frail hope

The Music of "When You Believe"

One of the most powerful songs I ever have heard comes from “The Prince of Egypt”. It has brought me to tears on far more than one occasion (such as now, oops), and no matter how often I listen to it, the song maintains an incredible force that makes it, to my eyes as a working music composer myself, one of the greatest songs throughout animation.

The strength of this song comes from the combination of well-written lyrics plus the musical choices accompanying those lyrics. The composers (Stephen Schwartz and Hans Zimmer) very intentionally, very successfully aligned the deep emotions of the words with equally powerful music. By exploiting the effects of instrumentation, the shape of the melody line, musical key, and the lyrics, listeners are taken through a deep, emotion-wrought narrative of the Hebrews beginning the Exodus.

In Darkness

The start of “When You Believe” is very dark, moaning deep in the cellos and other low voices of the orchestra. For indeed, while Moses has just learned the Hebrews have been freed of their slavery from Egypt, it comes at an enormous price: the death of many Egyptians including his nephew, as well as a break in the bond between himself and his brother. There thus is a darkness to the music and the animation on the screen to match that dark event which is occurring in Moses’ life.

But even when Miriam begins to sing, the cityscape is still dark and the music retains its rich, dark ambiance. The instrumentation is mostly strings, especially the lower to mid-range. All is thick and solemn. On top of that, the melody is within the minor mode, a musical scale that is known for sounding more somber and sad than the major scale. This use of minor adds a weight and sadness to her words, continuing on that sense of darkness.

There’s a symbolic reason to cast that sense of aural shadow. Miriam’s words in the first verse sing of a darkness, too, within the Hebrews’ lives. “Many nights we prayed, with no proof anyone could hear,” she begins. There is a sense of hopelessness and darkness in her words, and the music likewise provides the sense that the lives of the slaves were cast in psychological powerlessness. The melody even drifts downward over the first line of the verse, the pitches descending with the line, metaphorically depicting downcast spirits.

If the music had been brighter and more upbeat, it would have emphasized the fact the Hebrews prayed vigilantly; however, with the deep strings and minor descending melody, audiences understand the oppressive hopelessness that crushed the peoples’ existence.

There are only slight hints of hope in the within the first verse, especially at the start. The first twinkle of hope within the darkness comes in the second line, “In our hearts a hopeful song we barely understood." 

Notice that the music rises before sinking downward again. The words peak on the word "hopeful,” in fact, with a dramatic leap up to the final syllable. There’s a sound of a song in that peaking interval (a fourth) which is associated with many types of folk musics from around the world, and that jump upward is a notable spark of hope to the ears. The song might still be cast in a dark minor melody, and that “hopeful song” might fall again to lower musical pitches in the rest of the musical line, but that little spark nonetheless is very aurally noticeable and depicts that little spark the Hebrews clung to themselves.

Increasing Brightness

There is an increasing brightness as the verse continues. It aligns with the growing hope in the lyrics as well as the brightening colors animated on the screen. The third line of the melody is the same as the first, but it’s orchestrated differently. The clarinet and the flute enter, warming up the texture of the music in the accompaniment, corresponding to the much more optimistic lyric, “Now we are not afraid.” This time, when the pitches fall at the end of the line, “even though there’s much to fear,” it gives a sense of determination rather than hopelessness.

And then the fourth and final line of the verse pulls forward an even greater transformation.

We have another symbolic rise - through a technique called “text painting” - in which the word “mountains” is musically described through the upward jump of pitches. The word “mountains” is a peak in the musical line, just as a mountain is a peak in the landscape. Corresponding visually, the viewers see pyramids and other grand Egyptian structures. These might not be mountains, but the enormity of those monuments is indeed something incredible to move. Suddenly, then, the Hebrews’ lives of slavery are not just torment and despair, but a demonstration of the strength of the people.

And look above at that final note in the verse. It moves upward, leading to the chorus, and showing an enormous growth of hope.

There Can be Miracles

Suddenly, there is sunrise. And Miriam is smiling. And people are coming together. And hope blossoms. And the music in the chorus sings it all: “There can be miracles when you believe. Though hope is frail, it’s hard to kill. Who knows what miracles you can achieve? When you believe, somehow you will. You will when you believe.”

