October 30th
stricken clock screams for the final hour
on a smoke-filled sky and begging cries
wailing cat calls beg, white fur coated thick in ash
floorboards creak while four men creep
up splintering stairs into the lives of a man and a woman in love
calloused gasoline-soaked hands belong to wretched minds
that break and beat down apartment doors and the body
of a spirited young woman as if they are both objects all the same
a simple warning no longer the case
but a race of who will have her first
143 cases of arson are enough on the list of crimes
committed on Devils Night
he arrives home in the scorched remains of his city
only to find his bride ignited
blink of an eye, a love separated and broke
his arms outstretched, taking the place of a saviour
in the absence of a merciful God
shattered still beating heart falls through shattered glass
upon a resting place of cold concrete in a rain that pours all the time
while his bride's bed of trust becomes a bed of unspeakable lust
surveying corvid spies, disguising as the murky sky
waiting for the pain in his soul to be abundant enough to fuel his rise
the black feather sings for a love gone up in smoke
buildings burn, but love is always waiting in the wings
a jilted altar, by both the groom and bride
a year ago, now a time for revenge to make wrongs right
once again a city in flames
from the fires set on Devil's Night
Every so often though, art will imitate life. For twigs, that moment came when she took on the romantic life of Shelly Webster in The Crow. “It set a new bar for the type of love that I want,” she explains. In the reboot, Rupert Sanders re-centres the story of undying love and makes Shelly’s role more three-dimensional; a co-lead not a cipher. “I needed someone who was magical and almost beyond human, who had something like a gift that was just imperceptible, and there was something about twigs,” says the director, who cast the singer to star opposite Bill Skarsgård over afternoon tea, without so much as an audition. “On-screen relationships are really hard. But from the first day we shot twigs and Bill making out, jumping in a lake, smoking weed, and just being young adults having fun, it was really instant.” She shares the same fond memories. “I think Bill and I had incredible chemistry as friends off set. It made acting for me so much easier because I really trusted him,” twigs says. “I’m so romantic, I got to live a romance for a whole summer. How incredible to play that, because at the time, I was quite a broken woman,” she pauses to ponder the thought, then continues. “At the end of filming I was actually nervous about leaving Eric behind. But then I do think I still have Shelly within me, which sounds weird. But you know what Shelly taught me? That my darkness is beautiful, like a black rose.”
I love how Sarah gives Shelly a whole bouquet of flowers and Eric just one. I'm torn between finding it funny and finding it soul-crushingly sweet. Like, "I always liked her more than you" but it's also "I still love you and remember you, and even though it's not in the same way I love and remember her, that doesn't make it any less, so here's a flower to keep you alive, too."
Also interesting how Shelly gets lots of colors and Eric gets white......
I feel like it's such a reflection on these three characters' relationship before the murders. Shelly was the life, the love, the thing that kept them together. I imagine Sarah and Eric having this unspoken thing of "we're here because of her, aren't we?" Like they just loved her so much it brought them together. I think they would have done anything for her, and they did
So I was always extremely worried about the crow reboot and looking at these images? I was so right
Not only does he look really bad but it also looks like it was written by “haha gun go pew pew there’s an explosion” people who ignore the actual point of the story.