@dorothyallspice1862

1 year ago

I’m surprised this song wasn’t chosen as a single. I can already picture the music video: We open in a cathedral, or perhaps a large music hall. It’s a full house, and everyone is applauding and the choir of children on stage, who are all dressed in long white and gold robes and smiling. Some of the smiles are modest, some shy, some beaming with excitement. The choir director (who I can imagine Billie’s mother playing) also smiles at the audience before turning her attention towards the choir. She opens her mouth and, with her hand, pretends to pull an imaginary string off the top of her head, a subtle reminder that the choir should use their head voice and sing with tall vowels. After a beat, she begins to conduct, and the children sing the intro. On “smiling on him”, we focus on a young girl: mousy lavender hair, deep-set icy blue eyes and full lips. A total Billie Eilish look-alike. On the key change after “highest heav’n”, the camera slowly zooms out and we see a silhouette of the side profile of a young woman’s head: the REAL Billie Eilish…or is she? She appears to be fiddling with some sort of recording device. A smartphone? A tape recorder? It’s so buried in the shadows it’s almost hard to make out. She pressed the play button on the device, causing the choir to sing the word “*gold-winged, gold-winged, gold-winged*…”. on a continuous loop, and they begin to glitch like a hologram. As this happens, Billie emerges from the shadows and walks down the aisle, as the audience watches in confusion and shock. She’s wears a long black gothic trench coat, which could pass for a dress in certain angles (think Edward Scissorhands meets The Matrix) and a pair of matching knee boots. Her hair is platinum blonde, almost white, and her lips are coated in dark red lipstick. She points a black acrylic-nailed finger on the young girl and makes a beckoning gesture, snapping her out of her trance. The young girl looks at her glitching fellow choir children before giving her full undivided attention towards Billie, frightened and stupified by everything going on around her. The young girl begins to approach Billie, and the two meet at the edge of the stage. Billie grabs the young girl’s face and begins to whisper the first verse into her ear. “*Gold-winged angel,*” she warns, “*Go home, don’t tell/Anyone what you are/You’re sacred and they’re starved…*” Who is they? the young girl wonders. Billie points to the audience, who slowly transform into more demonic versions of themselves. The men become seedier, the women rapidly snap pictures of the young girl with their cameras on flash mode, a demon boy extends his arm and rolls up his sweater sleeve to reveal a tattoo of a “When We All Fall Asleep, Where Do We Go” era Billie in a wedding dress next to himself. As these wolves in sheeps clothing begin to reveal themselves, the sacred music hall turns into a dark hell scape, which I can only describe as a mix between a black hole and hell. While the young girl DOES try to keep her head down, she sees “likes” and flashes of paparazzi camera flashes all around her as the hands from the demonic crowd began to attach themselves to her in various places, letting her know that there is no escaping this hell hole. Billie then extends her hand to grab the back of the young girl’s hair and, once they make eye contact, Billie smiles, but it’s not a very trusting smile. It’s a disturbingly wide, Cheshire Cat smile. The young girl opens her mouth to scream (which of course is muted by the music), her jaw becoming unhinged as a golden light beam escapes from her throat and into Billie’s recording device. Once she’s captured every last bit of that light, she presses the stop button and says, “*That’s good.*” She walks away, leaving the young girl to pass out in the middle of a now empty music hall. Just an idea.

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