epic bedroom

Guys, but, hear me out

Small Town Witch Clexa AU:

- Clarke, Raven and Octavia as young hereditary witches; they go to the same high school and are pretty popular and are about to be initiated into their Coven as their powers are just beginning to show; their parents have been preparing them for it since they were kids;

- Them living in that small town with the woods nearby, all three of them on the same street in those typical houses and driving their cars and going to high school parties and having bonfires and goofing around with their powers;

- Raven’s first power to awaken is firebending; Octavia’s is to go invisible, and Clarke’s is telepathy and compulsion;

- Lexa as the new mysterious kid and Clarke feeling immediately drawn to her;

- Lexa as the only one who can resist Clarke’s powers (because true love I’m sorry I don’t make the rules)

- Lexa as the last heir to a huge witch dynasty and having no idea who she actually is;

- Lexa as a total delicate flower and a bit of an outcast;

- I don’t know if there are vampires but there are absolutely werewolves and Bellamy is one of them;

- Anya is, too; sent to sniff Lexa out but turning on her employers to protect this smol broody bean from her asshole family;

- Clexa as Juliet and Juliet but no one dies and everyone’s got badass powers;

- Their soundtrack is Ed Sheeran and The National and Cary Brothers and Sleeperstar and basically all those indie-acoustic-bands;

- Lexa in hoodies and gingham shirts and Converse sneakers!

- Clarke in boots and skinny jeans and leather jackets;

- “Mutual dislike to mutual lust to mutual love” trope, anyone?

- Lexa climbing the tree to sneak into Clarke’s bedroom;

- Epic love confessions on an empty town square with those tiny Christmas lights everywhere;

- I just want a basic ass supernatural teen drama but with lesbians because anything is better with lesbians;

If Dirty Mind was Prince’s uncompromising departure from the decadent coming-of-age pains and obsessions that were captured on 1978’s For You and 1979’s Prince, 1981’s Controversy was the cerebral and slightly darker expansion of the brave template that he laid out for Dirty Mind. 35 years after its initial release, I can’t fathom why it remains largely neglected in the stunning pre-Purple Rain trifecta that began with Dirty Mind and concluded with 1982’s double-opus 1999. It’s clearly the misunderstood middle child of the masterstrokes that bookend it, but there’s more to it. It solidified the unpredictable world of Minneapolis’ unpredictable wunderkind, who was set to become one of the definitive post-modern visionaries of the Eighties. 

Proof of this fact is found on the grand first side of Controversy, in which its three songs perfectly illustrate Prince’s game plan not only in the narratives of his unparalleled Eighties-period work, but for the trajectory of his entire career. The title track begins with a scathing denouncement to his conservative critics, and boldly juxtaposes his message with a religious awakening when he recites ‘The Lord’s Prayer.’ It was probably the first instance of religion in his work. Then, he reaffirms the utopian sexual liberation he covered in Dirty Mind’s “Uptown” for “Sexuality.” Only this time, sexual expression is positioned with the call for societal uprising to incite anti-conserativism. Then, he reclines with burning eroticism on “Do Me, Baby,” which can be considered his first true 'bedroom epic.’ It was voyeuristic and fantastical all at once, but no less realistic. And this was only the first side, mind you. In the second half, political affairs, funk, and even more sex took on more adventurous extremes. Prince was onto something, and soon he would rule the rest of the era at every cost. A transitional classic for the ages, Controversy still bites with truth and edge after 35 years.