The song changes keys to equate that shift in mood. The verse is in e minor, a very dark key orchestrationally that makes the music sound incredibly weighty and somber and allows composers to frequently use some of the lowest pitches the instruments can play. But then this song shifts to G major in the chorus. This is one of the brightest keys an orchestra can play (There are lots of “open strings” in this key, meaning that the strings in the violins, violas, cellos, and basses reverberate a lot more and sound very bright and rich). G major and e minor all use the same pitches, but to very different effects. In the same way, there is a shift from the content of the verse to the chorus, even though the material Miriam discusses is similar. It is a shift from unactualized hope to the experience of a miracle. And thus a shift from darkness to lightness occurs both within her words, within the sunrise of the animation, and within the change of mood in the music.  

The melody itself is very hopeful. Every single line of the melody, beginning with, “There can be miracles,” moves upward. The pitches always rise from start to end, showing enormous optimism.

Text painting also happens again; that is, the music shapes itself in ways to symbolically correlate to the meaning of the lyrics. The word “miracles” has an enormous rise in it, just like the words “hopeful” and “mountains." 

The word "believe” similarly receives a climactic high pitch, showing its greatness and importance.

The word “frail,” by contrast, is sung with an enormous drop downward in pitch, aurally creating a sense of weakness.

Even when the syllables occur in the music is very well placed and gives a sense of optimism and determination.

There is a sense of pulse in music. Some pulses are a lot heavier than others, and these are called “downbeats.” If you look at the pictures of musical notation I have, the “downbeats” happen with the first and third black notes of every measure (a measure is a chunk of music that is separated by those vertical lines). Every time you hit a downbeat, then, there is a sense of more power. And notice what words hit the downbeats in this music. Words like “can” and “hope”. In the line, “it’s hard to kill,” both “hard” and “kill” receive the musical metrical emphasis. What does this do? It emphasizes the greatest of what happened, shows that miracles can and in fact just have happened. It brings confidence to the lyrics.

The dotted rhythms create even more confidence within the melody line.

Altogether, then, the entirety of the chorus screams hope.

Continuation of Narrative

The second verse returns to the dark minor key that audiences heard in the first verse. Zipporah is speaking of the Hebrews’ experience of slavery in the lyrical narrative, thus requiring a thicker atmosphere to the music. We hear a little bit of song again in the rise of pitch with the words “summer bird,” as well as that fall of hope when subsequently she sings “too swiftly flown away.”

Paralleling the first verse, a similar growth from dark to light again occurs with the lyrics and the music in the second verse. And thus we move from despair to cheer as she sings: “In this time of fear, when prayer so often proves in vain hope seems like the summer birds, too swiftly flown away. Yet now I’m standing here, my heart so full I can’t explain, seeking faith and speaking words I’d never thought I’d say.” When Miriam adds a duet, a further sense of hope grows, for the people are coming together to begin the Exodus, traveling to freedom.

The second chorus is even musically bigger than the first, the visuals brighter, the hope more powerful. We see the Exodus happening now. There are people leaving. The miracle is here, it is happening, and the growth of music augments that.

The Children’s Song

Children begin singing, showing such a sense of hope as can be equaled by nothing else. The Bible indeed speaks of a child’s faith being great - not to mention the association with children is very positive and bright. The music is still in happy G major, though it also uses some pitches like C natural that never have been used before, making the music sound even brighter. The melody dances, and so do the people.

It is even more powerful when you know what the kids are saying.

It is part of a poem actually in the Bible seen in Exodus 15: 1, 11, and 13. Not only are these Hebrew lyrics actually in the Bible, but they are recorded as the song that Miriam and Aaron themselves sang when they were leaving Egypt. This is the song, guys! The legitimate words they sang in this event.

