germafive.blogg.se - Last harry potter film

"Lily, take Harry and go! It's him! I'll hold him off!" Brutal killing, but Gideon and Fabian apparently died like heroes. Killed for being part of the Order of the Phoenix. Killed for being part of the Order of the Phoenix.ĥ Death Eaters (including Antonin Dolohov) Possibly murdered by unknown means on Lord Voldemort's orders Multiple Death Eaters (including Travers) His ghost awoke and continued to teach History of Magic at Hogwarts, said not to have noticed his death. Later became Gryffindor House ghost at Hogwarts School of Witchcraft and Wizardry.ĭied in his sleep in a chair in front of the Hogwarts staff room fireplace. Sir Nicholas de Mimsy-Porpington (Nearly-Headless Nick)Īsking his confessor if he should wear a hat to his executionĮxecuted on behalf of King Henry VII for a magical mishap with a lady-in-waiting, Lady Grieve died after 45 chops with the head still attached.

Harry Potter and the Philosopher's Stone Character

11 Fantastic Beasts: The Crimes of Grindelwald - The Original Screenplay.

9 Fantastic Beasts and Where to Find Them: The Original Screenplay.

6 Harry Potter and the Half-Blood Prince.

5 Harry Potter and the Order of the Phoenix.

3 Harry Potter and the Prisoner of Azkaban.

2 Harry Potter and the Chamber of Secrets.

1 Harry Potter and the Philosopher's Stone.

In his wittiest moment, he raps: “Fame made me a balloon ’cause my ego inflated when I blew, see/ But it was confusing, cause all I wanted to do’s be/ The Bruce Lee of loose leaf/ Abused ink, used it as a tool when I blew steam.” Brilliant prose, but all about Em. All of Eminem’s gifts are on display-half-rhymes, shifting cadences, rapid flow, multiple personae-but they’re in service of a lyric that is all about himself the “monster under my bed” is just his muse. Rih brings the same A-game to what is frankly a B-plus hook on “Monster.” (Rexha wrote an instantly memorable melodic line, but it might be too tight-the song basically runs the cascading up-and-down melody into the ground.)Īs for the lead artist, he is both dazzling and disappointing. None are powerhouse vocal showcases, but all are improved by the tone and personality of her voice.

That might sound like damning with faint praise, but think about what has made Rih’s own best songs over the last five years-“Umbrella,” “Disturbia,” “Rude Boy”-work. Indeed, if anyone sells “The Monster,” it’s Rihanna, the premier hook-singer of the post-hip-hop era (eat your heart out, Ashanti). In general, “Monster” is brighter-sounding, while still employing enough minor-key dissonance to let Rihanna “blues” her vocal à la “Lie.” Shady’s rhyme delivery is more manic, adopting a range of identities at one point, he lurches from computer-masked Vader voice to a Julie Andrews–worthy yodel. You could dance, or at least bop gently, to “Monster,” while “Lie” was made strictly for bathing or wallowing. But having started its life as a completely different song, “The Monster” evokes its predecessor without being a carbon copy.

(The main writer of “Love the Way You Lie,” pop singer-songwriter Skylar Grey, wasn’t involved.) Em then took Rexha’s composition into the studio with producer Bryan “Frequency” Fryzel, wrote his rhymes on top and invited Rihanna to sing the hook Rexha’s original background vocals were left intact, deep in the mix.Īs “Monsters” go, this one is of the Frankenstein’s variety like so many pop songs today, no fewer than seven writers are listed in the credits.

The main melodic hook was written by young recording artist Bebe Rexha while working on her own album, before she pitched it to Eminem. “The Monster” did not begin its life as a direct rewrite, though.