Look a little wider than the two men and the goldThere's a second person filming from an angle, calm and coldAnd the numbers on the corner of the screen begin to riseWhile a real thing breaks in the flowers, the count climbs to the skiesA perfect propped-up angle, a second hidden eyeHeartbreak doesn't block three cameras, but a scene knows where to lieFor the views, for the viewsWas it ever even real, or a thing they had to doTwo truths and a lie, and the lie's behind the screenThe field was bright and blooming and the moment was a sceneFor the views, for the views, he loves me, loves me notThe bouquet had no card on it, the location got a tagThe clip was cut and captioned before the tears could even dragAnd the comments started rolling like the script had told them toPick a man, defend a man, while the count just blew on throughA perfect propped-up angle, a second hidden eyeHeartbreak doesn't block three cameras, but a scene knows where to lieFor the views, for the viewsWas it ever even real, or a thing they had to doTwo truths and a lie, and the lie's behind the screenThe field was bright and blooming and the moment was a sceneFor the views, for the views, he loves me, loves me notTen thousand, fifty, a hundred, while one of them just stood there and went quietSo I quit asking which man, and I asked a colder thingWho set the second camera, who tied the captions with a stringThe fight was just the surface, the bait laid in the goldThe product was the heartbreak, and the heartbreak got it soldFor the views, for the viewsIt wasn't about her, and it wasn't about youTwo truths and a lie, and the lie was the designThe field, the men, the silence, all of it was a lineFor the views, for the views, he loves me, loves me not---