אָשִׁירָה לַה’ כִּי-גָאֹה גָּאָה 
מִי כָמֹכָה בָּאֵלִם ה’ מִי כָּמֹכָה נֶאְדָּר בַּקֹּדֶשׁ 
נָחִיתָ בְחַסְדְּךָ עַם-זוּ גָּאָלְתָּ 

Ashira laadonay ki gao gaa 
Ashira laadonay ki gao gaa
Mi chamocha baelim adonay
Mi kamocha needar bakodesh 
Nakhita vekhasdecha am zu gaalta 
Nakhita vekhasdecha am zu gaalta 
Ashira ashira ashira

So that’s all well and good to see the text in another language, but what does it mean in English?

Check it out:

I will sing unto the Lord, for He is highly exalted 
Who is like unto Thee, O Lord, among the mighty? who is like unto Thee, glorious in holiness 
Thou in Thy love hast led the people that Thou hast redeemed

In another translation that sounds a bit less archaic:

I will sing to the Lord, for he is highly exalted.
Who among the gods is like you, O Lord?
Who is like you - majestic in holiness?
In your unfailing love you will lead the people you have redeemed.

This song is one of being saved by God and thanking him for the miracle. And the music expands and everyone begins singing and an almost giddy happiness results when the song spins faster and faster.

The Power of Belief

The final chorus explodes in full choir. It is the voice now of the entire Hebrew people belting out faith and awe at what has happened. Not only that, but the music rises in pitch, bursting to A major. The music reaches an all-time dramatic high in terms of sheer force of musicians playing in singing, in terms of the highest pitches sung, and in terms of volume. 

The music climaxes in power - to the full power of belief. To the full glory of this miracle. What has happened has just changed millions of lives. Millions of lives are free and singing praise.

It is hard to believe now that the song began in such a dark corner, sounding so futile and depressed and hopeless. But through the incredible narration of sound and lyrics, everyone by the end of the song understand - understands full well - “There can be miracles when you believe.”

A small list of things Bum has canonically done so far:

- broke into Woo’s house, sniffed his sheets, and then attempted masturbation in his bed. (“I cant today~” gets me everytime)
- tried to poison Woo’s food.
- became uncontrollably and explosively aroused just from holding Woo’s clothed junk.
- called Woo a motherfucker and shoved his face in the street.
- attempted the world’s most wobbly and unconvincing seduction attempt mere moments before impending death.
- tried to touch his captor while he slept and then asked him to suck at his chest
- owned a dildo.

amazing. what will he do tomorrow.

10

under appreciated films challenge - favourite song
when you believe (the prince of egypt)

there can be miracles when you believe
though hope is frail it’s hard to kill
who knows what miracles you can achieve?
you will when you believe

[OQ] Incomplete

He’s on the other side of the threshold when she opens her door, leaning with his elbow pressed up against the frame. He glowers at her, accusation twitching in his pale eyes, and her pulse missteps for several beats. No matter how she’s told herself that this man is nothing more than a stranger, no matter how unmoved she had been by their first (only) kiss, her body still sings when he is near.

“It’s time you tell me everything,” he says, pushing past her into the house without an invitation. “You owe me that much.”

She closes the door, closes her eyes and steels herself for whatever recriminations he’ll aim at her. She’s not undeserving; she knows she hasn’t been fair to him from the start. But it’s getting overwhelming, this continuous demand on her to atone for her errors and yet eternally barred from redemption. She’s let him go, finally accepting that he is not what she was hoping for. Can’t he do the same for her?

“What do you want to know?” Her question is embarrassingly tentative as they settle opposite one another on the sofa. She doesn’t have a caustic retort at the ready as a defense, not like she used to. Not since she ripped that twilight out of her.

His gaze is a weapon, an implement of torture as he glares at her. “Start at the beginning.”

“Of what?” Does he want her story with Robin—the one that isn’t in the book? The one he asked after when the notion of a fresh start still hung between them like a tantalizing will-o’-the-wisp.

He shakes his head, muscles in his jaw flexing. “Of all of it,” he says. “And Regina, don’t leave anything out.”

It’s strange—him threatening her. Her Robin had only done that once, when he thought she might still be on her vengeance quest against Snow. But he’d quickly rescinded his sincere but reluctant warning when she proved to be after another life (her own). He was guileless and she formidable. The roles are now reversed.

