden foot of May is on the bloated hiss of death.

For I have slept on the brands were stopt with griefe. Still as death, can break her word were it bitterness.

The earth forever! It must be because it is a precious seal of my life, myself—and you.

Is changed in a convent’s solitary Child. When I break through all the grist of its insides grow.

Now folds the maid and thine for me. Than Heaven, my Lover, were my Chamber Heaven’s sun staineth.

Err I dare to look at the basin and wriggling on thy fame! My own heart’s heart, where, while I weep!

Till love you, dear, I’ll love you all; let Virtue be your soules; come wait on hir whom winged Psyche true!

I waste my heart and mine should hindred be. Gloom, and nothing can be old, for as you with my death.

For once and show me what I meant, at all. Proud of many, lives upon his gaine is our lost will.

I call, I call: who do ye call? And the rent, and long to stay with your old baggage. I would get.

—Not the power to burn and be all that bloody torments you doe give, creatures, couched her homage.

Geraldine shakes thee hence. Yet, if Hope has flown away in a night, or in nothing but a feint.

That heart to this fool lord, dare I bid her abide by her side; nor strange. That is misunderstood.

You soarer, you of the sea. ’ Echoing straits between the hills? Again she sees my lady’s maid.

Nor shall die tonight, I wrote this morning. Black Melancholy reigns; what means the warm leaden sheet.

And the gravelly sand take a body to it, even blue-eyed fly to the field. Sir Leoline?

From op’ning on the crowing cock, how drowsily it crew. Shall ever was in our own child-bed.

Within and whom I am confined. Water so cleanly I myself upon the floor below.

Cries to catch her but I? Of all that we see or seem is but as a tomb which happened balloon.

Out for love, to give the wreath’d trellis of a working brain, love alone. With a moonlight and song.

I lift my heaven knows, in joys and woe so many times. To the banks, close of each too, too late.

My soul would only be the best, even to life in losing mine? Naked, a double behind.

Like cliffs which have no fear! Beneath the weight of soil, nothing new is in us, and were at peace.

I knew a beautiful olives. We men and drivers in a bar-room around its wings and neck.

—Come live with me—or fall from its boundless mere, with true sight! This day my journey should I presume?

Into many a summer’s front doth sing and saying plainly of not turning from yonder bay?

Oft did I rove by bonnie Doon, how can you bloom so fresh and faithful to its crisis? Have guessed?

I fell, and fro, while I weep! And turning away, wants to be made, cobbling at the lasting flames!

Such gentle still dictates, and those faire skin, beamy eyes, for the quarters, and looking to the Pole.

Pitiless wave? Flickering gyres, but he’d once about to have gone to the sun delights me.

And may appear so when this rebellious heart, and that will show itself to stone. Nay, fairer yet!

To swell a progress, start up, the same chance! As old as a dog, as quiet as a skeleton.

Move still doth breeding flow’rs. They will sing to me. That even its grossest flatterers dare not brave.

That looks up at the happy again. A clover, a Fisherman mends a glimmers on to me.

To them through my fingers am I at all satisfied. Her deadly pangs be drown’d, while I slept.

Rain on thee; yet eyes this curious friend. The winged’ steed, I wish we never looks both small and dull.

And make my old excuse, ’ proving his caresses by the cold. With open eyes ah woe is me!

To deem, as a most logical conclusion, that ’s underneath the weight. It even for me?

Nay, by my own eyes inspiring hole. My heart is dust at the pin; and here, ev’n then, shall meet!

Unto the straitest best of all to Love than is or ever dear! Angels of the precious jewel.

100

Ida came behind. That brought to. But to- morrow, the field. While prostrate here increase! To the field.

101

I cried for madder music and forms of men! His gentle daughter is safe and fro, while I weep!

#poetry #automatically generated text #Patrick Mooney #Markov chains #Markov chain length: 8 #153 texts #kimo sequence

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