summary: When a prostitute meets the perfect client, she has to remind herself that there’s no room for getting close to someone in her line of work. chapter word count: 1642 chapters: 17/? a/n: so… this is basically just a fluffy filler chapter, but I thought y’all might enjoy some Mother’s Day fluff.
Oliver slipped into Felicity’s room. She and Ellie were fast asleep. He carefully plucked the sleeping toddler from the king sized bed, cradling her as he stepped back out into the hallway. It was a little early for her to be awake, but he thought she might want to help him out. It was Mother’s Day after all. She buried her face in his chest, her little fist gripping onto his shirt tightly.
“Hey,” he whispered, stepping into the kitchen.
“No,” she mumbled.
He chuckled. She sounded like her mother.
“You don’t wanna help me make breakfast?” he asked.
“Breakfast,” she seemed to wake more.
Of course Felicity’s daughter was stirred by the idea of food. That was usually the only way he ever got her to wake up in the morning. He thought Felicity should sleep in that day and be treated with breakfast in bed. With the help of her little one of course. Felicity deserved a break. She was going through so much, dealing with Malcolm and trying to make decisions about everything from her living situation to her job and general future. This was something small, but he really thought that it would at least cheer her up.
“Chocolate chip pancakes for mommy’s day,” he said.
She tilted her head up and looked at him with a drowsy and confused expression, “Mommy’s day?”
“Mhmm,” he continued, “It’s the day where we celebrate all the moms, but especially our own. So, we’re going to make your mommy breakfast in bed.”
I swore I wouldn’t write more love and heartbreak songs. “I thought, ‘Do one, get it out of your system.’ So the first song is, like, ‘Hold me! Don’t let me go! Stay with me!’ But it wasn’t out of my system. I’m obsessed with writing love songs, I always have been. I think that’s why I started writing songs in the first place.
Lyrically, though, Goulding isn’t moving away from matters of the heart. “I swore I wouldn’t write more love and heartbreak songs,” she says. “I thought, ‘Do one, get it out of your system.’ So the first song is, like, ‘Hold me! Don’t let me go! Stay with me!’ But it wasn’t out of my system. I’m obsessed with writing love songs, I always have been. I think that’s why I started writing songs in the first place.”
“Beauty is not long hair, skinny legs, tanned skin or perfect teeth. Believe me. Beauty is the face of who cried and now smiles, beauty is the scar on your knee since you fell when you were a kid, beauty is the circles when love doesn’t let you sleep, beauty is the expression on the face when the alarm rings in the morning, it’s the melted makeup when you have a shower, it’s the laughter when you make a joke you’re the only one who can understand, beauty is meeting his gaze and stopping understanding, beauty is your gaze when you see him, it’s when you cry for all you paranoias, beauty is the lines marked by time. Beauty is what we feel in the inside which also shows outside us. Beauty is the marks the life leaves on us, all the kicks and the caresses the memories leave us. Beauty is letting yourself live.”
I wanted this album to be about me. I wrote about relationships, friends… I’ve got a dark side too. The song “Scream It Out” is about not having a voice but finding that confidence to scream something about.
When I would write about a certain thing, I would explore it in the darkest way possible. Delirium has such simple, lighter emotions, but there are still lyrics my fans will recognize as a bit more philosophical.
Goulding lent three songs to the film but also crafted a brand new tune called “Beating Heart” specifically for Divergent. “In the last scene of the movie, Tris has just experienced multiple tragedies, even as she triumphs (for the moment) over her enemies,” says Burger. “Ellie wrote ‘Beating Heart’ and we knew it’d be perfect for the end of the movie. Her lyrics almost merge with Tris’ voice-over and her music lets the movie soar above the tragedy. The sadness is still there but so is the transcendence. It’s a fantastic song.”
Left : Jessie Ware- “Champagne Kisses” -February 11, 2015
Right: La Roux- “Kiss and Not Tell” -September 7, 2014
I’m not sorry but there’s no way this is a coincidence, let alone “barely referential”. People think because this shit isn’t literally identical that it’s not the same. If you gave two art students a canvas and told them to paint anything they wanted and they both came back with this^^^then I don’t think it’s just the “guidelines” or “inspiration”. It’s plagiarism. This makes me so angry because it’s so obvious and no one cares. Even the props are the same. The FILTERS. The shots. There was more to screen-cap that was literally copy and pasted from La Roux but I didn’t feel like capping every second.