She begins with the tale of a young noblewoman in love with a stable boy. She details how a shared secret was the impetus of a lifetime of hatred, of murder. Magic and darkness. And the Curse. He knows much of this already, but is silent as she recounts every pain, ever black deed. She talks about Henry, about the Savior, about grasping at the frail thread of hope that she could change. That she doesn’t have to play the part of monster anymore. She admits to the stumbles along the way. Her mistakes.

She tells him about Robin. This too, he knows about, but his knowledge of his other self has been painted in broad strokes. She adds the finer points now, hoping he’ll understand that she hadn’t lied. Robin did have a good life, despite the adversities he faced—adversities that would have broken a lesser man. Robin hadn’t been a lesser man.

She is aware of her wet face as she recites, in a low, breathy voice, the moment of his death and the subsequent fallout. Roland’s return to the Enchanted Forest. Her grief so opaque that she lost perspective. But instead of lashing out against the happiness of others—happiness she was yet again denied—she tore herself in two. She rid of herself of the monster who was (and is) at the root of all the ills she’s suffered.

When she’s exhausted everything, when she sags at almost boneless against the sofa, Robin glances down and away, sucking the inside of his cheeks. He says nothing for a minute, two, and then finally looks at her. There’s no compassion in his gaze. No empathy. Only indictment and she wants to fold into herself; she wants to shrink, to make herself less of a target for the barbed arrow he’s preparing to fire at her.

“Do you know what I find baffling?” His tone is tempered iron.

She braces herself. She can’t begin to predict what part of her sordid tale has raised his ire. “What?”

He lets out a soft, brittle laugh. “That you thought you’d find a fresh start with me, that I’d somehow become him,” he says, “when you aren’t even the woman he fell in love with.”

Her brows pinch together in confusion. “Of course I’m the same—”

“The hell you are!” Robin’s on his feet. “You literally ripped the darkness out of you, Regina. This—” he gestures at her, “—is just a piece of the woman he loved. A pale shadow.”

She opens her mouth to argue, to explain that she’s exactly the woman her Robin believed she would become, but his doppelganger talks over her.

“He was a good man, I’ll give you that,” he says. “Maybe better than anything I could be. I don’t know, and honestly, I don’t care. Our lives were—are—very different because he got to have Marian and I didn’t. But I will tell you this—” Robin takes a step toward her, forcing her to crane her neck to look up at him, “—before then, before Marian, we were the same man. And I can say with absolute certainty that you, as you are now, couldn’t have loved him. You couldn’t have handled his dark past. You couldn’t even handle it in yourself!”

His words have flayed her open, exposed her, wounded and bleeding. She can’t breathe. She can’t speak.

He makes a derisive sound. “That’s why the kiss meant nothing. I may not be him, but you are definitely not her.”

He leaves her with that parting shot reverberating through her chest. He can’t be right. He can’t be.

But what if he is?

“You Are My Strength” (olicity 5x17 spec fic)

You Are My Strength

Rating: T

Summary: As Prometheus tortures him, Oliver holds on tight to hope. His team, his friends, his family…they are his strength, and they will find him. He trusts them; he trusts all of them. But more than anything, he trusts her: Felicity.

He knows she will find him, and in the end, she does….

…But at what cost?

Based on the promo for 5x17 (no spoilers beyond what the promo shows).

AN: Contains aspects of speculation concerning Prometheus, Felicity and Helix, 5x20, and the season finale.

When I started writing this, all I wanted was a small story about how Felicity would hug Oliver when they rescued him in 5x17. I ended up with all of this instead. I love when plot bunnies run wild.


You Are My Strength

Oliver doesn’t know how long he spends in that prison cell.

He doesn’t know how long he kneels with his hands chained in front of him, or how long he hangs from the ceiling with his toes barely skimming the ground, or how long he lies shivering and alone on the cold, hard floor.

He’s also not sure what he should call the man who tortures him: Adrian Chase, Simon Morrison, or Prometheus? (“Psychopath” fits him pretty well, too, to be honest).

But Oliver does know two things.

He knows his team is looking for him…and he knows his team is going to find him.

He trusts them; he trusts all of them.

But more than anything, he trusts her.

Felicity.

He doesn’t say her name out loud, because Prometheus can’t have her.

Oliver would rather die.

