#in fair verona where we lay our scene...

[darkcrowprincess]

Me when it comes to anything romeo and juliet:

[the-metatron]

How dare you threaten to evict my brother. He has done nothing to you.

The whole Morningstar family is ready to throw hands.

@e-w-w-morningstar refused to vote for me, his benevolent landlord, father of his best friend and flatmate, @angelo-rib-shack

The Morningstar family may 'throw hands' if they wish, though it isn't something I'd recommend, considering you all will run out of hands eventually and will no longer be able to type. Unless, of course, you're throwing other people's hands, which I believe is illegal.

[exopelagic]

I need to go to bed I’m just gonna shout a lil

[disarminglybright]

what would happen if tumblr user destielyuri and tumblr user sastielyuri kissed????? <3

Our families will never understand our love. Let's run away together and then kiss and double suicide <3

[storm-of-feathers]

joe is very excited for the JL RWBY movie and keeps explaining dc lore to me and im a marvel (COMICS + CARTOONS) bitch

[colinfirth]

Two households, both alike in dignity, in fair Verona, where we lay our scene. From ancient grudge break to new mutiny, where civil blood makes civil hands unclean. From forth the fatal loins of these two foes, a pair of star-crossed lovers take their life, whose misadventured piteous overthrows doth, with their death, bury their parents' strife. The fearful passage of their death-marked love and the continuance of their parents' rage, which, but their children's end, naught could remove, is now the two hours' traffic of our stage. ROMEO + JULIET 1996 — dir. Baz Luhrmann

[ravenclairee]

Two households, both alike in dignity, In fair Verona, where we lay our scene. From ancient grudge break to new mutiny, Where civil blood makes civil hands unclean. From forth the fatal loins of these two foes, A pair of star-crossed lovers take their life; Whose misadventured piteous overthrows Do with their death bury their parents' strife.

ROMEO AND JULIET (1968) — dir. Franco Zeffirelli

[thewertsearch]

@ipunchvampires asked: Vriska's character arc in Act 5 really is structured like a classical tragedy when you look at it. You have the protagonist whose personal flaws end up being their undoing, cosmic fate, a homoerotic relationship, the action that signals the point of no return where nothing can stop the coming doom, a wistful glimmer where the protagonist considers changing their ways only when it's too late… All the ingredients are there. What I'm getting at is, imagine William Shakespeare's Vriska Serket.

Two households, both alike in dignity (in fair Verona, where we lay our scene)

From ancient grudge break to new mutiny,

Where civil blood makes civil hands unclean.

[sjbattleangel]

(Sorry I had to shorten some quotes)

From: Anna Karenina-Leo Tolstoy A Tale Of Two Cities-Charles Dickens Moby Dick-Herman Melville Pride & Prejudice-Jane Austen War Of The Worlds-H.G. Wells The Iliad-Homer The Great Gatsby-F. Scott Fritzgerald The Adventures Of Tom Sawyer-Mark Twain The Adventures Of Huckleberry Finn-Mark Twain The Divine Comedy-Dante Alighieri Romeo & Juliet-William Shakespeare My Immortal-Tara Gilesbie

[magicianarcana]

Two households, both alike in dignity, In fair Verona, where we lay our scene, From ancient grudge break to new mutiny, Where civil blood makes civil hands unclean.

HOUSE OF THE DRAGON - 2.03 "The Burning Mill" + Romeo and Juliet parallels.

[wavesoutbeingtossed]

I'd actually love a midnights storytelling Timeline playlist? Like what order you'd place them to tell the complete story of the album. I love the idea of Dear Reader as track 1

OK so, one caveat is that generally I think Taylor's tracklisting works really well and often tells a story of its own (e.g. TTPD), so I'm a little reticent to mess with that. And next thing is that like, we don't always have firm dates about when songs were written/what events they refer to/even who they were about depending on the album, so like, you can't really pinpoint a timeline *chronologically* of events as they transpire most of the time, certainly on Midnights. And also writing/processing isn't linear. @likeadevils does however have excellent posts about album timelines and places the songs in order of creation if that's what you're after.

Now that that's out of the way...

There are a few different ways I could see organizing Midnights thematically, and I'm approaching here kind of, emotionally-speaking rather than chronologically, although there's kind of a weaving of the two. I've split them into "chapters" à la folklore playlists on Spotify.

Prologue: To a house, not a home, all alone 'cause nobody's there

Dear Reader

Act 1: A real fucking legacy

Midnight Rain Would've, Could've, Should've Maroon Question…? High Infidelity

Act 2: Love blackout

Labyrinth Snow on the Beach Lavender Haze Paris Glitch Mastermind Karma Sweet Nothing

Act 3: Sweet dream was over

The Great War Bigger Than The Whole Sky Vigilante Shit Bejeweled Anti-Hero Hits Different You're Losing Me

Epilogue: Yeah, you can face this

You're On Your Own, Kid

So this is how I see the chapters:

Prologue:

This is the introduction to the themes of the album, very much the same way that Fortnight does for TTPD. (I love me a "Two households, both alike in dignity / In fair Verona, where we lay our scene" setup.) Dear Reader does this really well, she's speaking directly to the listener, but also to herself, and touches upon the themes throughout the album: anger, loss, fear, self-loathing, self-destruction, but also the recognition that she "shines so bright." It's the push-pull between her private and public life, her personal and professional ambitions, and that is ALL over the album and each side informs the other.

