james the greater

Friendly reminder that James potter didn’t mature in order to get lily to like him, he matured and became a better person for himself and for his friends and to fight for the greater good and that’s why lily loved him

Crossing Lines: Arrow 5x19 Review (Dangerous Liaisons)

If 5x19 is indicative of the final four episodes of Season 5, then we are in for one hell of a ride. 

After setting Oliver and Felicity off into trajectories, Arrow returns to the center as Felicity’s relationship with Helix come to a head. Original Team Arrow is splintered as Felicity aligns herself against Oliver and Diggle. Smoak versus Arrow is more than just Felicity going head to head with those who know and love her best. It’s about diving into Felicity’s real motivations. Sure, we were told Felicity’s grief over Billy is pushing her over the edge 

(keep singing that tune Arrow), but we knew there was more. The truth is, Felicity’s motivations haven’t strayed too far from center after all.

Let’s dig in…

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Prayer to St. James the Greater

O Glorious St. James, because of your fervor and generosity Jesus chose you to witness his glory on the Mount and his agony in the Garden. Obtain for us strength and consolation in the unending struggles of this life. Help us to follow Christ constantly and generously, to be victors over all our difficulties, and to receive the crown of glory in heaven. Amen.

Maria Reynolds

Ok so hear me out. It’s historically proven that Maria Reynolds had no where near the education as most the other in Hamilton and was barely literate (And that paired with her crappy situation she was in/being so young made her very easy to be taken advantage of). And a lot of people talk about how in the show this isn’t really portrayed but what if it was. Just think about it; in “Say No To This” the song is already significantly slower.

We see through out the musical speed being tied to intelligence (ex. Satisfied rap/ Lafeyette’s rap in Aaron Burr, Sir vs Guns and Ships/ Alexander raps in general) In Say No To This Maria’s note and lines that she sings are long and drawn out therefore they are sang much smoother and melodic (possibly symbolizing innocence especially when you compare it to similarly sang notes/lines in other songs that have to deal with innocence and betrayal like Helpless and Burn (Look more connections)))

Burr/ Alexander/ and James all speak/sing much quicker than her symbolizing their edge on her (And in the case of Alexander and James their greater intelligence as a way use her) But it’s just a thought I could be 1000% wrong.

Some very tiny awkward flinthamiltons back in London.

Lord and Lady Hamilton had numerous friends, some very close – who attended their salons –, some moderately – who were invited to dinner on occasions –, and some of the farthest kind. Tonight, the latter were concerned.

It was a ball. The house was one of the richest in London. Their host was a Duke (“obscure, and equally unbearable,” Thomas had said), and their hostess, the Duchess, was an acquaintance of Miranda. Before the dances started, she played the harpsichord. A piece by John Weldon, with John Weldon himself in the audience.

As the crowd began to move and sway around them, James declined Miranda’s offer for a dance. “At least allow me to introduce you to Miss Charlotte Wesley, Lieutenant,” she said, offering him her arm.

He frowned. “Miss Wesley?”

“You may have seen her at our residence,” Thomas said. “She sometimes takes part in my wife’s harpsichord lessons.”

“She is very charming, and sublimely witty,” Miranda pointed out.

James’ eyes went from Miranda to Thomas. He shook his head. “And may I ask what is the point of that introduction, specifically?”

Miranda’s eyes widened with candor. “She is single, James.”

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As a boy of 11, I left Ireland for London on Aug. 12, 1964 — the same day Ian Fleming died. That weekend I saw “Goldfinger” with Sean Connery at the ABC Cinema on Putney High Street with my mother, May, and my stepfather, Bill. How could I know then that my life would be entwined by the great alchemy of a cinematic hero such as James Bond? There I sat, that first weekend in my new life in London, motionless and spellbound by the beauty of CinemaScope. I had discovered the movies and Bond, James Bond. However, it cost money to go to the pictures. And that’s when I discovered my first real hero, Roger Moore. Simon Templar, the Saint, all rolled into one man.

Only on reflection do I see how much of an influence Roger Moore had on me as a young Irish immigrant lad from the banks of the River Boyne. I guess the combination of Bond and the Saint ignited a flame for fame in my heart of innocent wonder. I wanted to be up there. Roger as the Saint made me believe in his world. And before I knew it, the man who was the Saint transformed into James Bond, an even greater hero to me as a boy.

Having by now fully immersed myself in the magic of movies, and with my appetite for more informed and character-driven work in films, I guess I slowly dreamt of being an actor as I watched their work, which never really seemed like work to me. Of course, I was only 12 years old. Only now after 40 years as an actor do I know the hard road it takes to be one. It’s only now, after all these years, that I know he was a hero.

He became James Bond — not an easy task for any man. As an actor he must have known the job at hand was Herculean, with an expectant world awaiting; who was next in line? Sean Connery had set the bar high, and George Lazenby, with mighty flair and a valiant heart, had given it his best. Now it was Roger’s turn. He knew his time was now, and he reigned over seven movies as James Bond with exceptional skill and comic timing laced with a stiletto vengeance. He knew his comedy, he knew who he was and he played onstage and off with an easy grace and charm. He knew that we knew.

We fell in love with a magnificent actor. Never forgetting the audience, never letting the begrudgers in, Sir Roger enthralled the world for many years as Bond. Sir Roger played it to the end with impeccable good manners and a wicked sense of irony that was born of years upon the stage. He saved our world, for heaven’s sake, with his movies as James Bond.

He is the only actor I ever asked for an autograph. I was 12 years old, and my mom and dad had taken me to Battersea Park. I lined up by the Ferris wheel and waited my turn to get his autograph. I wanted to be somebody like him. Maybe that’s why I waited. Little did I know my time would come to someday enter onto the stage as 007.

Many years later I was a working actor with a wife and children, and Roger and his Bond came to save the day. My late wife, Cassie, and our family were living in Wimbledon. I had just finished a yearlong run in the West End with a production of “Philomena” directed by Franco Zeffirelli. And then nothing — no work.

One day, Cassie got an audition for a James Bond movie called “For Your Eyes Only,” and bingo, we were off to the races once more. The film shot in Corfu. Cassie played Lisl von Schlaf — not a great name, but what a great time. By then Roger was the man — the world was at his feet. He was most gracious to the children and myself. I was there for less than a week, because I got the lead in a six-part series called “The Manions of America.” That miniseries would lead me to play Remington Steele and then, eventually, James Bond.

By the time I came to stand on the stage as Bond, the performances of Sean Connery and Roger Moore were difficult to shake from my DNA. Roger came down to set one day on “GoldenEye” and wished me well. I was still in awe of the man.

Last time I saw him was at the Albert Hall for a tribute to Cubby Broccoli. What more can one ask for? I am so proud to have known the kindness and humanity of Sir Roger Moore.

Golden Globe-nominated actor Pierce Brosnan played James Bond in four films from 1995-2002.

What a touching tribute in Variety from Pierce Brosnan.