So instead he says her name in his head - over and over and over, like a mantra; like a prayer.

He calls to her over and over again in his mind…

…until one day Adrian shows him a picture of Susan Williams, and he realizes that he’ll never love her the way he loves Felicity.

Oliver Queen will never love anyone the way he loves Felicity Smoak.

…And that thought gives him hope: a small, frail spark of hope that Oliver feeds and feeds the more he whispers her name in his head.

Felicity.

The spark bursts into a small flame, and Oliver fans the flame as he holds tight to the thought of the woman he loves more than anything in the world.

Felicity.

He knows she will come for him.

He knows how determined she is; how smart she is. He knows that if anyone in the world has the strength and the ability to find him, it’s Felicity Smoak.

He knows she will find him.

And yet…

…there’s a small part of him that doesn’t want her to.

(read the rest on AO3)

prince of egypt sentence starters
  • “Can you hear your people cry?”
  • “I have nothing I can give but this chance that you may live.”
  • “Sleep and remember my last lullaby.”
  • “How would you like to see your face carved on a wall?”
  • “You don’t suppose we’ll get in trouble for this, do you?”
  • “But one weak link can break the chain of a mighty dynasty!”
  • “Why is that whenever you start something I’m the one who ends up in trouble?”
  • “Don’t worry, nobody will even notice us coming in.”
  • “Are you going to let her talk to you like that?”
  • “But I am showing you all the respect you deserve – none!”
  • “Do you want us flogged?”
  • “I knew you cared about our freedom.”
  • “They never told you?”
  • “You will regret this night.”
  • “Surely this is all I’ve ever wanted.”
  • “Tell me you didn’t do this.”
  • “They were only slaves.”
  • “Is this where you found me?”
  • “Now you know the truth love, now forget and be content.”
  • “Fate has turned our little misadventure into a great opportunity.”
  • “You saw what happened, I just killed a man!”
  • “Nothing you say can change what I’ve done.”
  • “I’m not who you think I am.”
  • “Aren’t these your camels?”
  • “That’s why Papa says she’ll never get married.”
  • “I’ve done nothing in my life worth honoring.”
  • “Dance with me!”
  • “What do you want with me?”
  • “You’ve chosen the wrong messenger.”
  • “What on earth are you dressed as?”
  • “So you have returned only to free them.”
  • “Or is it thanks… to you?”
  • “How does it feel when you get struck to the ground?”
  • “I didn’t see because I did not wish to see.”
  • “Still gnawing away at that bone, are we?”
  • “It’s… blood.”
  • “Until you break, until you yield.”
  • “This was my home.”
  • “How could you have come to hate me so?”
  • “Something else is coming, something much worse than anything before.”
  • “And I think it’s time I finished the job.”
  • “You bring this upon yourself.”
  • “Though hope is frail, it’s hard to kill.”
  • “Now I’m standing here, my heart so full I can’t explain.”
  • “Don’t just stand there; kill them!”
  • “Kill them all!”
  • “Look at your people – they are free.”
Don't Forget, Pt. 1

Originally posted by colorfulbts

Summary: “It is okay if you do not remember me, I can do the remembering. But in a world where I hold absolutely no place in your life, not even as the girl who knew your name before your face, I think it would be a place too cruel to live in.

Characters: Jungkook, (she/her) Reader, Taehyung

Tags: Angst, romance, food for thought

Memo (Prologue), Pt. 2, Pt. 3


Dreams have always ensnared you.

You would become a prisoner to the unconscious ventures that never dared make themselves known outside the confines of an alternate reality. Dreams to you were exactly that- an experience that was otherworldly, one that was an outlier to the life you lived here.

It was from a young age that you recognized dreaming meant something entirely different to you than it did to your peers. To them, dreams involved fantastically impossible occurrences like sausages with four legs (a literal sausage dog!), or something more plausible yet still equally unattainable as marrying the student one had a crush on but never once spoke to.

Your dreams were always platonic. It illustrated what appeared to be an ordinary day in life, except the life was not entirely yours. You would see the few same faces, in contexts you’ve never been in, yet still convincing enough for you to believe it could happen. Things were always real, but also always slightly altered. One too many times you wondered if these dreams could be another person’s life in a parallel universe.