I could also argue adding Anti-Hero and Midnight Rain into this chapter and nearly did. Anti-Hero because again, it touches the public image vs. internal struggle/self-loathing of it all, which she is ruminating on on this sleepless night. And Midnight Rain because "I never think of him except on midnights like this" because well, that is the entire conceit of the album.

Act 1: A real fucking legacy

Like I said above, I nearly put Midnight Rain in the Prologue, but it also serves well as an introduction to the theme in these songs. Because "I never think of him except on midnights like this" covers these relationships from the past that are haunting her in this dark night of the soul exercise. Remember what we said about the push and pull between her personal life and her career? The crux of the song isn't her pining for this former lover, it's that she's wondering if her pursuing her ambition relentlessly and joyously is diametrically opposed to the idea he represents. It's the spark that lights the flame of the pining we see later on. Which leads to the other Hes who have marked her life and set her on the path she's on now.

So in contrast to the bittersweet nostalgia, we have the darker side of that rumination. There's WCS about the trauma that continues to haunt her, and Maroon about a relationship breakdown that broke her. Question...? Kinda is just there for laughs as comic relief-- but in all seriousness is like, "you were a dumbass and do you ever wonder if you hadn't been such a dumbass if we could have made it work?" About something that never got off the ground. And then High Infidelity ends the chapter on another darker note about the threat within a relationship, but the "Do I really have to tell you how he brought me back to life?" is the segue for our next chapter...

Act 2: Love blackout

This is where we get a sense of the core relationship she's dancing around in the album-- the one that is driving all this rumination, because it's so intricately tied with the path her life took as a result. The "Do I really have to tell you how he brought me back to life?" to "I thought the plane was going down, how'd you turn it right around?" emotional parallel hits the ground running and tells you why this relationship and this phase is such a lifeline. SOTB is the honeymoon phase of the relationship, where everything is wondrous and exhilarating, and pairs well IMO with Lavender Haze in that the rush of new love is intoxicating, and she wants to stay on that high and block everything out to chase it.

The rest of the songs I put here kind of meander, but there was a method to my madness. Paris feels like the memories of a special time, with the emphasis of it being them alone, shutting the world out, which is a continuation of LH. Glitch is her continued disbelief that they've made it this far, but suddenly it's six years later and she's still yearning that high (... in spite of everything telling her this wasn't supposed to happen). Mastermind could have arguably gone earlier in the list, but I put it here because again, she's planning and scheming and doing all the work to keep this thing going against all odds. Karma feels very "happily ever after"-esque in that it's, "I went through all this shit, but it's totally fine because I got what I wanted in the end!" without giving away that it's a veneer, and finally we end with Sweet Nothing because it's the sweetest fantasy of running home to your lover and feeling content and complete. Which brings us to...

Act 3: Sweet dream was over

Our last full act, which is all about loss and the ways in which one reacts and deals with it. The Great War is the bubble bursting that Sweet Nothing dreamed up. It's a crisis point in the relationship, an entire life built that is potentially going up in flames; it hints at the conflicts that would prove to be their undoing. BTTWS is a raw depiction of grief in the wake of loss, and the questioning and despair that goes along with that, sinking someone into the pits of depression and loneliness. Vigilante Shit is another reaction to loss-- this time unadulterated anger in the form of a revenge fantasy. (It's fantasizing about agency in a situation where there is little of it because like BTTWS, in many ways it's out of her hands.)

Bejeweled is a bit of the odd duck because I kind of wanted to put it near-last because I think it's the best transition into YLM, but thematically it's not quite ready for prime time yet-- although the same conundrum applies to Anti-Hero here. But Bejeweled is part of this chapter because it's her grappling with her sadness and despair and wanting to break out of it. She wants to shine again, and it's a warning to the person that she won't stick around if they don't see that. (Broadly speaking, I know there's more there.) Anti-Hero is kind of clunky here, which is why I'm very tempted to put it in the intro instead, but my thinking is: she's in this pit of self-loathing, wondering why she keeps making the same choices and same mistakes and drives everyone away. She's the problem. And it's her persona, her big life, that's driving her to this madness-- or is it? (But also: one day I’ll watch as you’re leaving and life will lose all its meaning for the last time.)

Which finally brings us to Hits Different and YLM. Honestly, these two could also swap positions, and I went back and forth on them. I think "chronologically" HD makes more sense at the last song in this chapter, but "emotionally" YLM is SUCH a fitting end, so there we go. HD makes good on the threat of the break in The Great War, and a lot of the themes we've seen throughout the playlist here but specifically this section are present. The self-destruction and self-loathing of AH, the anger and lashing out in TGW and VS (in a very different form), the depression in BTTWS and even a tinge of the self-worth in Bejeweled.

