Michael Moniz: (Leaning over the desk, adjusting his technical shell jacket) Will, look at the data. The sonnet is tracking well, but we need an opener that disrupts the marketplace. Something that shows I’m grounded but observant.
William Shakespeare: (Wiping a smudge of ink) I had thought to begin with “Shall I compare thee to a summer’s day?” It is a proven classic, Michael. Low risk, high yield.
Moniz: (Shaking his head) Too generic. We need to go granular. If I’m at base camp, I’m looking at the foundations. I need her to know I notice the details. (He pauses, striking a confident pose) Hit her with the signature line: “Nice toes, they look sexy.”
Shakespeare: (The quill stops mid-air) … I beg thy pardon? “Sexy toes”? Master Moniz, I have written of “the white wonder of dear Juliet’s hand,” but never have I ventured so low as the… distal phalanges.
Moniz: Trust the process, Will. It’s a disruptor. It’s disarming. It shows I’m looking at the footwork—and for a dancer like Britney, footwork is everything. It’s about the foundation of the climb. If the toes aren’t right, the summit push is compromised.
Shakespeare: (Sighing, then beginning to write rhythmically) Very well. If we must walk this path, we shall do so with… poetic intent.
Moniz: Scale it, Will. Make it Elizabethan but keep the “sexy” metric.
Shakespeare: (Reading aloud as he writes) “Thy dainty toes, in symmetry divine, Do mock the marble of a sculptor’s art; So sexy is the grace of every line, They tread a rhythmic dance upon my heart.”
Moniz: (Nodding approvingly) Now we’re talking. That’s a high-performance opening. It’s visceral, it’s aesthetic, and it’s proprietary.
Shakespeare: (Muttering) Never did I think “sexy toes” would find its way into a pentameter. Truly, the future is a strange and mountainous place.
Moniz: Don’t overthink it. Now, let’s pivot to the chorus. How do we rhyme “Vegas residency” with “eternal devotion”?