Keep reading

THE PRINCE OF EGYPT SENTENCE MEME  {for @magnctismus}

  • “sometimes for the greater god, sacrifices must be made.” 
  • “but there is one thing he cannot take away from you: your faith.”
  • “and your problem is that you don’t care at all.”
  • “i shall teach you what to say”
  • “though hope is frail, it’s hard to kill.”
  • “so don’t you abandon us.”
  • “don’t worry, no one will even notice us coming in,”
  • “so everything i thought, everything i am, is a lie.”
  • “there can be miracles when you believe.”
  • “i will not be dictated to, i will not be threatened.”
  • “nothing you say can change what i’ve done.”
  • “when did god start caring about any of us?”
  • “once i thought the chance to make you laugh was all i ever wanted.”
  • “i did not see because i did not wish to see.”
  • “well, you are rather pathetic.”
  • “we were moving mountains long before we knew we could.”
  • “do you know somewhere he can live free?”
  • “i won’t be given to anyone.”
  • “why is it every time you start something, i’m the one that ends up in trouble?
  • “when all you’ve got is nothing, there’s a lot to go around.”
  • “can hear your people cry?”
  • “why did you choose me?”
  • “i will be with you.”
  • “is this what you wanted?”
  • “no kingdom should be made on the backs of slaves.”
  • “now we are not afraid, although we know there’s much to fear.”
Prince of Egypt Starters
  • Can you hear your people cry?
  • I have nothing I can give, but this chance that you may live.
  • I pray we'll meet again if He will deliver us
  • You're safe now, and safe may you stay.
  • I have a prayer just for you.
  • Come and deliver us too
  • I will not be the weak link!
  • You know what your problem is? You care too much.
  • Your problem is you don't care at all.
  • If anybody doubts it, they couldn't be more wrong
  • Surely this all I ever wanted?
  • Now you know the truth, love, now forget and be content
  • When the Gods send you a blessing you don't ask why it was sent
  • Sometimes, for the greater good, sacrifices have to be made
  • I am the morning and the evening star
  • Excuse me, are these your camels?
  • That's why papa says she'll never get married
  • I've done nothing in my life worth honoring
  • it seems you do not know what is worthy of honor
  • So how can you tell what your life is worth, or where your value lies?
  • Look at your life through heaven's eyes
  • If a man loses everything he has, has he truly lost his worth?
  • Is it the beginning of a new and brighter birth?
  • When all you have is nothing there's a lot to go around
  • You must learn to join the dance!
  • Take the sandals of your feet, for the place on which you stand is holy ground
  • Who am I to lead these people?
  • "You are just one man."
  • "Look at your family; they are free, they have a future, they have hopes and dreams and a promise of a life with dignity. That is what I want for my people."
  • So you think you've got friends in high places?
  • You'll know what power is when we are done.
  • You're playing with the big boys now.
  • You will kneel before us!
  • No kingdom should be built on the back of slaves.
  • God? When did God start caring about any of us?
  • I did not see because I did not wish to see.
  • God has not abandoned you, so don't you abandon us.
  • Once I thought the chance to make you laugh was all I ever wanted
  • All this pain and devastation, how it tortures me inside!
  • How could you have come to hate me so?
  • Let my heart be hardened.
  • Let my people go!
  • I will never let your people go!
  • Thus saith the Lord.
  • Now we are not afraid although we know there's much to fear.
  • We were moving mountains long before we knew we could.
  • Hope seems like the summer birds, too swiftly blown away.
  • Though hope is frail it's hard to kill
  • There can be miracles when you believe
  • You will you will believe.
  • Look at your people, they are free.

My beautiful ship ❤️

-Hayley wants to be there with klaus

-Klaus apologizing to Hayley 

-Hayley hands on Klaus…. 😭

Song: Frail Love by Cloves

anonymous asked:

There are some bellarke shippers who say that clarke had sex with lexa because of bellamy's rejection in 3.05. So when octavia came to Polis and talked to clarke in her room for clarke to say goodbye to lexa she was reminded of bellamy through octavia and that's why she kissed lexa and then made love to her (because she was reminded of bellamy). what do you think?