But YLM is the true denouement of this all and reflects all those same vignettes in far more devastating fashion. There's breakdown, loss, anger, spite, self-destruction and standing up for herself too, however briefly. I think it really feels like the true crossroad of the album: Do I throw out everything we built or keep it? We've just spent a whole album wading through all of it, and now she's left to decide which path to take. Does she stay and fight, perhaps wondering what she has to give up int he process, or does she leave and risk the pain she uncovered in Act 1, only tenfold because it hits different this time? The empty house of Dear Reader in the Prologue (and incidentally in HI I've just realized) is blanketed in darkness in YLM, and it's up to her to decide if she's turning the light back on or out for good.

Epilogue: Yeah, you can face this

You're On Your Own Kid feels like the perfect emotional ending for this playlist because not only does the song travel through this entire time period, from an early young love that gave way to bigger dreams to the sheer devastation she put herself through to reach the very top and the subsequent crash. And it feels like it answers the question asked in the previous chapter: Yeah, you can do this. You've come back from every setback and you'll be able to do it again. You've always ultimately had to rely on yourself, and you'll do it again and again until you pull yourself out. The song is full of such sad revelations, but it also ends on a hopeful, if bittersweet note. She might be playing solitaire for now, but doesn't mean she can't handle it.

It feels wrong to mess around with Taylor's tracklisting like this, but it was so much fun 😂 I loooooooove delving into the themes in her albums and I really find like the emotional journeys within them become more salient as time passes on too.

Honestly, I can't say it enough, I loved the pre-release playlists for TTPD too, if you're looking into this kind of emotional deconstruction of her discography at large. The beats within the playlists themselves make so much sense, and I think frames the songs within them really well. Just my two cents!

[simsdaughters]

Rivalry.

Two households, both alike in dignity, In fair Verona, where we lay our scene.

[stark-raving-romantic]

Since we all agree the Harry Potter is NOT it...here's a fun poll! These are just my picks but if you feel that I've neglected one, tell me and I'll make another poll, the winners can face off or something.

Please reblog to break containment!

Pride and Prejudice: It is a truth universally acknowledged , that a single man in possession of a good fortune, must be in want of a wife.

Northanger Abbey: No one who had ever seen Catherine Morland in her infancy would have supposed her born to be a heroine.

Anne of Green Gables: Mrs. Rachel Lynde lived just where the Avonlea main road dipped down into a little hollow, fringed with alders and ladies' eardrops and traversed by a brook that had its source away back in the woods of the old Cuthbert place; it was reputed to be an intricate, headlong brook in its earlier course through those woods, with dark secrets of pool and cascade; but by the time it reached Lynde's Hollow it was a quiet, well-conducted little stream, for not even a brook could run past Mrs. Rachel Lynde's door without due regard for decency and decorum; it probably was conscious that Mrs. Rachel was sitting at her window, keeping a sharp eye on everything that passed, from brooks and children up, and that if she noticed anything odd or out of place she would never rest until she had ferreted out the whys and wherefores thereof.

The Graveyard Book: There was a hand in the darkness, and it held a knife.

Romeo and Juliet:

"Two households, both alike in dignity

 (In fair Verona, where we lay our scene),

 From ancient grudge break to new mutiny,

 Where civil blood makes civil hands unclean."

Tuck Everlasting: The first week of August hangs at the very top of summer, the top of the live-long year, like the highest seat of a Ferris wheel when it pauses in its turning.

Fahrenheit 451: It was a pleasure to burn.

The Hobbit: In a hole in the ground there lived a hobbit. Not a nasty, dirty, wet hole, filled with the ends of worms and an oozy smell, nor yet a dry, bare, sandy hole with nothing in it to sit down on or to eat: it was a hobbit-hole, and that means comfort.

A Christmas Carol: MARLEY WAS DEAD, to begin with.

The Secret Garden: When Mary Lennox was sent to Misselthwaite Manor to live with her uncle everybody said she was the most disagreeable-looking child ever seen.

The Hitchhiker's Guide to the Galaxy: Far Out in the uncharted backwaters of the unfashionable end of the Western Spiral arm of the galaxy lies a small unregarded yellow sun.

Percy Jackson/The Lightning Thief: Look, I didn’t want to be a half-blood

[imawkwardlysoc]

"Two households, both alike in dignity, In fair Verona, where we lay our scene, From ancient grudge break to new mutiny, Where civil blood makes civil hands unclean. From forth the fatal loins of these two foes A pair of star-cross'd lovers take their life; Whose misadventured piteous overthrows Do with their death bury their parents' strife. The fearful passage of their death-mark'd love, And the continuance of their parents' rage, Which, but their children's end, nought could remove, Is now the two hours' traffic of our stage; The which if you with patient ears attend, What here shall miss, our toil shall strive to mend" - Romeo and Juliet by William Shakespeare

(I picture Ice as Juliet and Mav as Romeo)

[xofemeraldstars]

STILL STAR-CROSSED 6TH ANNIVERSARY -> 1x1 ❝ in fair verona, where we lay our scene ❞

[lady-arryn]

“In Fair Verona, Where We Lay Our Scene” Episode 1 • STILL STAR-CROSSED aired May 29, 2017