see you in a minute

Nat and little Liho.

There has never been,

nor will there ever be, 

anything quite so special as the love between 

And this action is central to understanding Dumbledore’s character.  If we accept Sirius’ recollections on his Order days, they were outnumbered and the war was well on the way to being lost.  Feeding Voldemort the prophecy was their best attempt at winning, and it worked.  

Once you accept this stance, then it casts an interesting light on the Fidelius, Dumbledore having James’ invisibility cloak in his possession, and the lack of protection around the Longbottoms - because it was equally important that Voldemort acted upon the prophecy, and that someone was marked by the Dark Lord as his equal.  As unsettling as it sounds, to win the war, the Order needed the prophecy to be enacted - even if that meant the deaths of James and Lily (and/or Frank and Alice).  

It’s also particularly interesting that Dumbledore tells Harry that ‘the eavesdropper was detected only a short way into the prophecy and thrown from the building’.  Trelawney recalls seeing Snape, yet when we see her in a deep trance in PoA, she seems entirely unaware of her surroundings - she says , ‘I drifted off for a moment’ and looks startled when Harry repeats her prophecy back to her:  ‘I think you must have dozed off too, dear!  I would certainly not presume to predict anything quite as far-fetched as that!’

So for Trelawney to know that Snape was the eavesdropper, presumably he must’ve still been in the corridor when the full prophecy was spoken.

The question is, does Aberforth interrupt Snape as Trelawney is part way through the prophecy - and that’s why Snape so fortuitously misses the most pivotal part of the prophecy?  

actual quotes by Brienne about Jaime | le cygne’s compilation post | companion set

Joe [Wright] loves playing with time, but in a similar way, he likes for a shot — in one take — to be both subjective and objective. We see Anna and Vronsky move onto the dance floor and sort of activate these dancers with their passion, so there’s already a metaphor at work. Then it goes from the real gradually into a more psychological sort of space, when he lifts her up and the camera swirls around her. At that moment there was an almighty stampede behind the camera and underneath the camera as all the extras had to kind of evacuate the auditorium really in the space of five or six seconds! But it’s an exciting technique to explore, because when you have that symbiosis between your actors and the camera, you can create another layer of dynamism. It’s a cinematic, sort of architectural travel. And that’s always the goal. It’s not to make a peacock of a shot.

Godric: Lion. 

Salazar: Are you quite sure? It would just seem to make more sense to–

Godric: Lions are cool.

Salazar: Alrighty. At least there’s PART of a lion in a griffin, I can live with that, I suppose. Moving on. Rowena, this is a total no-brainer, you’re of course going with a rav–

Rowena: Eagle.

Salazar: … Really, though? I mean… the word is literally in your last name, everyone’s going to naturally assume raven. Could you maybe explain…?

Rowena: The eagle is a noble bird, it soars to heights other avians cannot possibly hope to achieve. In addition, the claws of the eagle are black in colour, and if one were to cast back to the beliefs of the ancient peoples–

Salazar: Already sorry I asked. Fine. Eagle. Makes perfect sense. And at this point, I am quite genuinely terrified to ask, but Helga–

Salazar: Next, we need a school song to promote community and education. Rowena, I assume you and I -

Godric: Oh no, we’re already good on that front.

Salazar: …..I beg your pardon?

Godric: Helgy and I wrote a banger, really good stuff

Salazar: I don’t think -