I imagine you are referring to this.

And this, which is part of a much longer “analysis”.

What I think, you ask. Well, I think that I am angry. I am ridiculously angry to see that, after 6 months, the relationship between Clarke and Lexa is still being invalidated, dismissed, made to be about someone who is in no way involved in it. That’s right. Clarke, Lexa and Bellamy aren’t and never were in a love triangle. Just like Clarke, Finn and Bellamy never were. Because Bellamy IS NOT a love interest for Clarke. Ship what you want, see what you want, but those characters are canonically nothing more than partners who deeply care about each other. And with “nothing more than” I don’t mean that their relationship isn’t important; it’s extremely important, it’s one of the core relationships in the show. But as of right now, in the show, in CANON, Clarke and Bellamy are NOT in love. And to twist and bend canon events to make it look like Clarke is all over Bellamy and Lexa was just rebound is frankly gross.

But let’s look at that, shall we? What does that say?

To be honest, she never really responded to Lexa until Bellamy rejected her, tore her a new one, and handcuffed her. It was only after Bellamy rejected her that she turned to Lexa.

But if you really want to look for Clarke’s feelings towards Lxa, they were very reserved and even cold, until one specific point in time. And that is when Bellamy rejected Clarke and handcuffed her and made her feel like he hated her. And THEN, all of a sudden, Clarke was soft and welcoming towards Lxa.

It takes some guts to ignore not one, but two episodes to call Clarke cold towards Lexa. Is she reserved? Sure, because she’s had her heart broken. She never responded to Lexa? Was never soft or never showed care and affection? Mmm I think we’re not watching the same show. The entirety of 3.04 shows the audience that Clarke, in fact, HAS feelings for Lexa. That’s the whole point of their storyline for that episode. Rebuilding their relationship despite the past, and showing us a softer side of Clarke for the first time since the beginning of season 3. They show us the lengths Clarke is willing to go to in her attempts to protect Lexa. LEXA, the girl. Not just her political position. Clarke always wants to keep her people safe, but in this particular instance, when Lexa’s life is in grave danger, Clarke literally says

It’s literally a line in the show, you cannot ignore it. Clarke then proceeds to try to manipulate Roan, puts her own life in danger trying to kill Nia. When all her attempts fail and she realizes she cannot stop the fight, she angrily tells Lexa that she refuses to sit aside and watch her die. But what happens instead, right before the duel? Clarke shows up anyway. She quite literally storms through the crowd: Lexa could die here, she can’t not be there. And throughout the whole duel, we are spectators to the wide range of emotions that go through Clarke as she watches Lexa. The horror when she witnesses the brutality of the fight, the relief when Lexa gets the upper hand, the sheer fear when Lexa falls and it seems Roan is really going to kill her, the happiness when Lexa eventually wins. Clarke almost looks ready to cry when she smiles in relief. I’m not making it up, you can find tons of gifs about this entire scene.

And even later on, during the bedroom scene, Clarke is welcoming and kind and soft with Lexa the entire time (it is also worth mentioning Clarke’s surprised face when Lexa tells her she’s come to thank her, not to gloat, since Clarke is used to everyone rubbing it in her face whenever she’s wrong or fails, but that’s a story for another time). Clarke initiates everything in that scene; the whole conversation happens because Clarke welcomes Lexa into her room, to do what? To take care of her. She even flirts with Lexa.

Does she shut down at some point? Does she hide behind the “I was just doing what was right for my people” excuse? Sure. Because she isn’t ready to face her feelings for Lexa, feelings that are already there. And she is well aware, that’s why she retreats. She is slowly starting to accept them, though. She is growing more and more comfortable with them, with Lexa and the attraction she feels for her. As proves the opening scene from 3.05

They are at peace. The enemy was defeated. Clarke isn’t worried about the safety of her people here, she is wondering about what Arkadia means to her. Lexa reassures her and supports her: she knows how much Clarke’s people mean to her, and she tries to calm Clarke’s concerns by making her see the positive things she has done for her people. “You bring them justice.” Stubborn Clarke is stubborn, though, and she doesn’t feel that heroic, so she answers “YOU bring them justice.” To which, Lexa replies “We bring them peace.” Peace. Everything they’ve always wanted. They are doing this together. WE. And what does Clarke do? She smiles. She likes the idea very much.

So, back to the first question… to say that Clarke wasn’t receptive to Lexa until AFTER her argument with Bellamy is simply wrong. To say that she was using Lexa as rebound after being “rejected” by Bellamy is wrong again, but also maddening. First of all, the rejection isn’t a romantic one. You can talk about rejection in the sense that Bellamy chooses Pike over Clarke, but there is no romantic subtext there. Clarke is heartbroken by Bellamy’s words and actions, of course. Because the person who offered his support when she had to pull that lever and offered her forgiveness, has turned against her and blamed her like everyone else. She’s not heartbroken because she thinks she lost Bellamy’s romantic love. After that, when she is in Polis with Lexa, she isn’t thinking about Bellamy at all. Or better, she is thinking about him as one of her people. After Pike & co. attack the village, the Sky People are skating on thin ice and Clarke obviously is worried. She is worried about Bellamy, yes. Just like she is worried about her mom, and Raven, and Octavia etc. People she cares about. Bellamy is part of that group.

Octavia’s words to Clarke don’t remind her of Bellamy. They remind her of the duty she believes she has towards her people. It’s slightly (enormously) different. She wants to stay. But she feels she has to go. That is Clarke’s character.

ABBY: “Your instincts will tell you to take care of everybody else first, just like your father.”
LEXA: “You’re driven to fix everything for everyone.”

It’s in Clarke’s nature. She cannot stay, but she wants to. The entire love scene is more a promise than a goodbye when you think about Clarke’s words to Lexa. “Maybe someday, you and I will owe nothing more to our people.” It’s frail hope, but it is hope nonetheless. Making love is what they can have for now. Maybe someday, in the future, they will be able to have more.

Bellamy and Bellarke for all that matters, have NOTHING to do with this moment. And stretching canon to make it seem like everything is about him and his relationship with Clarke–while at the same time dismissing the importance of Clarke and Lexa’s relationship–is awful and angering and needs to stop.

so I know that Fire Emblem: Fates is already pretty great, but consider: Fates as Dreamworks’ animated (and musical) film The Prince of Egypt

  • The Hoshidans and Nohrians respectively substitute for the Israelites and the Egyptians. (The peace vs. glory bit lines up nicely.)
  • Corrin is Moses for obvious reasons. They sing All I Ever Wanted after discovering the truth about their family.
  • Takumi is Aaron: the initially resentful brother who ultimately becomes one of Corrin’s most faithful supporters.
  • Camilla sings the reprise of All I Ever Wanted: “Now you know the truth, love: now forget, and be content…”
  • Izana is Jethro: a figure of jollity whose simple wisdom helps Corrin to come to terms with their parentage. Also throws a lovely dance party in Through Heaven’s Eyes.
  • Xander is Rameses, the older foster brother struggling to uphold the legacy of a distant father. Corrin’s betrayal is especially hard on him, as demonstrated by his incredulous rage during The Plagues. (”You who I called [brother]… how could you have come to hate me so? Is this what you wanted?”)
  • Iago and Hans are the two priests: insufferably smug, but ultimately so incompetent that Xander sends them away.
  • Last but not least is Azura as Tzipporah: the person who loves Corrin the most and is the first to follow them through any situation. She also gets to sing When You Believe(”There can be miracles when you believe. Though hope is frail, it’s hard to kill.”)
  • …there aren’t really enough characters to substitute the whole cast but those are the main ones
  • I suffered through this AU on my way to work and now you should too
2D☆STAR: UNDEAD Interview

Part 3/3 of Ensemble Stars interview. From Bessatsu JUNON: Hyper-dimensional Idol Magazine 2D☆STAR

“We are demons in the darkness of the night.”

—–Please introduce your unit to us!

Rei: We are UNDEAD, infamous for being the most radical and vicious idol unit in Yumenosaki Private Academy. There are four members: me, Kaoru-kun, Doggy (Koga), and Adonis-kun. You see, we are demons from the darkness of the night. So our weakness is that we are inactive during daytime.

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